Televison in the global age - life on mars

Audience targeting;

Marketing-

Voice over helps explain the trailer.
Music is upbeat, mood is upbeat.
Immigrant song; Led Zeppelin, link to the 70's which lures in a demographic who listened to them.

Shows main character;
-direct address
- Familiar face to the BBC
-White, young male actor.

Sidekick was previously in "Doctor Who"- Sci-fi link.
Genre is explicit to in the trailer. (ICONOGRAPHY)
Fandom : Life on Mars had and still has  a cult following among TV fans .

Life on Mars is a British television series broadcast on BBC One between 9 January 2006 and 10 April 2007. The series combines elements of speculative fiction and police procedural, featuring a police officer from the Greater Manchester Police(played by John Simm) from the year 2006 who wakes up in 1973 after being involved in a road accident. The title is a reference to David Bowie's 1973 single Life on Mars?, with its lyrics "Take a look at the law man, beating up the wrong guy".

An American adaptation of the series was produced by ABC and ran for one season from October 2008 to April 2009. A Spanish adaptation of the series was broadcast from April to June 2009. A Russian adaptation of the series entitled The Dark Side of the Moon was broadcast in November 2012. Czech adaptation World under the Head was broadcast by Czech Television from January to March 2017. The South Korean adaptation began broadcasting in June 2018. A Chinese remake is currently being produced set in 1990s.A sequel to the series, Ashes to Ashes, referencing another David Bowie song, aired on BBC One from February 2008 to May 2010.

Audience;

Critical reaction to the first series of Life on Mars was extremely positive. Steve O'Brien, writing for SFX, declared, "It looks like BBC One has ... a monster hit on its hands ... It's funny ... and dramatic and exciting, and we're really not getting paid for saying this".Alison Graham, television editor for the Radio Times, described the series as "a genuinely innovative and imaginative take on an old genre". James Walton of The Daily Telegraph commented, "Theoretically, this should add up to a right old mess. In practice, it makes for a thumpingly enjoyable piece of television — not least because everybody involved was obviously having such a great time". Sam Wollaston of The Guardian wrote: "Life on Mars was more than just a jolly, tongue-in-cheek romp into the past ... Once there, in 1973, we find ourselves immersed in a reasonably gripping police drama — yes, The Sweeney, perhaps, with better production values ... Or put another — undeniably laboured — way, as poor Sam Tyler walks through his sunken dream, I'm hooked to the silver screen".Although Peter Paterson of the Daily Mail reflected the views of many other commentators on the first episode when he wondered, "Can its intriguing conceit be sustained over eight one-hour episodes?", Critical reaction remained generally positive throughout the programme's run. Of the second series, Alison Graham believed that "Sam Tyler and Gene Hunt are shaping up nicely as one of the great TV detective partnerships ... It's vastly enjoyable and manages to stay just about believable thanks to some strong writing and, of course, the two marvellous central performances".

Nancy Banks-Smith, in The Guardian, felt that the time-paradox aspect of the programme had become somewhat confusing. Banks-Smith summed up the programme's success as "an inspired take on the usual formula of Gruff Copper of the old school, who solves cases by examining the entrails of a chicken, and Sensitive Sidekick, who has a degree in detection.".

Two days after the final episode's transmission, Life on Mars was attacked in the British press by the National Association of Schoolmasters Union of Women Teachers, who claimed that Gene Hunt's use of homophobic insults in the programme could encourage copycat bullying in schools.The BBC stated that Life on Mars was targeted at an adult audience, and argued that Hunt's characterisation was "extreme and tongue-in-cheek".

In 2019 the Guardian ranked it 99th in the top 100 TV shows of the 21st Century. 

Postmodernism

Postmodernism

Intertextuality; explicit specific reference to another media product or genre 

Parody and pastiche ; whole scene or settings in the style of another media product or genre

Bricolage; the idea that the entire meaning of a media text is  totally created by  the fragments and references that make it up

Irony; less serious in tone, moral/social issues not explicitly discussed in text

Ambiguity; no single meaning or message 

Fragmented narrative; nonlinear or confusing narrative elements and structure

Reflexivity; drawing attention to itself as a media text , deliberately artificial, breaking the fourth wall

Hyper reality; an artificial reality made up of layers of media representations that Baudrillard claimed we are all now  living in 

Simulacra ; the artificial objects, people and  settings that make up an artificial hyperreality 

