a. horizontal integration. | ||
b. a partnership. | ||
c. vertical integration. D. convergence. |
a. horizontal integration. | ||
b. intertextual integration. | ||
c. diagonal integration. | ||
d. vertical integration. |
a. the ads pound the consumer with facts about a company's products. | ||
b. the ads often make no mention of what the product does or actually is. | ||
c. the ads might be too expensive for a company to afford. | ||
d. the ads rely too heavily on the endorsements of celebrities. |
a. the telephone is to television. | ||
b. a channel is to a receiver. | ||
c. a channel is to a message. | ||
d. a sender is to a message. |
a. economic convergence. | ||
b. global convergence. | ||
c. technological convergence. | ||
d. organic convergence. |
a. A pseudo event is a spontaneous showing of support or appreciation for a company that generates positive news coverage. | ||
b. A pseudo event is not spontaneous, and it is created for the purpose of being reported and arranged for the convenience of the news media. | ||
c. A pseudo event is not spontaneous, but is always arranged around a newsworthy event or a real situation. | ||
d. A pseudo event is not spontaneous, but the event itself is unpredictable in how it plays out and in its results. |
a. $141 million | ||
b. $141 billion | ||
c. $141 trillion | ||
d. $141 quadrillion |
a. Advertising revenue increased for all media, with television experiencing the greatest growth. | ||
b. Advertising revenue decreased for all media, with television experiencing the greatest decline. | ||
c. Revenue increased for television, radio and magazine advertising, but decreased for Internet advertising. | ||
d. Revenue decreased for television, radio and magazine advertising, but increased for Internet advertising. |
a. children control much of the disposable income in the United States. | ||
b. children should learn to make informed decisions about what products they want. | ||
c. children cannot tell the difference between programs and commercials. | ||
d. children have limited exposure to media and must learn to make the most of it. |
a. It is clearly stated and consistent in its meaning, no matter who reads the ad. | ||
b. It is often an unintended meaning, one that advertisers fear. | ||
c. It is the sales meaning that advertisers want us to understand. | ||
d. It is usually aligned with the intended meaning of the ad. |
a. corporate boards of directors. | ||
b. religious cults. | ||
c. rock-concert audiences. | ||
d. army units. |
a. to get people attending these events to buy the product on their way out. | ||
b. to gather personal data from a group of people who match the company's most desirable customer profiled. | ||
c. to place advertising in event venues where a captive audience has no choice but to see the message. | ||
d. to associate a company with specific personal and cultural values that hold meaning for consumers. |
a. uniform across a country because of the influence of national identity and pride. | ||
b. totally individual because mass communication provides our common culture. | ||
c. almost totally the product of religion, meaning huge areas had common cultures. | ||
d. a local phenomenon defined by language, village customs and religion. |
a. the Internet and ecommerce. | ||
b. the Internet and online games. | ||
c. the Internet and social media. | ||
d. the Internet and search engines. |
a. that is good for conversations. | ||
b. that is good at forming groups. | ||
c. that is not good for conversations or for forming groups. | ||
d. that is good both for conversations and for forming groups. |
a. when a single company has interests across many kinds of media. | ||
b. when geographically distant cultures are able to influence one another. | ||
c. when stories flow across several kinds of media platforms, through many channels. | ||
d. when different kinds of technology merge into one device, such as a smart phone. |
a. the ads went beyond creating a feeling for the product and instead changed the culture of engagement and marriage. | ||
b. the ads tapped into long-held cultural beliefs about the importance of diamonds in the rituals of courtship and marriage. | ||
c. the ads stressed the value of diamonds as a long-term investment. | ||
d. the ads used a high-concept approach where the product, DeBeers diamonds, was never mentioned. |
a. Public relations | ||
b. Propaganda | ||
c. Journalism | ||
d. Advertising |
a. Public relations | ||
b. Propaganda | ||
c. Journalism | ||
d. Advertising |
a. monopoly. | ||
b. oligopoly. | ||
c. monopolistic competition. | ||
d. antitrust. |
a. Twitchell says advertising provides a way of escaping reality; Jhally says happiness can never be found by escaping reality. | ||
b. Twitchell says ads are informative and thus make us more happy and confident; Jhally states that ads make us more nervous and self-conscious. | ||
c. Twitchell says happiness can be found in buying and owning the things advertisers sell; Jhally says that happiness cannot be found in things. | ||
d. Twitchell says advertising entertains us and makes us happy much like other programming; Jhally says advertising is dull and unimaginative. |
a. vertical integration. | ||
b. horizontal integration. | ||
c. hybrid culture. | ||
d. cultural imperialism. |
a. global economics. | ||
b. imperial capitalism. | ||
c. cultural imperialism. | ||
d. cultural capitalism. |
a. political action. | ||
b. compelling entertainment. | ||
c. shared experience. | ||
d. attention to detail. |
a. mass communication is transmitted electronically. | ||
b. mass communication is transmitted to a large segment of the population. | ||
c. mass communication is transmitted rapidly, with little delay. | ||
d. mass communication is not meant to be public. |
a. Entertaining and providing an outlet for the imagination. | ||
b. Storing information for access by the public. | ||
c. Serving as a public forum for the discussion of important issues. | ||
d. Acting as a watchdog for government, business and other institutions. |
a. Consumers and advertising | ||
b. Purchase price and subscription | ||
c. Advertisement and product placement | ||
d. Public relations and advertising |
a. aiming cable television shows at a specific audience, such as young women. | ||
b. finding a niche audience through programming, such as AM talk radio or on-demand television. | ||
c. bypassing traditional media to reach niche audiences directly on the Internet through social media. | ||
d. presenting movies and television shows on the Internet so viewers can watch when they want. |
a. they call upon a respected person to endorse a product or cause. | ||
b. they employ a spokesperson from humble origins who can be trusted. | ||
c. they create fear and arouse prejudice by using bad names to create an unfavorable opinion. | ||
d. they associate something we respect and revere to something they would have us accept. |
a. we are with friends. | ||
b. we are with family. | ||
c. we are alone. | ||
d. we are out in public. |
a. consumers want solid information about a product before they decide to buy. | ||
b. price is the most important factor for consumers in deciding what to buy. | ||
c. with so many ads and so many products, consumers will buy the brands that stick in their minds. | ||
d. consumers appreciate friendliness in the brands they see advertised. |
a. information is manipulated to influence public opinion. | ||
b. information is presented in a transparent manner to affect public opinion. | ||
c. information is presented with total disregard for public opinion. | ||
d. information is manipulated to make money. |
a. teenagers. | ||
b. media literate. | ||
c. passive. | ||
d. aggressive. |
a. advertising regulations written into the Federal Trade Commission Act. | ||
b. self-regulation imposed by an industry to promote transparency in its products. | ||
c. requirements for media industries established through the courts. | ||
d. meaningless symbols designed to ease the minds of nervous parents. |
a. that the media play an important role in creating and propagating shared symbols. | ||
b. that exposure to repetitive and consistent media messages causes individuals to develop a false perception of reality. | ||
c. that consumers use the media to satisfy specific needs or desires. | ||
d. that the issues most often presented in the media become the issues that the public discusses and demands action on. |
