SAGE Publications, 2018
Gender Race and Class in Media A Critical
Reader 5th Edition by Dines Humez and Yousman ISBN 1506380107 9781506380100
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Part VI: Advertising and Consumer Culture
Test Bank
Multiple Choice
1. It is sometimes difficult to locate the origins of our most cherished values and assumptions because ______.A. we as a cultural value the whole, rather than the individual
B. we live inside the consumer culture, and most of us have done so for most of our lives
C. we tend to focus on the values of others more than ourselves
D. we get caught in the influencing force of society, which tells subconsciously that our values don’t matter
Ans: B
Cognitive Domain: Analysis
Answer Location: Article 27
2. When the author says that in the contemporary world messages about goods are all pervasive, he means that ______.
A. advertising has increasingly filled up the spaces of our daily existence
B. consumerism is not as important as it once was
C. advertising has become less important than the actual product being sold
D. the dominant culture of the country has shifted and is focused more on quality of products than availability
Ans: A
Cognitive Domain: Comprehension
Answer Location: Article 27
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3. As described in the article, speed and fragmentation are not particularly conducive to thinking because they induce feeling. The speed and fragmentation that characterize the commodity image-system may have a similar effect on ______.
A. the formation of morals
B. the construction of consciousness
C. the ability to judge right from wrong
D. the interpretation of received messages
Ans: B
Cognitive Domain: Application
Answer Location: Article 27
4. For all its popularity, the shopping mania provokes considerable disease: ______.
A. many Americans worry about our preoccupation with getting and spending
B. all Americans are obsessed with self-expression and presentation
C. some Americans devote all their income to be seen as higher in the social standing
D. Americans in general are not concerned with the effects of their actions but instead are only interested in experiencing the newest trend
Ans: A
Cognitive Domain: Knowledge
Answer Location: Article 28
5. The new consumerism has also set in motion another dynamic: ______.
A. it leads resources into other sources that could be used for social change
B. it takes monetary resources from the rich and sends that to programs for lower class Americans
C. it diverts economic resources that could be used for government consumption
D. it siphons off resources that could be used for alternatives to private consumption
Ans: D
Cognitive Domain: Comprehension
Answer Location: Article 28
6. With its emphasis on luxury, expensiveness, exclusivity, rarity, uniqueness, and distinction, “new consumerism” reflects and perpetuates structures of ______.
A. empowerment
B. economics and capitalism
C. inequality and power
D. class relations
Ans: C
Cognitive Domain: Analysis
Answer Location: Article 28
7. According to the article, without a privately controlled industry jockeying to compete with one another for consumer dollars, there’s no need for ______.
A. large corporations
B. advertising
C. consumerism
D. the study of economics
Ans: B
Cognitive Domain: Knowledge
Answer Location: Article 29
8. In the article, the author talks about how the ironic, contra Coke GIFs couldn’t help but become transformed back into brand-compatible Coca-Cola messaging. This issue shows that ______.
A. capitalism is an immensely resilient institution
B. economics rarely behaves predictably
C. capitalism only produces increasingly powerful corporations
D. advertising can have unexpected outcomes
Ans: A
Cognitive Domain: Analysis
Answer Location: Article 29
9. As the author describes, for some, the answer comes in dreaming of a near future in which all that anxiety melts away, but for others, the answer to such distress is ______.
A. anger and revolt
B. doing nothing
C. calm discussion of the issues
D. protest and agitation
Ans: D
Cognitive Domain: Comprehension
Answer Location: Article 29
10. Gloria Steinem states that when Ms. began, they didn’t consider not taking ads. She says the most important reason was keeping the price of a feminist magazine low enough for most women to afford. But the second and almost equal reason was ______.
A. getting the magazine seen by the maximum number of women
B. creating an advertising dependent reader base that relied on the ads for discovering new products and services
C. providing a forum where women and advertisers could talk to each other and improve advertising itself
D. to make as much money off the magazine quickly so they could expand
Ans: C
Cognitive Domain: Comprehension
Answer Location: Article 30
11. In the article, the author expresses that the fact that Ms. was asking companies to do business in a different way meant their saleswomen had to make many times the usual number of calls first to convince agencies and then client companies besides and to ______.
A. provide exceptional customer service
B. constantly validate their credentials to new clients
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C. present endless amounts of research
D. seek out only high-profile clients.
Ans: C
Cognitive Domain: Knowledge
Answer Location: Article 30
12. As the author states, no matter how much never-to-be-recovered cash is poured into starting a magazine or keeping one going, _______ seem to be all that matter.
A. appearances
B. finances
C. readers
D. corporate backers
Ans: A
Cognitive Domain: Comprehension
Answer Location: Article 30
13. Objectification’s centrality to the feminist critical lexicon lay in its ability to speak to the ways in which media representations help to justify and sustain relations of ______.
A. equity between men and women
B. romantic involvement between men and women
C. partnership and codependence between men
D. domination and inequality between men and women
Ans: D
Cognitive Domain: Comprehension
Answer Location: Article 31
14 Midriff advertising is notable not only for its success in selling brands but also much more significantly--for its effective rebranding or reconstruction of ______.
A. the ideas and the work involved in creating the objectifiable through the visuals of sex and power
B. the anxieties and the labor involved in making the body beautiful, through a discourse of fun, pleasure, and power
C. the pleasures and the intensity involved in making a body powerful through a campaign of images and visuals
D. the experiences and the process in making the body visually stimulating through advertising and media
Ans: B
Cognitive Domain: Analysis
Answer Location: Article 31
15. A feminist semiotic analysis suggests that, under a guise of corporate altruism that democratizes female beauty, Campaign for Real Beauty endorses ______.