In Life on Mars, the protagonist lives in a hyperreality through narrative, rather than the audience experiencing it . This is portrayed through the use of mise-en-scene, iconography and costume. When the protagonist first time travels to the 1970's one of the first things we see as change is the IPOD which is playing "Life on mars' by David Bowie change to a cassette of the song, this is because the car has also changed through the time travelling. Another major thing we establish as the demographic, is the change of clothes that the protagonist is wearing. He swaps from a suit and shirt, to a brown blazer, flared jeans and cowboy boots (which is another staple from the 1970's). As the main character ventures out of the car and into the street, the camera uses a lot of tracking shots to follow his journey in discovering where he is. This means that the narrative is restricted as nothing is revealed to the audience before he discovers it for himself and we take the journey with him. The narrative also isn't fragmented as it follows the story in a linear manner, however the events that take place are confusing for him as he only learns fragments of information along the way. In a scene from the episode, Sam ( the protagonist) , is sitting in his room and is watching TV, Sam then starts speaking to the tv presenter, through the television and he starts to reply, this is deemed as breaking the fourth wall between them both BUT the fourth wall is not broken focus, the audience as the program specifically doesn't draw attention to itself as a media product.

Case Study; Riptide

Genre and audience:

Indie genre- 'indie' means 'independent', therefore the conventions of this genre are films that aren't produced by blockbuster companies, music record labels that don't sign global superstars...
, audience,

Vance Joy fits in the category due to similarities with shots of directors like Wes Anderson and David Lynch, two film directors which have deeply influenced the indie-genre with popular films (also influences).

Narrative and iconography:

No linear, clear narrative, as it's meant to be an interpretative video e.g. "Cowboy running from himself"- sounds meaningful but the shot literally plays out the line. It's more like a fragmented montage e.g. symbolic objects like guns which could signify crime motifs

Representation:

There's a negative representation of women in the video. For instance, they are objectified through the initial image of a woman taking off her swimsuit, without showing her face, mirrored by following shots of women facing away from the camera. They are also portrayed as the victims and the damsels in distress through the repetitive "taken away to the dark side".
However, it could be argued there's also positive glimpses as the repetitive shots of women running away could represent freedom, and the low-angle shot which positions the woman in 1.15 as greater. 


Postmodernism:
References to specific film directors like Wes Anderson and David Lynch, with similar shots and lightning and colour. For example, Anderson's iconic symmetrical shots like the opening of a case are copied in the video (1.57.: case for a holiday vacation), as well as his quick pans with 0.30.: the change of focus from the woman the other two people. Furthermore, the overall aesthetic through choice of colour-palette is mirrored throughout the music video. Lynch's dark undertones to his narrative seem to inspire the continued shots of the performer who becomes more visibly upset as the video goes on, with her makeup being smudged and her being shot in the neck. This part of the video links to Lynch's Blue Velvet as the same lightning and mood is created.
More postmodernist techniques are employed, such as intertextuality and parody+pastiche with references to horror films, (shots of women as damsels in distress). Also the pastiche is utilised, as this media text appears to have been done in the style of the previously mentioned indie directors. There's also reflexivity, as the media text is aware of itself, proved by the subtitles included as the woman sings, and the pan shot of the video being shot.
Overall, there's no grand single message, and it is up to the audience to reflect on the music video as the collage-style symbols included have to be deciphered due to the multi-layered nature of the text.

Case Study; Water Aid

Effective as it doesn't comply with the general conventions of charity ads (e.g. creating guilt and shame on the audience)- Gerbner's theory of cultivation 
How does this charity advert use technical codes to provoke responses, emotions and connections with its target audience?

 -DIRECT- the typical voiceover of a man (part of target audience) is replaced with a song sung by the actual person the money is going to- stronger connection with audience as it is a 70s/80s melody.
Link to target audience: western middle-class
the wealthy- bleak connotations of establishing shot (cramped plant pot and radio + drizzle) is juxtaposed with the warm shot of the water that dominates the frame, shining as there's sunlight on the background (water for good)- Binary depositions
 -PERSONALISATION- "Claudia". Several close-ups of her, she's placed in the middle of the frame, turning her indirect mode of address into a more direct one. Shaky camera-shots- creates a more realistic and personal insight into her life, supported by the background ambiance (audio codes) with sound effects of grasshoppers.
-POSITIVE- overall warm lighting and colour, an affectionate tone continued with the clothing and the body expressions- upbeat
iconography- crops growing represents health and growth, similar to water- Semiotics
Song- message of hope, evoking a heartening tone. Sound bridge- connection between both worlds
It does stick to some techniques in charity ads with the statistic "650 million people still don't have access to clean drinking water", however as it is not accompanied with negative visual elements it stands out. 

