AS And A Level Media Studies Teacher Guide - The Jungle Book 1967 And .
QualificationAccreditedAS and A LEVELTeacher guideMEDIA STUDIESH009, H409For first teaching in 2017The Jungle Book 1967 and 2016:Industries and audienceVersion 1www.ocr.org.uk/alevelmediastudies
Teacher Guide: The Jungle Book 1967 and 2016:Industries and audienceAS and A Level Media StudiesContentsThe Jungle Book (1967)3Production and technology3Ownership, distribution and economics5Regulation7Maintaining audiences7The Jungle Book (2016)8Production8Ownership, marketing and ding12Maintaining audiences12DISCLAIMERThis resource was designed using the most up to date information from the specification at the time it was published.Specifications are updated over time, which means there may be contradictions between the resource and thespecification, therefore please use the information on the latest specification at all times. If you do notice a discrepancyplease contact us on the following email address: resources.feedback@ocr.org.uk2 OCR 2017
THE JUNGLE BOOK (1967)Production and technologyThe Jungle Book (hereafter JB) was released in 1967 by WaltDisney Productions. It was created at the Walt Disney Studiosin California. Disney’s animation studio had been responsiblefor developing many of the techniques and ways of workingthat became standard practices of traditional cel animation,pioneering the art of storyboarding and developing the use ofthe multiplane to create an early 3-D like effect.Disney’s personal control of the whole studio affected allstages of production and distribution. Before production of JBstarted, Disney had streamlined the whole production systemso that he had one supervising director, one art director, fourmaster animators and one storyman. The storyman wouldwrite the screenplay, make the storyboards and record thevoices. At the start of production JB’s storyman was Bill Peet,who complained, noting that ‘more than forty men had oncebeen assigned to these tasks.’ 1JB was the final film Walt Disney worked on before his deathin 1966. As the previous feature The Sword in the Stone haddisappointed at the box office, Disney became more personallyinvolved in the production process of the new film. Hisnephew noted that Disney ‘influenced everything about it .(he) got hooked on the jungle and the characters that livedthere’.Disney thought the first version of the script was too darkfor family audiences, that the audience wouldn’t be able toidentify with the boy, Mowgli, and that the villain, the tigerShere Khan, would be a cliché; so Disney himself took controland changed the production team. ‘What Walt wanted wasa film that was light, fun, and entertaining with happy songs- good stuff, fun stuff. He didn’t want to go anywhere neardarkness’, according to animator Floyd Norman the-making-of-thejungle-book-1967/He gave Larry Clemmons, the new scriptwriter, a copy ofRudyard Kipling’s novel but told him that ‘The first thing I wantyou to do is not to read it’. To turn the book into a successfulfilm many of the original characters and situations were cutout, creating a clear storyline.Before, the standard procedure was to have the animatorsdraw the characters first and then to cast the actors, makingsure they were suitable voices. JB turned the process on itshead; the drawings were now based on the actors, their voicesand their vocal personalities. Disney wanted the characters tocarry the film and was creative in vocal casting: for example,Disney heard the band leader-singer Phil Harris perform anddecided to cast him as Baloo - ‘Harris didn’t think he could doit and neither did we but Walt said he could. After Harris putthe lines of dialogue into his own vernacular, why, it just cameto life’, said Ollie Johnston, one of Disney’s main animators. Thedirector, Wolfgang Reitherman, said that, ‘In The Jungle Bookwe tried to incorporate the personalities of the actors that dothe voices into the cartoon characters, and we came up withsomething totally different. When Phil Harris did the voice ofBaloo, he gave it a bubble of life. We didn’t coach him, just letit happen’. The bear, who had been intended as a minor figure,became the film’s co-star, converting the picture from a seriesof disconnected adventures into the story of a boy and hishedonistic mentor – a jungle Hal and Falstaff.’ 21 and 2 Gabler, N. (2006) Walt Disney: The Biography, Aurum Press.p620 and p621.
