Research and Planning

PLAN:

1. COVER LINES: The British Rose - An Interview with an actress smashing stereotypes
2.  Christmas is Coming
3. Under the Sea - Underwater technology and use of natural resources in movies
4. I see a little silhouette - the art of the shadow - interview with shadow artist
5. The New Revolution - Breaking the Binary: gender in 2019 

Which of your main characters will appear on the front cover of your magazine?

• All 4 of my main characters will appear on my front cover

What image or images do you need for the contents page?

• I need on location shots, portrait shots of 3 different drama characters and drawings of key film posters

What image or images will you use for the double-page spread? Remember, you need seven different original images across the print brief.

• A group shot of 4 different protagonists, as well as portrait shots of the women speaking

Write a shot list for the photoshoot. Make sure you plan a variety of camera shots you will look to capture - medium shots, close-ups etc.

- Shot List [DRAWINGS ON PAPER]

What costume, props or make-up will you require for the photoshoot?

- Rose Petals

- Flowers

- Balloons

- Magnifying Glass

- Glasses

-Umbrella
- Christmas Lights

- Natural makeup, Potential References to popular teen movies of the last few decades

Print Tutorial: Learner's Response

Daisy-Leigh

Learner response on Statement of Intent feedback: Posted.

New Statement of Intent draft submitted: Submitted – but not yet marked (sorry!) Although it may be worth adding a section on this print planning and re-submitting (agree word count may be an issue).

Print planning discussion: Absolutely superb – already planned with sketches looking great.

On track to meet deadline: Yes.

Next steps:

·     Identify three things you need to work on in the next 10 days.

- Complete the Research and Planning log task

- Write the analysis for the double spread feature

- Take on location shots for my contents page

·   Date for Statement of Intent submission: Monday 9th December (Negotiating! Need to see if word count will be an issue)

Statement of Intent: Learner's Response

Feedback:

• This is a great concept with some absolutely superb discussion. The vast majority of the writing is in itself top-level but you are stuck on the level below due to the length (overlong) and lack of organisation and clarity.
• Perhaps use bullet points, subheadings or similar to organise your ideas into sections and also cut the word count? It’s just a massive lump of text currently!
• You need a brief summary at the beginning of the basics of your show – title, narrative summary/log line etc. You’ll have done this already on the TV drama pitch document.
• In the statement as a whole, you address the key concepts very impressively – language, representation and audience are all covered in detail. The issue is organisation and word count – could you divide into sections and perhaps use bullet points in places to cut the word count?
• One comment on audience – your initial discussions of audience do not feel like they meet the ‘family audience’ specification of the brief so perhaps look at this. I think you need to make the family element clearer both in terms of how your concept matches the genre and also the family target audience.
• You are missing one element in the statement of intent mark scheme – digital convergence. You need to cut down rather than add but could you add something about using social media to develop some of the issues you discuss?
• Culture magazine planning is excellent but perhaps needs organising into one section? However, it is fine to make references to it in other areas of the statement.

Three Improvements

• Lower the word count- cut out parts that are irrelevant
• Restructure! Add subtitles and bullet point key aspects
• Add a few sentences concerning digital convergence - Youtube, #'s, Spotify

Pre-Production Tasks

Mise-en-scene

• Costume

RIVER: blue, cool toned colours - androgynous style with clear 80s influence

FLEUR: Green/Natural colours, clear 90s supermodel influence, natural but atypical makeup choices

BELLE: Black/Pink colours, soft makeup choices with strong modern clothing choices- stark contrast from androgynous choices and feminine clothing

MONET: yellow, autumnal outfit choices, very artistically influenced style with feminist references throughout, statement pieces and warm coloured makeup

ANTAGONIST: all black, shapeless style that creates strong silhouettes with barely any notable brands.

• Lighting

NATURAL LIGHTING: Filming using natural light where possible to create realism, back lighting for ANTAGONIST scenes to add to the ambiguity of their character

COLOURED LIGHTING: using coloured lights for 'power shots' within the trailer, add to the Channel 4 drama brand and also the postmodern perspective for the show. 

• Props

RIVER: Umbrella, Laptop, Phone

FLEUR: Flowers, Notepad, Phone

BELLE: Lip gloss, Mirror, Phone

MONET: Paintbrush, Sketchbook, Phone

• Sound

DIAGETIC: Traffic, People talking in the background, Vinyl Playing music, Phone Calls

NON-DIAGETIC: Soundtrack[ New Heroes - TEN, River - Bishop Briggs, Bad Blood - Ministry]

Script
Shot List

Preliminary Task: Learner's Response

Type up your teacher's feedback in full plus a summary of the comments you received from other students in the class.

• Interesting camerawork throughout and creative editing (split screen) very 'C4 Drama'
• Speeding up people walking needs to be 'time-lapse' fast or nothing. Here, I don't know why you sped everything up- a slower pace to communicate the narrative surely would've worked?
• Freat font for title.
• Voiceover good but rushed!
• Audio levels were too loud
• Edit was too quick- should be slower
• Split Screen and ending shot communicated the genre and feel greatly.