How is Africa represented in the advert?
The representations in the charity advert AVOIDS CLICHES like pessimistic close-ups of sad children, melancholic stringed music... Instead, the positiveness is carried out through the clothing as there's a quick shot of a child running in a school uniform, indicating they are healthy and being educated.
In the end they're smiling, and the shot is blurred out by the sunlight (motif), so the positive theme is continued smoothly throughout - Semiotics
Active audience- it's up to them to imagine how the lives of the children would be without their donations

Case Study; Kiss of the Vampire

Using the technical codes, explain how the film poster creates meaning about the following elements for its audience:

Genre conventions (horror and vampire sub-genre)
Representations of gender
Cultural contexts (e.g. social change, equality, 1960s pop culture)

Make sure you analyse the poster as it would appear to its 1960s audience and research the era carefully.

The poster for Kiss the Vampire is a product from the era, that acknowledges the 2nd wave feminism being developed through the main image. The woman at the middle of the frame is the only active one, mimicking a heroine due to her posture, (fighting off the bats). She's a direct juxtaposition from the woman at the left, representing the 'desired woman' of the early 1960s, submissive due to her body language and facial expressions. However they have a similarity, their clothing is the same, a dress, a symbol of tradition still ruling over the conventions of gender roles.
This poster may not be challenging the circumstances of equality in the 1960s society, but rather be evoking the fear of the loss of power by the males. This is conveyed through the binary oppositions of the brave woman and the weak male, indicated by the posture (kneeling) and the ripped shirt. It could be the poster's illustrator's way of representing theirs and the main audience's fear: social change.
The audience would be interested in the genre of horror, specifically the sub-genre of vampires and the supernatural. The poster effectively targets them due to the iconography of bats, a castle, blood... that is generally associated with vampires as they're linked to the darkness. The mis-en-scene in the background contains a bleak colour palette, with mostly greys and blacks along with some red. Furthermore there's more straightforward links like the lexis of "vampire", which immediately establishes the eerie mood the film will probably have. The formal clothing of the vampire, a black cape with buttoned shirt is very telling of the time, as in the 1960 vampires were conveyed that way, as wealthy supernaturally unreachable beings, not necessarily attractive (i.e. the "scary vampire" is scared himself). This is a representation which has evolved along with pop culture, with vampires being automatically linked to beauty and charm e.g. Twilight, The Vampire Diaries... Nevertheless, the myth has always been linked to sex, romance and desire, proved by the poster's predominance of red, colour imagery that symbolises those conventions.

Case Study; The Bridge

Character Archetypes;

Investigator-

 Saga, she complies with the main traits of a crime drama protagonist: good at her job (methodical, committed) yet bad at relationships (apathetic? unfiltered?)

 

Sidekick- In the episode, the Danish woman, Hanne, follows the archetype of the sidekick. For instance, when Saga is about to show the victim's wife a picture of the crime scene she has to stop her.

 

Boss-above investigator, so imposing, but  high regard for the investigator

 

Villain- criminals, suspects, etc

Crime TV tends to use enigma codes (mysteries to be solved by the investigator/ audience). Explain what enigmas are used in the episode and if any are resolved. What questions does the audience have at the end of the episode? 

The main enigma is the actual case and finding who is responsible for the murder of Helle Anker. Various characters are presented as suspects such as the victim's son, a Danish vlogger, etc. This enigma isn't resolved at the end of the episode and such open ending means the audience is left to question. Therefore Barthes' action and enigma codes are actively engaged with; there are further questions raised e.g. will Saga's Danish partner survive? Why does the Danish policeman want to partner with Saga? etc.
Another enigma code is presented through the array of newly- introduced characters as we don't know their backstory or their possible influence in the story.

What is Nordic Noir? Summarise its key elements and texts. 

A sub-genre of crime fiction, often written from a police POV (character-led) and set in Scandinavian/ Nordic countries. Characterised by a dark mood, as well as complex morality (social issues and Scandi identity)

• Bleak landscapes, dimly-lit aesthetic, slow melancholic pace (Scandinavian climate)
• "realistic, simple and precise... and stripped of unnecessary words"— Direct writing style, without metaphors; often morose detectives/ worn down and far from heroic
• Often a murder mystery linked with several storylines and themes analysing modern society
• Hidden profound social issues themes, national anxieties- shows the hidden underbelly of society which contrasts with the outside image of Sweden/ Denmark as perfect, prosperous and wealthy

Neale's genre theory plays a major role in displaying the conventions of Nordic Noir to the audience so that the elements convey the expectations of the genre to the viewers in order to appeal, they also set the genre so that when conventions are subverted it is clear in what way they are doing so.

