Task 1 – Media Studies textbooks notes

Station Profiles

Each radio station, whether commercial or a public service broadcaster
such as the BBC, has a distinct profile and identity, and appeals to different audiences. This is evident in the programmes they produce, the presenters and the way in which they market themselves to those audiences. Each station also has a logo that is a visual signifier of the station and is used in cross-platform marketing. This identity has been built up over time and audiences have expectations of particular stations and their output.

The programmes produced and commissioned by a station are often Indicative of the station’s identity and its values, attitudes and beliefs. Radio differs from television in that it is available in a range of different formats. BBC radio :the BBC is a public service broadcaster that is funded by the licence fee and does not air commercials. BBC radio is both national and regional, there are over 40 local/regional stations attracting more than nine million listeners each week. However, these numbers have been steadily falling due to the competition from commercial broadcasters.
There are over 300 commercial radio stations in the UK. These are National commercial radio 1 there are three of these stations broadcasting at the time of writing: Classic FM, Talksport and Absolute Radio.
» National brands : these are regional stations that have been collected into networks, sharing some programmes and syndicated output. They are:

– Global Radio- Heart, Galaxy, Gold and Radio X
– Bauer Media Group – Kiss and Magic
– Guardian Media Group – Real Radio.
Independent local radio : these are regional commercial stations. They are specific
to a certain area of the country and are not part of a network group. Community radio: this is a different format from public service and commercial stations. Community stations serve their local areas and produce content of interest to local people. The stations are non-profit making and are usually funded by the local community.
Hospital radio : there are hundreds of these radio stations based in hospitals and
staffed by volunteers, broadcasting in the UK. Many radio presenters started out in
hospital or community radio.

Industry: The BBC
As stated earlier in this section, the BBC is a public service broadcaster with a remit to
inform, educate and entertain. Like television, radio has to produce programmes that
attract and appeal to a broad audience. BBC radio is funded by the licence fee so there
are no advertisements other than those for other BBC television and radio programmes
and events organised by the BBC, for example ‘Proms in the Park’. As with BBC television, the funding arrangement allows the stations some aspect of freedom to produce programmes that may target less mainstream audiences. All radio stations are obliged to broadcast regular news bulletins, which often will reflect the style of the station and the target audience, for example, the condensed, pacey delivery of Radio is Newsbeat, which  covers issues relating to its younger demographic, or the more traditional mode of address of the Today programme on Radio 4. However, it is also important that all stations prove their popularity, as it is a competitive market.

Industry: Marketing
BBC radio engages in the following marketing strategies to promote its stations and
programmes:

Cross-platform marketing. Other radio stations and BBC television will promote radio stations and events related to BBC radio, for example ‘T in the Park’. Billboard and magazine advertisements for stations and presenters, Each station has its own website within the umbrella website for BBC radio. These allow listeners to access live audio streaming and to listen to archive programmes. They also provide interactive opportunities for an audience and can be accessed by a global audience.

The Specialised Nature of Radio Stations
Different radio stations will have diverse styles, and their programming will reflect
the target audience. This will in turn influence and reinforce the profile of the station.
Audiences build up a knowledge based on experience of what each station will offer.
Stations tend to be divided stylistically and in terms of content between those that
are speech based and those that are music-led. Speech-based stations such as
Radio 4 and its individual programmes tend to target an older audience demographic
but, as can be seen with the launch of Late Night Womans Hour (LNWH), this station
is attempting to address a younger, more diverse audience.
Although this can also be the case for music-led formats, the A presenter:
presenter in speech-led programmes acts as an anchor to guide the discussion
between various guests, for example Lauren Laverne in LNWH or as a judge in a
quiz programmer, for example Miles Jupp in The News Quiz on Radio 4

Discussions: a group of people discussing a range of topics. This sub-genre of
programme is often a key part of Radio 4’s schedule. LNWH uses this style with
each programme centring on a key topic.
» Phone-ins: these are effective, cheap ways of involving the listeners, who are
encouraged to take part in the programme and offer their point of view. For
example, Jeremy Vine’s lunchtime programme on Radio 2.

