Section B: Industries+ Audiences FULL OVERVIEW PAPER 1

Advertising- Tide + Water Aid

Tide:

Historical context: The post-WWII consumer boom of the 1950s included the rapid development of new technologies for the home, designed to make domestic chores easier. Vacuum cleaners, fridge-freezers, microwave ovens and washing machines all become desirable products for the 1950s consumer. Products linked to these new technologies also developed during this time, for example, washing powder.

Cultural context: Print adverts from the 1950s conventionally used more copy than we’re used to seeing today. Consumer culture was in its early stages of development and, with so many ‘new’ brands and products entering markets, potential customers typically needed more information about them than a modern audience, more used to advertising marketing and branding, might need. Conventions of print-based advertising are still recognisable in this text however, as detailed below.

Audience- Social context:Despite women having seen their roles in society change during the War (where they were needed in medical, military support and other roles outside of the home) domestic products of the 1950s continued to be aimed at female audiences. The likely target audience of increasingly affluent lower-middle class women were, at this point in the 1950s, being appealed to because of their supposed need for innovative domestic technologies and products. The increasing popularity during the 1950s of supermarkets stocking a wider range of products led to an increased focus by corporations on brands and their unique selling points.

Consider how industries target audiences, and how audiences interpret and use the media: The likely audience demographic is constructed through the advert’s use of women with whom they might personally identify (Uses and Gratifications Theory). These young women are likely to be newly married and with young families (clothing belonging to men and children on the washing line creates these connotations). The endorsement from Good Housekeeping Magazine makes them an Opinion Leader for the target audience, reinforcing the repeated assertion that Tide is the market-leading product.

Consider theoretical perspectives:

Reception theory – Stuart Hall- The indirect mode of address made by the woman in the main image connotes that her relationship with the product is of prime importance (Tide has what she wants). This, according to Hall, is the dominant or hegemonic encoding of the advert’s primary message that should be received by “you women.” The direct mode of address of the images in the top right and bottom left-hand corner link to the imperative “Remember!” and the use of personal pronouns (“your wash”, “you can buy”).

Cultivation theory – George Gerbner- Advertising developed significantly during the 1950s and this theory, developed by Gerbner in the early 1970s, explains some of the ways in which audiences may be influenced by media texts such as adverts. The Tide advert aims to cultivate the ideas that: this is the brand leader; nothing else washes to the same standard as Tide; it’s a desirable product for its female audience; and its “miracle suds” are an innovation for the domestic washing market. Gerbner’s theory would argue that the repetition of these key messages causes audiences to increasingly align their own ideologies with them (in this case positively, creating a product that “goes into more American homes than any other washday product”).


Water Aid:

The charity Water Aid was established in 1981 as a response to a United Nations campaign for clean water, sanitation and water hygiene education. It now works with organisations in 37 African, Asian and Central American countries plus the Pacific region. Since 1991 its patron has been Prince Charles. Created by Atomic London in October 2016, this advert (titled Rain For Good) stars 16 year-old Zambian student Claudia and aims to show how communities benefit from clean water by depicting everyday chores such as farming and laundry.

Social/cultural context: In December 2016, this advert had been viewed about 47 000 times on Water Aid’s YouTube channel and this page also actively encourages the sharing of the advert through social networks. Further evidence that the likely target audience are literate with technology is that donations are encouraged through the imperative “Text SUNNY to 70555” and the use on the YouTube page of a twitter hashtag (#ShareSunshine). The advert’s cover of Zoe’s 1990 song Sunshine On A Rainy Day could indicate that the target audience are in their 30s–40s as they’re likely to remember the original and get pleasure from the nostalgic value of hearing a song with which they’re familiar.

Consider how industries target audiences, and how audiences interpret and use the media: The likely audience demographic is constructed through the advert’s use of a young woman with whom they might personally identify (Uses and Gratifications Theory). Parents might make similar readings, identifying empathetically with the ‘better life’ that Water Aid’s clean water provides for the
children represented in the advert. Water Aid acts as an Opinion Leader for the target audience who would assume the “650 million people...” statistic (01.14) is true and reliable. The unconventionally positive visual codes, audio codes and representations would, the producers hope, give the advert
unique selling points compared to other charity appeals and therefore make the audience more likely to donate.

Consider theoretical perspectives:
Reception theory – Stuart Hall- The use of handheld camera shots and indirect mode of address made by Claudia connote that the audience is following her story, but Water Aid rather than she herself
have constructed this narrative for us. This, according to Hall, is the dominant or hegemonic encoding created by Water Aid. The fact that she’s named creates the preferred reading that she is a real person and that the audience should invest in her narrative, sharing Water Aid’s ideologies.

Cultivation theory – George Gerbner- This theory might suggest that audiences have become used to the conventions of this sub-genre of advertising and perhaps somewhat ‘immune’ to pleading, earnest non-diegetic voiceovers by well-known voices and black and white, slow-motion, emotive
representations of people suffering.

The target audience’s likely liberal political perspectives will have been shaped by exposure to previous, generically similar adverts, shaping their world view that the suffering of people less fortunate than themselves can be alleviated by charitable donations.

Film (Including film marketing)- I, Daniel Blake + Straight Outta Compton:

I, Daniel Blake:

Social/cultural context: I, Daniel Blake is an independent social realist film directed by renowned filmmaker Ken Loach. I, Daniel Blake was exhibited at many film festivals, won the Palme d’Or at Cannes, and was nominated for many awards including several BAFTAs. I, Daniel Blake addresses contemporary British social issues such as poverty, the welfare system and the Work Capability Assessment. The film portrays a group of traditionally underrepresented characters in Newcastle struggling in poverty to gain benefits and support. I, Daniel Blake conveys a clear left-wingpolitical message and criticises specific government policies. Consideration of the wider economic context and concept of “austerity” might be useful in exploring how changes to benefit policy had been justified.