a. the primary purpose today of media - print, radio, television, the Internet - is to produce audiences for sale to advertisers. | ||
b. advertising creates some of the most inventive and entertaining media messages. | ||
c. we depend on advertising for the information we need to make rational decisions as consumers. | ||
d. advertising is a bastion of capitalism in a world threatened by Marxist and socialist thought. |
a. complex technical terms that describe how one company integrates its electronic media with another company. | ||
b. corporate structures that define which company owns or controls other companies. | ||
c. styles of storytelling that are made possible by vertical integration, horizontal integration or a partnership. | ||
d. two desired outcomes of vertical integration, horizontal integration or a partnership, but not actual corporate structures. |
a. To align Macintosh computers with an alluring young woman with athletic ability. | ||
b. To establish the importance of large video displays in selling personal computers. | ||
c. To attract more customers in the age bracket that watch professional football. | ||
d. To establish a spiritual connection with the viewer beyond the qualities of the product. |
a. gender simplification. | ||
b. gender edification. | ||
c. gender stereotyping. | ||
d. gender storytelling. |
a. a smart phone that can connect to the Internet, play video, play music and send text messages. | ||
b. a high-definition television screen that can show a picture within a picture. | ||
c. an mp3 player that can play music and audio podcasts. | ||
d. a video camera that can upload images directly to YouTube. |
a. parents would be powerless in controlling what their children watched. | ||
b. those who distribute information would become inordinately wealthy. | ||
c. those who distribute information could influence public policy and public opinion. | ||
d. consumers would have few choices for entertainment. |
a. the turn of the 20th Century with the invention of radio. | ||
b. the First Century, when the Romans advertised wine, food and other merchandise. | ||
c. the middle of the 15th Century, when Gutenberg invented a practical method of printing. | ||
d. the late 1940s, when televisions became a regular fixture in American homes. |
a. The invention of radio by Marconi in the early 20th Century, uniting vast territories under a common culture. | ||
b. The invention of a practical system of printing by Gutenberg in the middle of the 15th Century, fueling the spread of learning. | ||
c. The invention of the Internet and web browsers by Tim Berners-Lee, among others, in the middle of the 20th Century, unifying print, video and audio in 1 system. | ||
d. The invention of the automobile in the late 19th Century, allowing delivery of books and periodicals across a wide area. |
a. the Internet allows a single person who is not a professional communicator to achieve a mass audience. | ||
b. the Internet makes encoding and decoding messages a much simpler process that does not involve machines. | ||
c. the Internet cannot be easily turned off like television or radio. | ||
d. the Internet is limited to personal messages, not public messages. |
a. consumer polling. | ||
b. fundraising. | ||
c. event planning. | ||
d. branding. |
a. propaganda. | ||
b. neuromarketing. | ||
c. psychoanalysis. | ||
d. neurotransmitting. |
a. we expect our political leaders to operate the same way that movie heroes operate. | ||
b. we expect our political leaders to hold press conferences more regularly than in the past. | ||
c. political campaigns have become more like serious academic debates than in the past. | ||
d. our political leaders see television as a threat to their policy decisions. |
a. the first impression we take away from the ad. | ||
b. the sales message the advertiser is trying to get across. | ||
c. what we read into an ad based on our culture and our beliefs. | ||
d. none of these answers. |
a. the radio provided a national common experience beginning in the 1930s. | ||
b. newspapers connected people across the country in a common experience beginning in the 18th Century. | ||
c. Americans went abroad in large numbers as soldiers in World War I. | ||
d. immigrants learned how to be Americans by going to the movies. |
a. the effect must occur before the cause. | ||
b. intervening factors can be ignored in linking a cause to an effect. | ||
c. the cause must occur before the effect. | ||
d. performing an experiment once is enough to establish cause and effect. |
a. an expression of the tastes and attitudes of the cultural elite. | ||
b. on the cutting edge of a given culture, marked by high art and intellectual exchange. | ||
c. in the mainstream of a given culture and the everyday life of common people. | ||
d. the moral, social, religious beliefs and values of a given culture. |
a. economies of scale. | ||
b. an experience good. | ||
c. switching cost. | ||
d. monopolistic competition. |
a. Price-based ads | ||
b. Battering with facts | ||
c. Unique selling position | ||
d. Advancing the image |
a. Media messages are constructed using a creative language with its own rules. | ||
b. Every person experiences media in the same way and absorbs the same message. | ||
c. Media have embedded values and points of view. | ||
d. Most media messages are organized to gain profit and/or power. |
a. Soft-sell ads lay out a unique selling position. | ||
b. Soft-sell ads often contain no factual information about the product. | ||
c. Soft-sell ads operate under the philosophy that it is better to be remembered than loved. | ||
d. Soft-sell ads often use price advantage as a selling point. |
a. When a media company expands into areas that are at different points on the same production path, such as when a movie studio owns a distribution company and a television network. | ||
b. When integral elements of a story are spread systematically across several delivery channels for the purpose of creating a unified and coordinated entertainment experience. | ||
c. When two or more companies work together to produce a result not independently obtainable, such as a fast-food chain cross-promoting a movie and gaining product placement in return. | ||
d. When distinct technologies come together, as in a cell phone that also allows users to take video and check e-mail. |
a. Although studies show a correlation between seeing violence in the media and violent behavior, we cannot say that violence in the media causes violent behavior. | ||
b. After 12 students were killed at Columbine High School in 1999, investigators found that violent video games led shooters Eric Harris and Dylan Klebold to carry out the slayings. | ||
c. Studies cited by the American Academy of Pediatrics show that violence in the media - TV, movies and video games - causes many children to behave violently. | ||
d. In studying media effects, researchers have found that the quality of a person's family life has no bearing on whether watching violence in the media leads to violent behavior. |
a. Certain industries, such as automobile, clothing and appliance manufacturers, fall under special regulations that outline how they can label and market their products. | ||
b. Marketers who advertise through the Internet are urged to follow good advertising practices, but the laws regulating advertising on other media do not apply to web ads. | ||
c. Manufacturers and marketers who make claims about the amount of U.S.-made content in their products must comply with Federal Trade Commission policy. | ||
d. Under the Federal Trade Commission Act, advertisers must have evidence to back up their claims. |
a. A corporation uses positioning ads to portray itself as ecologically friendly whether it is or not. | ||
b. A corporation limits its spending on advertising to reduce the "visual pollution" in our culture. | ||
c. A corporation advertises products that actually are ecologically beneficial. | ||
d. A corporation uses the color green throughout its ad campaign because it is soothing. |
a. Each person's culture is unique because each of us has different traditions and life experiences. | ||
b. Only a group can have a culture because culture is made up of shared values, attitudes, beliefs and practices. | ||
c. As individuals, each of us lives in a single culture as members of a single dominant group. | ||
d. As individuals, we easily adapt to other cultures because roles and behaviors are more or less the same for all cultures. |
