1. Mainstream: Standardized, conventional media representations – normally associated with commercial success rather than critical success.
2. Independent: Media texts that are consumed by smaller, more niche audiences and not normally associated with large companies or organisations.
3. Left Wing, Socialist Ideology: An overarching belief system (ideology) that champions the causes of the individual and minority groups against mainstream culture and big business.
4. Convergence: is how media brands (e.g magazine brands such as Kerrang) are available on a number of different platforms- ie TV, radio, mobile, internet. Furthermore, it is how individual consumers interact with others on a social level and use various media platforms to communicate with their audience through the internet an in particular social media such as Facebook and Twitter.
5. Tabloid: A smaller sized newspaper format used by The Sun for example.
6. Critical Success: Where success is measured by awards and reviews.
7. Commercial Success: Where success is measured by how much money a piece of media makes.
8. Re brand: Where a new image is given to a media text.
9. USP: Unique Selling Point – where a media text is sold to audiences on the strength of something specific.
10. Multiculturalism: The positive foregrounding of the diversity of race and ethnicity.
11. Iconic: Something that is well known and has established status.
12. Masthead: Normally the top, or main strip or bar across a magazine.
13. Conventions: The expected aspects of a media text, normally associated with genre.
14. Signify: Where meaning is constructed though signs and symbols.
15. Connotations: Similar to signifies, connotation is where something has an implied meaning from the denoted signs and symbols associated with it.
16. Tagline: The saying or textual association of a magazine.
17. Encodes: Media producers (or publishers) encode or put in meaning.
18. Mythical: Something in the media that has the status of accepted truth but which in fact has been constructed to give this impression.
19. Genre: Type or Sort.
20. Cultural Capital: The pre existing knowledge, skills and experience an audience have that affect their reading or deconstruction of a media text.
21. Oligopoly: Where four or more companies, e.g. magazine publishers like Bauer dominate the marketplace.
22. Circulation: The amount of copies of a magazine that is sold or is given out.
23. Cross Media Platforms: Where a media text or brand has a presence in a number of different media.
24. Brand: The image or association of a named product.
25. Demographic: An in depth analysis of the target audience covering a range of criteria.
26. Advertising Spend: How much money is spent on advertising.
27. Hybridised: Where the conventions of two or more genres are apparent.
28. Framed for the Male Gaze: Where a subject is set within the frame (e.g. a magazine cover) and is sexualised for male audiences (from Laura Mulvey’s male gaze theory).
29. Advertising Revenue: How much money a magazine, for example makes from advertising.
30. Anchor: When something is ‘anchored’ it has a definite meaning.
31. Stereotypical Connotations: Something that audiences expect but that is often based on limited information.
32. Aspirational: Audiences look up to something or somebody.
33. Foregrounded: Where an image or person is put at the front of audiences’ minds.
34. Mode of Address: The way a media text speaks to its audience.
35. Minimalistic: Lacking depth and detail.
36. Pun: Use of double meaning.
37. Colour Palette: An overall colour scheme.
38. Leaderboard: The online equivalent of a masthead.
39. Navigation: How audiences or users move around a website.
40. House Style: A recognisable style e.g. from print magazine to online equivalent.
41. Interactive: Where audiences take an active part in a media text and where communication is two way and not one way.
42. Typography: An overall term used to describe the physical representation of text.
43. Font: The style of the lettering.
44. Hierarchy: An agreed status or chain of command/authority.
45. Digital: New media/forms of technology across different media platforms.
46. Retro Culture: Where audiences enjoy culture from years gone by.
47. Above the Fold: The top half of a homepage.
48. Below the Fold: The bottom half of a homepage.
49. Convergent Links: Interactive links to other media.
50. Merchandising: The spin off sale of associated goods and services.
51. Synergy: Where two or more compatible forms sell each other.
52. Juxtaposition: Where something is deliberately placed next to something to create a third meaning.
53. Pluralistic:  A representation that is challenging, more contemporary and diverse and resists stereotyping.
54. Post Feminist Icon: A female representation where the subject exhibits both stereotypical male and female characteristics.
55. Line Extending: Where the authority of an existing brand is used to diversity into different products.
56. Intertextuality: Where one media text makes reference to another.
57. Rich Media: Links to a broad range of cross media platforms.
58. Web 2.0: A more interactive layout on a web page commonly associated with social networking sites – less of a one way form of communication.
59. Popular Culture: Media normally consumed by mainstream, mass audiences.

Low-key lighting is a style of lighting for photography, film or television. It is a necessary element in creating a chiaroscuro effect. Traditional photographic lighting, three-point lighting uses a key light, a fill light, and a back light for illumination. Low-key lighting often uses only one key light, optionally controlled with a fill light or a simple reflector.

Low key light accentuates the contours of an object by throwing areas into shade while a fill light or reflector may illuminate the shadow areas to control contrast. The relative strength of key-to-fill, known as the lighting ratio, can be measured using a light meter. Low key lighting has a higher lighting ratio, e.g. 8:1, than high-key lighting, which can approach 1:1.