Economic factors including funding are extremely significant to this independent British co-production. The funding bodies are the BFI (through National Lottery Funding) and the BBC.
Consider the ways in which this film is funded differently from many mainstream films, exploring Public Service Broadcasting and the respective remits of the BBC and the BFI. Discuss why vast financial profits might be less important for practitioners working in this genre of film.

Where and how are films and their marketing most likely to be consumed by audiences?
How has this consumption changed/been impacted by the ubiquity of online and social media?
Are audiences now more likely to seek out marketing (e.g. new trailers) online as active consumers?
How does this impact the relationship between audience and product?

The I, Daniel Blake website includes links to social media and the trailer offers a hashtag (#idanielblake) suggesting links with Twitter, but it is worth considering the ways in which the
marketing might be more likely to be consumed in more traditional ways. Might an assumed
older audience be more likely to see the trailer at the cinema and less likely to search for it
on the internet? Consider how the film was marketed more traditionally (poster campaign,
trailer in cinemas etc.) as well as online. The film was exhibited at various film festivals and received a theatrical release in Britain and various other countries (including France, Spain, Brazil and Japan – although not in the USA). It was later released on digital download and DVD/Blu-ray.

Consider the extent to which I, Daniel Blake can be described as a mainstream product. Loach is
a well- known and successful figure in the UK and Europe but is his work mainstream? Does the
fact he is challenging governmental policy mean he is also challenging mainstream opinions? It might also be interesting to consider whether there exists a pre-sold audience of Loach fans who are eager to watch his films and the extent to which this gives him license to make films that might not otherwise secure finance.

Consider how media organisations maintain, including through marketing, varietiesof audiences nationally and globally:  The marketing materials establish the status and reputation of film – positive critical comments on the poster, reference to the Palme d’Or award in the trailer etc.

There are specific and distinct potential audiences that the film is attempting to target through its marketing: The trailer references the BBC, BFI and the Palme d’Or. Discuss the extent to which these
references suggest an assumed education and level of media literacy in the target audience. The trailer explores specific governmental policy which also may suggest audiences will have an awareness of political and social issues in the UK. The only specific “star” identified in the trailer using intertitles is the director Ken Loach. Loach’s work whilst having broad appeal sits firmly within the niche of
social realism and candidates may discuss the extent to which the fans of his work are pre-sold based on his name alone.

Consider theoretical perspectives:
Power and media industries – Curran and Seaton Consider the extent to which the trailer is a
challenge to ideas set out by Curran and Seaton. The trailer seems to offer an experience that sits outside the logic of profit and power and may arguably also demonstrate a level of variety and creativity that does not reflect Curran and Seaton’s ideas about the impact of media concentration.
Candidates might also consider whether the trailer is able to offer a more adventurous production due to socially diverse patterns of ownership or (as above) Loach’s own pre-sold audience.

Straight Outta Compton:

Straight Outta Compton is a biographical film directed by  F. Gary Gray depicting the rap group N.W.As rise and fall in the troubled and dangerous society. The trailer was produced by Legendary Pictures and distributed by Universal Pictures. The film was both a commercial and critical success. It made over $200 million. It became the highest grossing music biopic of all time and was nominated for an Oscar for Best original Screenplay. The film made use of digital marketing opportunities. in August 2015 Beats by Dre launched a campaign to promote the film. People were encouraged to promote their own town as 'everyone is straight outta somewhere', by creating custom memes. The company also created a special edition of the wireless headphones. The #straightouttacompton campaign was the biggest social media campaign of 2015 across all platforms with 11 million website visits, 300 thousand Twitter posts, seven million unique visits and eight million downloads.

Interestingly, the names of the stars themselves, not the actors who played them, are billed. This would appeal to the older fans of N.W.A. However, younger iconic cultural significance of Ice Cube and Dr Dre within the Hip-hop story. The characters in the trailer are constructed in such a way as to encourage a young audience to identify with the way in which they are misunderstood by society, as is shown in the film. The selection of visual codes of clothing and expression in the trailer place the film within the sub-genre of music biopic. The selection of dramatic shots of action within the trailer, to highlight  the narrative, appeal to the audience and suggest the production values of the film. Audio codes including a voice-over establishing aspects of the narrative. The voice-over also establishes continuity between the scenes chosen for the trailer and gives promises of pleasure to the audience. There are also sound effects, including police sirens, suggesting tensions with authority and the recognisable sound of hip-hop music.

The films potential target audience consists of fans of the gangster/rap genre, including the American and global audience. This music genre has a well-established fan base, which can be maintained through the well-managed marketing of the film. In addition to the fans of the music, the film aims to appeal to a broader audience. Some of the trailers have been constructed to include discussion of the band and the music, reinforcing the iconic nature of the artists and their star persona. Fans of N.W.A, these may be an older audience who relate to the period of time when the band were at their height. An audience who may be attracted by the hype surrounding the film and and want to see it out of curiosity. Fans or those interested in the star appeal of Ice cube and Dr Dre and how they have been represented in this film. And finally young people who may relate to the 'real characters' and situations in the film, including the misrepresentation or urban youth.

Historical context: as film is set in the 1980s it gives a view of life at the time and links to historical important events related to racial tension

Social and cultural context: the film deals with how a specific social group is represented and how this is indicative of the cultural mood of the time in this part of America. The N.W.A were significant in terms of cultural change in that they became successful artists who broke out of the social restrictions or their communities,  offering a positive representation of ethnicity. However, thry have also been criticised for the misogynistic context of their lyrics and the controversial themes dealt with in the music

Consider theoretical perspectives: Cultural industries – David Hesmondhalgh Further explore the concept of profit in relation to the film industry and in this case specifically to the genre of biopic. N.W.A. offer considerable cultural significance but their story might arguably have been reduced to a profit making exercise by industries. Explore Hesmondhalgh’s idea that media conglomerates operate across a range of cultural industries by considering the way the film was released in conjunction with very successful (at least in the USA) music albums. You might also usefully introduce the idea that
this film has a very low risk for the producers. The musicians from N.W.A. are successful in their own right and offer a pre-sold audience for the product and the genre of musical biopic is familiar to audiences.