The Bridge follows the usual conventions of Nordic Noir within the crime genre, as for instance, the establishing shot not only simply follows the dark aspect of the sub-genre with the dim lighting, but also, according to Barthes' semiotics, hints at the Denmark-Sweden relations through the bridge that connects them. Furthermore, the opening murder scene follows the conventions of stylised murder that characterise the dark sub-genre of Nordic Noir.

Women in the crime genre are often represented as victims, and in the drama, women tend to be represented as overly emotional and family-orientated.
How does this episode of The Bridge follow or subvert the stereotypical representation of women?

This episode of The Bridge subverts the stereotypical representation of women. Significantly, the protagonist is a female investigator, demonstrating women in power, enhanced by her straightforward personality, far from overly emotional. On the other hand, the victim of the crime being investigated is a woman, therefore there's a sense of compliance with the stereotype. There are elements of the family-orientated stereotype, as the victim's wife is represented as family-orientated.
Butler's gender performativity theory supports the depiction of Saga as not empathetic or emotionally-led, as usual with female characters, as she states gender has an element of performance due to gender stereotypes e.g. men- cold women- emotional. Furthermore, The Bridge subverts any kind of sexualisation of the women in this episode and thus, Van Zoonen's feminist theory, as for instance, Saga changes her top at work without being bothered, and the mid-shot without any kind of 'seductive' audio except the dialogue being exchanged, reinforces the fact the scene isn't coded to sexualise her character.

Identify some examples of how the narrative and themes of the episode are highlighted for the audience through technical codes (e.g. lighting, camera shots such as close-ups, use of sounds...)

As usual with Nordic Noir, the bleak lightning and dimly-lit aesthetic suggest the dark mood and narrative of the TV series. 

Sounds are utilised to imply ominousness, for instance when Saga and her Danish partner come to question the victim's son and sinister music starts to play on the background.
Levi- Strauss' binary opposites theory applies to the Saga and her work partners as the importance of work-life balance is brought up, and binary opposition of the prioritisation of work against personal life is indicated through the narrative of Saga staying up the whole night to attempt to uncover the case, as opposed to her co-worker who arrives late because he's been with his wife

Life On Mars

Genre;

Crime Conventions (Modern/1970's);
- Characters
- Settings
-Narrative and Iconography

Sci-Fi Conventions;
- Characters
-Settings
-Narrative and Iconography

Narrative;
- Very well structured
- Linear narrative
- Restricted narrative as we see it from the point of view of the main character and no other sub narrative is revealed before the protagonist.

Todorov; Narrative Theory

Equilibrium; The show starts off with an unhappy equilibrium as the protagonist is having personal life problems and his work life is lacking enthusiasm.

Disruption; The disruption is when the protagonist gets hit by a car and he time travels to the 1970's to solve another murder and figure out how to get back to his "Normal life".

Resolution; The murder is solved and his relationship with his boss progresses however, the main narrative on how to get back to his normal life isn't resolved.

Barthes Narrative codes; Enigmas.
- Will he get back to the present day?
- is his girlfriend back home alive and safe?
- Will he get with the police women in the 1970's
- Does he change the future by destroying evidence and stop the murder influencing the child.

The episode finishes with a cliff-hanger as , as the audience we don't have all the answers to the enigmas in the show.

Representations;
- Gender.
Women are portrayed differently throughout the show. In the present day, his girlfriend is on the same level as him in the work place and is listened to by the men in the station. However, in the 1970's era, his potential love interest ( shown through the mid-shots used and the actions between them) isn't on the same level on him career wise and isn't listened to by the men in the police station as they make a lot of sexual comments towards her.

- 1970's/ Present day
1970's police are unprofessional and sexist.
present day police are more professional and inclusive.

- Ethnicity
During the 1970's period in the episode, the character are predominately white apart from the bartender who is Jamaican. Where as , in the present day, the cast is very ethnically diversed.

Post Modernism;
- Hyper reality
-Simulara
-Parody and pastiche
- Reflectivity
- Irony
- Intextuality

The protagonist is emotionally and mentally unstable. We are shown this through the fact he used to follow instinct and now follows protocol.

His girlfriend is also his sidekick ( Crime Conventions).

We establish how modern policing is done in the 2000's

Iconography is used to show the time change. Minimal dialogue is used.
- Cassette is shown in the car instead of the Ipod.
- The audio changes to the song "Life on Mars" by David Bowie
- The police uniform swapped in the different eras.
- Clothing of the protagonist changes through the eras as well.