Using a combination of your own reflection on the preliminary exercise and the feedback you were given, write three WWW bullet points and three EBI bullet points for your TV drama scene.

WWW:

• The font used, and overall feel of the trailer was extremely on brand for a Channel 4 drama.
• The voiceover was clear and had a lot of potential
• The characters looked their age, and the settings used fit the overall concept of the drama.

EBI:

• The audio levels matched- and were more appropriate
• The edit wasn't as rushed- take your time with editing and composition
• Timelapse speed for montage rather than only slightly sped up

How effectively did you complete the objective you laid out in your mini preliminary exercise statement of intent?

• The concept was clear, and the script was communicated well however the phone call was unclear and the overall timing was mismatched meaning some aspects of mise-en-scene and the overall scene idea were ignored or poorly executed.

What have you learned from the preliminary exercise that will help you in the actual coursework project?

• That I should edit my work slower than I perhaps may think- as well as keeping the C4 Drama brand obviously and noticeable throughout my production. I also think I need a wider variety of shots and to include a voiceover as well as a backing track may make the concept much clearer.

Now you have completed the preliminary exercise, will you change anything in your actual TV drama trailer? This could include narrative, character and script or technical elements such as mise-en-scene, camerawork and sound

• I think that overall I will keep my concept, however I will perhaps keep the ending shot and implement it into my trailer as well as highlighting character differences more explicitly within my camerawork and mise-en-scene choices. I feel as if the characters weren't recognisable and the static lighting made it difficult to communicate the post-modern feeling I aim to present with my actual trailer. I also will be conscious of audio levels, and ensuring that diagetic and non-diagetic sound flow together instead of being disjointed and amateurish.

Preliminary Exercise - Family Scene

FINAL VIDEO

State the genre you have chosen for your TV drama - family or crime drama.

• Family

Choose three TV dramas similar to your concept and watch the trailer and one scene from each. 

• Euphoria:  Clear use of lighting, a juxtaposition of close up and medium shots for effect, the 'power shot' uses dark lighting and mise-en-scene to capture the character, as well as the music fitting the atmosphere of the scene. The use of colour and 'background noise' as a way to create atmosphere allows the trailer to capture the cinematic potential as well as the realistic themes of the show. 
• Marvel's Runaways: Close up shots, as well as narration and the use of sound bridges allows the juxtaposition between scenes to be far more subtle. The costume/makeup allows the actress to look young but still conforms to the idea that teenagers have to look older/more attractive for lack of a better phrase in order to make teen dramas more profitable
• Umbrella Academy:  The aerial shot allows sub textual meanings about barriers, boundaries and entrapment to be communicated as well as framing the characters in the middle of the staircases being a clear artistic choice. The mise-en-scne accurately communicates the genre whereas the sound establishes the narrative and the atmosphere for the show itself. The lighting, similar to the above two, is very natural- if not unnaturally so with the shadows and highlights being clearly exaggerated.

Write a script for your TV drama scene.

• Script

Write a shot list containing EVERY shot you plan to film AND additional shots to create flexibility when editing. 

• Shot List and Schedule

Plan your mise-en-scene: 

• RIVER: Blue T-shirt and Pyjama trousers, No makeup but there's signs of eyeshadow, and foundation on their hand suggesting they'd been playing around with it. The lighting is natural however there is a soft blue tone to it, the bed is unmade and the room is slightly messy- obviously lived in. River's cat lies on the bed and Alannah Myles' 'Lover of Mine' plays almost inaudibly in the background as River speaks on the phone. River moves around a lot on the phone, from swapping positions to cleaning up, I will need a phone, clothes, school textbooks, books, a cat, as well as makeup and a radio/device to play the music from.
• FLEUR: Dungarees, and button down shirt, natural makeup but bright yellow eyeliner- that calls the cameras attention. Natural lighting, the route she walks allows shadows to show up on her face and figure regularly. Props needed are a phone, a school bag, a necklace, a lollipop. It will be filmed in various outdoor locations, with typical outdoor noise and traffic noises acting as background music for Fleur's conversation with River. Fleur is obviously dazed as she walks, and takes various shortcuts as well as moving fluidity and carelessly. She has notes scribbled on the back of her hand and after she hangs up the phone, she puts in/on headphones. 

Ignite Presentation - Learner's Response

Type up your feedback in full including the ratings out of five for each of the six categories. 

Research- 5

Concept-4

Language-5

Representation-5

Audience and Industry-4

Delivery-5

Total: 28/30

• Great title and tagline! Concept is superb... the challenge is whether it meets family or crime aspect of brief (feels more teen drama than those sub-genres in brief)
• Background to audience, 1980s aesthetic and issues that are addressed are just superb. Such confident use of media language and clearly outstanding research based on intertextual references + justification for creative decisions.
• Film + TV show enigma point lost on me slightly (may just be me!)
• Presentation itself is excellent - strong visual style, excellent use of images,structure.
• Delivery is very good - quite fast-paced but this is more due to the sheer amount of content/thought behind the idea.
• Q&A - excellent first question on scheduling and such a confident answer... very clearly this has been planned out in detail.
• Issues of representation and sexuality addressed in thoughtful and impressive ways.
• Outstanding!