Newspapers- Daily Mirror + The Times- To finish at a later date 


Radio: Late night womans hour 

Industry-

Late Night Woman’s Hour is broadcast once a month, late at night, is presented by Lauren Laverne and features a number of female panellists. Each episode focuses on a particular theme relevant to its female audience e.g. ‘home’ and ‘forgiveness’. Woman’s Hour was first broadcast in the 1940s, so
it worth considering the historical and social shifts that have occurred since the show’s inception. The
original show reflects possible tokenism (a show set aside for women might imply all other radio content was oriented towards men). Late Night Women’s Hour features frank and open discussion, and demonstrates societal shifts and increased gender equality although some of the issues raised reflect the fact that society is not yet completely equal.

Consider the specialised and institutionalised nature of media production and the significance of economic factors to media industries and their products: Explore issues relating to Public Service
Broadcasting and consider the extent to which Late Night Women’s Hour meets the BBC remit
to inform, educate and entertain. Consider whether the broadcast is typical of products created for the BBC and explore the hallmarks of productions made for this institution. Consider the significance of license fee funding and compare this to the financial considerations of commercial radio e.g. would this broadcast be too “niche” for commercial radio? The broadcast has only female contributors, is made up predominantly of unadorned dialogue (without music, sound effects etc.) and the topic is explored using intellectual and specialised vocabulary. Learners might discuss why purely commercial institutions would be less likely to produce similar products.

Consider recent technological change and media production, distribution and circulation and the
impact of digitally convergent media platforms: The broadcast offers a number of ways to explore recent changes to the radio industry in relation to digital technology such as the profound changes that have been brought about by switching from analogue FM radio to digital audio broadcasting (DAB). Late Night Woman’s Hour has an 11 p.m. broadcast timeslot. Consider how this slot might limit audience share prior to DAB. Audiences can now listen on devices other than radios and download podcasts to enjoy at their leisure which means the time a broadcast airs live might be less significant. It might also be argued that DAB technology affords broadcasters more freedom. The
late night slot (after the watershed) allows broadcasters freedom to make challenging or controversial content in the knowledge that it can still reach audiences.

Consider how media producers maintain varieties of audiences: Lauren Laverne is an interesting host for a Radio 4 broadcast. She is more readily associated with alternative music (both from her career as a musician and her links with Radio 6 and BBC music festival coverage) than with Radio 4.consider the ways in which she might appeal to a wider range of listeners. Laverne’s relative youth and reputation for being outspoken and irreverent might be seen as a deliberate attempt to court the relative controversy (at least in comparison to other Radio 4 content) surrounding some use of bad language and the content in some episodes of this show. Laverne’s credentials also extend to being a published author. Consider the extent to which Late Night Woman’s Hour has been designed specifically to suit Laverne’s persona rather than being a broadcast she has been asked to present. Some other radio presenters (often white males) have carried a status that means their personalities dominate broadcasts (Chris Evans.); might Laverne be considered in the same way?

Consider theoretical approaches: Power and media industries - Curran and Seaton
It could be argued that Late Night Woman’s Hour challenges the idea that media is controlled by a small number of companies driven by the logic of profit and power.Whilst the BBC is inarguably a large, significant company, the nature of PSB (discussed above)and the content of the broadcast seem to be at odds with the “logic of profit and power”. Consider the funding of the BBC in comparison
with commercial organisations. Candidates might explore the extent to which the license fee frees BBC producers from the pressure to generate profit and the way in which thisimpacts the content of their broadcasts.  Late Night Woman’s Hour (or at least the fact that it is available on podcast) might also be used to support Curran and Seaton’s idea that socially diverse patterns of ownership help create conditions for varied and adventurous productions.


Audiences -

Social and Cultural Contexts: A gendered discussion of the broadcast is likely to benefit from some context regarding the changing roles of women in the UK over the past 70 years. Woman’s Hour was originally broadcast in the 1940s and candidates might consider how different life in the UK is for women now (possibly focusing on shifts from the 1950s housewife towards the independence of young women in the 1960s and comparing this with present day). Candidates may use this information to consider theway that audience responses to, and interpretations of, media products reflect social and cultural circumstances. Is there now an audience for a late night talk shown aimed at women specifically because of their social status? How might original 1940s women have responded to the broadcast?

Consider how audiences are grouped and categorised by media industries, including by age, gender and social class, as well as by lifestyle and taste: The audience for Radio 4 can be categorised
in terms of age, social class and expected levels of education. Candidates might consider if there is any institution more likely to target a highly educated, elderly, upper class audience than Radio 4. Then consider the extent to which Late Night Woman’s Hour challenges the established audience of this channel. Some examples of these challenges to the Radio 4 audience might include the obvious gender bias, the presence of Lauren Laverne and the nature of the content. The gender bias of the show could be explored by considering the traditional male audience of Radio 4 and the likelihood that these men would listen to the show. Similarly the presence of Lauren Laverne (with her indie music background) and the “edgy” content of the show could be explored against the traditional demographic of Radio 4.

Consider how audiences interpret the media, including how and why audiences may interpret the same media in different ways: Candidates might consider a male response to the content of the show. They might  consider how many other media texts are composed of only female members (even
Loose Women for instance has male guests) and how this might be unsettling or alienating for male listeners. They might compare this to a female audience and question whether or not this same gender composition might be appealing to some female audiences.