The song "Life on Mars" by David Bowie is used as intertextuality. (Post Modernism)

Police station is an anchor of the time travelling. Contrasts through lack of technology as well as ethnic diversity and gender inclusivity.

As the episode progresses, women are viewed in a less objectified manner and ideologies progress.
 ( Same applies with ethnicity, Could talk about Post Colonial theory)

Coursework- Music video project

Music Video Project 30%

- Statement of Aims (500 Words)

- Music Video (3 Minutes Long)

- Magazine Front Cover 

- Magazine Double Page Spread

Potential Songs;
Dive- Ed Sheeran
Perfect Strangers- J.P Cooper
Mariah Carey- Without You

Inspiration For Magazine;

newspaper tasks

Definitions;

A large business corporation that is comprised of a range of different parts or smaller businesses.

- Conglomerate

This is when a Media Company owns different businesses in the same chain of production and distribution.

- Horizontal integration

This literally means ‘to work together’ and is where one form of media product ‘cross sells’ another form of media product to their mutual advantage of increasing sales/audiences. 

-Convergence    

This means  that there is a diversity of viewpoints available and consumed across and within the media industries and prevents any one media owner or voice having too much influence over public opinion and the political agenda.

-  Plurality

This is the process of how the media product gets to its audience after production

-Distribution   

This is when a sector of the media industry such as newspapers is dominated by one or a small number of large organisations. 

- Monopoly 

This is where a media company tries to maximise its power and profit by combining elements of its business into a more concentrated and more effective model. 

- Consolidation

This is the process of a company expanding its media production in the same area of media. For example, one newspaper company buying another newspaper company. This can happen by internal expansion, merger or takeover and can lead to a monopoly. 

- Synergy

This is where two or more companies, usually of similar size, combine to form a larger single company. 

-Merger

This is where a larger company buys a smaller company

-Takeover

This is the combination of different areas of the media coming together to maximise profit 

-  Vertical integration                                                                  

                                       

1. Trinity Mirror plc is the largest British newspaper, magazine and digital publisher after purchasing rival Local World for £220 million, in October 2015. It is Britain's biggest newspaper group, publishing 240 regional papers as well as the national Daily Mirror, Sunday Mirror and People, and the Scottish Sunday Mail and Daily Record. Since purchasing Local World, it has gained 83 print publications.

                                                                     

                      

How has the newspaper industry maximised profits in response to technological changes?

How has the newspaper industry maximised profits in response to technological changes?

The newspaper industry maximises profit through ownership. Rupert Murdoch , who owns The Times, also owns a lot of other companies. Here we could apply the theory of Media Institutions by Hesmondhalgh, this states that the idea that cultural industry companies try to minimise risk and maximise their demographics through vertical and horizontal integration. Rupert Murdoch does this effectively in horizontal integration through The Sun and The Times. This allows him to influence the gatekeeper in his political bias and publish this in a broadsheet and a tabloid, which targets a more middle class audience but also a working class audience. Ownership doesn't only influence the print based sector but online and television sector. As Murdoch owns Sky, this allows him, again, to influence the way the news is broadcasted on Sky News, this is vertical integration as the same message is being portrayed through a different medium. During the breaks of the broadcasts, Murdoch promotes more of his other products through adverts, (convergence).

Another way that the newspaper industry maximises profit through technological changes is online technology. As technology is advancing , the newspaper, print industry is loosing profit. Social media has had a huge impact as it is more flexible and has more availability. This targets a wider demographic as a lot of people don't have the time to buy newspapers and can access the news everywhere from a device they always carry everywhere. The negative impacts of having an online resource of news, means they have less control on what is published and they make less profit. Newspapers are forced to have a "perfect" website or app but also keep the formal lexis they have in their print based work.

The Times battles the social media craze by making their online website a similar format to a conventional print broadsheet newspaper. They have kept their lexis formal and haven't compromised it to become more informal due to the way the text is distributed. The layout is quite simple and doesn't have many options to navigate the site. The downside of this is that there is a lack of audience feedback, this can effect the views of the broadsheet. As The Times's target audience is 40 years or above, having the website can damage how many of these view the broadsheet as conventionally people around that age don't know how to use technology.