a. how to put a 5,000-word article into one page that will require extensive scrolling. | ||
b. where to find authors who are willing to be published online. | ||
c. how to attract readers who might not like to read much or who have shorter attention spans. | ||
d. how to translate an attractive magazine cover into an online document. |
a. ebook. | ||
b. hardcover book. | ||
c. dust-cover book. | ||
d. paperback book. |
a. dry rot. | ||
b. digital irrelevance. | ||
c. digital decay. | ||
d. digitalis. |
a. the motorized delivery truck and the comics page. | ||
b. the steam-locomotive press and paved streets. | ||
c. the inverted pyramid and the classified advertisement. | ||
d. The steam-powered press and a purchase price anyone could afford. |
a. the book can be distributed to libraries and checked out by patrons without the library having to pay royalties. | ||
b. the book essentially becomes public property and can be used freely by anyone without permission or royalty payments. | ||
c. the book can be published on the Internet under the .pub domain. | ||
d. the book's author is free to offer the book to any member of the public, not just book publishers. |
a. interpretive journalism. | ||
b. literary journalism. | ||
c. muckraking. | ||
d. objective journalism. |
a. libraries expect to pay nothing for a product that they cannot put on their shelves. | ||
b. libraries check out printed books until they wear out, then buy another; ebooks never wear out. | ||
c. libraries are too insecure digitally, leading to pirating of popular book titles. | ||
d. libraries do not generate enough traffic in the digital age, so few people see the books. |
a. Gone with the Wind. | ||
b. Ivanhoe. | ||
c. Birth of a Nation. | ||
d. Uncle Tom's Cabin. |
a. truth should be a defense against charged of slander or libel. | ||
b. by arresting Zenger, the governor was restricting free trade in New York. | ||
c. no British court should be able to try an American journalist. | ||
d. taxation without representation was immoral and unconstitutional. |
a. cultivation theory | ||
b. gate-keeping theory | ||
c. direct-effects theory | ||
d. uses and gratifications theory |
a. Public figures who guide the great enterprises of society are important and have been at the center of Talese's writing about public life. | ||
b. The process of government is where the real stories about public life can be found, so Talese has been motivated to tell these stories. | ||
c. Talese celebrates the great accomplishments of wealth and power, such as the building of the Verrazano-Narrows Bridge in New York. | ||
d. Talese has been curious to know ordinary people, and then to write stories about them that reveals diversity of the American experience. |
a. mega-superstores. | ||
b. cable television. | ||
c. discount retailers such as Wal-Mart. | ||
d. digital-print publishers. |
a. the slant. | ||
b. the bias. | ||
c. the POV. | ||
d. the view. |
a. television and radio broadcasting. | ||
b. the daily newspaper. | ||
c. book publishing. | ||
d. social media. |
a. not everybody in that audience has a computer, so access is limited. | ||
b. businesses would rather advertise in print than online because of the prestige factor. | ||
c. Google gets most of the money from online ads. | ||
d. people in that large audience has come to expect that they will get their content for free. |
a. bunker mentality. | ||
b. superstitious learning. | ||
c. superiority complex. | ||
d. crisis management. |
a. genre. | ||
b. ideology. | ||
c. medium. | ||
d. market. |
a. ink and paper made from rags or animal skins. | ||
b. a process using mechanical moveable type. | ||
c. a printing press derived from a wine press. | ||
d. the binding of individual pages between wooden covers. |
a. the type of paper they were printed on. | ||
b. the warning that reading such books would turn the brain to pulp. | ||
c. the cautionary tales they contained about moral behavior (the term is short for pulpit). | ||
d. the lurid, comic-book style of the cover artwork. |
a. tablet computers are too fragile to stand up to the rigors of newspaper reading. | ||
b. publications designed for tablet computers must be far more sensational than print newspapers and magazines. | ||
c. publications designed for one particular device cannot attract enough paying customers to make a go of it. | ||
d. the iPad is well on its way to world domination. |
a. everyone will soon own a tablet and take it with them everywhere. | ||
b. readers have to buy an app to read the publication, offering a new revenue stream. | ||
c. tablets like the iPad have WiFi and cell phone capabilities. | ||
d. producing content for a tablet is cheap and easy. |
a. blockbuster syndrome. | ||
b. genre syndrome. | ||
c. superstore syndrome. | ||
d. Amazon syndrome. |
a. Jonathan Swift writing in A Modest Proposal. | ||
b. Thomas Paine writing in Common Sense. | ||
c. John Milton writing in Areopagitica. | ||
d. John Donne writing in Letters to Several Personages. |
a. gave powerful people the ability to sway thought, giving rise to the practice of propagandizing. | ||
b. allowed many people to be exposed to the same ideas at the same time, giving rise to mass culture. | ||
c. provided a way to classify information according to its genre, such as religion, science and politics. | ||
d. made the library a source of power and influence for the elites of the Renaissance. |
a. the obverted paragraph. | ||
b. the extroverted rhombus. | ||
c. the introverted triangle. | ||
d. the inverted pyramid. |
a. the sensational, lurid news printed in late 19th Century city newspapers and the color of newsprint. | ||
b. the more objective style of news from wire services in the late 19th Century and color of newsprint. | ||
c. the sensational, lurid news printed in late 19th Century city newspapers and the popular Yellow Kid comic character. | ||
d. the more objective style of news from wire services in the late 19th Century and the popular Yellow Kid comic character. |
a. funny, reverent portrayals of the American Dream. | ||
b. humorous depictions of middle-class families. | ||
c. humorous depictions of the growing population of immigrants living in slums. | ||
d. funny yet pointed critiques of city politicians. |
a. mass production of media texts that could be distributed to large audiences. | ||
b. religious text that the common person could read and understand. | ||
c. a cultural artifact that would become extremely expensive over time. | ||
d. the first Bible printed in a language other than Latin. |
a. serving the government's interest. | ||
b. to attracting and retaining listeners to generate revenue. | ||
c. providing platform for political opinion. | ||
d. bringing new forms of entertainment to its listeners. |
a. Because corporations that owned stations catered to the demands of government and advertisers. | ||
b. Because recordings of jazz and other popular forms were not available. | ||
c. Because most people listened to the radio for news. | ||
d. Because only the cultural elites had the money to buy a radio. |
a. These depictions of black people by white performers humanized blacks and led to society being more accepting of them. | ||
b. The racist characterizations of black people by white performers came to define how white people expected black people to behave, to some extent even to this day. | ||
c. White performers for the first time were playing music with African rhythms, leading directly to the acceptance of jazz and big-band music. | ||
d. The dominant culture before the Civil War refused to accept racist portrayals, causing these performances to pass quickly out of fashion. |
a. music brought to Chicago by waves of immigrants from Ireland, Italy, Poland and Mexico. | ||
b. music brought to Chicago by the Great Migration of blacks from the Deep South after World War II. | ||
c. music brought to Chicago by Appalachian whites seeking jobs during the Great Depression. | ||
d. music brought to Chicago by the explorers, such as the Voyageurs, who passed through on their way to setting the West. |
a. patriots | ||
b. journalists | ||
c. philosophers | ||
d. entertainers |
a. Community radio brings the important official messages of the government to people who do not get a newspaper or have the Internet. | ||
b. Community radio is a good way for advertisers to reach small groups of people who might not be aware of the latest products and services. | ||