Consider theoretical approaches: Reception theory - Stuart Hall
Discuss possible different readings of the broadcast. There may be some particularly interesting oppositional readings (largely in relation to a perceived masculine response). A gendered approach may consider the lack of male representation. Candidates might compare this to preferred readings along similar gender lines. They could be encouraged to consider how often this female dominance
is reversed and the ways in which it is often likely that males will dominate a media text. In 2014 the BBC famously introduced a ban on all male TV and radio panels to offset this dominance. Candidates might use this as a discussion point to consider preferred readings of Late Night Woman’s Hour and why it might be particularly welcome to some audiences.

Video Games: Assassins Creed III Liberations-

Industry:

Assassin’s Creed III: Liberation, part of the very successful games franchise, was developed by Ubisoft and released on October 30 2012, along with Assassin’s Creed III. The game was originally exclusive to the PS Vita but was later (2014) released in a modified HD version across a large range
of consoles and platforms (including PS3, Xbox 360 and Microsoft Windows). Video games are a relatively new media form. Consider the exponential growth of this form since the 1970s, the rapid technological development, the construction of “the gamer” and the difficulty of regulating or monitoring the impact of such a fast paced industry.

Consider processes of production, distribution and circulation: The game was released on the Sony hand held device PlayStation Vita. It was developed by Ubisoft and released alongside Assassin’s Creed III on the PlayStation 3. This simultaneous release might be discussed in terms of an attempt to have maximum impact on the three major markets for console and video game release (Japan, North America and Europe). In terms of production the game was a multinational development which is typical of game production in larger studios such as Ubisoft.

Consider the relationship of recent technological change and media production, distribution and circulation: The ways in which the PS Vita was attempting to tap into the increasing success of mobile gaming (smart phones, tablets etc.). The PS Vita was designed with many features usually
associated with smart phones (touchscreen as well as Wi-Fi, 3G and Bluetooth capability). The game itself as part of a well-known and popular franchise may be seen as an attempt to bring high game production values to the burgeoning new mobile gaming arena. It is significant that the game was originally exclusive to the PS Vita but was later (2014) released in a modified HD version across a large range of consoles and platforms (including PS3, Xbox 360 and Microsoft Windows). In terms of distribution these versions of the game could be purchased over the internet using such outlets as Steam, the Playstation Network or Xbox Live Arcade.

Consider the regulatory framework and the role of regulation in global production, distribution and circulation: Video Game regulation differs around the world but is becoming standardised across many European countries. In the UK until July 2012 video games had been regulated by the BBFC. They are now largely regulated by the Video Standards Council (VSC) applying the PEGI system (Pan European Game Information). The PEGI system can be discussed in terms of its process
(age ratings as well as visual descriptors of content) and also its attempt to harmonise the protection of children across Europe.

Consider the impact of digitally convergent media platforms on global production, distribution and circulation: It is significant that the Assassin’s Creed III: Liberation hand held game could be linked to the full PS3 console version of the game (owning both versions would unlock additional game
content). This use of convergence is relevant in terms of promotion/marketing and circulation. The internet/Wi-Fi functionality of the PS Vita allows users opportunities to download additional content (DLC) such as weapons, characters and “skins” or outfits.It also affords users the chance to engage
in multiplayer versions of the game. These features promote gamer engagement and identification with the game.

Consider theoretical perspectives:
Regulation – Sonia Livingstone and Peter Lunt- Consider the impact of convergence and diversification in media on regulatory practices. New technology (in this case the convergent PS Vita with access to internet etc.) opens up new opportunities and arguably new risks that complicate regulation.

Cultural Industries – David Hesmondhalgh: Use Hesmondhalgh to explore the way in which
cultural industry companies might attempt to minimise risk and maximise audiences. The game is part of an established franchise with a large fan-base. Producers are clearly attempting to harness the popularity of this franchise to encourage sales both of the game itself and the hand-held device the PS Vita. The video game industry offers many comparable examples of attempts to use software (games) to sell hardware (games systems and platforms).


Audiences:

Social and Cultural Contexts: Considering video games in relation to gender issues may be a useful way to explore them in terms of social and cultural significance. The representation of female characters, under-representation of women in video game development and an assumed minority
of female video games players are areas that could be explored. This game has a female protagonist and it may be useful to consider whether she subverts or reinforces expectations of female characters in games and how audiences may respond to this.

Consider how producers target, attract, reach, address and potentially construct audiences:
There are many aspects of the game that are significant in relation to audience  targeting and construction:  The game is for a hand held device. This may imply it is aimed at a more casual or mobile gamer (a discussion here about “on the go” gamers playing mobile games versus traditional console and PC gamers may be useful). The game features a female protagonist. This is unusual in the franchise and may be considered in terms of appealing to a different demographic (possibly linked to the “on the go” gamers discussion above). The existence of a female protagonist may also be discussed in terms of constructing audiences by asking whether this game might offer a platform for female gamer identification.

Consider theoretical perspectives: Media effects – Albert Bandura
The game received an 18 rating from PEGI due largely to violent content. Consider audience response to violent videogames in terms of Bandura’s arguments about observation and imitation and vicarious consequences. Explore the “Bobo Doll Experiment” and discuss how relevant this
is to the audiences targeted by the game. Are audiences likely to imitate the behaviours portrayed in the game? What might be imitated?
A useful discussion might be had in relation to the active role adopted by a player of video games. Question whether Bandura’s conclusions are invalidated or made more relevant if audiences are choosing to commit acts of violence in a video game rather than watching/imitating violent acts.

Fandom – Henry Jenkins
Discuss the significance of fan culture (and in particular online fan communities) when exploring the success of video games. This discussion may focus on the way video games have evolved closely alongside the internet. Video games offer social experiences (online multiplayer options) as well as communities outside of the core game experience. Fans may be passionate exponents of a game or
the harshest critics and can often impact the development of games directly. The Assassin’s Creed franchise has a strong, well developed fan-base that could be researched and discussed in relation to Jenkins’ ideas.