Explain how ownership shapes media products. ­­­Refer to EITHER The Daily Mirror OR The Times to support your points(12 marks)

Explain how ownership shapes media products. ­­­Refer The Times to support your points  (12 marks)

Ownership often influences how media products are shaped. Rupert Murdoch , who owns The Times, also owns a lot of other companies. Here we could apply the theory of Media Institutions by Hesmondhalgh, this states that the idea that cultural industry companies try to minimise risk and maximise their demographics through vertical and horizontal integration. Rupert Murdoch does this effectively in horizontal integration through The Sun and The Times. This allows him to influence the gatekeeper in his political bias and publish this in a broadsheet and a tabloid, which targets a more middle class audience but also a working class audience. Ownership doesn't only influence the print based sector but online and television sector. As Murdoch owns Sky, this allows him, again, to influence the way the news is broadcasted on Sky News, this is vertical integration as the same message is being portrayed through a different medium. During the breaks of the broadcasts, Merdoch promotes more of his other products through adverts, (convergence).

cultural 

 

Rupert merdoch owns the times

- sky

- 20th century fox 

NEWSPAPERS

The Mirror and The Times

Masthead - " Daily Mail"

- Normally in a Gothic font and generally in black.

- Staple of Iconography

Broadsheet- Formal / Serious lexis and tone

Tabloid- Informal / unserious lexis and tone

Puffs or Blurbs- indication on what's inside the newspaper, normally in colour to draw demographic into smaller stories.

Headline- Main story - Bold and larger but not larger than masthead.

Strap-line - directly below headline , gives a little bit more insight on the headlined story.

By-line - Name of journalist that has written the article.

Standalone- An article that doesn't carry on inside the newspaper.

Main image- the central image on the cover, often links with the headline but not always.

Pull quote- large quote separated from the article.

Jump-line- " continued on page 6"

White space- empty space on the newspaper

News values;

Gate keeper- filters the story through the news values and decides what's published. Conglomerates normally influence this ( Reference to Rupert Murdoch). Cultivation theory and hypodermic needle theory.

Threshold- bigger impact and reach of story.

Unexpectedness - surprising story

Negativity - bad stories reach more consumers than good stories as people like to see others down fall (schadenfreude)

Elite persons - important people (Dyer star theory)

Unambiguous - Easy stories 

Personalisation - stories that include "real people"

Proximity - stories closer to home

Continuity- continued or updated stories.

Theory;

Cuman + Seaton - Variety of industries.

Hesmondhalgh - integration - horizontal and vertical.

RADIO INDUSTRY

RADIO INDUSTRY 

-LNWH is no longer broadcast by the BBC but is still available online . Summarise the differences between broadcasting and podcasting  for the audience and how it may affect the content and structure of a programme.

A large difference between podcasting and live radio is the fact that live radio cannot be edited after it has been broadcast, whereas podcasts are pre-recorded so they can easily be adjusted after recording. ... While radio can include pre-recorded content, many shows are usually live broadcasts.


-Define and give an example of a commercial  and a public Service  radio broadcaster, explaining the key differences.

A Public Service Broadcaster  is a state funded media broadcaster intended not simply for commercial purposes, but more, to benefit the public.A Commercial Broadcaster is a media broadcaster produced through by privately owned corporate media, a stark contrast to the state funded model of the PSB.

-Explain the identity and purpose of the BBC based on its origins, history and how it is funded.

The BBC is a British organization which broadcasts programmes on radio and television. BBC is an abbreviation for 'British Broadcasting Corporation'. The concert will be broadcast live by the BBC.We are innovative, adaptable and creative, making lasting improvements to people's lives.  BBC State that "We respect everyone we work with: our audiences, partners and colleagues. We seek to understand context, and to encourage diversity. We support, challenge and value our colleagues and partners, learning from each other.". The BBC are funded through their consumers paying their TV license on a rolling contract.

-How does the BBC broadcast or provide content nationally, locally and globally?

The BBC broadcast their programmes in the UK and also in America. They use BBC Worldwide ; BBC Worldwide is a principal commercial arm and a wholly owned subsidiary of the British Broadcasting Corporation (BBC). Its vision is to build the BBC's brands, audiences, commercial returns and reputation across the world.

Late night women hour

Late Night Women Hour;

Based on the overview and specific content from two episodes ( the episode 'Home' and one other)  , explain the following about Late Night Woman's Hour with examples from the program supporting your points


-History and background of  LNWH

-Summary of content and audience of Radio 4 

-Themes and subjects covered in LNWH

-Structure and content of typical episodes ( interviews, feature pieces, discussion , phone-in , etc.)

-Presenter ( age, gender.background,broadcasting history, comparison with previous presenters )

-Use of spoken language ( mode of address, formal/informal, emotional language)

-Use of audio codes ( music, sting , theme  )

-Opportunities for audience feedback

-Any marketing /advertising  of  own program and other  BBC content

Target audience of LNWH ( age,gender,class,interests,use of media etc.)