Teacher Guide: The Jungle Book 1967 and 2016:Industries and audienceAS and A Level Media StudiesDisney always had the songs developing early on in thecreation process. Most of the songs for JB were written by theSherman Brothers (Mary Poppins): ‘Their compositions had akey core strength: they locked the action, and the viewers, intothe characters.’ (Craig McLean).Some characters were cut out during the developmentprocess: Rocky the short-sighted rhinoceros, for example Walt Disney made the executive call that he was a character(and story incident) too many. While many of the later Disneyfeature films had animators being responsible for singlecharacters, in The Jungle Book the animators were in charge ofwhole sequences, since many have characters interacting withone another.The Jungle Book was created on transparent ‘cels’, atechnique patented by Earl Hurd in 1914. The cels wereoriginally fixed onto register pegs and this way variouslayers of image could be shot at once and backgroundsdidn’t need to be repainted each time. However, Disneydeveloped this idea by using a multiplane camera whichphotographed a much larger number of layers of framesat once (sometimes as many as seven layers) of artwork,each at different distances from the camera and movingat different speeds which created the illusion of depth andalmost a 3D effect and allowed for tracking figures. It alsoenabled special effects to be created, such as moving water orflickering es/MultiplaneGuideCurriculumPacket Final.pdf )Shere Khan was designed to resemble his voice actor,George Sanders, renowned in Hollywood for playing elegantvillains, but his movements were based on live action bigcats: the animator Milt Kahl based both Bagheera and ShereKhan’s movements on animals which he saw in two Disneyproductions, A Tiger Walks and the ‘Jungle Cat’ episode of TrueLife Adventures. Baloo was also based on footage of bears, evenincorporating the animal’s penchant for scratching. The wolfcubs were based on dogs from 101 Dalmatians. The monkeys’dance during ‘I Wan’na Be Like You’ was partially inspiredby a performance Louis Prima did with his band at Disney’ssoundstage to convince Walt Disney to cast him.Backgrounds were hand-painted – with the exception ofthe waterfall, mostly consisting of footage of the Angel Fallsin Venezuela - and sometimes scenery was used in bothforeground and bottom and filmed with the multiplanecamera to create a notion of depth.JB also used xerography (rather like photocopying), copyingthe animator’s drawings onto a light-sensitive aluminium plateand then onto cels, unlike the old, painstaking hand-inkingprocess, tracing them from paper drawings. The animatorshad to draw using thick black lines, as delicate ones couldn’tbe picked up by the copier, and it affected the final art styleby creating rougher, sharper lines but generally the animatorswere pleased. As Marc Davis, one of Disney’s core animators,said: ‘It was the first time we ever saw our drawings on thescreen, literally before they’d always been watered down.’ 3The ending of film was not initially fully planned: FloydNorman, one of the animators says, ‘We knew Mowgli wasgoing to go back to the Man Village in the third act, but wedidn’t know how we were going to get him back there. Whydoes he give up on his dream of staying in the jungle and goto the Man Village? Well, one day Walt says, ‘He sees a little girl.’So naturally, all of us say, ‘Give me a break! He’s not even 11years old, he doesn’t have any interests in girls.’ And Walt said,‘Do it. It will work.’ And he was right. It works. You never thinkof Mowgli being a kid. He sees the girl. The girl is enticing. Andhe follows her. Maybe it’s just curiosity. He had never seen a girlbefore. It’s charming. It’s cute, and it’s our ending.’ -the-making-of-thejungle-book-1967/)Other useful links:https://www.youtube.com/watch?v XhAZEDiKSsM&t lm/3 Gabler, N. (2006) Walt Disney: The Biography, Aurum Press. p620.4 OCR 2017
Teacher Guide: The Jungle Book 1967 and 2016:Industries and audienceAS and A Level Media StudiesAccording to the Disney animator Floyd Norman, ‘We neverthought in terms of making The Jungle Book a box officesmash. Today everyone thinks about the opening weekendbox number. We just wanted to finish the movie. We were justthinking about making Walt happy. If the picture was a flopand Walt was happy, then we were happy. Walt knew that ifhe had a good picture, it would eventually earn its money. Hejust moved forward.’ the-making-of-the-jungle-book-1967/)Yet it certainly was a box office smash and easily recoupedthe original investment by Disney: the budget was 4 millionbut JB has now made 141 million gross in the US (the 29thhighest grossing film of all time in the US) and 205 millionworldwide. An estimated 6.8 million (out of around 60million foreign gross) came from Germany alone, making itGermany’s highest grossing film of all time (and the mostsuccessful film of all time in terms of ticket admissions in thecountry with 27.3 million tickets sold) – your can read more onthis at nal-jungle-book-biggest-885953Ownership, distribution andeconomicsWalt Disney Home Entertainment released it on VHS in 1991(and the UK in 1993) and on DVD in 2007. It was re-releasedseveral times on DVD and on BluRay – with extras or differentpackaging in order to pick up new buyers (e.g. the LimitedEdition DVD released by Buena Vista Home Entertainment in1999 or the Diamond line combination of Blu Ray and DVD in2014). Occasionally Disney films are ‘vaulted’ meaning they arenot available for purchase, which pushes up the demand – theDiamond edition of JB disappeared to the vault in January2017, for example. However, the classic edition of the DVDand merchandise relating to JB are still available in DisneyStores and on the Disney website, which is marking the 50thanniversary.Walt Disney was personally at the centre of most of thedecision making in his company right from the time he set upthe studios. He was interested in all stages of production anddistribution. The Sword in the Stone , the feature film before JBwas far less successful than earlier features and Disney himselfwas worried about this comparative failure. His company haddiversified in the previous decade, developing theme parks,television series and live action films and Disney had becomeless hands-on with the animated feature production. But afterthe commercial failure of Sword he became more personallyinvolved in the production of JB.The original vinyl soundtrack for JB was also the first record toachieve gold status in the USA from an animated feature film.Disney’s own politics were rather conservative, right-wing andundoubtedly this affected the representations constructedwithin the film. (An interesting article on how Disney’spersonal, political views shaped the characterisation andnarrative is found in “It’s A Jungle Book Out There, Kid!”: TheSixties in Walt Disney’s ‘The Jungle Book’, Greg Metcalf, Studiesin Popular Culture, Vol. 14, No. 1 (1991), pp. 85-97.)JB has also been released by Disney as digital downloads viaiTunes, Disney Movies Anywhere, Disney Life, Amazon Video,Movies Anywhere, Google Play etc.JB seemed to ignore the black civil rights movementsof the 1960s, as seen in the equating of black jazz musicwith the apish behaviour of the orang-utan, King Louis,thereby reinforcing racial stereotypes. tones). This was something themakers of the 2016 version were keen to avoid le-book-disneyremake-racism-worries)JB was released in the US in October 1967 (occasionally shownin a double bill with Charlie, the Lonesome Cougar) and wasre-released in the US in 1978, 1984 and 1990 and in Europethroughout the 1980s; this maximised box office takings, as thefilm had already been produced.5 OCR 2017
Teacher Guide: The Jungle Book 1967 and 2016:Industries and audienceAS and A Level Media StudiesDisney produced a live-action version in 1994 and an animatedsequel, The Jungle Book 2, in 2003, which Disney had intendedto release direct to video (under Michael Eisner a numberof straight to video sequels were produced, which in turnpromoted the original films).As a company Disney was already vertically integrated at thetime JB was originally released. Disney produced films at itsown studios and distributed them via its own wholly ownedBuena Vista Distribution Company. It was distributed in the USby the Buena Vista Distribution Company and internationallyby Buena Vista International, which were owned by WaltDisney Studios . It handled theatrical distribution, marketingand promotion for films produced and released by Walt Disney.The company had diversified into theme parks, creatingDisneyland, and television, and Disney had been aware of thevalue of merchandising from the very beginning (a visit to afamous online auction site will often show examples of early JBmerchandise, for example).Disney’s influence on the animated film industry isimmeasurable: Walt Disney even helped found the CaliforniaInstitute of the Arts (CalArts, which included a Disneydeveloped animation program of study among its degreeofferings. Many of the animators who worked at Disney andother animation studios from the 1970s to the present studiedthere).After Walt Disney’s death the company began a decline forcouple of decades, strongly indicating his personal influenceand personal successes in running the company.6 OCR 2017
