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MEDIA PAPER 1 - Coggle Diagram
MEDIA PAPER 1
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Newspapers
audience
Target audience (Times):
- ABC1
- Succeeders and Reformers
- well educated high earnership
- text heavy, hard news and Broadsheet
Target audience (Mirror):
- C2DE audience
- Mainstreamers
- image heavy, celebrity culture, £1 bet offers
- Tabloid style
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Industries
Ownership:
- conglomerates like Newscorp owned by Rupert Murdoch
- Newscorp: The Times, The Sun
- Lord Rothermere: The Daily Mail
- Reach PLC: The Mirror, The Express
- The Scott Trust: The Guardian
- Barclay Brothers: The Telegraph
Politics:
- Left wing newspapers: The Guardian, The Daily Mirror
- Right wing: The Sun, The Daily Mail, The Times, The Telegraph, The Express
- labour v. conservative (red v. blue)
- Jeremy Corbyn, Kier Starmer, Joe Biden
-Theresa May, Boris Johnson, Rishi Sunak, Nigel Farage, Donald Trump
- Brexit divides political ideology
Digital technology
- print sales declined by over 40% in the past decade
- Print advertising is a primary source of income
- online advertising is competitive
- 24 hour news updates constantly to meet huge demand
- print newspaper already out of date
- convenience is easier online and people have lower attention spans
- solutions: online presence is increasing, accessing a global audience, easier to target audience
- some newspapers have a premium
- Times and Telegraph have a hard paywall
- Tiered subscription model
Regulation and IPSO:
- Independent press standards organization
- Levinson enquiry and phone hacking scandal
- IPSO independent, can levy fines of up to 1 million £ a route of complaint
- funded by papers who are set up to be regulated, voluntary, Guardian and Times opted to self regulated, run by editors
Theory (examples)
- Stuart Halls reception theory, communication involves encoding and decoding (preferred oppositional and negotiated reading) EG. dominant reading of Daily Mirror has a left wing political ideology
- Bloomer and Katz (uses and gratifications), personal identity reinforced, social interaction and relationship (Brexit), surveillance and knowledge (informed)
- Gerbners cultivation theory: Ideologies cultivated by the media like political ideologies
- Curran and Seaton: concentration of ownership leads to a lack of creativity and profit and power (84% of daily news is right wing) almost half of Britain's daily newspapers owned by Newscorp
Music video
Dream
Representations:
- represents white middle classes: 1950's children's television (muffin the mule) judgement from the woman as would have reflected the power they had, while the character is judgmental she accepts him once he is mainstream which represents a hypocrisy
- representation black and youth culture: puppets controlled by a higher power as black youth culture is controlled, constructing a rebellious unlawful representation 'baby mothers and baby fathers', progressive and empowering by the end of the video- it does not dismiss stereotypes but acknowledges them.
- representation of police: punch and Judy is a criticism of white patriarchal control that carried abuse and violence, the reference ultimately mocks the police. "I was everywhere" the police comes into the house and dances along with the youth.
Context/ intertextuality:
- oppression of black youth culture
- 1950's era of wind rush generation
- White controlled media perpetuating stereotypes
- 30's- present day punch and Judy abusing his wife in a patriarchal society
- this view is progressive and empowering
- music video released in 2004
- dream samples lines from 'happy talk'
Theory:
- Narrative structure: from one state of equilibrium to another, the way it is resolved is important for meaning. Him being in the box could show a social imprisonment, then when he gets back in it is on his own terms or that there is continued repression of young black culture
- Gilroy and post colonialism: construction of binary of worlds of 1950's living room of white middle class and urban youth, but it is used to elevate black youth culture and criticize judgement which challenges Gilroy's representation.
- Roland Barthes: signifiers and connotation involving meanings associated with the sign, determined by context of viewer eg. hoodie, graffiti and policeman
Riptide
Contexts:
- Vance Joy is an Australian singer who produces records for Atlantic records (a subsidiary of Warmer)
- has 506 million views on YouTube
- low budget style due to him beginning to gain popularity as an artist
Theoretical approach:
- Roland Barthes- semiotic:
the color green shows money and envy which is a signified symbol
- Steve Neale- Genre Theory: repetition, difference, variation and change which is shown by the singer in high key lighting playing an instrument but changed when she cries ect.