Media Theories

 Essential Theories:

Theories of Media Language:

Semiotics theory- Barthes- the idea that blogs, vlogs and websites convey their meanings through a process of signification

Structuralism- Levi-Strauss-  the idea that binary oppositions play a fundamental role in the production of meaning in online products

Postmodernism- Baudrillard- the idea that, in the online age, the boundaries separating the real world and the world of the media have imploded or collapsed

Theories of Media Representation:

Theories of Identity- Gauntlett- the idea that online media products provide users with an array of resources with which to construct their identities

Representation theory- Hall- the idea that online representations are constructed through media language

Gender performativity- Butler- The idea that gender is a performance: a series of gestures, actions, dress codes that construct an imaginary 'man' or 'woman'.

Ethnicity and postcolonial theory- Gilroy- the idea that online products can create a sense of diasporic identity, and can challenge or reinforce colonial discourse

Industry Theories:

Cultural industries theories- Hesmondhalgh- Media organisations seek to maximise profit and minimise risk through vertical and horizontal integration. The largest companies/conglomerates now operate across a number of different cultural industries. The democratising effects of the 'Internet Revolution' have been over-exaggerated, and are difficult to properly diagnose.

Regulation theories- Livingstone and Lunt- Highlights the struggle in UK media regulations between the need to further the interests of citizens (by offering protection from harmful or offensive material) versus those of consumers (by ensuring choice, value for money, and market competition). Critiques the increasing prevalence of global media corporations and digital technologies, which have made traditional approaches to media regulation ineffective.

Ownership Effects: Curran and Seaton- The media is controlled by a small number of companies and proprietors that make products to create profit. Profit-driven media is softened to create mass audience appeal; Public Service Broadcasting (PSB) provides impartial news, serves minority audiences and champions unity through inclusion. Media adversely affects media content, whilst diverse ownership creates diverse products.

Audience theories:

Cultivation theory- Gerbner- Media products can shape audiences' attitudes and perceptions. Audiences can be led to accept established power structures and mainstream ideologies. Exposure to repeated patterns of representation over long periods of time can influence and cultivate the way in which people perceive the world around them.

Media Modelling Effects- Albert Bandura- Audiences can acquire attitudes, emotional responses and new styles of conduct through modelling. Media representations of violence or physical aggression can lead audience members to imitate the behaviour. Violence is an endemic feature of media content.

Fandom theory- Jenkins- appropriate media texts, producing non authorised readings. Fans are active participants in the construction and circulation of textual meanings. As a result of digital technology, fans and media makers have converged. Fans use participatory culture to effect wider social change.

'End of audience' theory- Shirky- the idea that in the digital age we have all become producers, as online media and digital technologies enable us to 'speak back' to the media in various ways. Passive audiences are dead.

Reception theory: Hall- Media texts are encoded with preferred readings which the audience decode. Audiences are active and can read media texts through dominant, negotiated or oppositional reading. Media reinforces dominant ideologies and cultural hegemonies.

Gender theories:

Feminist Theory- Van Zoonen- Men and women's bodies are sexualised in the media, but codes differ. Women's sexuality is represented as submissive and passive, focused on disempowerment. Men's sexuality is based on strength, power, force, focused on empowerment.

Intersectionality- Bell Hooks- Gender roles are constructed, not natural. Patriarchy dominates perceptions. Social expectations for men and women to conform to the patriarchy. Society is a network of different prejudices and oppressions, not just gender, but also race/ethnicity, religion, culture, class.

Life On Mars post modernism Text

To what extent can S1 episode 1 of  Life on Mars be seen as a postmodernist text ? 

The content below is not prescriptive and all valid points should be credited. It is not expected that responses will include all of the points listed. Responses are expected to apply knowledge and understanding of postmodernism to the set product studied. Responses in the higher bands will explicitly engage with the debate in the question around 'to what extent' the set product is postmodern and draw conclusions that are substantiated by effective reference to examples, responses in the middle band will show some engagement with this debate and use examples in a straightforward way to support conclusions, whilst responses in the lower bands may not engage with the debate in the question, may not draw conclusions that are substantiated by reference to examples, or may simply describe aspects of postmodernism and/or the set product. There is no requirement to argue that the product is postmodern; candidates might equally argue that the product is not postmodern at all, or that it is only postmodern to a certain extent. Various conclusions are acceptable, provided they are substantiated through analysis of the set product.

AO2 In applying knowledge and understanding, reference will be made to some of the following characteristics, qualities, conventions or features associated with postmodern products
:  reflexivity and anti-realism
 bricolage
  hybridity
 parody and/or pastiche
 intertextuality
  postmodern irony
  implosion
 postmodern identity
 hyperreality
 simulacra.

1. (a) In applying their understanding of postmodernism to Life on Mars, responses may, for example, refer to some of the following:
 the way in which the programme blurs the boundaries between fiction and reality (Has Sam actually gone back in time? Is this a fantasy etc.?)
 genre hybridity (e.g. the way in which the programme combines the conventions of the crime drama with those of science-fiction)
 the use of parody and pastiche (e.g. the way in which the programme can be seen to parody popular crime dramas of the 1970s such as The Sweeney)
 the use of intertextuality (e.g. the intertextual reference to High Noon through the poster that is seen on the wall of Gene Hunt’s office)

Kiss of the vampire

Kiss of the vampire

Kiss of the vampire is a 1963 horror film that is based on the subvert genre of vampire Gothic horror. Its a horror film intended to be the new franchise to the 1958 film Dracula. Vampire films are linked to sex and romance generally. Back in the 1960's, vampires were related to horror and violence, while in recent times vampires are more related to sexual actions and thrillers (non scary). The use of a ‘painted’ main image is highly conventional of films of the period and links to the poster for Christopher Lee’s Dracula, but the fact that it’s in colour anchored by the text In Eastman Color connotes that this is a modern telling of an older story.

