The Press Agentry Model

The Press Agentry Model Press agentry model was the earliest PR model. It comes out in the late 19th century Grunig Hunt, 1984. The heyday of this model from 1850 to 1900 and P.T. Barnum was the representative of the historical figure (Chao, 2012). Press agentry model is one-way communication as the flow of information is only from the sender to the receiver, i.e. source-to-receiver communication. People who send out the message are not much take no account of second partys response, comment, point of view and so on. Press agentry attempts to alter the act of publics whereas do not have the intention to change the behavior of the organization. Public relations whose are under press agentry struggle for publicity in the media in almost any way possible. Practitioners of press agentry have included so-called fathers of modern PR, Ivy Lee and Edward Bernays. In the early 20th Century, both were Broadway press agents, when Broadway was the capital of the entertainment world, before moving on. Bernays move into constructed news that accounts for audience perceptions and biases is a sophisticated form of press agentry. His 1915 80-page press packet for the Diaghilev Ballet Russe American tour was an early example, and his work in 1932 publicizing autos for General Motors with testimonials from business and academic leaders was more elaborate. Press agents did little research aside from monitoring the media in which they sought to place favorable articles about their clients. The prototype practitioner of this model was the American impresario P. T. Barnum. He promoted circuses and other entertainment venues such as the singer Jenny Lind. Publicity continues to be a component of contemporary American PR and is used in sports, entertainment and product publicity, although todays practitioners are less likely to take liberties with the truth. In Press Agentry publicity model, public relations expects enhance the reputation of the organization among the target audience, stakeholders, employees, partners, all other associated with it through manipulation. According to this model, hire public relations expects who create a positive image of their brand in the minds of target audience through arguments and reasoning. They influence their potential customers by simply imposing their ideas, thoughts, creative stories of their bran d, USPs of the products and so on. Flow of information takes place only from the public relations expects to the target audiences. (One-Way communication) Although J. Grunig and Hunt acknowledged that there had been public-relations-like activities throughout history, they claimed that the press agents of the mid-19th century were the first full- name specialists to practice public relations. These press agents practiced the press agentry/ publicity model of public relations for such heroes as Andrew Jackson, Daniel Boone, Buffalo Bill Cody, and Calamity Jane. The most prominent of these practitioners was P.T. Barnum, who skillfully promoted his circus performers using the axiom, There is a sucker born every minute. Curiosity and scepticism played a pivotal role in the success of the press agentry model in the 19th Century, as illustrated with Barnums stunt, and to this day it still does. Butterick (2009) points out that we only have to look at the inner editorial pages of the tabloid newspapers, the celebrity magazines or observe when a new movie or CD is launched to see the press agentry model in its purest form. Press agents like Max Clifford are often seen as masters of the industry, carefully manipulating the media coverage of their clients, as Butterick notes; even the so-called exclusive pictures of semi-naked celebrities on a beach in a Sunday newspaper can sometimes be the result of a collusion between the stars publicist and photographer. Nowadays, press agentry model is still very much in use in the 21st Century. It can easily argue that the ethics involved in this model are highly questionable, and the admission from Grunig Hunt that the model has an element of propaganda attached to it does nothing to distil the negative connotations attached to PR as propaganda (Butterick, 2009). However, despite these criticisms, it is ultimately that the curiosity and skepticism of which ensures the press agentry model is still alive and well in the modern day. Although the modern day PR practitioner must be more familiar with the truth, the very foundations of the model still exist whether it be to publicize a sporting event, a theatre production, or the scariest film of the decade, as in the recent movie release Paranormal Activity (2009). We, the public, will either want to believe what we see, or find out for ourselves if our skepticism can be proven correct which is why this model still works for practitioners seeking to g ain the illusive media spotlight and is therefore relevant for the 21st Century. Press agentry is closely associated with publicity in the entertainment world. Press agentry is the practice of attracting the attention of the press through technique that manufactures news. Methods associated with press agentry include staged events, publicity stunts, faux rallies or gatherings, spinning, and hype. A common practice is the late 1800s and early 1900s, press agentry is not part of mainstream public relations. Rather, it is a practice primarily associated with major entertainment-related events, such as Hollywood premieres and boxing matches. The goal of press agentry is to attract attention rather than gain understanding. Even today, however, the term press agent is sometimes used interchangeably with publicist in traditional Broadway theater and motion picture industries. Todays entertainment industries are populated with publicists rather than press agents. Publicists are individuals skilled in media relations who attempt to get the name of their clients or events in the media by carefully constructing messages that inform, educate, and persuade. Some are astute in branding and positioning strategies to aid the careers and success of their clients. In contrast, press agents want attention either good or bad in most any form. Press agentry had been called persuasion for short-term advantage through the use of truth bending and even distortion, but it can also be simply the staging of provocative acts to get publicity and draw attention to an individual, event, or cause. Therefore, it is understandable that one of the earliest proponents of press agentry was Phineas Taylor (P.T) Barnum, the famed American showman and promoter who put gun Gen. Tom Thumb on exhibit and launched a mobile circus featuring Jumbo the elephant and freak shows. Barnum was a master of press agentry. For instance, he wrote letters both praising and criticizing his circus show to newspaper under an assumed name. In the early part of his career, Edward L. Bernays was also a master of press agentry. He persuaded 10 debutantes to hold up Lucky Strike cigarettes manufactured by his client, the American Tobacco Company, as torches of freedom while participating in New Yorks Easter parade. In 1929, Bernays staged a global news event by organizing the Lights Golden Jubilee, a worldwide calebration commemorating the 50th anniversary of the electric light bulb for his client, General Electric. Bernays managed to secure several prominent individuals for that event, including carmaker Henry Ford, electricity scientist Thomas Edison, and President Herbert Hoover. Henry Rogers, one of the founders of Rogers and Cowan, the largest and most successful West Coast entertainment publicity firm, became well known when he promoted an unknown contract player for Columbia Pictures named Rita Hayworth. He contacted Look magazine with a telegram from the Fashion Couturiers Association of America, a fictitious group, claiming that Hayworth was the best-dressed off-screen actress. Look magazine took the bait and put Hayworth on the cover and published 10 pages of her photographs. Characteristic of Press Agentry Press agentry is ink. A sales-driven approach does whatever it takes to get exposure for clients in the media without resorting to paid advertising. Press agentry is not above truth-bending or lying to reach its pragmatic objective. It will make up facts if it needs to do so. It is persuasion for short-term advantage. Press agentry is a long-standing part of PR, and it wont go away. Press agentry has transformed over the decades into ink with ethics, that is getting exposure while maintaining respect for facts, but if all else fails, getting exposure is more important than facts. Press agentry relies on spin. It is interpreting facts to fit ones view and to get media coverage. Christopher Buckleys hilarious novel, Thank You for Smoking lampoons this type of practitioner brilliantly, and post-presidential debate commentary from Democrats and Republicans is a quadrennial example of spinning. Press agentry includes any technique that manufactures news which are publicity stunts, faux surveys, fake committees, constructed events and other tactics practitioners continue to use. Propaganda classified as one of the characteristic of press agentry model (Grunig Hunt, 1984). The term of propaganda in press agentry model, refer to PR practitioner exaggerate and more hype than facts in order to get publicity for their client. They will not care the public feedback and just want the public behave as they want. This model involves a propaganda function (Grunig Hunt, 1984 pp. 21) and academics such as Butterick (2009), Theaker (2004), and Johnston Zawawi (2004) agree that accuracy and credibility are somewhat compromised as the goal of the model is to influence the audience by manufacturing news, be that by way of stunts or explicit publicity seeking. Butterick (2009) states that practitioners who use this model become press agents, utilising a range of PR tools from press releases to publicity stunts which in turn ensures that an audience takes a specific course of action.