Teacher Guide: The Jungle Book 1967 and 2016:Industries and audienceAS and A Level Media StudiesRegulationinterest in their products, not only through re-releasing on DVDbut through tie ins with other companies – MacDonalds hadJungle Book 2 Happy Meals in the 1990s, for example, whichin turn promoted the first film. ‘Disney offers an immensepotential for both cross-promotional campaigns in cooperationwith other companies and in-house cross-promotionmarketing strategies Cross promotion – marketing activitiescarried out in cooperation by two different companiesusing the popularity of their brand names to promote oneanother’s – is today a major profit source for Disney’.5 Disneyalso licensed the characters for use by other companies, suchas Virgin who developed a Jungle Book video game for Sega,Gameboy and PC in the early 1990s: -/311401752525The main regulatory issues relating to JB are Copyright andClassification or Certification.The film, music, script, character design, performance, Disneylogo, DVD cover design etc are all affected by the copyrightin one way or another. The US Copyright Amendment Act of1998 gave protection for works published before January 1,1978, increasing coverage works of ‘Corporate authorship’ by20 years to a total of 95 years from their publication date. Thisamendment to the copyright law had been actively lobbiedfor by Walt Disney Company since 1990 and this extensionof copyright delayed the entry into the public domain of theearliest Mickey Mouse movies, hence the Act’s nickname, ‘TheMickey Mouse Protection Act’.For the US regulations around copyright see https://www.copyright.gov/circs/circ15a.pdf and https://en.wikipedia.org/wiki/Copyright Term Extension Act .In the UK copyright is covered by the Copyright, Design andPatents Act 1988. A useful fact sheet is to be found at: https://www.copyrightservice.co.uk/copyright/p01 uk copyright lawCertification and classification varies around the worldaccording to differing regulation and cultural sensibilities. IMDBgives a list of current classifications: ref tt stry pg#certificationThe Motion Picture Association of America only established itsratings system in 1968, the year after JB was released https://www.mpaa.org/film-ratings; before that films were covered bythe Production Code but, by the late 1960s, enforcement hadbecome impossible and the Production Code was abandonedentirely.In the UK the BBFC website is useful guideMaintaining audiencesDisney was highly aware of how to build and maintainaudiences nationally and globally, from the shaping ofthe original product to appeal more to a family audience,the marketing and distribution by its own company,merchandising etc. Disney was an early master of synergy,persuading companies to tie in with their film’s release,running a character merchandising department. ‘In addition topioneering synergy, branding and merchandising beginningin the 1930s, Walt Disney also developed the idea of synergybetween media consumption and theme park visits in the1950s. The producer of animated films used the popularityof his famous cartoon characters for a weekly show on ABCthat served as an advertisement for his theme park. In turn,visiting Disneyland helped secure customers’ brand loyaltyto the Disney trademark for the future. This strategy ofcross-promotion has become a basis for the Walt DisneyCompany’s rapid growth.’ 4 Thus Disney constantly renewed4 and 5 Frank Roost in Budd. M (Ed) & Kirsch, M. (Ed). (2005)Rethinking Disney: Private Control, Public Dimensions, WesleyanUniversity Press, p263 and p263-4.7 OCR 2017
Teacher Guide: The Jungle Book 1967 and 2016:Industries and audienceAS and A Level Media StudiesTHE JUNGLE BOOK (2016)ProductionThe Jungle Book (2016), hereafter JB16, was produced by WaltDisney Pictures, directed and co-produced by Jon Favreau, andwritten by Justin Marks. It was partly based on Disney’s originalversion but also drew more on Kipling’s original books, giving arather darker tone. In some ways it is part of Disney’s on-goingpolicy to create live action versions of its earlier animatedclassics (such as Cinderella released the previous year andBeauty and the Beast released the year after) but, although thefilm has some live action, by far the largest part of what is seenon screen was produced using CGI: ‘The Jungle Book existsin a strange limbo-world between live action and animation.Favreau admits he has no idea which category it falls into: ‘Ithink it’s considered live action because people feel like they’rewatching a live action film,’ is as much as he’ll commit ind-people-how/)Favreau wanted the film to be part homage to the classicDisney films of the 1930s and 1940s: Snow White, Pinocchio,Fantasia, Dumbo and Bambi: ‘I tell Favreau that his openingshot – a dreamy pull-back