The term "low key" is used in cinematography to refer to any scene with a high lighting ratio, especially if there is a predominance of shadowy areas. It tends to heighten the sense of alienation felt by the viewer, hence is commonly used in film noir and horror genres.

 

 

 

 

High-key lighting is a style of lighting for film, television, or photography that aims to reduce the lighting ratio present in the scene. This was originally done partly for technological reasons, since early film and television did not deal well with high contrast ratios, but now is used to suggest an upbeat mood. It is often used in sitcoms and comedies. High-key lighting is usually quite homogeneous and free from dark shadows. The terminology comes from the key light (main light

In the 1950s and 1960s, high-key lighting was achieved through multiple light sources lighting a scene—usually using three fixtures per person (left, right, and central) —which resulted in a uniform lighting pattern with very little modelling. Nowadays, multiple hot light sources are substituted by much more efficient fluorescent soft lights which provide a similar effect.

The advantage to high-key lighting is that it doesn't require adjustment for each scene which allows the production to complete the shooting in hours instead of days. The primary drawback is that high-key lighting fails to add meaning or drama by lighting certain parts more prominently than others.

Anchorage

Fixing of meaning

eg the copy text anchors (ie fixes to one spot) the meaning of an image (for instance, a single rose, that could be used for an ad for anything from a dating agency to a funeral home) in a print advertisement

 Antagonist-The character whose function in a plot is to oppose the protagonist. In straightforward hero's journey plots (most action adventures), the antagonist can be referred to as the villain. However, in character drama, the antagonist might not be a "bad" character, just someone who stands between the protagonist and his/her goals.

Archetype-A universal type or model of character that is found in many different texts, e.g. ingenue, anti-hero, wise old woman, hero-as-lover, hero-as-warrior, shadow trickster, mentor, loyal friend, temptress

Audience-The recipients of a media text, or the people who are intended to read or watch or play or listen to it. A great deal of media studies work is concerned with the effects a text may have on an audience.

Censorship-Control over the content of a media text. Different media forms have different forms of censorship - sometimes from a government, but mainly from a regulatory agency, eg the British Board of Film Classification

CGI-Computer Generated Imagery. Refers to the (usually) 3-D effects that enhance all kinds of still and moving images, from text effects, to digital snow or fire, to the generation of entire landscapes.

Code-A system of signs which can be decoded to create meaning. In media texts, we look at a range of different signs that can be loosely grouped into the following:•technical codes - all to do with the way a text is technically constructed - camera angles, framing, typography etc•verbal codes - everything to do with language -either written or spoken •symbolic codes - codes that can be decoded on a mainly connotational level - all the things which draw upon our experience and understanding of other media texts, our cultural frame of reference.

Convention-The widely recognised way of doing something - this has to do with content, style and form.eg the conventions of music video.•they are the same length as the song (somewhere around 4 minutes, say).•they present the band, who look as though they are singing•they have lots of fast edits

 Convergence-The way in which technologies and institutions come together in order to create something new. Cinema is the result of the convergence of photography, moving pictures (the kinetoscope, zoetrope etc), and sound. The iPad represents the convergence of books, TV, maps, the internet and the mobile phone.

Demographic-Factual characteristics of a population sample, e.g. age, gender, race, nationality, income, disability, education.

Editorial-In a newspaper, Editorial refers to the opinion pieces (sometimes known as 'leading articles') written by senior reporters. Editorial in a magazine refers to the feature content that reflects the ethos of the publication

Gatekeeping-Quite an old-fashioned term to describe the way in which certain key personnel (news editors, newspaper owners mainly) have control over the information that is presented to audiences, and the way in which it is presented (the angle)

Genre-A way of categorising a media text according to its form, style and content. This categorisation is useful for producers (who can utilise a genre's conventions) and audiences (who can utilise their expectations of the genre) alike

Globalisation-Process by which different cultures worldwide have come to share the same media texts e.g. movies and pop music.

Ideology-This is a complex concept - in its basic form it is a set of ideas or beliefs which are held to be acceptable by the creators of a media text. For example, a text might be described as having a feminist ideology, meaning it promotes the idea that women are the equal of men and should not be discriminated against on the grounds of gender.

Institution-A formal organization (with its own set of rules and behaviours) that creates and distributes media texts

Intertextuality-The influence that media texts have on each other. Sometimes this is the result of direct cross-references (e.g. music mash ups) or indirect (the way gossip news items regulate the way we view a star's performance)

Neologism-Newly-coined word or phrase made up to describe a new trend, idea or gadget e.g. hopium, agnotology

Ownership-An important issue in media studies - and a constantly changing one. Who produces and distributes the media texts we read?

Preferred Reading-The meaning of a text which the producers intended. The opposite of 'preferred reading' is 'aberrant reading', such as when people deliberately interpret a text (the Bible is the source of a lot of mixed messages) to further their political agenda rather than the author's original intent

Realism-The techniques by which a media text represents ideas and images that are held to have a true relationship with the actual world around us. Realism means different things in different texts - realism in animation (eg the movement of single hairs in computer animation) means something entirely different to realism in soap opera (eg the depiction of people eating breakfast and talking with their mouths full). it is important to assess how much a text strives for realism, how much audiences are expected to think it is realistic.