Use this feedback, comments from peers and your own reflection on your presentation to self-assess and write a detailed WWW and EBI for your own coursework concept and presentation as a whole.

• WWW: Confident presentation - concept translated well as well as subtextual issues and peripheral context explained. Original concept with hints of postmodernism will allow me to benefit from using simple camera work and mise-en-scene to communicate complex ideas.
• EBI: Spoke too quickly- perhaps considered the individual episodes in more depth and how to incorporate the family aspect into my drama within my presentation. Also included more specific links to my own show rather than research.

Write a paragraph discussing how your presentation will lead into your actual coursework production. Do you need to update your statement of intent? Does your narrative offer enough clarity? Is it appropriate for the audience specified in the brief? Does it fit the genre you are aiming for? Can you add media terminology or theory to your statement of intent now you have reflected on your presentation and seen others?

• My presentation allowed me to pinpoint which aspects of my tv show to exploit within my trailer - judging on the reception of power shots, I will try to include 2-3 cinematic shots within my trailer and also include text message on screen graphics, and a family centric narrative to be communicated. I have reflected on my concept and the reception, and will have a clear goal for my characters as well as address their gender and sexual identities through props [such as flags] or mise-en-scene [makeup, costume] this could also play into my postmodernist concept as i blur the lines between their real personalities and perceived characters. My narrative is now far clearer and will focus exclusively on the four main characters and their families as well as diversifying my shots to communicate the narrative- and using a mix of modern music, 80s beats and dialogue to create an ambiguous time frame for the show. 

Summer Project

TV DRAMA TRAILER ANALYSIS : Family Drama

Gilmore Girls: A Year in the Life [2016] : Narrative and genre

This trailer uses dialogue to solidify the family genre, throughout the trailer we learn about how the three generations interact and this reinforces the heavy theme of family throughout the show. Another notable aspect of this trailer, and the family genre as a whole, is the soft muted colour palette. By using neutral tones, this allows the drama aspect to be captured but also has connotations of maturity and age, which will appeal to the older target audience that the show has. Gilmore Girls already had an established audience, therefore the intertextual references to older seasons and the original show, creates a nostalgic aspect to the show. This will allow audiences who have watched the show before to gain gratification from noticing them, however newer audiences will mainly watch the show for diversion and personal identity through seeing a diverse range of women presented on screen, able to validate pre-existing connotations of femininity through their gestures and also experiences. The key conventions of the genre present in the trailer are the different stereotypes enforced and subverted by the protagonists, the different generations, the colour palette and the overall narrative touching on domestic issues and relationships.

Marvel's Inhumans [2019] : Mise-en-scene

Mise-en-scene is vital within this show, as it is based off of comics and has a cult following which calls for the importance of authenticity. Costume, in particular, captures the individual characters personas and status within the narrative hierarchy within the trailer, with the regal dresses and long wig on Isla Fisher's character alluding to a high status and the monochromatic colours of the two brothers, perhaps hinting towards their feud and moral complexity. The setting is also significant, with the show beginning on an alternative earth and our own. The use of two settings amplifies the contrast of characters and places the main characters in either dominant or vulnerable positions, which sets the tone for the show itself. This is important for asserting the dominant narrative as well as the subplots within. The lighting, and props, also help make the fantastical setting seem more realistic with gadgets and sci-fi apt lighting, the genre is clear and still the audience feels they can relate to the fictional characters and their surroundings.

Euphoria [2019]: Camerawork

This trailer uses close up shots and cinematic framing to display the arthouse genre within the teen context. The close up shots, lit by a range of neon colours, allow audiences to infer the drama genre without using cliches or conventions to do so. The use of wide shots and close shots in juxtaposition also allow the narratives to be communicated, without a lot of the actual story or show being revealed. I think this is a key aspect of modern day trailers, the use of action codes throughout trailers as well as explicit narration and dialogue. The use of editing as well as the use of camerawork is also vital, we see the characters worlds 'turn upside down' through the transitions, which also mirror the stereotypical connotations of drug misuse. This trailer is not pre-watershed friendly, however the camera work and use of extreme close ups and zooms can be used to communicate the teen sub genre- particularly one with contemporary subtext within my own trailer.

Game of Thrones: Editing

Game of thrones is a great example of how slow editing builds suspense within a fantasy setting. The use of straight cuts allow the montage aspect, a convention of trailers, to be amplified and creates tension between the narratives and sets the tone for the cast. The use of CGI is also vital to the success of the show, the fonts used between the excerpts from the show in the trailer are also consistent with the Game of Thrones brand. The text on screen also alludes to the fact that it is based off of books, which appeals to an already existing audience. The final shot of the iron throne, a wide shot, hints at its importance but also the backlighting and silhouetted outline of the throne implies that the characters are 'in the shadows' of what the throne actually brings. This trailer is particularly interesting, since as someone watching it in 2019, after the end of the final season, I understand that many of the cast members featured within this trailer actually died within the first seasons, this is however not alluded to through the editing or dialogue, which adds to the shock factor of the show. The final shot also includes the throne revealing its wings to be a bird- a raven, a hint to a subplot within the show, or perhaps another bird of prey. This is used to amplify the fantasy aspects of the genre and ends the trailer on a tense, foreboding note.