Suspense is created through the enigmas surrounding the connoted relationship between the male and female vampires emphasised by the “kiss” of the title and the fate of their two victims Barthes’ Hermeneutic Code. Barthes’ Semantic Code could be applied to images of the bats and their conventional association with vampirism and horror in general.

The 1960s is often seen as the start of women’s sexual liberation, aided by events such as the introduction of the contraceptive pill in 1960. More women than ever were entering the paid workforce and sixties feminists were campaigning for equal pay, an end to sexual harassment and more equality between men and women in wider society. In America, equal pay legislation was passed in 1963. ‘Older’ stereotypes of women as passive victims of men and more modern ‘male fears’ of women challenging male dominance could both be seen to be encoded in this film poster

Stuart Hall’s theory of representation – the images of a castle, bats, the vampire’s cape and dripping blood form part of the “shared conceptual road map” that give meaning to the “world” of the poster. The audience is actively encouraged to decode this familiar generic iconography. David Gauntlett’s theory of identity – perhaps the female vampire acts as a role model for women struggling against male oppression or desperate to be seen as the equals of men, whatever the narrative or environment.

Print adverts- 1950's tide advert

Tide advert

The representation of gender in adverts in 1950's show women were defined by their domestic role as wife and homemaker. Men at this time were seen in a patriarchal role as experts in all things, even the home, which was not their domain.  Following World War II, women were seen as more respected. Going into the 50's, women came back into a stereotype of being a housewife. The presentation of the housewife in the poster is evident of the ideal woman's image in the 50's: Glamorous, strong, proud and effective at her stay at home role. The make up and the defined facial features of the housewife in the poster are evident of this idea of a "perfect housewife" and what some may relate to the ideal woman in hollywood.

This advert was introduced in the middle of the 50's, when a historical technological boom was occuring. With America coming out of WWII in a stable and good position, products like Tide became much more desired and available due to the boom of technology showing America that products were progressing and they should too. This can be liked to the idea of the American dream as people all around America dreamed of being able to afford products like this and being able to provide the best quality for themselves and their family.

The adverts target demographic is middle-upper class women who want the best for their family. This is shown by the use of exclamation marks and direct vocalisation to the demographic, making sure there's no room to mistake who the Ad could be aimed at and directed to. The line "No wonder you women buy Tide" and "Tide's got what women want!" show that the target for this product is meant to be for women as they were predominantly took the stay at home role and never adverted from this stereotype as although the work ethic and usefulness was shown during WWII, the hierarchy was never changed or tarnished leading to the stereotype of females staying at home not being subverted until many years later.

This advert is a hard selling advert. It uses extremely bright and bold colours to bring as much attention to the advert as possible. The theme of love is evident in this advert with the poster girl hugging the product with hearts drawn above the sign of affection. This links to Barthes theory on semiotics, as the signs and symbols of love and affection link to the idea that buying and using this product will make you fall in love with the results.

Statement of Aims and Intentions

Statement of Aims and Intentions 

For my brief, I have chosen to work with a Television sequence, more specifically a investigation in a crime drama. My idea going into this assessment was to use my knowledge of crime drama and comedy to create a short and engaging piece of work. My target audience for this assessment will be 16-35 year olds, using intense drama and relatable characters to draw them in.  My theoretical perspective will aim to be seen almost as a picture frame, to include and exclude ideas and interpretations on the piece. I want the audience to see the intelligence of the main character and the way how he operates, using gut instinct and quick wits to figure out a crime. I want the audience to be able to see characters become established in the 3 minutes and be able to relate to and understand what the characters may be thinking and how they operate. The idea is for the antagonist being presented as a villain who can only be beaten by his own wording slipping up, presenting the antagonist as an intelligent teen who is able to avoid charges if not for his own actions and slip of the tongue. 

I will construct different representations of individuals by playing of the idea that the crime could be seen as a hate crime. For example, the idea that a black man  could kill a white man based on some racially sensitive comments that went out of hand or potentially the other way around being a white person killing a black man for the purpose of a racially charged crime, rather than being a retaliation to a hate crime. This will be a direct link to issues of events of today. I will target my intended audience by using comedy to relate it more to the younger end of my intended target audience, while using the intensity and tension that could be broken by a pin-drop to relate to my older audience.

My production will conform to the set industry text in many ways. The main way it will conform is by fitting into the given guidelines, focusing on having a varied cast representation wise, making it so that the work may feel as authentic and relevant as possible. Also, I will aim to include as many different techniques and filming effects as possible without it becoming over-edited and unrealistic. I aim to tell the story of my assessment through dialogue and facial expressions, instead of editing and after work as I feel as if my style suits more to performance rather than editing. I want to include some key media aspects into my work such as postmodern reflexivity, with the film jumping from black and white to a subverted colour style to symbolise that the film is a spin off of film noir.
 Also, the genre of my TV show fits more into storytelling through acting than editing on a visual aspect. The TV channel I have decided to work with is Channel 4. The reason for this is because it attracts the demographic that I plan to (16-35).                    

The Bridge

The Bridge Season 3 episode 1 analysis 

In The Bridge S3:E1, narrative elements are used to position audiences and create audience pleasure, identification and responses. The use of the main enigma is the best example of this. The main enigma for this episode and season is who the killer is. They paint multiple suspects so that the audience cant assume and predict who the killer is from the get-go, leading them on and keeping audience pleasure high as a crime drama fans mainly focus on the mystery as their way of staying intrigued. The show's structure positions the audience along for the journey, starting with the body discovery, leading to the suspects being painted and the investigation taking place, using small subplots throughout to keep the audience from getting stale from the crime. The main plot of the show focuses on the murder of a woman who was attempting to rid of the traditional nuclear family in Denmark, a country traditionally more conservative and traditional: against the idea of families that have foundations from gay parents.