through undergrowth that slowlyfades from hand-drawn into CG – reminded me of the slowpans through the forest at the start of Bambi, which Disneycreated on a then-groundbreaking ‘multiplane camera’ thatbrought the illusion of depth to 2D artwork. ‘You found it.That was the shot’ he glows, before talking about scouringBambi for ‘tonal clues’ as to how to balance danger, humourand emotion without scarring his younger audience for emind-people-how/)All the animals and landscapes etc were created on computers,mostly by the British digital effects house MPC. -jungle-book/ ‘Theanimal characters were deliberately created with a realisticlook, and not in a cute and cuddly cartoon-style as with theoriginal animated Jungle Book film, in order to target oldermovie-goers.’ nd-highest-weekend-grosser-ever/) ‘In Jungle Book, ifwe just took everything that was in the ’67 film, that humourwould have been too broad for a live action, and also youhave to take into account that these look like real animals,so the intensity of it gets really notched up.’ avreau-interview/#disney)However, apparently Disney were quite open to Favreau’snew approach in handling their characters oks-back-jungle-book) Inthis article the film makers talk about the thinking behind theapproach and the difficulties in following through with theirideas: enmn-0105-jungle-book-20170105-story.html8 OCR 2017
Teacher Guide: The Jungle Book 1967 and 2016:Industries and audienceAS and A Level Media StudiesIn terms of structuring the narrative, Favreau said, ‘We wentback to the structure of it and saw what Kipling did becausehe offered a lot. We kind of picked between the two. The storystructure of the 1967 film was good and offered a lot; so I stuckto it as much as I could. What I have tried to do is to focuson the images that I remember from it before going back tolook at it again.‘ -thejungle-book-116022400306 1.html)new packaging, says Robert Levin, a former Disney marketingexecutive: ‘There used to be a re-release of a classic film everyseven years.Now re-imagining them is what’s hot.’ action-films)‘[Sean] Bailey credited the division’s escalating success rate tothe silo system instituted by Disney chairman Bob Iger andmanaged by Alan Horn It is a program where each divisionstays in its own lane and isn’t pressured to make more moviesthan its marketing machine can handle, while maintainingquality controls. This differs from some studios that seem tobe bent on filling a high number of films on a slate. Disney’sannual collective output usually doesn’t exceed a dozen. Buteight of those Disney films are global blockbusters that suckall the oxygen out of the box office when they are 0/This extra has some useful material on the production: https://youtu.be/aZOUWQ6ioxcThese videos cover how the animals and environments werecreated: https://youtu.be/yBpRQU6avHM and https://youtu.be/-0MD1g 5dV4JB16 included some of the original music from the 1967version partly in order to compete with the Warner version thatwas simultaneously in production: ‘When Warners raced uson Jungle Book, we thought, Well, we’re putting ‘Bare Necessities’in the movie because they can’t’ [Sean] Bailey said. ‘We havecertain characters and certain depictions of characters andwe’re going lean into that. It’s an advantage to us.’ st-disneys-remakemachine.html)In terms of Disney being a conglomerate, diversified etc seeJB above. However, the production process of JB16 was highlydependent on other companies, such as MPC, and so was notfully made in-house, as JB had been. The 2016 was distributedby Walt Disney Studios Motion Pictures.Sean Bailey (the head of Production at the Studios) said thatthe team were able to call on Disney’s huge archives: ‘Whiledeveloping projects, creative teams look at ‘every screenplaypage that didn’t make it, every deleted scene, every conceptualdrawing.’ There are still people at the company who workedon older films who can help inform the production, too. (WhenFavreau wanted additional lyrics for ‘I Wan’na Be Like You ‘in The Jungle Book, he just asked original songwriter RichardSherman.)’ t-disneys-remake-machine.html)Ownership, marketing anddistribution‘Disney leads the world in the production and distribution ofpopular culture.6 What’s more they can use their incredibleback catalogue of production and re-present it for newaudiences: To have this incredible vault of content that theycan go back to and reimagine, retool and recreate for today’saudiences just gives them a depth and breadth of films thatis almost unparalleled.’ (Media analyst Paul Dergarabedian )As noted above JB16 was planned by Walt Disney StudiosChairman, Alan Horn, as one of a series of remakes of theirclassic properties: ‘Hollywood makes lots of films for kids, butthe Disney reboots may be one of the few safe bets. Theyrevive classic characters for a new generation of kids, and theiralready smitten parents may be especially willing to shell outfor related merchandise.’ With DVD sales declining and digitaldownloads on the rise, studios can’t just reissue old films in6 Lee Artz in Budd. M (Ed) & Kirsch, M. (Ed). (2005) Rethinking Disney:Private Control, Public Dimensions, Wesleyan University Press, p75.9 OCR 2017