c. Community radio plays the music that small groups of indigenous people really like. | ||
d. Community radio allows marginalized people to engage in discourse and participate in making decisions at every level of government. |
a. a monopoly. | ||
b. an oligopoly. | ||
c. a panoply. | ||
d. a cartel. |
a. cloud subscription services. | ||
b. terrestrial radio. | ||
c. laser technology. | ||
d. satellite radio. |
a. opera buffa. | ||
b. radio drama. | ||
c. black-face minstrelsy. | ||
d. kabuki theater. |
a. hijacking. | ||
b. copy-catting. | ||
c. moonlighting. | ||
d. repackaging. |
a. demographic profile. | ||
b. regional location. | ||
c. political philosophy. | ||
d. buying preferences. |
a. got old enough to have their own transistor radios. | ||
b. got their driver's licenses and were able to listen to what they wanted to in the car. | ||
c. began letter-writing campaigns to make record companies more responsive to what they wanted. | ||
d. gained enough buying power to influence record sales. |
a. The British bands made rock and roll understandable and acceptable to parents of teenage girls. | ||
b. The British bands were the first rock and roll groups to perform on network television. | ||
c. Bands such as the Beatles introduce foreign instrumentation, such as the sitar, into rock music. | ||
d. Bands such as the Beatles and the Rolling Stones broadened rock and roll's appeal and led to it branching out into genres such as surf, soul and folk rock. |
a. Be open in their hiring practices, ensuring diverse voices are heard and fairly represent a radio or TV station's community. | ||
b. Devote some airtime to discussing controversial matters of public interest and to air contrasting views on such matters. | ||
c. Ensure that a radio or TV station's signal was fairly distributed over all of the station's surrounding area and not targeted at certain groups. | ||
d. Provide channels for public access that give minority groups an outlet for airing their views. |
a. the development of digital satellite radio, a superior technology broadcasting nationwide. | ||
b. the rise of political conservatism beginning with the presidential campaign of Republican Barry Goldwater in 1964. | ||
c. the repeal of the Fairness Doctrine by the Reagan administration in 1987. | ||
d. the consolidation of radio station ownership in the hands of a few large corporations, such as Clear Channel. |
a. Strict copyright enforcement has limited sampling between artists, thus eliminating an avenue of cross-genre influences. | ||
b. Because anybody, anywhere can post or download songs on the Internet, individual genres have become much less significant. | ||
c. Black musicians are now visible and influential in their own right, so white musicians have no incentive to sound like black musicians. | ||
d. All of these answers. |
a. R&B was considered "race music," despite substantial crossover with white audiences. | ||
b. R&B record companies produced records that played at 78 revolutions per minute (RPM) rather than the more popular 45 RPM. | ||
c. popular disc jockeys such as Alan Freed refused to play R&B because it did not pay as well. | ||
d. All of these answers. |
a. cash in on the profitable ESPN network to pay for rides and other fun stuff. | ||
b. put in rides that are traditional, such as the Ferris wheel, while exploiting the stable of Disney characters, such as from the movie Toy Story. | ||
c. speed up the lines to its new rides to account for the reduced patience of today's consumers. | ||
d. take advantage of its popular movie franchises, such as Toy Story, while catering to a public that expects something new and keeping up with technology. |
a. A white plantation owner, played by Larry Gates, slaps the black detective Virgil Tibbs, played by Sidney Poitier, and Tibbs immediately slaps him back. | ||
b. The handsome, well-dressed Tibbs strikes a waiter after Tibbs is refused service at a café while poorly dressed white people are served. | ||
c. Tibbs and the white police chief Bill Gillespie, played by Rod Steiger, have a drink together in Gillespie's home as they discuss the case. | ||
d. Tibbs is confronted by a truck-load of white supremacists and stands his ground, armed only with a police revolver. |
a. they were filmed in Todd AO 70mm film, adding to the wide-screen experience. | ||
b. they were the first movies to use rock and roll music in the sound track. | ||
c. the productions were somewhat removed from the studio system, heralding the indie film movement to come. | ||
d. with their frank treatment of subjects such as race, violence and social alienation, the films helped Hollywood catch up with changes in American culture. |
a. it depicted a much older woman, Mrs. Robinson, seducing a man young enough to be her son. | ||
b. it depicted the generation gap from the other side, from the point of view of college-age young people rather than the side of their parents. | ||
c. it depicted getting college education as a waste of time. | ||
d. it depicted marriage as an outdated social institution at a time when sexual barriers were falling. |
a. it shows Bonnie and Clyde being hit by hundreds of bullets in slow motion and from several angles, bringing a strange beauty to death. | ||
b. it shows Bonnie and Clyde dancing humorously as they gun down police officers, trivializing death. | ||
c. it shows Bonnie and Clyde flouting the law by making a captured Texas Ranger "dance" as they shoot at his feet. | ||
d. it shows Bonnie and Clyde getting away with murder, fleeing gracefully from law enforcement in a carefully choreographed shot. |
a. it was slavishly accurate in its representation of the 1930s and the Great Depression. | ||
b. its stars, Warren Beatty and Faye Dunaway, were new, young faces who replaced aging stars such as Henry Fonda and Elizabeth Taylor. | ||
c. the film took the story of "two hapless, semi-pathetic people" and made them heroes, or more accurately, anti-heroes. | ||
d. it was the first film to receive an X rating and still be considered for an Academy Award. |
a. folklore. | ||
b. propaganda. | ||
c. soft sell. | ||
d. documentary. |
a. a contractual obligation with the stars of the film, Katherine Hepburn and Spencer Tracy. | ||
b. the fearfulness of the major studios in dealing with the issue of interracial sexuality. | ||
c. a reaction to the civil rights movement by movie executives. | ||
d. the belief of writer William Rose and director Stanley Kramer that such a relationship would not be believable to audiences of the 1960s. |
a. that's where stars such as Mary Pickford and Douglas Fairbanks chose to live. | ||
b. being away from the population centers of Chicago and New York allowed for greater creative freedom. | ||
c. the weather allowed for movies to be made year-round, satisfying the appetite of a populace hungry for feature films. | ||
d. California's lower taxes drew hard-nosed businessmen such as Samuel Goldwyn away from the eastern states. |
a. they share the same tastes in food, music and literature. | ||
b. Stevens' character seeks out Belafonte's help in dealing with personal issues. | ||
c. the movie is set in the future, when racial barriers were sure to be removed. | ||
d. their characters were two of the last three people left alive after a nuclear holocaust. |
a. an action-packed thriller that keeps you on the edge of your seat. | ||
b. the least offensive of the five Oscar nominees to Southern audiences. | ||
c. first and foremost a good murder mystery that does not push its liberal message too hard. | ||
d. an example of how great cinematography can win out over movies with inferior production values. |
a. the first feature motion picture, Le Voyage Dans La Lune. | ||
b. celluloid film that was flexible enough to go through a projector. | ||
c. the first movie studio, where scenes could be staged for narrative films. | ||
d. a complete light-weight system for capturing movies, printing copies and projecting the images. |
a. Television is important to these companies' earnings, but movies pay the bills. | ||
b. What we think of as movie companies are really making most of their money from print publishing. | ||
c. Although we think of these conglomerates as movie companies, television now helps keep the film business afloat. | ||
d. Television's contribution to the profitability of these companies is shrinking. |
a. such movies look great on the new high-definition TV sets, opening up new markets for the films. | ||