- David Gauntlett- identity theory: Identities are reflected within Riptide and because there are so many characters and themes an audience can easily pick what resonates with them.
- Bell Hooks- feminist theory: feminism is a struggle to end patriarchal oppression and this brings a new light to feminism and the oppression of women potentially within the industry
Representations:
- representation of women: there are some elements that conform to stereotypes: her crying, heels running away and her seemingly undressing (Van Zoonen) women being sexualised. However the audience is made to feel ashamed of this initial voueristic pleasure when they find she is under great discomfort.
- Representation of violence: There are repeated scenes of discomfort mimicking those of a thriller or horror film eg. female hand being stabbed and a gun pointed off stage (creates unease)
Radio
Context:
- LNWH is a spin off from Women's Hour which became a popular weekly podcast as of 2018
- Hosted by Emma Barnett and sometimes Lauren Laverne
- 11pm on Thursdays on Radio 4 now only a podcast
- all shows must meet the public service remit which is to entertain, educate and inform- LNWH has to have topical and educational episodes for this reason
- it is license funded which means it has to appeal to a large audience and the show is quite niche which is potentially problematic
Late Night Women's hour
Industry:
Historical context:
- Womens hour was first broadcast in 1940's and often regarded as tokenism
- There were not many radio shows directed towards women and most were white, middle class and aged 25-40.
- BBC radio 4
- In the 1940's it centered around cooking and cleaning
- omnibus of womens hour on Sundays at 4
- available on BBC sounds
- womens hour 55 and over
Industry:
- Public service broadcast means they can target a more niche audience
- targets BBC remit like issues and education eg. IBS menopause
- show is low cost due to low budget
Theory:
- Curran & Seaton is challenged by LNWH as the BBC is not a large conglomerate driven purely by profit and power
- Stuart Hall Reception theory: oppositional is likely to be masculine and preferred is feminist women
Audience:
- relatable and identifiable
- not as taboo and brings light to issues
- people don't like the license fee when there are multiple companies
- white middle class women mostly represented
- long jargon and words with culture (ABC1 audience) and there is no jingle or audio
- small and niche audience aged 40-55
- controversial topics eg. contraception
- late night for more independent women
- women seen as separate and niche showing a divide in interest
Promotion:
- Facebook of BBC
- BBC page for LMWH on website
- podcast and clips
- Lauren Laverne posts on Instagram
- portable
- 24/7 style updates
Film and Marketing
Set Texts
I, Daniel Blake
Context:
- difficulties of welfare state and struggle to claim benefits
- meets single mother named Katie who has to move to accept housing
- audience encouraged to symapthise with both characters
- misrepresentation of people who need benefits and media has perpetuated these stereotypes
- politically engaging and less about entertainment and against right wing gov
Industries:
- Ken Loach known for British social realism
- BBFC rating: 15
- Released 21st October 2016
- budget: 2.5 million £
- box office: 12.5 million $
- won several awards for example Palm d'Or and Bafta
- writer is Paul Laverty
- stars include: Hayley Squires
- independent film not a conglomerate
- purpose is to drive social change
- uk french co-production
- filming from BFI and BBC
- exhibited at many film festivals
- made most money in France as it is suffering from same or similar issues and there is a similar reaction
- FUNDING: BFI (promote education and societal change) and BBC (inform, educate and entertain) 5 remits
- 16 films production is independent and outside financial control and is dictated by budget
- BBFC takes you through each of the age ratings and have a change of boards ( rated IDB a 15)
Genre:
- British social realism, often has a social message and purpose
- appearance of real life
- typical of low- budget independent film companies
- unknown actors crucial to the genre so there is more realism
- regional settings in working class areas (eg. north east England)
- job Centre was a real life building
- made with a low budget
Marketing and distribution:
- relies on word of mouth mainly
- tied marketing with trinity mirror to promote itself (left wing ideology)
- give away 10,000 free tickets
- used banner advertising and editorial written by I, Daniel Blake as if he was a real person
- disruptive display advertising
- direct plea to prime minister
- Trinity Mirror benefits from this advertising too