The Fosters [2013] : Sound

This trailer uses narration and dialogue in order to state the narratives within the show, through persuasive and memorable narration, we learn important details such as the release date and key aspects of the narrative. The dialogue also encapsulates the key characteristics of a drama, with solemn delivery and an abundance of cliffhangers, the dialogue is one of the most apparent things in the trailer. The use of a voiceover, that essentially reads the text on screen, also makes this trailer extremely accessible to those who are blind or visually impaired, as they can get a good feel for the show and it's reviews at the same level of detail as those without a disability. This is something that is not always the case with trailers, with many relying on visual shots and cinematography to sell the show, whilst sacrificing the accessibility for disabled viewers. The voice over is extremely conventional for ABC dramas in particular, and therefore appeals to audiences of ABC dramas, as well as those interested in the topics mentioned within the trailer itself. The diagetic sound focuses on key issues, whilst the non diagetic sound runs parallel and fits the atmosphere created through the dialogue, a clear convention of many trailers.

Humans [2015]: Trailer conventions, graphics, text-on-screen etc.

Humans uses trailer conventions, or rather a lack thereof to modernise the series. The editing is extremely apt for channel 4s remit of breaking boundaries and providing cutting edge content that offers a new perspective or alternative representations compared to it's competitors. The upbeat soundtrack, underlying the heavy dialogue adds to the contemporary feel of the trailer, whilst the reliance on dialogue steers away from usual trailer conventions such as text on screen, which could be an accessibility issue, however it amplifies its modern narrative and dystopian contexts. The use of coloured lighting, particularly red lights adds to the futuristic element but also hints at danger and places those characters in a state of vulnerability to the audiences.

PLANNING: Research and TV pitch

Research - Character fact files, and a series overview.
TV Pitch
Statement of Intent

Key Points of Series:

The protagonist has to overcome adolescence with an atypical set of terms and conditions. I am using clever characterisation and a black mirror inspired techniques to communicate an underlying social message within my series. The protagonist has to overcome their own personal battles whilst simultaneously battling with the knock on impacts of an unforgiving society, the use of colours and intricately picked props and costumes with specific connotations will help me achieve the brief and put a contemporary twist on a family drama. 

Radio Index

Radio Introduction

Life Hacks Case Study

War of the Worlds Case Study

War of the Worlds: Case Study

Media Factsheet #176

What is the history and narrative behind War of the Worlds?

• War of the Worlds was a novel written by H.G Wells, and was adapted for the radio by Orson Welles in 1938. The story is about an alien invasion from Mars, and consequentially a conflict between Earth and Mars.

When was it first broadcast and what is the popular myth regarding the reaction from the audience?

• 1938. People believed that others flocked to the streets to witness the alien invasion, whilst many tried to evacuate their homes and made calls to the authorities and newspapers.

How did the New York Times report the reaction the next day?

• As an example of 'mass hysteria' with people 'fleeing their homes to escape as gas raid from Mars' and that many had to be treated for shock and hysteria.

How did author Brad Schwartz describe the the broadcast and its reaction?

• He stated that it was 'not entirely a myth' and that it resembles a viral-media phenomenon, something a contemporary audience is rather familiar with, he also suggest that although the stories may be true it is important to take the exaggeration and fabrication of the press into consideration.

Why did Orson Welles use hybrid genres and pastiche and what effect might it have had on the audience?

• Orson Welles uses a pastiche of news broadcasting conventions, to make the broadcast itself more realistic, the hybrid of news and sci-fi, also creates a blurring of boundaries between what's real and what's part of the story - especially in the time, where audience had become used to these conventions. This would have made them far more susceptible to believing the events of the fictional broadcast.

How did world events in 1938 affect the way audiences interpreted the show?

• There were a high density of broadcast interruptions bringing news of the war, or supposed attacks particularly from Europe, this meant that 'breaking news' was not uncommon and therefore may have been interpreted as real by listeners. 

Which company broadcast War of the Worlds in 1938?

• CBS Radio [Mercury Theatre]

Why might the newspaper industry have deliberately exaggerated the response to the broadcast?

• Radio was new technology, and provided news in a far more accessible and efficient way, which threatened the newspaper industry and it's monopoly in the news industry. By creating a technopanic, the newspaper industry was able to highlight the 'dangers of radio' and profit off of the fabrication of events. 

Does War of the Worlds provide evidence to support the Frankfurt School's Hypodermic Needle theory?

• I think that it arguably does, the audiences relied on radio for their news and the use of conventions and habit to gain a strong reaction from audiences would not have been as successful as it supposedly was if audiences were not at least a fraction passive. Despite this, I think that there's also a lot of other factors such as the use of professors, and named professionals and opinion leaders, which could also have an influence, making this event more of an evidence of the two-step flow model rather than the hypodermic needle theory. 