b. movie critics such as Roger Ebert have high praise for the quality of 3D movies and their heightened sense of realism. | ||
c. 3D movie glasses are suddenly a much sought after fashion accessory in New York, Paris and London. | ||
d. audiences will turn out in greater numbers for an experience they cannot get at home and will pay a premium for tickets. |
a. movie moguls had a fondness for tinkering with technology and a fascination with gadgets. | ||
b. movie stars insisted on being presented in the best possible way. | ||
c. studio heads would do anything to win an Academy Award. | ||
d. movie audiences liked technological advances such as sound, color and wide-screen formats. |
a. cheap slasher movies and horror films, such as Paranormal Activity. | ||
b. movies without broad appeal but with high artistic value, such as Dogville. | ||
c. movies made by directors who obtain unconventional funding, such as Robert Rodriguez, who sold his body to science to make El Mariachi. | ||
d. movies with lower budgets and unconventional subject matter compared with typical studio-sponsored films, such as Sex, Lies and Videotape. |
a. The Birth of a Nation was vilified for its negative portrayal of African-Americans and its heroic depiction of the Ku Klux Klan. | ||
b. The Birth of a Nation lacked sympathy for the hardships faced in the former Confederate states after the Civil War. | ||
c. The Civil War battle scenes depicted in The Birth of a Nation were staged inaccurately, giving the impression that the South won. | ||
d. At three hours long with its spectacular battle scenes, The Birth of a Nation was so expensive it nearly bankrupted the movie industry. |
a. Al Jolson's character would rather sing jazz in nightclubs than in his father's synagogue. | ||
b. jazz music is portrayed as being associated with low-class behavior. | ||
c. Al Jolson performs his closing musical number in blackface. | ||
d. women were not allowed to attend showings of the movie. |
a. It was the 1,000th feature film made in Hollywood. | ||
b. It was the first feature film to use synchronized sound for spoken dialogue. | ||
c. It was the Hollywood debut of the Al Jolson, one of the top singers of the day. | ||
d. It was one of the first sympathetic film portrayals of the Jewish religion. |
a. a transmedia strategy. | ||
b. technical wizardry. | ||
c. literary adaptation. | ||
d. media conglomeration. |
a. Digital technology will save the movie industry more than $800 million a year in the cost of making prints and shipping the heavy reels around the country. | ||
b. The editing process for film-makers is streamlined, especially where special effects are needed. | ||
c. Digital technology eliminates the need to reload the camera, giving film directors more flexibility. | ||
d. Digital movies do not lose quality through the printing process or become scratched through use; each copy and each showing is pristine. |
a. reviewing all films that are produced in or enter the United States and applying a rating designed to alert viewers to the age-appropriateness of a film. | ||
b. administering a voluntary rating system designed to alert viewers to the age-appropriateness of a film while still protecting the filmmakers' artistic freedom. | ||
c. collecting the votes of academy members and awarding the Oscars. | ||
d. writing the reviews of movies that appear online at such websites as Netflix and Amazon. |
a. celluloid film. | ||
b. the camera dolly. | ||
c. spoken dialogue. | ||
d. special effects. |
a. wealth. | ||
b. competitiveness. | ||
c. kindness. | ||
d. fame. |
a. pop-culture TV. | ||
b. social-inclusion TV. | ||
c. interactive TV. | ||
d. time-sensitive TV. |
a. TV news shows are better than ever at maintaining high standards of objectivity and independence from the business side of the organization. | ||
b. TV news shows come to us in an era when we find it difficult to separate opinion from reporting at networks such as MSNBC and Fox News, and where entertainment can merge with journalism, as on The Daily Show. | ||
c. TV news shows are not profitable when they mingle opinion with reporting, as proved by the poor ratings received by Fox News. | ||
d. TV news people see themselves less as journalists than as political operatives, working to promote the interests of one candidate over another. |
a. We began to drink bottled water that was heavily advertised on cable television, where advertising was less expensive. | ||
b. We no longer could share a common culture where we all watched and discussed the same relatively small pool of content from the three networks. | ||
c. American businesses became more competitive, leading them to eliminate employee facilities that might waste time, isolating us from one another. | ||
d. Cable TV brought with it a complexity that confused the average viewer, leading to a reluctance to discuss things with coworkers. |
a. interactive technology. | ||
b. market-research technology. | ||
c. disruptive technology. | ||
d. apocalyptic technology. |
a. ESPN falls prey to conflicts of interest, such as cross-promoting sports events on its own channels while ignoring those events on other channels. | ||
b. ESPN no longer has airtime for the minor sports, such as barefoot waterskiing, that once thrived from the exposure a 24-hour sports network could provide. | ||
c. ESPN hiring practices are heavily skewed toward white males, so Poynter advised the network on diversity issues. | ||
d. ESPN reports often have factual errors, so Poynter assisted the network in improving its fact-checking and editing. |
a. cable networks that allow hundreds of channels to reach the consumer. | ||
b. video delivered digitally that is easily translated from one format to another, making your computer or cell phone into a TV. | ||
c. LED technology that would enable manufacturers to make larger and larger screens, bringing about the home theater era. | ||
d. greater consolidation of the television industry, resulting in fewer and fewer real choices for consumers. |
a. Edward R. Murrow on his television show See It Now. | ||
b. Nicholas Negroponte in his book Being Digital. | ||
c. Philo T. Farnsworth in his patent application for electronic television. | ||
d. Newton Minow in his "vast wasteland" speech to the National Association of Broadcasters. |
a. put its correspondents in extreme danger by requiring them to report from war zones. | ||
b. tried to avoid any conflict of interest that might hurt credibility, such as interviewing the bin Laden family when parent company GE does business with them. | ||
c. showed the plight of everyday Iraqi citizens and what they were suffering at the start of the Iraq war. | ||
d. rejected morally complicated but important stories in favor of more dramatic fare that touches the audience's "emotional center." |
a. missed opportunity to use technology to help create a nation of engaged citizens bent on preserving their freedom and their connections to the broader world. | ||
b. misunderstood a classic example of how the basic economic principle of supply and demand worked in the information age. | ||
c. moved too cautiously because they were worried about losing a loyal but aging audience that did not use the Internet. | ||
d. alienated the tech-savvy young reporters and producers entering the media workforce, of which Hockenberry was one. |
a. "learn a thing or two about culture." | ||
b. "feel their arteries harden with boredom." | ||
c. "see the world through a twisted frame of reference." | ||
d. "observe a vast wasteland." |
a. fair and balanced news networks. | ||
b. thinking-people's news networks. | ||
c. partisan news networks. | ||
d. liberally biased news networks. |
a. cultivation analysis. | ||
b. spiral of silence. | ||
c. agenda-setting theory. | ||
d. uses and gratifications theory. |
a. during the 1960s, the show adapted to its audience, such as becoming sympathetic to ethnic minorities, being in tune with the civil rights era. | ||
b. it portrayed the strength of the nuclear family, providing comfort to a nation that was struggling with cultural upheaval in the 1960s. | ||
c. the star, James Arness, reminded viewers of John Wayne and his overt patriotism at a time when America was seen negatively in the 1960s. | ||
d. even though Marshal Dillon and Miss Kitty seemed sweet on each other, the show contained no sexual overtones, meaning the whole family could watch. |
a. jurors who watch CSI and other crime procedurals cannot be fooled as easily by courtroom tricks. | ||