In The Bridge S3:E1, genre codes are used to position audiences and create audience pleasure, identification and responses. The show uses traditional procedural elements to create audience pleasure and responses. It doesn't stray too far away from the traditional crime drama aspect, with a murder being committed and the body just being found, keeping not only the characters in the show but the audience also intrigued and interested in the goal of trying to find out who committed the crime. The show plays off character stereotypes in an attempt to create some form of identification with the audience. The main stereotype played on in this episode is the idea that people from Denmark are very traditional, with people from Sweden seen as being hipster and modern. An example of this is how the main character refers to the character (who's gender they don't know) as "hen"- a way to keep both gender options open in the air, with the Denmark associate chuckling- almost disrespected that the main character didn't refer to the mystery killer as he or she.

In The Bridge S3:E1, technical codes are used to position audiences and create audience pleasure, identification and responses. The use of binary opposites in terms of lighting being predominantly artificial or dark and bleak is key as it shows the  dark and almost dismal atmosphere of the world the show tries to convey, creating responses from the audience to react from this. The shows seems to be mainly on a constant mid-shot, focusing on 2-3 people in a frame so the scene doesn't become oversaturated.  The mis-en-scene of this episode is a key way of creating audience pleasure. They place one of the murder suspects in a dark room, feeding reptiles in a slow pace sadistic manner, following it up with a direct realisation he could be a suspect by having him put a woman's necklace on. Audio codes, specifically  music, is used to create the perfect atmosphere to position the audience in. When the explosion occurs, the music hits a stop and turns into a eerie buzz almost, making the severity of the crime become more clear and taken on seriously, especially after the close up of the blown off leg is shown.

In The Bridge S3:E1, representation of the character is used to position audiences and create audience pleasure, identification and responses.

Life on Mars

Life on Mars

Life on Mars is a crime detective show on BBC. its based on Sam Tyler, a detective who gets hit by a car, transporting him back 33 years into 1973.


The shows plays with multiple enigma codes: the main one played with is proairetic code, otherwise known as the action code. The main one that comes to mind is the revelation that the protagonist wakes up in 1973 with no recollection of how this could have happened, claiming to own a jeep, a "military vehicle" in the 1970's. This plays into the heremunic code, a question that is posed that is used to keep the audience hooked and keeps them watching. There are many questions to answer here: How did he end up in 1973? Is there any way for him to connect back to the real world? Will his actions in this alternate timeline effect the world of his current timeline?

The representation of race in this show is intriguing. There is a lack of representation of other races in 1973, with white males and females taking up a majority of the screen time and the area. The few characters who do represent race lay on the idea heavily. For example, the bartender from Jamaica is very heavy with his accent when talking to customers. However, when the protagonist approaches the bartender, he drops the accent to show that he's to exact same as everyone else but plays the accent up as an act to attempt to fit in with the worlds perception of him a this time. This can be linked to Enoch Powell's speech on "rivers of blood": Mass immigration to the UK and how it be very negative and a bad move.

The representation of women in this show is negative. They are presented primarily as sex objects, seen not fit to work in a police force as they are seen as too empathetic and kinds for said job. This is disproven directly by Annie, who is smarter than majority of the police force, with a degree in psychology to her name yet is treated as inferior and not as valuable information wise. Woman are presented as sex objects specifically by the police force, flirted with and almost seen as a toy that can be used to tempt men in the 1970's: Like they have next to no purpose other than to be used in unethical ways.


The them of an audience surrogate is played with a lot. The police are meant to represent our confusion and shock as the protagonist storms into the office claiming it belongs to him and that the desk he sat at in 2006 is no longer present. The idea that this alternate world is so different yet similar in terms of roles played is intriguing. He joined this alternate timeline still a detective, just of a lower rank, this implies he could be apart of a dreamworld but then is shown to have cognitive ideas and thoughts about the world, with the "real world" attempting to contact him through various ways like the TV.

Luther and The Fall Analysis

Luther and the fall 

Luther and the fall are crime drama shows that both take different and varying approaches to how they present their work. For example, both have very different directions when looking into Pre Credit sequences, especially in regards to action build up and technical codes.

Pre credit sequence

The pre credit sequence follows Luther chasing a man in an abandoned factory. This shows Luther as being persistent, striking fear into the man who he chases. However, the personification of Luther  is a negative one, showing no sign of him being a detective at this point and more so of him being a criminal. The camera is ridged and frantic as it follows Luther. This throws the audience right into the action and brings a fast and  upbeat feel to the scene In comparison, The Fall focuses on the villain who seems to be the main antagonist, stalking a solicitor. The slow, methodical pace of the scene,as he does odd things like laying lingerie on the bed and eating a orange leaving the skin on the counter. The camera is still and direct on the antagonist, not moving frantic and taking precaution to follow the actions of him, creating the characters psyche and thinking methods. The lighting of the scenes are both darkened and cryptic in a way. They make sure to avoid being well lit to set a scene of a crime drama: the cold bleak world of crime

Characters

Luther is presented as a man who puts his job first: after being put on hold for a crime he was being investigated on, he was applauded on his return to the force purely based on his work ethic and success. His personal life is rough: he's going through a divorce and doesn't know how to handle his emotions. In contrast, the criminal of episode 1 is a young female who was bound for success by a young age: making precise and calculated moves to secure her alibi for the murder: one Luther cant prove. The fact that Luther is determined to drag her down fuels her and gives her a new target for her sadistic crimes. This makes the audience identify with Luther as he is a detective with personal issues holding him back.