How might Gerbner's cultivation theory be applied to the broadcast?

• Gerbner's cultivation theory suggests that the media has a gradual but significant impact on someone's beliefs and attitudes rather than behaviours, this can be referenced in relation to how the habits the audience developed regarding the news flashes, made them believe the fictitious news flashes more easily. 

Applying Hall's Reception Theory, what could be the preferred and oppositional readings of the original broadcast?

• The preferred reading was to scare the audience, it was broadcast around Halloween, and suggests that this broadcast was meant to cause fear, anxiety and terror within the audience - a convention of both horror movies and perhaps Orson Welles way of making War of the Worlds 'less boring', this would mean that the absence of a reaction would be the oppositional reading and that the reaction, perhaps blown out of intended proportion, was a depiction of Orson Welles preferred reading.

Do media products still retain the ability to fool audiences as it is suggested War of the Worlds did in 1938? Has the digital media landscape changed this?

• Media products do still retain the ability to fool audiences, including the 1949 repetition in Kito, Ecuador and another instance in the 80s, this is not an isolated incident. People will always be impressionable, and as long as people exploit the habits of the general public, there will always be the ability to fool audiences, this can be seen in contemporary society through the use of 'clickbait' and the use of 'fake news' on social media. Despite the resources to fact check, and reference various sources before taking something as a truth, people are still gullible to online news and it's credibility, in recent years the clown epidemic for instance was a 'viral' trend when in reality it was far more small-scale as well as the technopanic regarding social media that's been commercialised by newspapers and traditional media.

Analysis and opinion

Why do you think the 1938 broadcast of War of the Worlds has become such a significant moment in media history?

• War of the Worlds has become a significant moment in media history, not just because of the supposed hysteria that followed, but because of it's evidence as the first technopanic within the media. Even if the mass hysteria was exaggerated for the public eye, it is still an explicit depiction of how newspapers and the media have the power to warp and fabricate stories for desired audience reactions, in Orson Welles case it was to scare the audience and in the newspapers case the intention was to damage the reputation of the radio, and gain a competitive advantage. 

War of the Worlds feels like a 1938 version of 'fake news'. But which is the greater example of fake news - Orson Welles's use of radio conventions to create realism or the newspapers exaggerating the audience reaction to discredit radio?

• I think that both are a great example of 'fake news' - Orson Welles use of radio conventions to create realistic news broadcasts, was quite literally an example of fake news, however I think that the newspapers exaggeration, and the audiences compliance when it came to discrediting radio is a greater example of fake news.

Do you agree with the Frankfurt School's Hypodermic Needle theory? If not, was there a point in history audiences were more susceptible to believing anything they saw or heard in the media?

• Personally, I disagree with the Hypodermic Needle theory, I believe that audience's are conscience consumers and have a far more active mindset when it comes to media consumption and susceptibility to the falsities within the media. However, when technology became revolutionised, during the early years of film and radio, I do believe that audiences were far more susceptible, since they perhaps didn't have the education or knowledge to discredit sources as we do in a modern society, however I don't believe it was a hegemonic ideology of the media being all knowing, or all factual. 

Has the digital media age made the Hypodermic Needle model more or less relevant? Why?

• The digital media age has objectively made the Hypodermic Needle model less relevant, as audiences are far more interactive, and with the introduction of social media, they can create and share information with ease. This allows false information to be discredited quicker, but also allows false information to be spread quickly, this could reinforce the ideas behind the Hypodermic Needle model. However, with sources being as accessible as they are, and the ability to validate information being a normalised and easy thing to do, I feel like this supports the idea of audiences having active mindsets and being far less susceptible to being completely passive, however the dependency on the media does raise an argument for the opposing view. 

Do you agree with George Gerbner's Cultivation theory - that suggests exposure to the media has a gradual but significant effect on audience's views and beliefs? Give examples to support your argument.

• I agree with Gerbner's Cultivation theory, in relation to the digital media I would have to reference the concept of online feminism, the high density of liberalised views as well as the alternative online had a large influence over the 2016 US Elections, there was an outcry of tolerance as well as, the use of social media platforms to promote extremist and perhaps outdated perspectives and they both held a weight within our society, due to this I do believe that Gerbner's theory does hold some credibility within a modern day society.

Is Gerbner's Cultivation theory more or less valid today than it would have been in 1938? Why?

• Gerbner's Cultivation theory is far more valid today than it would have been in 1938, due to the exposure of the general public to an array of wars, online revolutions and key social and cultural moments, this has had a gradual but significant impact on people's beliefs and attitudes in both positive and negative ways. Social media allowed people to be educated on topics outside of their personal politics, and promoted tolerance for certain issues as well as being utilised for protests etc. which links to the idea of influencing beliefs, whereas the constant high density of seemingly negative content does lend itself to the idea of 'Mean World Syndrome' and skeptical mindsets within society. I feel like this is far more valid today, in the day and age of personalised content and high density media usage, it is not an inconceivable concept to suggest that this is having an impact on our beliefs and attitudes to our society. 

