Audiences and Creators MCQs
Audiences and Creators MCQs
Our experts have gathered these Audiences and Creators MCQs through research, and we hope that you will be able to see how much knowledge base you have for the subject of Audiences and Creators by answering these 10+ multiple-choice questions.
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1: The term to describe social settings where audiences generate meanings about media products is ______.
A. Social structure
B. Interpretive community
C. Polysemy
D. Collaborative community
2: The encoding–decoding model shows how a specific encoded meaning may not result in a specific decoded interpretation.
A. True
B. False
3: One of Janice Radway’s principle findings in Reading the Romance is ______.
A. Women focus on the act of reading more than the content of the stories
B. Romance novels have no inherent value as a media text
C. Romance novels encourage women to rebel against social roles as wives and mothers
D. All of these
4: Which of these is NOT a reason for the growth in “fan studies” in media scholarship?
A. Fans are eccentric and extremist types of media audience members, whose obsession makes them interesting to scholars.
B. Fandom is a social activity, and there are many highly active fan communities.
C. Some fans become activists and participate in collective action.
D. Many fans become producers of their own media.
5: Liebes and Katz’s (1993) study of Dallas audiences found that ______.
A. Audience interpretations are anchored in underlying cultural dynamics
B. Viewers from around the world talk about connections between the program and real life
C. The only audience that did not connect at all with the program was the Japanese audience
D. All of these
6: The media-related cultural tools that help us decode media, such as the language, concepts, and assumptions associated with a particular subculture or political perspective, are called ______.
A. Polysemy
B. Interpretive constraint
C. Discursive resources
D. Media texts
7: David Morley’s Family Television study shows that while men talk about television, women don’t (or don’t admit to it).
A. True
B. False
8: Which of the following would not be an example of Culture Jamming?
A. Creating an ad for Bank of America about the Travel Rewards MasterCard
B. Working at South Park Studios
C. Switching the voice boxes in talking Barbies and Toy Soldiers
D. Defacing a McDonalds Billboard to show highlight obesity from fast food
9: The term for the act of reading a media message in a way that opposes its preferred or commonsensical meaning is ______.
A. Rebellion
B. Encoding–decoding
C. Identity politics
D. Interpretive resistance
10: The underlying problem of the media effects framework is ______.
A. It does not consider the quality of different media texts
B. It strips the audience of any human agency
C. It does not consider the different effects of different types of media
D. All of these
11: The openness of media texts is a highly desirable feature for mass-market media.
A. True
B. False
12: The “pleasures of resistance” hypothesis states that resistance to the media is fun because it empowers those who do not wield power in their daily lives.
A. True
B. False
13: The “pleasures of resistance” hypothesis states that resistance to the media is fun because it empowers those who do not wield power in their daily lives.
A. True
B. False
14: In Joshua Gamson’s study of celebrity watching, he found that most celebrity watchers take celebrities at face value and think they are extremely talented and gifted.
A. True
B. False
15: When John Fiske argued that media texts contain an “excess” of meaning within them, he meant ______.
A. There are too many media texts out there for us to make sense of them
B. Media texts have one very distinct interpretation
C. Media texts are too complex for most people to understand
D. Media texts contain materials for multiple interpretations
16: Which of these is not a finding of Andrea Press’ study, Women Watching Television?
A. Working-class women place a high value on images they believe to be realistic.
B. Working-class women are more likely to accept the media’s portrayal of the middle-class as realistic.
C. Middle-class women are more likely to accept the media’s portrayal of the middle-class as realistic.
D. Middle-class women are more likely to be critical of the media’s depiction of women’s roles.
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Audiences and Creators MCQs