- 15 million £ of campaign value through this partnership
- actors stood outside premier to campaign for the message
- UK trailer
- promotion at film festivals
- film poster shows him holding a fist to the air showing defiance, grey color palette, typography in graffiti font, red testimonial left wing representation ( use of Ken Loach and Paul Laverty's names are used)
- official trailer uses mise-en-scene and iconography of job-Centre and testimonials and cries for humanity ( social impact)
- promote palm d'Or, gives film credibility
Black Panther
Industry
- both vertically and horizontally integrated
- Disney is a conglomerate so gets profits from all sales
- can control distribution or exhibition of all stages
- it benefits audiences as there is a guarantee of reliability and quality and security
- guaranteed sequels (eg. marvel franchise)
- disadvantages: lack of opportunity and no variety for independent films with social messages
- huge influence over political and public opinion
Distribution:
- purpose of marketing is to attract audiences but also to make profit
- marketed as a cultural event as it challenges outdated stereotypes and address misrepresentation of ethnic groups
- distribution strategy is long and thought out
- teaser trailer viewed 89 million times in 24 hours
- posters
- costumes displayed in comecon
- panel from the film appeared at a congressional conference
- full trailer in October 2017
- Kendrick Lamar produced soundtrack
- most tweeted about film of the year and then ever after the film was released
- hashtag blackpanther released on twitter to create community
- NY fashion week costumes reflected cultural costumes
- partnership with lexus
- partenership with clarks, ice tea, lancome
- grant for school students in black communities in Africa allowing them to access cinema
- film posters tie in with cultural events (black empowerment)
- dialogue of lyrics 'pay me my respect and bow down'
- online and social media sites and both are used to promote film
- advert during super bowl
- soundtrack hugely influential critically acclaimed soundtrack by Kendrick Lamar
key facts:
- production budget $200 million
- marketing budget $150 million
- box office $1.347 billion
- produced through parent company Disney
- release date February 2018
- film released during black history month
- crowd funding for an audience to watch the film
Audience:
- to encourage a black audience
- 40% white 15% black viewers usually
- 37% audience was black in Black Panther
Key theory (examples):
- Curran and Seaton- diverse patterns of ownership
Video games
Assassins' Creed
Audience:
- 86% of 16- 69 year old's have played a console or mobile game in the last year
- 50/50 split of males and female
- 54% of gamers play most days
- average age of European gamers is 31
Theory:
- Bandura bobo doll- playing the game can lead to violent behaviors especially in children
- Livingstone and Lunt- traditional approaches to regulation are at risk due to digitalization of gaming industry
- Hesmondhalgh- minimize risk and maximize profit through horizontal and vertical integration (synergy with PlayStation vita and assassins' creed 3), changing conventions of genre may be seen as a risk eg. female protagonist
- Curran and Seaton- profit and power, Ubisoft are attempting to maximize revenue but also driven by societal and sociological change
Industry:
- released in 2012 and published by ubisoft, it is the biggest and most successful
- released as a single platform released on PS vita (new handheld device advertised at modern gamers) later a multi-platform release
- statistics show women more likely to game on a handheld device
- chronological franchise (1765) when this one was set
- REGULATION: PEGI- PEGI 18, age rating is only a point of purchase so its hard to regulate
- youtube and twitch means people can watch gameplay and violence can influence younger audiences
- online anonymity can lead to grooming and the threat of in game purchases (parental controls)
Conventions:
- assassins' v templars (brand identity and in common with all other games in the franchise)
- female gamers are more likely to play single player
- maintaining chronology requires buying games
- female protagonist (unconventional) French and African decent, androdgonous clothes and weaponry with subtle hints to femininity
The story and context of the game:
- opening trailer is 'I told you to keep your place'
- acts of freedom and liberation like jumping of a building
- sense of oppressions as she kills a male character
- references to assassins' creed 3 released at the same time (reminding existing fans that it is chronological)
- she exploits femininity as she dances with the male and then kills him
- references to own websites and Ubisoft
- exclusivity only on PS