On the other hand, The Fall presents the criminal as the more relatable and identifiable character. They do this by showing us his personal life: he has two kids and a loving wife, has a close relationship with his family and the people who work with him. This is a disturbing feeling of identification as he's also shown as a killer who stalks and rapes his victims. The fact that he targets brunette successful females shows he has a trope to follow and presents the victims as strong. The villain is presented as having a double life: the iconography of the shot where he stares into the mirror is a sign of his double life.

Genre + Narrative

Luther is presented as a crime drama and horror, showing signs of intertextuality.  Luther at first focuses as a whodunnit, with Luther at first hearing the case and trying to create links to the criminal. He figures out the villain fast, turning the show into a how they done it and why they done it. The plot focuses on this storyline while he also has to deal with his declining marriage and personal life becoming a mess.

In contrast, The fall is presented as a crime drama thriller that never shows signs of a whodunnit and instead focuses on the protagonist figuring out how to catch the villain that we already know of. His motives are unclear but his actions and  personal life are very clear and presented as such. The show isn't violent and is focused on the character development of the villain and the way he brings himself to commit the crimes. The episode is clear in presenting this villain as a long standing one: the main antagonist of the series.

music video examples of ethnicity

J cole- G.OM.D

In this video, the main theme is slavery and people fighting against the power. This is shown off in the 1st 20 seconds of the video showing a clear distinction between the slave workers and the slave owners. The slave owners kicking the slaves shows the hierarchy of the time. J Cole is presented as a slave with some form of power in this video. He, unlike other slaves, is allowed in the house to freely roam and help the slave owners. This could be because his ethnicity is mixed which helps distinguish him form the other slaves. They make sure that Cole is still shown as somewhat of a slave, being slapped in the face by an owner with a chilling grin on his face. The use of ethnicity to show the difference between roles in this video is key as is keeps a clear line of power and freedom in an older time period. The video shows that J Cole has a clear feeling of sympathy towards the slaves. He attempts to create conversation or show acknowledgement to be shoved away and looked at as the same scum that rule over them.

• Main theme of video is slavery
• Performance video
• Narrative is Cole is freeing slaves from the inside 
• Set in older America when slavery was present
•  Clear distinction between slave workers and slave owners
• Cole shown as a slave allowed in house due to him being of a mixed ethnicity 
• Cole still shown as a slave: slapped in face 
• Slaves look at Cole as some sort of scum due to him being allowed in house
• Close up of troubled slaves
• Slow moving close ups of slaves as they prepare 
• Coles star persona still shown even in bleak setting
• Non sexualised clothing shows tone of video 
• Main message is to promote power of black people and slaves 
• Shows that all people should be treated right or fighting and conflict will never end

Childish Gambino: This Is America 

• Performance video based on modern day America
• Trousers link to old confederates uniform
• Uses over exaggerated facial expressions and dances throughout 
• Takes careful care of gun- wrapping it in red cloth
• Takes little to no care of body- drags it across ground
• Links to gun violence in America: people care more for guns than lives
• Uses choir to draw distinct comparison to Charlston shootings in 2011
• Once again shows gun cared for and bodies left to lay
• Uses black child dancers to distract viewer from background 
• Links to America today: care more for performances than the real issues that stem from them
• Takes out blunt to smoke: links to weed legalisation issues in America
• 17 second pause of no music: subtle link to 17 victims in Florida shooting earlier this year 
• Public record the violence and chaos: show they care not for lives but for content 
• Ends with Gambino running away from society 

Film Trailer Evaluation

Film Trailer Evaluation

To begin with the process of making our film trailer, we decided on the genre being comedy. The main reason we chose comedy over our other option, horror, was that we felt as if a comedy would be easier for us to film and felt like the more natural idea for us to work with. The main appeal comedy had was that it created a more energetic and active filming process. We felt as if going into a comedy we would have fun filming and editing the trailer. The name we deiced on was "Busting a nut-job". We went with the tagline of "Theres more to come". We felt like this name gave the comedic tone right off the bat to the audience, letting them know what they were getting into. We had inspiration from the film "Get hard" which had the same playful title. During filming, we used wide shot angles for the most part. We decided to do this because it was a simple shot to pull off for the most part. However, in the last scene we used different camera angles, switching it up every few seconds during the clip to add dramatic suspense to the joke and to add more authentic feeling to the reaction and to the joke itself. The clip captured each characters reaction perfectly, showing that some react more shocked while others more puzzled. During editing, I used the Imovie programme to edit the clips.  We were able to cut out parts of clips that were not meant to be in production and from there added a background track and over 1:30 of clips. The background track we used was 'Bad to the bone' as it fit with the goofy idea of the film. We used editing to make the final scene feel more special by cutting the track short as soon as the last joke is made. This adds dramatic effect.

The trailer is able to appeal audiences and promise pleasure by using short and snappy jokes, creating small laughs repeatedly rather than using long and dragged out jokes to do the same thing. This promises not only good comedy but lets the audience know what they are getting into: a film that takes social boundaries of comedy and breaks them. This entices people to watch a more edgy yet creative film. The film encourages repeat viewing and fandom by using the tagline "theres more to come" hinting at a possible sequel and meaning that the established characters have more than just this film to develop characters. To create a fandom we created characters that are relatable to a viewer of 16-24, who normally partake in fandoms. With this in mind, any group of people can appeal to a specific character and expect from from said character in future instalments.

When making the poster, we focused on not only establishing characters from the get go but also the comedic appeal and colour concepts. The victim of the film lying down, the 'douche' standing up acting like he owns the room and the sarcastic character standing up on his phone, proving that he is ironically not doing the stupid hand gesture that his character technically should be doing. This adds to the film dynamic and gives a good idea about the characters. The use of fake names in the shoutouts, (clearly fake) shows how silly the promotional trailer, making the film hard to teel when any element of seriousness will be used at some point. We avoided adding anything to the plot of the story in the trailer as we feel that doing so would spoil the film for the viewer if they see the trailer.