Life Hacks: Case Study

Analysis

What do the titles The Surgery and Life Hacks suggest?

• The titles 'The Surgery' and 'Life Hacks'  suggest that this is an advice radio show, or perhaps handles controversial or 'heavy' topics regarding life and lifestyles.

How are the programmes constructed to appeal to a youth audience?

• The 'Life Hacks' programme includes key topics that are prevalent in today's zeitgeist, by discussing topics such as money, sexuality and gender as well as being available on demand, which appeals to the dynamic digital age we live in and the growing expectations of a youth audience to have content such as discussions on gender etc. at their disposal. 

What does the choice of presenters (Cel Spellman and Katie Thistleton) and Dr Modgil suggest about the BBC’s approach to diversity and representation?

• The choice of presenters suggests this show is diverse and offers a range of representations, through a female doctor, which is a sign of the changing times, to regional representations as you can hear through their accents. 

What does this suggest regarding the Life Hacks audience and what the BBC is hoping to achieve with the programme?

• This suggests that the Life Hacks audience has a far more liberal mindset and is attracted to contemporary content from radio shows, this could link to BBC's remit to provide content that suits a range of audiences whilst also informing and educating listeners. 

Listen to a few episodes of the podcast and explain how the topics may a) appeal to a youth audience and b) help fulfil the BBC's responsibilities as a public service broadcaster. 

• I listened to the 'Choosing a Career', 'Knife Crime' and 'A Gay Kid's guide to life' podcasts and I believe they appeal to a youth audience since within the ten minute slots, in which these topics are discussed [Exc. A Gay Kid's Guide, that was around half an hour] they deal with a diverse range of topics, that are extremely prevalent within a young person's life particularly in England. Young people today are handling University prospects, as well as the sheer density of knife crime upon many of their doorsteps- although 10 minutes is not long enough to discuss the sheer complexity of a topic, it is manageable for a bus ride to school or during a free period without too much commitment, this appeals to a youth audience - in particular those who prefer to listen to something whilst commuting. All 3 podcasts help fulfill the BBC's responsibilities as a public service broadcaster since they all offer an education on important topics, without bias, as well as also being easy to listen to and entertaining through the use of linguistics.

Audience

What is the target audience for BBC Radio 1?

• 15-29 year olds.

Who is the actual audience for BBC Radio 1?

• The average listener is 30, which falls outside the intended listener age range.

What audience pleasures are offered by Life Hacks? Apply Blumler and Katz’s Uses and Gratifications theory.

• Surveillance, Life Hacks offers educational talks and advice on contemporary topics, Personal Relationships through celebrity interviews and radio djs as well as Personal identity through national accents and regional interviews within the broadcast.

What points does the reviewer make about Life Hacks and the particular podcast episode they listened to?

• The reviewer mentions that the content is both 'interesting' and informative - he speaks about how the interviews with Stormzy regarding the Cambridge scholarships, and Chelsea Kwakye [a Cambridge graduate] on how race comes into play at institutions such as Cambridge, where the realities of the disparity are hardly known by the young people that are perhaps considering going to university etc. The reviewer suggests that this podcast seeks to educate the audience and help them 'make sense' of the reality that although many deem as obvious, is simply not as explicit as we may perceive. 

What are the key statistics to take from this article regarding the decline in Radio 1 audience ratings?

• Radio 1 have suffered a 200,000 listener drop [AUG '18] and it has seen a steady decline since 2011. Breakfast Host Nick Grimshaw, sees an increase of around 300,000 listeners [AUG'18] and reaches 16 million Youtube viewers a week - with the station being the first choice for listeners aged 15-24.

Industries

How does Life Hacks meet the BBC mission statement to Educate, Inform and Entertain? 

• Life Hacks is a podcast that talks about all topics 'controversial' and offers information through discussions on 'controversial' topics, they also include discourse with Dr Modgil, who helps fit the Educate part of the remit, there's also a high density of music available which helps fulfill the 'entertain' aspect of the remit. 

Pick out three key points in the summary section.

• The BBC provides content online, through the television and the radio.
• The BBC is regulated by OFCOM
• OFCOM is responsible for taking audience's opinions into account and creating the guidelines for the BBC to fulfill - this is what lead to the changes made in 2017/18 regarding Radio 1

Which of these points relate to BBC Radio 1 and Life Hacks?

• The points d, g and h, OFCOM's guidelines and enforcement lead to BBC making changes regarding the radio schedules and ultimately cancelled the Surgery and changed the scheduled times for Life Hacks to be pre-watershed, they also introduced BBC Sounds, which helped appeal to a younger audience and provide content that arguable helped fulfill their remit. They also have Vox Pops and a range of regional accents which help fulfill the final point, whilst also providing a platform for voices that may not have mainstreamed opportunity through BBC Sounds.

What do you think are the three most important aspects in the a-h list? Why?