The previous  elements should help you define and explain this

(LNWH) is a late night edition of the long-running, BBC Radio 4 programme Woman's Hour. It started in 2015 with a one-month pilot run, scheduled twice weekly on Thursday and Friday at 11 pm for one hour. The presenters for this first run were Lauren Laverne and Jane Garvey who led panels of five guests in discussion of a particular topic such as fan fiction or lust. Lauren Laverne then became the permanent host when the programme started a regular schedule in 2016, being scheduled as a monthly podcast which was then broadcast on Radio 4 at 11 pm on the last Thursday of each month.

The topics discussed in the first run included the dating app, Tinder, and lying. The conversation was frank and adult, being broadcast after the watershed.

In 2018 Late Night Woman's Hour became available in a weekly podcast format which listeners can access via BBC Sounds as well as other podcast apps. Guests include technology evangelist Dr Sue Black, Guardian beauty columnist Sali Hughes, writer and broadcaster Afua Hirsch, influencer Chidera Eggerue, author and blogger Emma Gannon, Elle Deputy Editor Kenya Hunt, journalist Miranda Sawyer and writer and comedian Viv Groskop. 

In autumn 2018 5 Live broadcaster and journalist Emma Barnett took over from Lauren Laverne. 

statement of aims

STATEMENT OF AIMS (500 Words approximately)

You will be required to complete a brief outline of your aims and intentions for the media production that must be submitted with the production. This will be assessed with the production and will enable you to explain the ways in which you will apply knowledge and understanding of the theoretical framework to the production and target the intended audience.

In my work, I will be focusing on music marketing a new artist with the record label Universal Island Records.

When shooting my music video, I will be using a lot of transition shots, close ups and in and out of focus shots. I will predominately be shooting outside and would preferably like the whether to be bright and sunny but would also have a few low-key lighting shots to show the sombre mood before the narrative picks up. To convey my idea of 2 protagonists meeting but are in contrast with each other, I will be using split screen to show 2 different shots at the same time. Before I do this, a time lapse of the sky or sea will be used to show the passing of time but to also set the mise-en-scene of the music video, this links to the narrative as it is about 2 people meeting over a long period of time but don’t know that they have, until the penultimate. Although the narrative is about 2 protagonists, I will include some form of performance through one of the characters, using them as the new artist which reinforces the target audiences’ requirements. My new artist; Bella will be shown looking through books about being alone and/or finding “the one”. My editing of the music video will be invisible to match the visual codes. Lastly, in the first shot, the graphics will appear to inform the audience who the artist is because she is new to the industry.

The magazine and double page spread I will be creating is called “Glow”, I chose this name as it conveys a new artist coming from nothing to “Glowing” in the industry. The masthead will be in a pink font, with an inner glow. Pink is bold but also conveys the inexperience that the artists has in the music industry. I will follow this with the taglines being white, black and pink, these will include things such as “UK Top Underrated Artists” & “Music You’ve Never Heard Before.”. The main image will be a mid-shot of my artist, in colour to stand out from the stripped back magazine. I intend to price the magazine from £2.99, this is affordable and widens the consumer bracket further to people such as students with a lack of disposable income. 

On top of the magazine front cover, I will produce a double page spread that will include an interview with the artist, explain their rise to fame and how they were discovered. This will include questions which force the audience to think. I will add in motivational responses from the artist to inspire the audience to pursue their dream career no matter the age.

J.P Cooper- Lyrics Acoustic Version

You were looking at me like you wanted to stay
When I saw you yesterday
I'm not wasting your time, I'm not playing no games
I see you

Who knows the secret tomorrow will hold?
We don't really need to know
'Cause you're here with me now, I don't want you to go
You're here with me now, I don't want you to go

Maybe we're perfect strangers
Maybe it's not forever
Maybe intellect will change us
Maybe we'll stay together
Maybe we'll walk away
Maybe we'll realize
We're only human
Maybe we don't need no reason
Maybe we're perfect strangers
Maybe it's not forever
Maybe intellect will change us
Maybe we'll stay together
Maybe we'll walk away
Maybe we'll realize
We're only human
Maybe we don't need no reason
Why
Come on, come on, come on now
Maybe we don't need no reason
Why
Come on, come on, come on now

No one but you got me feeling this way
There's so much we can't explain
Maybe we're helping each other escape
I'm with you

Who knows the secret tomorrow will hold?
We don't really need to know
'Cause you're here with me now, I don't want you to go
You're here with me now, I don't want you to go