b. television crime dramas make criminals into sympathetic characters. | ||
c. jurors who watch CSI and other crime procedurals expect all prosecutors to be strikingly handsome men or beautiful blond women. | ||
d. some jurors confuse TV drama with reality and are not impressed unless the prosecution presents high-tech forensic evidence. |
a. profanity has moved into mainstream American speech and no longer shocks the average person. | ||
b. hotshot TV producers, such as Aaron Sorkin of The West Wing, believe in portraying reality in all its grittiness. | ||
c. given the racy anything goes policy of premium cable channels, such as HBO, the networks believe they must do the same to compete for viewers. | ||
d. network executives swear a lot themselves and do not see what harm can be done by allowing their TV characters to do the same. |
a. Television is the "idiot box" that merely entertains us, not a real force in our culture. | ||
b. The most popular television shows play to our animal instincts, in keeping with the low nature of TV programming. | ||
c. The most popular television shows reflect the social conscience of the nation rather than serve as that conscience. | ||
d. Television exploits for profit events that occur in this country, such as the terrorist attacks of Sept. 11, 2011. |
a. Philo T. Farnsworth, an Idaho farm boy who sketched out his system in 1922 at the age of 15. | ||
b. David Sarnoff, who was born in the small Belarus town of Uzlyany and rose to lead the giant Radio Corporation of America (RCA). | ||
c. Guglielmo Marconi, who at the age of 20 began his experiments in his native Italy, working on his own with the help of his butler Mignani. | ||
d. Lee de Forest, an American inventor with more than 180 patents who invented a vacuum tube that takes weak electrical signals and amplifies them. |
a. The researchers did not have the subjects play other highly stimulating video games, only the most violent. | ||
b. The researchers did not include girls in the study. | ||
c. The researchers performed the experiment in a laboratory setting and could measure only short-term effects. | ||
d. The researchers used a theoretical model that had never been applied to video games before. |
a. a common pattern in a story or a recognizable attribute in a character that conveys information to the audience. | ||
b. an element in a movie or video game borrowed from some other media, such as Lara Croft's video-game character appearing in a movie. | ||
c. a physical form that serves as a metaphor for personal character, such as Catwoman in the Batman comics and movies. | ||
d. a character trait that is exaggerated or obsessive, such as the Joker in the Batman comics and movies. |
a. tactile strategies, such as controllers with the sleek feel of sports equipment. | ||
b. strategies of depiction, such as personalizing players and developing storylines. | ||
c. fan involvement strategies, such as pregame tailgate parties. | ||
d. sound-track strategies, such as video-game music using team fight songs. |
a. These games had vivid 3D graphics that took advantage of the personal computer's superior processing power, pushing realism to new heights. | ||
b. The games took place in a fantasy world taken from childhood experiences with intuitive controls and simple objectives. | ||
c. The games had catchy, interesting soundtracks, and some of the songs went on to become hits for recording artists. | ||
d. The games could be found at big-box discount stores, such as Target and Wal-Mart, not just at video-game specialty stores. |
a. game designers rarely can afford the high-quality lenses that are free of aberrations. | ||
b. game designers are notoriously careless about keeping their camera equipment clean. | ||
c. game designers add it digitally when they want a game to look historical in nature. | ||
d. game designers add it digitally because we are used to seeing it on TV and it feels more realistic. |
a. not wasting valuable development time playing the games themselves. | ||
b. increasing both the speed and realism of the games, to conflicting goals that require lots of processing power. | ||
c. shrinking the physical space required to house processing units so that games can be accessed through cell phones. | ||
d. dealing with graphic artists who create the images for the games and often do not understand them. |
a. video-game playing and social media. | ||
b. video-game playing and television. | ||
c. video-game playing and education. | ||
d. video-game playing and movies. |
a. young soldiers in essence come into the military already trained at the skills needed for such activities. | ||
b. such off-the-shelf components fit in with a leaner military operating on a more limited budget. | ||
c. game controllers use no sensitive technology, so no damage is done if equipment falls into enemy hands. | ||
d. video-game controllers with their compact design are ideal for combat situations in tight quarters. |
a. by EA as a first-person shooter game taking place in a socially acceptable setting. | ||
b. by the Office of Veterans Affairs for soldiers on active duty as a way to help them unwind. | ||
c. by EA Games to compete with Activision's wildly popular Call of Duty. | ||
d. by the U.S. Military as a recruitment tool. |
a. who are technically adept and thus feel superior to others. | ||
b. who feel excluded by society and favor the imaginary worlds found in video games. | ||
c. who dress and act in a certain way, favoring unisexual clothing and hair styles. | ||
d. who work at the highest levels of media technology and make lots of money at it. |
a. She surveyed hundreds of gamers and discovered a deep-seated distrust of women, including an unwillingness to include them in online games such as Runescape. | ||
b. She examined court testimony from criminal trials and discovered that men guilty of abusing women often were video game players. | ||
c. She wrote an article about sexism in the video-game culture, but no magazine on video gaming would publish it. | ||
d. She sought funds for a study of female tropes in video games and received messages and comments included threats of violence and sexual assault. |
a. Pong. | ||
b. Jimmy Connors Tennis. | ||
c. Super Mario Tennis. | ||
d. Racket Sports EA. |
a. players have good equipment that does not slow down the pace of the game. | ||
b. the games are most realistic, so that players lose themselves in the virtual world. | ||
c. games bring together ways of knowing and ways of doing. | ||
d. games stay away from themes of sex and violence. |
a. How to overcome the legacy of cartoonish, simplistic characters, such as the Super Mario Bros., and produce more realistic characters. | ||
b. How to find animators who can bring to life the more humanlike characters of today's video games. | ||
c. How to create human characters who portray realistic emotion and lifelike movement without appearing zombie-like. | ||
d. How to move video game production out of the Silicon Valley and into areas of the country where labor and living costs are more reasonable. |
a. The Wii and Kinect systems made so much money, Nintendo and Microsoft were able to donate to research efforts such as finding a cure for cancer. | ||
b. The Wii and Kinect systems could be placed in airports and doctor's offices to give people some physical activity while they waited. | ||
c. The Wii and Kinect systems could be used with other household devices, such as stoves and refrigerators, as remote controls. | ||
d. The Wii and Kinect systems provided hackers with low-cost interfaces in other areas of technology, such as robots or physical therapy. |
a. aerial shots as if taken from a blimp of the stadium and city skyline. | ||
b. sideline shots of individual players. | ||
c. skycam technology that mimics the floating camera perspective of video games. | ||
d. animated graphics introducing the starting lineups for each team. |
a. an economic system that can help players practice their investment strategies. | ||
b. a way to help patients with Asperger's syndrome, a type of autism, navigate through social situations. | ||
c. a way to help politicians try out campaign strategies on virtual constituents. | ||
d. a place where fashion designers can put on virtual runway shows before the real thing. |
a. At first Microsoft resisted such activity, but now the company actively promotes it as a way to use the system for social good. | ||
