Page 409 - Battleground The Media Volume 1 and 2

| Propaganda Model

movies that do not readily lend themselves to having their scripts transformed
into two-hour shills. And a new moviegoing generation that never had the plea-
sure of seeing placement-free movies will wonder what all the fuss was about,
while the marriage of culture and consumption—of understanding ourselves
chiefly through the products we choose—will be all the more entrenched.

see also Advertising and Persuasion; Branding the Globe; Conglomeration and
Media Monopolies; Hypercommercialism; Independent Cinema; Media Re-
form; Mobile Media; Pharmaceutical Advertising; Reality Television; Runaway
Productions and the Globalization of Hollywood; TiVo; Transmedia Storytell-
ing and Media Franchises; Video News Releases.
Further reading: Andersen, Robin, and Lance Strate, ed. Critical Studies in Media Commer-
cialism. New York: Oxford University Press, 2000; Behind the Screens: Hollywood goes
Hypercommercial (2000, 37 mins.). Media Education Foundation; Brand Hype: A Cri-
tical Resource on Product Placement. (www.brandhype.org). Launched 2005; Dench,
Ernest A. (1916). Advertising by Motion Pictures. Cincinnati, OH: The Standard Pub-
lishing Company; Friend, Tad. “Copy Cats.” The New Yorker. September 14, 1998; Ja-
cobson, Michael F., and Laurie Ann Mazur. Marketing Madness: A Survival Guide for a
Consumer Society. Boulder, CO: Westview Press. 1995; Galician, Mary-Lou, ed. Hand-
book of Product Placement in the Mass Media. New York: Haworth, 2004; Gettelman, E.,
and David Gilson. “Ad Nauseam: Madison Avenue is scrambling to stick ads any-
where it can, from children’s books to bathroom stalls.” Mother Jones (January/February
2007); Herzog, Charlotte. “ ‘Powder Puff’ Promotion: The Fashion Show-in-the-Film.”
Fabrications: Costume and The Female Body, ed. Jane Gaines, and Charlotte Herzog.
New York: Routledge, 1990. 134–159; McAllister, Matthew P. The Commercialization of
American Culture: New Advertising Control and Democracy. Thousand Oaks, CA: SAGE
Publications, 1996; McChesney, Robert. Rich Media, Poor Democracy: Communica-
tion Politics in Dubious Times. Urbana: University of Illinois Press, 1999; Nebenzahl,
Israel D., and E. Secunda. “Consumers’ attitudes toward product placement in movies.”
International Journal of Advertising 12(1) (Winter 1993): 1–12; Ohmann, Richard, et al.,
eds. Making and Selling Culture. Hanover, NH: University Press of New England [for]
Wesleyan University, 1996; Segrave, Kerry. Product Placement in Hollywood Films: A
History. Jefferson, NC: McFarland, 2004; Wasko, Janet. How Hollywood Works. London:
Sage, 2003.
Matt Soar

ProPaganda Model
In the 1980s, Edward S. Herman and Noam Chomsky formulated and ap-
plied the “propaganda model” in their groundbreaking work, Manufacturing
Consent: The Political Economy of the Mass Media. Since that time the model has
become one of the most highly contested and debated models within communi-
cation studies. Herman and Chomsky argue that elite agenda-setting media play
an important role in establishing a framework for what is called “cultural hege-
mony.” The general argument is that elite media legitimize dominant ideological
principles and social institutions and defend the principal economic, social, and
political agendas of powerful corporate, institutional, and state interests.