Maybe we're perfect strangers
Maybe it's not forever
Maybe intellect will change us
Maybe we'll stay together
Maybe we'll walk away
Maybe we'll realize
We're only human
Maybe we don't need no reason
Maybe we're perfect strangers
Maybe it's not forever
Maybe intellect will change us
Maybe we'll stay together
Maybe we'll walk away
Maybe we'll realize
We're only human
Maybe we don't need no reason
Why
Come on, come on, come on now
Maybe we don't need no reason
Why
Come on, come on, come on now
Come on, come on, come on now
Maybe we don't need no reason
Why
Come on, come on, come on now

Tide Advert; 1950's

Tide Advert; 1950's

• Main Image;

• Housewife
• Non-sexualised woman
• Aspirational figure
• Hugging the product. (washing powder)
• Middle aged, white woman
• We assume as a demographic that she likes cleaning because of her facial expressions and the facts that she's hugging the products.
• Glamorously dressed.
• Happy housewife stereotype. 
• The tagline; " Tides got what woman want." links to the facial expressions and the happy housewife stereotype.
• Love hearts above the main image shows the love the woman has for the washing powder

• Lexis;

• Repetition of the word "No"
• Exclamation mark
• Capital Letters
• Bold writing

• Colour
• Key words are written in red.
• Bright colours to connote positivity and happiness
• The colours link to the colour of the packaging.

• Context;
• the main image is a white , young woman which is also the targeted demographic.
• Rise of the suburbs- mainly white people.
• Suburban houses weren't aloud to be sold to non-white people.
• No black or ethnic representation.
• American Dream- Success + upland mobility
• Postwar American Wealth
• Consumer and technology boom.

• Theory;
• Semiotics 
• Stuart Hall; Representation 
• Van Zooem : Feminist 

Water Aid; Paper 1 Audiovisual

Water Aid; Paper 1 Audiovisual 

Opening Scene;

• First shot is an establishing shot of a Western house.
• Rain on the window 
• Middle class
•  The audio of the radio in the house is ; "Heavy showers expected over the next few days"
• Lighting is cold toned , blue/grey
• The radio in the opening shot contrasts to the rest of the advert.
• Claudia's singing juxtaposes the digital diegetic sound from the radio.
• This maximises positive effect in the African scenes.
• MANIPULATES WITH POSITIVITY 

African Scenes;

• Warm toned lighting
• Emotive 
• Brightly coloured dress on Claudia
• Targets middle aged western audience
• The song is recognisable to the "older" audience- makes the audience relate to her
• Framing of her shows connection. MODE OF ADDRESS 
• Manipulates audience in a positive way
• Not a smooth steady shot, makes it seem like we are walking with/ alongside her 
• Boy playing with a toy, rejects the generic conventions of a charity ad.
• The children could be in school uniform, could suggest that because they have water, their life is better with things such as education.
• close up of 3 girls smiling, shows the effect that water could have.
• The audience only get one piece of text/information in the whole advert. 
• The audience is an active spectator.- Doesn't passively accept the information.
• This could have an opposite effect.
• The audience become personal with the protagonist because she is given a name; Claudia.

Theory;

Binary opposites; 
Western culture vs African culture 
Rain vs Sun
Positivity vs Negativity 
Warm toned lighting vs Cold toned lighting.

Gerbner- Cultivation Theory;
The ideology that when exposed to a certain view or opinion, your view will grow over time either positively or negatively. The audience can either grow with emotion or loose emotion. This is applicable as charity ads could provoke an idea of boredom towards them.

Compare the representations of gender and ethnicity Beyonce's Run the world and the video for Dizzee Rascal’s Dream.

Both Beyonce and Dizzee Rascal convey their messages and ideologies through the narrative structure of their music videos. In the video, "Run The World", Beyonce portrays a feminist ideology through the lyrics and mise-en-scene. The video is predominately based in a post apocalyptic world where women are presented as powerful and superior to the man. This goes against to the generic conventions of women in the media. The demographic are shown this in various scenes , such as the wide-shot of Beyonce holding 2 hyaenas on chains, this conveys the idea women being superior as the animals in the scene could be iconography of the males sex. The chains that are attached to the hyaenas represent how the power over women has been flipped to the power of men. ( Feminist theory; Bell Hook.).

In the video, "Dream", Dizzee Rascal conveys the narrative of a young, black males journey in a white-dominated musical industry. Throughout the duration of the video, Dizzee is presented as the toy Jack-In-The-Box, this could represent how his talent was suppressed into a specific type of music,  shown as the box, and every now and then he was aloud to come out of the box for a certain space of time. However, Dizzee was always placed back in the "box" and suppressed again. The rest of the characters are portrayed as puppets on strings, showing the power that the predominately white government have.