b. Microsoft forbids using the Kinect interface outside of the Xbox environment, but by and large the company has chosen to ignore such efforts. | ||
c. Microsoft allows inventors to use the Kinect interface for other purposes but charges a stiff royalty fee that makes such development impractical. | ||
d. Microsoft forbids using the Kinect interface outside of the Xbox environment and has sued anybody who has tried it. |
a. a government crackdown on games considered too violent and a general downturn in the economy. | ||
b. the tendency of home game systems to freeze up and the high cost of owning such systems. | ||
c. a copyright battle between Atari and Coleco over Pong and the entry of home computers into the market. | ||
d. overproduction of video games from the many large and small producers and poor quality of games such as ET: The Extra-Terrestrial. |
a. hypertext. | ||
b. e-mail. | ||
c. JPEG. | ||
d. Flash. |
a. how to judge the credibility of sites that might not be completely honest or forthright in where they get their funding or who they represent. | ||
b. how to word searches for information so only important, relevant sources are returned. | ||
c. deciding whether to use a Wikipedia entry as a primary source or to dig deeper for other information. | ||
d. finding and identifying information that agrees with the user's world view and political leanings. |
a. how Google really does control the flow of information worldwide. | ||
b. how differences in language can slow or even stop the flow of information on the Internet. | ||
c. how the Internet makes resistance to globalization increasingly difficult. | ||
d. how censorship of the Internet is no different in a communist country than it is in a democratic one. |
a. a way to think of the unlimited potential of the Internet, as in the sky's the limit. | ||
b. a type of computing based on new solid-state memory systems, such as those in cell phones. | ||
c. the way satellite systems can be used to make the Internet available to those in remote areas. | ||
d. the process of outsourcing common computing tasks to a remote server. |
a. the dating sites all rely on Google to provide the search engine for finding a match for a subscriber, adding to Google's mountain of personal information. | ||
b. the dating sites all rely on the power and speed of the computer, using analogs to process data and find matches for subscribers. | ||
c. the dating sites all have come under the watchful eye of the FCC and are now strictly regulated. | ||
d. the dating sites all have been scrupulously honest about their ability to find a good match for a subscriber, a match that will lead to a long-term relationship. |
a. trope | ||
b. meme | ||
c. hyperlink | ||
d. ideogram |
a. deliver audiences of consumers to advertisers. | ||
b. deliver a politically liberal message. | ||
c. enable the disaffected among us to have a social life. | ||
d. put a world of entertainment and products at your fingertips. |
a. we think we are making friends, but true friendship can be found only through face-to-face interaction. | ||
b. many social media sites were originated by college students for college students, so we can expect a lot of discussion about partying. | ||
c. we think our friends are the only ones looking at our social media posts, but our enemies have access to them, too. | ||
d. advertisers pay for social media and are its true customers, so we are not Facebook's customers, we are its product. |
a. lobby the government to make Google clear all information on its servers around the world. | ||
b. disconnect your computer from the Internet and turn in your smart phone for one that just makes telephone calls. | ||
c. delete your Google account and all the information associated with it. | ||
d. go off the grid by relocating in a remote part of the country with enough food and supplies to survive well into the future. |
a. Place computers into the dashboards of cars so that motorists can get information in real-time as they drive. | ||
b. Rewrite the many Internet protocols - http, ftp, smtp, voip - into a single protocol, allowing web software and hardware to be streamlined. | ||
c. Reposition the radio spectrum for digital transmission, making access to the Internet and to crucial data available anywhere on "smart radios," devices similar in concept to smart phones. | ||
d. Place ever-smaller video displays in eyeglasses so that the Internet becomes a "second way of looking at the world." |
a. we all join Facebook, Twitter or LinkedIn and become part of this new online democracy. | ||
b. bandwidth continues to increase so that videos and images can be transmitted rapidly. | ||
c. the Internet remains neutral and everyone is equally free to use the network without government or business control. | ||
d. Internet service providers are allowed to charge more for certain types of users to raise money that will keep the Internet going. |
a. bloggers, unlike journalists, are not required to back up their arguments with credible sources. | ||
b. bloggers, unlike journalists, are not bound by the laws of libel and slander. | ||
c. bloggers, unlike journalists, do not have expense accounts that allow them to travel to write their stories. | ||
d. bloggers, unlike journalists, do not have credentials to enter venues where news takes place, such as the Pentagon. |
a. Social media was an important tool for organizing and inspiring people, but the Egyptian revolution had to be carried out by people protesting in the streets. | ||
b. Social media sites such as Facebook were largely irrelevant to the peaceful protesters in the streets of Cairo. | ||
c. Social media sites gave Americans an inflated sense of importance and participation in the Egyptian revolution. | ||
d. Social media sites such as Twitter made the Egyptian revolution into a spectator sport, watched by the world in real-time. |
a. journalists are more important than ever in people's lives because they are exposed to so much content online. | ||
b. journalists are in danger of becoming irrelevant in a world of bottomless information unless they can redefine themselves. | ||
c. journalism must abandon obsolete notions of objectivity and credibility if it is to survive as a profession. | ||
d. journalists are advised to get out of traditional media and take jobs commenting on the nature of journalism for think tanks and specialized publications. |
a. Problem: Videos captured by amateurs are often gruesome in content. Opportunity: News organizations can build audiences of people who are fascinated by such videos. | ||
b. Problem: Cell-phone video often is not of good technical quality. Opportunity: News organizations can advertise the "cinema vérité" quality of such videos. | ||
c. Problem: Cell-phone reception can be cut off by repressive governments. Opportunity: Use broadcast satellite trucks to send amateur video back to the news organization. | ||
d. Problem: Amateur videos captured on cell phones are difficult to verify. Opportunity: Cell-phone videos can capture the news on the scene as it happens. |
a. shared rules of behavior for users that allow communication across diverse cultures. | ||
b. common mathematical systems, including binary and hexadecimal numbers. | ||
c. common programming environments that allow developers to produce apps usable across computer platforms. | ||
d. a shared language enabling computers to understand each other clearly and easily. |
a. a centralized network. | ||
b. a decentralized network. | ||
c. a distributed network. | ||
d. a deciduous network. |
a. Social media is easily adapted by users into money-making ventures, such as selling images. | ||
b. Once something a person posts to a social media site "goes viral," that person's privacy is gone. | ||
c. Social media sites designed for one purpose, such as posting snapshots, often morph into another purpose, such as a platform for photojournalism. | ||
d. Once someone posts an image to a social media site, that person loses all control and ownership of the image. |
a. He wants to develop a system that would link global positioning devices so that anyone can find anyone else at any time. | ||
b. He wants to link together all types of video using a common protocol, so that only one piece of software would be needed to play any video. | ||
c. He wants to use hypertext to reinvent the academic research paper, adding things such as color photos, audio and video that are unavailable in printed documents. | ||