• Personally, I believe that points d [support social actions on BBC Radio], a [increase requirements around news content] and e [safeguard vulnerable genres] are the most important aspects. Social actions, in particular, is one of the most important aspects, it is a listeners prerogative to engage in social activism, however I believe that the media has a responsibility to provide as much education and information regarding our changing social climate as possible to allow listeners to make educated decisions and involve themselves with much needed changes within the dynamics of our society. Point A regarding news programming is also substantial for similar reasons as above however with a clear focus on widening audiences and reaching a diverse quota of listeners, something Life Hacks has the potential to do. Finally, the safeguarding of vulnerable genres, this links to the media argument of Art vs Commerce quite closely, therefore the importance of this is free for negotiation however I believe that inclusivity within the media will also have major cultural significance, therefore it is the BBC's prerogative to provide a diverse range of genres through their company. 

What do Ofcom plan to review in terms of diversity and audience? 

• Ofcom plans to review the on-screen diversity of BBC programming, including 'peak time' programmes and ask what audiences expect from the BBC and whether the BBC are successful in fulfilling this approach.

What is Ben Cooper trying to do with Radio 1?

• He wants Radio 1 to be the 'Netflix of Music Radio' and wants to integrate 'phone-first' content with regular traditional radio shows. 

How does he argue that Radio 1 is doing better with younger audiences than the statistics suggest?

• Although the traditional radio listener average has gone down, the companies Youtube platform still brings around significant viewing figures, which supports the idea that Radio 1 is doing better with younger audiences despite what statistics show.

Why does he suggest Radio 1 is distinctive from commercial radio?

• Radio 1 plays around 4000 different tracks a month compared to commercial radios 400. They play 'hit music' to 'expose' their audiences to newer tunes and tracks.

Why is Radio 1 increasingly focusing on YouTube views and digital platforms?

• As the digital age changes the dynamics of traditional media, establishing a stable social media and digital platform is vital for sustainability within the industry, in particular when appealing to a younger audience, who have grown up with the digital age and became accustomed to digital culture.

In your opinion, should the BBC’s remit include targeting young audiences via Radio 1 or should this content be left to commercial broadcasters? Explain your answer.

• I think that the BBC's remit should be enforced by Radio 1, commercial broadcasters offer content however are mainly motivated by profitability and commercial potential of content, this could impact the education and diversity of content provided to young people, whilst the profitability of Radio 1 is up for debate, running a Radio broadcaster that has to align with certain values and fulfill a remit, allows regulation of content and ensures the provision of quality, informative and entertaining content to a diverse youth audience, as it grows and adapts to the contemporary norm as they do. 

Radio: Introduction

BBC SOUNDS

Why does the article suggest that ‘on the face of it, BBC Radio is in rude health’?

• It has 1/2 the national market with dozens of stations reaching 34+ million people a week

What percentage of under-35s use the BBC iPlayer catch-up radio app?

• 3%

What is BBC Sounds?

• a new app that merges radio and the digital age, offering on demand services and targeted radio shows. 

How do audiences listen to radio content in the digital age?

• Through podcasts, and radio shows that deal with their interests rather than the miscellaneous content on mainstream radio shows.

What does Jason Phipps suggest is important for radio and podcast content aimed at younger audiences?

• It has to have a warmer, narrative-led journey. The audience prefers personal anecdotal content, that pushes boundaries and confronts 'uncomfortable' topics rather than informative, scientific less personal stories from a general perspective.

Why does the BBC need to stay relevant?

• In order to fulfill it's remit of providing informative, educational and entertaining content for diverse audiences around the UK. 

What content does the BBC Sounds app offer?

• Podcasts, on-demand content and content that deals with unconventional or seldom talked about topics.

How does it link to BBC Radio?

• It offers live shows and content on demand.

What are the criticisms of the BBC Sounds app?

• The search bar isn't 'sensitive' enough and there's not enough options

Two new podcasts were launched alongside the BBC Sounds app. What are they and why might they appeal to younger audiences?

• End of Days, and Beyond Today. They offer information on key events and also niche events that crime enthusiasts would be interested in, younger generations are increasingly interested in true crime stories and with shows such as Buzzfeed Unsolved becoming hits due to educating teens on crimes and events that are before their lifetime, these fit right into the zeitgeist and therefore may appeal to the younger audiences. 

ShoutOut Network

What is the ShoutOut Network?

• A London-based podcast network, that offers a platform to BAME and underrepresented voices. 

What podcasts are offered by the ShoutOut Network?

• Melanin Millenials [that focuses in socio-political issues for millenials], Mostly Lit [a focus on pop culture and literature], and other art based topics such as comedians Two Fools Talking, music aficionados Artistic State of Mind and sport based podcast Top 4mation. 

What audience do they reach?

• 20,000 unique monthly listeners; 92% are Black, Asian and Minority Ethnic communities.

What are the 2015 statistics on podcast listening in the UK?

• 3.7 million adults listen to podcasts [6.5% of the Adult population] with 57% listening on smartphones with 47% whilst commuting and 34% whilst 'doing nothing' 

The article suggests podcasts are ‘picking up more steam’. Do you think podcasts the future of radio?