Cross Cultural Communication Barriers Essay

LaRay Barna (1982) has elaborated on the distinction between observations and interpretation in cross cultural communication. Five areas of practice constitute potential barriers. In order to overcome these barriers, postpone interpretation until you know enough about the other culture. In other words observed behavior but try not to attach attribution to it. First, there’s the obvious barrier of language differences. Language is much more than learning new vocabulary and grammar. It includes cultural competence: knowing what to say and how, when, where, and why to say it. Knowing a little of the foreign language may only allow you to make a â€Å"fluent fool† of yourself. Also, within the same language the same word may have a different meaning in different settings. Ways to decrease the language barrier are [1] learn the language, [2] find someone who can speak the language as an interpreter, and [3] ask for clarification if you are not sure what someone says. Second, there is the area of nonverbal communication such as gestures, posture and other ways we show what we feel and think without speaking. Our culture has taught us to communicate through unspoken messages that are so automatic that we rarely even think about them. An interviewer might put his or her own cultural interpretation on your hand gesture, facial expression, posture, clothing, physical closeness or distance, eye contact, or personal appearance, and that attribution may not be what you intended to at all. Ways to cross the nonverbal communication area are [1] do not assume you understand any nonverbal signals or behavior unless you are familiar with the culture, [2] don’t take a stranger’s nonverbal behavior personally, even if it is insulting in your culture, and [3] develop an awareness of your own and nonverbal communication patterns that might be insulting in certain cultures. Third, stereotypes are a major barrier to communicating across cultures. We try to fit people into patterns based on a previous experience. We see pretty much what we want or expect to see and reject the possible interpretations that don’t fit with what we expect. If we expect people from country X to be unfriendly to foreigners, we will probably interpret their behavior in that way. Steps to overcome this barrier resemble the familiar triad, awareness-knowledge-skills, (that we discussed earlier in the chapter): [1] make every effort to increase awareness of your own preconceptions and stereotypes of cultures you encounter, [2] learn about the other culture, and [3] reinterpret their behavior from their cultural perspective, adapting your own stereotypes to fit your new experiences. A fourth barrier is the tendency to evaluate behavior from the other culture as good or bad, to make a judgment based on our own cultural bias. Evaluation has been called a third stage of how we attribute meaning. The first two, observation and interpretation, lead naturally to it. Different attitudes about, for instance, food and drink can cause misunderstanding as we evaluate them. Ways to decrease the tendency to evaluate our [1] maintain appropriate distance, [2] recognize that you cannot change the culture (or yourself) overnight, [3] do not judge someone from another culture by your own cultural values until you have first come to know them and their cultural values. The fifth barrier is the high level of stress that typically accompanies intercultural interactions. Like every other unfamiliar experience, intercultural contact is likely to involve some stress. Ways you can decrease stress are to [1] accept the ambiguity of cross cultural situations in which you are not sure what others expect of you or what you can expect of them, [2] work to reduce other intercultural barriers, and [3] be forgiving of others and yourself, giving both them and yourself the benefit of the doubt. In intercultural encounters, then, there are several filters that can prevent us from accurately understanding what others are trying to communicate, and that can prevent others from accurately understanding what we are trying to communicate: our tendency to interpret and evaluate behavior before we understand it, and our willingness to stereotype groups of people, which prevents us from interpreting behavior accurately. When we are looking and listening, the remedy is to try and increase the range of our perception, to observe and suspend our interpretation [what we think] and evaluation [what we feel], and to ask for clarification when in doubt. When speaking, we should take care to clarify the intention behind our words and check to see if the message has come across correctly. In all cases, we should be prepared for surprises.

Finding the Best How to Write a Paper about Yourself

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