d. He wants raw data, rather than finished research, to be accessible on the Internet and linked together, unlocking the potential value of all the information in the world. |
a. a course of study being offered at some colleges and universities that centers on social media and how it affects our culture and society. | ||
b. the increased focus on user-generated content and social interaction on the web, as well as the evolution of online tools that make it work. | ||
c. a multi-featured web browser that can present virtually any type of online content and that can be customized and expanded for other uses, such as publishing. | ||
d. a second generation of Internet hardware, such as WiFi and cell-phone technology that allows access to the web virtually anywhere in the world. |
a. Cell phones with all their features, such as global positioning systems, keep people connected all the time, to each other and to corporations interested in their data. | ||
b. Excessive sharing of personal information on the Internet by some has lowered the "reasonable standard" of what is legally considered private for all of us. | ||
c. The Patriot Act has made it possible for the government to monitor what we do on the web and use it any way it sees fit, not just to stop terrorism. | ||
d. Phishing and other scams have been more successful than we might think at acquiring personal data. |
a. Just as a freeway is the fastest way to travel, so to should the government ensure that the data lines used by the Internet are the latest, fastest technology. | ||
b. Just as a freeway has rules of the road, so to should the Internet have requirements for its users, something like a World Wide Web driver's license. | ||
c. Just as a freeway does not demand tolls or judge our purpose in driving on it, so should the government maintain free and open pathways of electronic communication, neutral as to purpose. | ||
d. Just as the system of interstate highways was started in the 1950s as a defense measure, so to should the Internet be first and foremost a part of our national defense, with military involvement. |
a. The Internet was first conceived by Bell Laboratories as a faster, more secure way to send telephone signals. | ||
b. The Internet was first conceived by the Department of Defense as a communication network more able to survive a nuclear attack. | ||
c. The Internet was first conceived by the Department of Commerce as a network for transmitting data between businesses. | ||
d. The Internet was first conceived by scientists at CERN in Switzerland as a way for academics to share their research. |
a. necessary | ||
b. well-intentioned | ||
c. privileged | ||
d. unpublished |
a. Malfeasance | ||
b. Negligence | ||
c. Libel | ||
d. Bullying |
a. Good intent | ||
b. Truth | ||
c. Ethical behavior | ||
d. Integrity |
a. digital technology provides the means for creating convincing proof of falsehoods started to disrupt a political campaign, and the rumors spread like wildfire. | ||
b. negative political advertising is just as likely to turn up online as on television, and negative ads are becoming more difficult to avoid. | ||
c. most political media online appeal to the viewer's emotions and ignores the crucial issues of the day. | ||
d. the huge influx of money into political campaigns from super pacs means less bandwidth for the person who wants to find serious information about the candidates. |
a. Federal Communications Commission rules. | ||
b. the First Amendment to the U.S. Constitution. | ||
c. the Preamble to the U.S. Constitution. | ||
d. the Communications Act of 1934. |
a. neither candidate had ever been on television before. | ||
b. the debates revealed personality flaws that led ultimately to Nixon having to resign from office. | ||
c. 70 million viewers could see candidates debate, marking television's entry into politics. | ||
d. Nixon won the debates but lost the election, showing the weakness of TV as a political forum. |
a. compete for an increasingly fragmented audience. | ||
b. scoop the competition. | ||
c. say anything thoughtful about the world. | ||
d. uphold standards of accuracy and fairness. |
a. the social responsibility of news media. | ||
b. the universal ethical principle of "do no harm." | ||
c. the utilitarian ethical principle of "in profit is virtue." | ||
d. the commercial responsibility of news media. |
a. to fear no person of power. | ||
b. to report the truth. | ||
c. to report the news people want. | ||
d. to comfort the afflicted and afflict the comfortable. |
a. using police reports in place of investigative reporting. | ||
b. showing ignorance about gangs and drug dealers. | ||
c. employing racial stereotypes instead of finding what makes each of us unique. | ||
d. simplifying a story to fit an audience that expects news to be dumbed down. |
a. the ability of Democratic Party supporters to register and vote in the election online. | ||
b. the response by Republicans through online petitions and voting assistance. | ||
c. the tendency of those who use the Internet to make sure they get to the polls and vote. | ||
d. unsolicited digital media such as YouTube videos and online games created in support of the Obama campaign. |
a. the desire of the journalist to be a virtuous person. | ||
b. the directive to minimize harm to an individual, such as a source. | ||
c. the utilitarian philosophy of maximizing good for the greatest number of people. | ||
d. the necessity of upholding the integrity of the profession; for example, by not plagiarizing. |
a. the continuing story of Google's quest to dominate the online world through more and more storage capacity. | ||
b. the economic model in which many small investors join forces to keep vital news organizations alive and profitable. | ||
c. the theory that a few huge companies attract the vast majority of readers and viewers, and so dominate the news. | ||
d. the idea that thousands of small news organizations at the far end of the readership distribution are no longer inconsequential because search engines can find them so easily. |
a. Satellite television transmissions that could reach into places with poor TV reception. | ||
b. Digital television transmissions and high-definition displays. | ||
c. Cable television providers that refused to carry local over-the-air channels. | ||
d. The 24-hour cable news channels, beginning with CNN |
a. It removed the requirement for broadcasters to present opposing views, leading to politically biased talk radio shows and television pundit shows. | ||
b. It allowed unlimited corporate and union spending in candidate elections, leading to hundreds of millions of dollars being spend for political advertising. | ||
c. It created the standard of actual malice in libel cases, allowing for less restraint in what candidates might say about each other. | ||
d. It required all political ads to carry statements disclosing who approved the ad. |
a. actual malice. | ||
b. de facto malice. | ||
c. de jure malice. | ||
d. malicious malfeasance. |
a. might bring harm to an individual. | ||
b. might cause advertisers to go elsewhere. | ||
c. might harm the integrity of the profession. | ||
d. might put a supervisor in an untenable position. |
a. Publication: The wide dissemination of defamatory material. | ||
b. Defamation: Untrue words that actually harms the reputation of another person. | ||
c. Damages: Direct damages, such as loss of income or indirect damages, such as pain and suffering. | ||
d. Indifference: Evidence that the news organization did nothing to correct the alleged falsehood. |
a. Google does not own the Internet; search results simply reflect what is already out there on the web. | ||
b. Google wants to help but cannot because the U.S. Constitution forbids prior restraint in censoring information on the Internet. | ||
c. Google will vigorously pursue those websites that refuse to remove damaging information and will bar such websites from the Internet. | ||
d. Google provides legal help to those who need it for a fee; you can access this service by signing up for Google Law. |
a. micro ethics. | ||
b. macro ethics. | ||
c. working stiff's blues. | ||
d. the performance paradox. |
a. the profit motive driving celebrity coverage. | ||
b. the need for celebrities to control the use of their images for commercial purposes. | ||
c. the right to dress and behave as one chooses. | ||
d. the right to some level of privacy, even in a public place. |