Teacher Guide: The Jungle Book 1967 and 2016:Industries and audienceAS and A Level Media StudiesWarner Brothers had been producing their own adaptationof Kipling’s The Jungle Book (possible because the book itselfwas out of copyright) but delayed the release date, probablyto separate it from the Disney film and to give its version achance at the box office: tml)Apart from traditional marketing devices (theatrical trailers andprint-based posters) Disney uploaded an interactive movieposter on Snapchat and users could apply a framed ‘JungleBook’ lens, which turned their faces into the snake, Kaa.The film tied in with other partners for promotionalopportunities, with competitions and other products, forexample etition-win-a-disney-jungle-book-prize-packFavreau was aware of the technological inter-relationshipbetween the making of the film and its promotion ‘What’sinteresting about the film is we are telling an old story withnew technology, and that’s bled over into other aspects offilm and promotion We had an extremely sophisticatedtechnological landscape that we were dealing with day today as we created the film. Now, as we explore the meansby which we share it with people, technology seemed like avery inherent part of the whole live action Jungle Book ok-tech-socialmedia/#XgnQY9WQaGqY)JB16 was produced in 3D (as well as 2D) and was one of thefirst films to be released in Dolby Vision 3D (but only a handfulof cinemas were equipped to show it in that form). 10% of USshowings were in IMAX.It has subsequently been released on DVD and Blu Ray andJB has also been released by Disney as digital downloads viaiTunes, Disney Movies Anywhere, Disney Life, Amazon Video,Movies Anywhere, Google Play etc.Walt Disney Records has released a soundtrack album.Merchandise was, of course, another money spinner for Disney,with the Disney Store (online and in high street shops) sellingtoys, clothing and homeware. Disney also licensed othermanufacturers to produce related products – the designerKenzo produced a range of clothing to mark the new filmbut featuring designs from the original film kenzo-jungle-bookcapsule-collection)This is seen in the way Disney uses social media, having JB16Facebook, Twitter, Instagram accounts. The accounts releasedteasers and making of photos and videos (including behindthe scenes) in the months before the theatrical releaseand kept up the promotion for the release on DVD and asdownloads. Sharing is obviously an invaluable promotionaltool. There are a number of online articles talking about howDisney generally uses social media, e.g. -great-disney-marketingcampaigns. This discusses how JB16 was marketed disneys-savvymarketing-jungle-book.htmlFor more on marketing and distribution see below,Maintaining Audiences. The whole Disney ‘Jungle BookFranchise’ is listed at https://en.wikipedia.org/wiki/The JungleBook (franchise)10 OCR 2017
Teacher Guide: The Jungle Book 1967 and 2016:Industries and audienceAS and A Level Media StudiesRegulationFor copyright, see JB above.The global certifications and classifications are to befound here: ref tt stry pg#certification The film is a littledarker than the original, so in the UK is rated PG rather than U,for ‘mild threat’.TechnologySean Bailey, president of production for Disney, called JB16‘one of the most technologically advanced movies ever made’;as the director noted, ‘I found myself wrestling with the samethings as Walt, who used cutting edge technology for his day,but with a different set of tools and technologies.’ oks-backjungle-book )JB16 is the result of cutting edge CGI – the animals werecreated digitally post-production and the one actor inthe film (playing Mowgli) acted against a blue habitants-werecreated-in-post-production-9 ; https://www.youtube.com/watch?v NSQcBZcvqpgOn the set, scenes for The Jungle Book were first filmed usingmotion capture. ‘We motion-captured
THE JUNGLE BOOK (1967) Production and technology The Jungle Book (hereafter JB) was released in 1967 by Walt Disney Productions. It was created at the Walt Disney Studios in California. Disney's animation studio had been responsible for developing many of the techniques and ways of working that became standard practices of traditional cel .