A. culturally accurate representations of women
B. progressive pop culture views toward women
C. socially responsible ideas of womanhood
D. global postfeminist citizenship
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Ans: D
Cognitive Domain: Comprehension
Answer Location: Article 32
16. This article advances that the Campaign for Real Beauty is a cause branding strategy that merges messages of corporate ______.
A. “concern and commitment for a cause”
B. “worry but don’t lose money”
C. “care as long as it benefits the company”
D. “care only about the cause, keep the people first”
Ans: A
Cognitive Domain: Analysis
Answer Location: Article 32
17. Like cause marketing, this cause branding strategy “is merely a cleverly disguised ploy to mask some of the fundamental problems for which the very same marketing forces are directly or indirectly responsible.” Within this consumer context, commercial connotations are attached to ______.
A. pop culture messages
B. cultural heritage and commercial pandering
C. subtext and topical philosophy
D. popular messages and practices of philanthropy
Ans: D
Cognitive Domain: Application
Answer Location: Article 32
18. Popular discourses surrounding female celebrities and cosmetic surgery most often emerge from ______.
A. a post-feminist perspective
B. a heteronormative perspective
C. a cross-cultural perspective
D. a postindustrial perspective
Ans: A
Cognitive Domain: Comprehension
Answer Location: Article 33
19. Postfeminism is a term made up of multiple and conflicting meanings, and in this context, the author refers to Rosalind Gill’s conception of postfeminism as ______.
A. a nondescript blending of various post–civil rights ideologies
B. a distinctive sensibility consisting of a number of interrelated themes
C. a very specific hybrid of modern femininity and postindustrial work values
D. none of these
Ans: B
Cognitive Domain: Knowledge
Answer Location: Article 33
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20. According to the author, individuals use celebrities as a nexus of ______.
A. social judgments
B. identity negotiation
C. self-evaluation
D. moral role models
Ans: B
Cognitive Domain: Application
Answer Location: Article 33
21. The transformation of the Olympics into a ______ event affects the authenticity of the athletes who literally embody the positive aspects of “Olympism” the ideals that underpin the event and movement or, in more commercial terms, the meaning of the Olympic brand.
A. culturally iconic
B. social spectacle
C. global politics
D. media entertainment
Ans: D
Cognitive Domain: Knowledge
Answer Location: Article 34
22. This commercialization has been inevitable, largely because of the wider development of sport as a commercialized leisure and entertainment industry that is dependent on both ________ and ____________.
A. corporate media; commodity corporate finances
B. consumers; producers
C. technology; economics
D. high-profile players; every-day fans
Ans: A
Cognitive Domain: Knowledge
Answer Location: Article 34
23. Commercial intertextuality is used to describe the production and interlinking of texts like blockbuster films or TV series with______ and products.
A. subplots and side narratives
B. underlying messages
C. allied paratexts
D. additional online content
Ans: C
Cognitive Domain: Application
Answer Location: Article 35
24. True Blood illustrates the increasing diversity of ______.
A. transmedia intertextual space and its tensions and contradictions
B. broadcast television and its plots and stories
C. HBO and its shows and characters
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D. the vampire genre and its meanings and effects
Ans: A
Cognitive Domain: Comprehension
Answer Location: Article 35
True/False
1. The premise of the threat of branding is that commercialization is not a negative aspect of contemporary sports industries because it doesn't render sports as just another indistinct form of consumerism and does not remove any enthusiasm from its audience.
Ans: F
Cognitive Domain: Analysis
Answer Location: Article 34
2. True Blood is a television show based on novels, The Southern Vampire Mysteries, by Charlaine Harris. The stories, the 10th of which was published in 2010, were best sellers, providing a rich source of (intercorporate) intertextuality.
Ans: T
Cognitive Domain: Knowledge
Answer Location: Article 35
Essay
1. What does Jhally mean when he says, “Advertising is part of a ‘discourse through and about objects’”?
Ans: He is referring to the fact that advertising not only informs us about a particular product, it also teaches us how such products are connected to important parts of our lives.
Cognitive Domain: Comprehension
Answer Location: Article 27
2. What are two strategies for attracting audiences covered in part IV of the readings?
Ans: One strategy is that of “celebrity performance” by nonfamous people. In this way, everyday people are more likely to actively consume media texts and forms if they too can be counted as a celebrity and, thus, achieve the positive social status typically associated with celebrities. The drive for status will attract audience participation and increase the number of users/consumers. A second strategy is “corporate intertextuality.” By linking multiple texts across genres and audiences, the visibility increases, which then increases interest and viewers.
Cognitive Domain: Analysis
Answer Location: Articles 27–35
3. What are some changes in media culture over the last 50 years as discussed in part IV of the readings?
Ans: Ouellette demonstrates the possibility of upward mobility for working-class women in her discussion of Cosmopolitan magazine. In regard to Ms. Magazine, Steinem
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recalls the challenges of getting advertisers to place ads in a “women’s” magazine and their intent on controlling the content of the magazine. Murray demonstrates how a feminist ideology has been co-opted for corporate gain under the guise of promoting positive self-esteem for women.
Cognitive Domain: Analysis
Answer Location: Articles 27–35