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| audience fragmentation | audiences for specific media content becoming smaller and increasingly homogeneous (See page(s) 24) |
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| bounded culture (co-culture) | (co-cultures) groups with specific but not dominant cultures (See page(s) 13) |
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| Communication | the process of creating shared meaning (See page(s) 4) |
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| concentration of ownership | ownership of different and numerous media companies concentrated in fewer and fewer hands (See page(s) 20) |
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| conglomeration | the increase in the ownership of media outlets by nonmedia companies (See page(s) 22) |
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| conventions | in media content, certain distinctive, standardized style elements of individual genres (See page(s) 39) |
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| convergence | the erosion of traditional distinctions among media due to concentration of ownership, globalization, hypercommercialism, and increased audience fragmentation (See page(s) 20) |
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| cultural definition of communication | communication is a symbolic process whereby reality is produced, maintained, repaired, and transformed; from James Carey (See page(s) 9) |
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| culture | the world made meaningful; socially constructed and maintained through communication, it limits as well as liberates us, differentiates as well as unites us, defines our realities and thereby shapes the ways we think, feel, and act (See page(s) 9) |
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| decoding | interpreting sign/symbol systems (See page(s) 5) |
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| dominant culture (mainstream culture) | the culture that seems to hold sway with the large majority of people; that which is normative (See page(s) 12) |
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| economies of scale | concept that relative cost declines as the size of the endeavor grows (See page(s) 23) |
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| encoding | transforming ideas into an understandable sign/symbol system (See page(s) 5) |
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| feedback | the response to a given communication (See page(s) 5) |
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| genre | a form of media content with a standardized, distinctive style and conventions (See page(s) 38) |
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| globalization | ownership of media companies by multinational corporations (See page(s) 23) |
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| griots | the “talking chiefs” in orally based African tribes (See page(s) 29) |
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| hypercommercialism | increasing the amount of advertising and mixing commercial and noncommercial media content (See page(s) 25) |
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| ideogrammatic alphabet | a symbol- or picture-based alphabet (See page(s) 30) |
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| inferential feedback | in the mass communication process, feedback is typically indirect rather than direct; that is, it is inferential (See page(s) 7) |
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| interpersonal communication | communication between one or a few people (See page(s) 5) |
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| literacy | the ability to effectively and efficiently comprehend and utilize a given form of communication (See page(s) 30) |
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| literate culture | a culture that employs a written language (See page(s) 29) |
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| mass communication | the process of creating shared meaning between the mass media and their audiences (See page(s) 6) |
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| mass medium | pl. mass media) a medium that carries messages to a large number of people (See page(s) 6) |
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| media literacy | the ability to effectively and efficiently comprehend and utilize mass communication (See page(s) 35) |
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| medium (pl. media) | vehicle by which messages are conveyed (See page(s) 6) |
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| multiple points of access | ability of a literate media consumer to access or approach media content from a variety of personally satisfying directions |
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| narrowcasting | aiming broadcast programming at smaller, more demographically homogeneous audiences (See page(s) 24) |
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| niche marketing | aiming media content or consumer products at smaller, more demographically homogeneous audiences (See page(s) 24) |
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| noise | anything that interferes with successful communication (See page(s) 6) |
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| oligopoly | a media system whose operation is dominated by a few large companies (See page(s) 23) |
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| oral (or preliterate) culture | a culture without a written language (See page(s) 29) |
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| papyrus | early form of paper composed of pressed strips of sliced reed (See page(s) 30) |
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| parchment | writing material made from prepared animal skins (See page(s) 30) |
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| payola | payment made by recording companies to DJs to air their records (See page(s) 28) |
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| production values | media content’s internal language and grammar; its style and quality (See page(s) 40) |
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| syllable alphabet | a phonetically based alphabet employing sequences of vowels and consonants, that is, words (See page(s) 30) |
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| Synergy | the use by media conglomerates of as many channels of delivery as possible for similar content (See page(s) 28) |
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| targeting | aiming media content or consumer products at smaller, more specific audiences |
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| taste publics | groups of people or audiences bound by little more than their interest in a given form of media content (See page(s) 25) |
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| technological determinism | the idea that machines and their development drive economic and cultural change (See page(s) 19) |
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| third person effect | the common attitude that others are influenced by media messages, but we are not (See page(s) 38) |
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| Wi-Fi | wireless Internet (See page(s) 28) |