stair pressurization fan condensing units, typ. of (3) elevator overrun stair pressurization fan november 2, 2016. nadaaa perkins will ]mit ]] ]site 4 october 21 2016 10 7'-3" hayward level 1 level 2 level 3 level 4 level 5 level 6 level 7 level 1 level 2 level 3 level 4 level 5 level 6 level 7 level 8 level 9 level 10 level 11 level 12
iii 1 Mass Media Literacy 1 2 Media Technology 16 3 Media Economics 39 4 Cybermedia 59 5 Legacy Media 75 6 News 98 7 Entertainment 119 8 Public Relations 136 9 Advertising 152 10 Mass Audiences 172 11 Mass Media Effects 190 12 Governance and Mass Media 209 13 Global Mass Media 227 14 Mass Media Law 245 15 Mass Media Ethi
Digital Media Middle East & Middle Eastern Digital Media Awards 29-30 Nov 2022 Riyadh Digital Media Africa & African Digital Media Awards 12-13 July 2022 Virtual Digital Media LATAM & LATAM Digital Media Awards 16-18 Nov 2022 Mexico City Digital Media India & Indian Digital Media Awards 08-10 Mar 2022 Virtual Digital Media Asia &
Wishy-Washy Level 2, Pink Level 3, Red Level 3, Red Level 4, Red Level 2, Pink Level 3, Red Level 3, Red Level 4, Red Level 3, Red Level 4, Red Level 4, Red Titles in the Series Level 3, Red Level 3, Red Level 4, Red Level 3, Red Also available as Big Books There Was an Old Woman. You think the old woman swallowed a fly? Kao! This is our
4 Rig Veda I Praise Agni, the Chosen Mediator, the Shining One, the Minister, the summoner, who most grants ecstasy. Yajur Veda i̱ṣe tvo̱rje tv ā̍ vā̱yava̍s sthop ā̱yava̍s stha d e̱vo v a̍s savi̱tā prārpa̍yat u̱śreṣṭha̍tam āya̱
Media Terminology Media Planning - A series of decisions involving the delivery of messages to audiences. Media Objectives - Goals to be attained by the media strategy and program. Media Strategy - Decisions on how the media objectives can be attained. Media - The various categories of delivery systems, including broadcast and print media.
Index Terms—social media; social media marketing; strat-egy; sufficient, e-word-of-mouth; Starbucks I. INTRODUCTION N MODERN society, social media is one of the essential factors in a media sector and marketing. It is said that so-cial media is a new measure for media over the world, which has a vast difference with public media. I
AK-16 of theAnswer Key. Then add the total number of points per grade level. Test Level Test Level Test Level Test Level 101 - 110 Level 1 201 - 210 Level 2 301 - 310 Level 3 401 - 410 Level 4 501 - 510 Level 5 601 - 610 Level 6 701 - 710 Level 7 801 - 810 Level 8 FIRST GRADE TEST ADMINISTR