• I think that podcasts are the future of radio, we as a generation have grown accustomed to personalised content and content that is available at the click of a button. We prefer to find radio shows and content that is topic specific, and specific to our personal interests without added 'fluff' per say. Due to this, and the rise in technological advancements that leads to radios being 'pushed out' of cars and conventional places in exchange for aux chords and podcasts. This evidences the idea that younger audience finds on demand, personalised content more appealing due to it's accessibility and topic specific content that people can choose what they want to hear and when they want to hear it- something traditional radio falls short of. 

Music Video Index

Music Video - introduction and factsheet questions
Music Video theory and This Is America analysis
Common - Letter to the Free context and analysis
Michael Jackson - Billie Jean context, analysis and MM article

Billie Jean - Michael Jackson

Media Magazine

What was the budget for Billie Jean? How did this compare with later Michael Jackson videos?

• $50,000 - Later it was $300,000 and then Thriller had a budget of $2 million.

Why was the video rejected by MTV?

• They argued that it didn't suit their 'middle America' target audience

Applying Goodwin's theory of music video, how does Billie Jean reflect the genre characteristics of pop music video?

• The music contains performance from the artist, lip syncing as well as narrative aspects conventional to the mmusic video genre.

How do the visuals reflect the lyrics in Billie Jean?

• This song is about Michael's sons and his experiences with fan girls and the lyrics have an obvious feminine connotation, reflected by the female visuals within the music video

Why does the video feature fewer close-up shots than in most pop videos?

• Michael Jackson's main selling point is his dancing, therefore the video favours less close up shots to make the performance a focal point of the video.

What intertextual references can be found in the video?

• Intertextual references to pop culture and the film noir film genre, as well as spy films and musicals such as Singin' in the rain. 

How does the video use the notion of looking as a recurring motif?

• The notion of looking acts as a perspective of surveillance on Michael, with a 'detective' characterisation. This could represent how he acts as a performer, and how he was constantly viewed through an outsider perspective all his life. 

What representations can be found in the video?

• Michael Jackson represents a 'godlike' angelic character, with his association with lights and positive impacts on the people he interacts with lives, such as the homeless man he throws a penny in the cup of. 

Close-textual analysis of the music video

How is mise-en-scene used to create intertextuality - reference to other media products or genres? E.g. colour/black and white; light/lighting.

• The Black/White colour palette links to the spy/film noir genre, with MJ's costume and the detective perspective that the video is set to, also alludes to the spy/crime genre. The lighting on the floor is an intertextual reference to 1970s disco and perhaps the film 'Saturday Night Fever', The bricolage of the polaroid photos is also an intertextual referencer to pop culture at the time of the music videos release.

How does the video use narrative theory of equilibrium?

• There's a villain on the loose, the villain gets caught and then peace is restored. 

How are characters used to create narrative through binary opposition?

• Binary opposition is used to create the classic hero vs villain narrative structure. The colour palette and sharp contrasts help make this binary opposition abundantly clear. 

What is the significance of the freeze-frames and split-screen visual effects?

• They slow down the pace of the editing and allow it to match the song's pace. It also modernises the music video and gives it a contemporary feel, apt to the 80s era.

What meanings could the recurring motif of 'pictures-within-pictures' create for the audience?

• It creates the idea that there is a separate reality created by media texts, and that the narratives we see in pictures can be manipulated from the 'truth' creating a post modern interpretation to the music video.

Does the video reinforce or subvert theories of race and ethnicity - such as Gilroy's diaspora or Hall's black characterisations in American media?

• The music video reinforces theories of race and ethnicity, with him being 'under a watchful eye' something Black people experience even today, and could allude to Gilroy's theory of diaspora and how Black people feel like they 'don't belong' or are alienated from a mainstream society. MJ also fits the archetype of the 'Entertainer' of Hall's characterisations, since his dancing and overall performance is in fact for a spectator which fits this theory. However, the 'positive' depiction of Jackson and his beneficial impact on people's lives arguably subverts race stereotypes in 1980s America. 

Does this video reflect Steve Neale's genre theory of 'repetition and difference'? Does it reflect other music videos or does it innovate?

• This video set the conventions for music videos, and uses a mixture of post modern aspects and was innovative for the time, however it set the tune for future music videos and repeated ideas.

Analyse the video using postmodern theory (e.g. Baudrillard's hyper-reality; Strinati's five definitions of postmodernism). How does the 'picture-in-picture' recurring motif create a postmodern reading?

• The 'picture in a picture' is an example of Bricolage, which links to Baudrillard's theory of hyperreality, we as the audience lose consciousness of what is real and what is an aspect of the narrative. It also could allude to the fact that the audience may view the realities constructed by the media as reality and further supports Baudrillard's theory. MJ also fails to appear in the detective's photos, which could be a political comment on how the character of 'Michael Jackson' that the media knew and the performer he was is how he was viewed but essentially wasn't real or the 'true him' merely a figment of the media's imagination.