Representation-The way in which the media "re-presents" the world around us in the form of signs and codes for audiences to read.

Self-Regulation-When an institution (the Press, Advertising) appoints a group of individuals whose job is to deal with complaints about that institution

 

 

Signs & Signification-Sign - a symbol which is understood to refer to something other than itself. This may be very simple - think of a "No Entry" road sign. it may get more complicated when reading media texts, where a sign might be the bright red coat that a character is wearing (which signals that they are dangerous)

Signification - the process of reading signs (see denotation and connotation)

 

Star-A person who has become so famous, both for doing their job (actor, sport player) and appearing in many sorts of media, that their image is instantly recognisable as a sign, with a whole range of meanings or significations eg - David Beckham's image represents a whole raft of meanings: England, football, wealth, Posh, success, fashion victim, expertise, sexuality etc...Britney Spears is also a star but her image signifies physical fitness, blonde (+associated stereotypical characteristics), singing, dancing, sexuality, fashion etc...A star's image becomes a readily recognised sign that is used in many different media forms - think of where you have seen pictures of Britney and Becks. Stars can use the fact that their image has meaning by allowing it to be used for advertising purposes.

 Stereotype-Stereotypes are negative (usually) representations of people that rely on preconceived ideas about the group that person is perceived as belonging to. It is assumed that an individual shares personal characteristics with other members of that group eg blondes are all stupid, accountants are all boring. Although using stereotypes saves a lot of explanation within a text, it can be a very lazy method of characterisation. Stereotypes may be considered dangerous, as they encourage audiences to think large groups of people are all the same, and often have the same negative characteristics.

USP-Unique Selling Point or Proposition. The attribute of a text or product that is highlighted as being new or unique in the marketing process, something that sets it apart from its competitors

this magazine is one of a kind, it has no limits  as it has Iration Steppas on stage performing smoking "ganja' in other words cannabis, which most rastafarians smoke on a daily basis. this shows that the security content on the website is it also includes the social media e.g interactions with the audience which is important for the magazine as it also needs help to make it a better magazine.

This is the first magazine thats includes the both genres i am doing. it also includes the social media e.g interactions with the audience which is important for the magazine as it also needs help to make it a better magazine. it is issued out monthly, so it has a month to make corrections for the up coming issue that they are going to issue out. it is very different form other online magazine as it that they keep it simple and its not busy but its just plain and simple  and it is very effective rather than it being jammed up.the way it is set up, it like having a a actual magazine in your hands but only its on the computer.

The word "reggae" was coined around 1960 in Jamaica to identify a "ragged" style of dance music, that still had its roots in New Orleans rhythm'n'blues. However, reggae soon acquired the lament-like style of chanting and emphasized the syncopated beat. It also made explicit the relationship with the underworld of the "Rastafarians" (adepts of a millenary African faith, revived Marcus Garvey who advocated a mass emigration back to Africa), both in the lyrics and in the appropriation of the African nyah-bingi drumming style (a style that mimicks the heartbeat with its pattern of "thump-thump, pause, thump-thump"). Compared with rock music, reggae music basically inverted the role of bass and guitar: the former was the lead, the latter beat the typical hiccupping pattern. The paradox of reggae, of course, is that this music "unique to Jamaica" is actually not Jamaican at all, having its foundations in the USA and Africa.
An independent label, Island, distributed Jamaican records in the UK throughout the 1960s, but reggae became popular in the UK only when Prince Buster's Al Capone (1967) started a brief "dance craze". Jamaican music was very much a ghetto phenomenon, associated with gang-style violence, but Jimmy Cliff's Wonderful World Beautiful People (1969) wed reggae with the "peace and love" philosophy of the hippies, an association that would not die away. In the USA, Neil Diamond's Red Red Wine (1967) was the first reggae hit by a pop musician. Shortly afterwards, Johnny Nash's Hold Me Tight (1968) propelled reggae onto the charts. Do The Reggay (1968) by Toots (Hibbert) And The Maytals was the record that gave the music its name. Fredrick Toots Hibbert's vocal style was actually closer to gospel, as proved by their other hits (54-46, 1967; Monkey Man, 1969; Pressure Drop, 1970).
A little noticed event would have far-reaching consequences: in 1967, the Jamaican disc-jockey Rudolph "Ruddy" Redwood had begun recording instrumental versions of reggae hits. The success of his dance club was entirely due to that idea. Duke Reid, who was now the owner of the Trojan label, was the first one to capitalize on the idea: he began releasing singles with two sides: the original song and, on the back, the instrumental remix. This phenomenon elevated the status of dozens of recording engineers.
Reggae music was mainly popularized by Bob Marley  (, first as the co-leader of the Wailers, the band that promoted the image of the urban guerrilla with Rude Boy (1966) and that cut the first album of reggae music, Best Of The Wailers (1970); and later as the political and religious (rasta) guru of the movement, a stance that would transform him into a star, particularly after his conversion to pop-soul melody with ballads such as Stir It Up (1972), I Shot The Sheriff (1973) and No Woman No Cry (1974).
Among the reggae vocal groups, the Abyssinians' Satta Massa Gana (1971) is representative of the mood of the era.