» Contributors: news magazine programmes such as Today and PM on Radio
4 invite guests who tend to be experts or knowledgeable in the topic under
discussion. The 8.10am slot on the Today programme is renowned for being
reserved for eminent contributors such as, for example, the Prime Minister.
LNWH has highbrow female guests including writers, artists and academics.
Drama : Radio 4 has a regular feature of The Afternoon Play. Other dramas
include the long-running radio soap The Archers.

Scheduling
Just like television, each radio station has a schedule and programmes across the schedule. The regular programmes for each station are. The same time each day. The scheduling of a particular programme will have been researched in order to maximise the target audience. This is still the case even though, with advances in digital technology, listeners can catch up on radio in, programmes through ‘Listen Again’ and Podcasts. The radio, more so than television, divides up its day related to what the audience may be doing. Radios 1 and 2 both have breakfast shows, which bring in a large
section of audience who are getting ready for, or travelling to, work. These regular features build up expectations in the audience and give a structure to the programme.
Similarly, a station such as Radio 4 engages in stripping as part of its schedule. For example, Woman’s Hour and its spin-off, Late Night Woman’s Hour, both have specific scheduling times. Woman’s Hour is broadcast every day at 10 am.

However, the scheduling of LNWH is more interesting, it is a monthly programme
broadcast. The assumption is that a lot of listeners will choose to listen via the podcast, but keeping it in the schedule at this time allows the programme to include more adult content.

LNWH was launched in 2015 in response to the demands of the industry and to
cater for a younger female audience who may not be addressed by the current Radio 4 output.
It is presented by Lauren Laverne who is of a similar age to the target audience and
is known for her involvement in music and the arts. She is a presenter on Radio 6
Music and fronted The Culture Show, as well as covering Glastonbury for the BBC.
Each episode is based around a theme and involves informal and in-depth
discussion. Themes have included female friendship, women in sport and anxiety.
To accompany the programme the BBC also produced a pilot online video series
called The Green Room, These were short films that would appeal to the target
audience and were shareable.
The BBC is a public service broadcaster and the programme reflects this and the
ethos of Radio 4. lt is linked to Woman’s Hour, which has been running for more
than 70 years, in that the subjects it discusses are linked to the interests of women.

The role of Ofcom with regards to broadcasting is:
To ensure that a wide range of television and radio services of high quality and
wide appeal is available.
– To maintain plurality in the provision of broadcasting.
– To adequately protect audiences against offensive or harmful material.
– To protect audiences against unfairness or infringement of privacy.
– The BBC is also self-regulatory. The company works with producers to ensure that
there will be no need for Ofcom to intervene except in extreme circumstances.
An audience member can complain to Ofcom regarding a particular programme that
they may deem offensive or harmful, and audience pressure over certain programmes
can often be a successful form of regulation. When Ofcom receives a complaint, it
assesses it under the terms of the Broadcasting Code and decides what action to
take. Of com produces a regular ‘Broadcast Bulletin’ reporting on the complaints
received and decisions taken.

Audience
In an age when we are dominated by visual images, many will question how radio
has managed to survive and indeed develop. The medium of radio has a range of
different appeals as it consists of:
The blind medium: it only involves the sense of hearing with no visual images.
In this sense the medium can be seen to have advantages in that it allows the
audience to use their imagination.
The companion medium: the radio format provides a strong sense of personal
communication for the audience. lt also offers interactive opportunities –
audiences can text and email programmes and get a ‘mention’ or a ‘shout out’ on
it. Some programmes have phoneins where listeners can air their views or select
music to be played.
The intimate medium; radio is very personal. lt encourages intimacy by the use of
the direct mode of address.
The undemanding medium: it allows the audience to do other things while listening.
A criticism of television in the early days was that it didn’t ‘go around corners’, with
radio, a listener does not need to devote their time entirely to the platform.

Radio Audiences and Emerging Media

Recent technological advances have had an impact upon radio in terms of how programmer are broadcast and how listeners receive those programmes. These technological developments have allowed radio to develop and increase in popularity, despite critics heralding the end of the radio format. Although radio is a blind medium, many radio stations now have webcams in their studios, allowing listeners to view the presenters and guests in a radio show. Radio programmes also often produce a podcast of the best bits of a particular week. Podcasts can then be downloaded on a range of platforms and make listening to the radio more flexible for audiences.

One of the areas of the specification you will need to address is how the set rod
target, attract, reach and potentially construct audiences, and how specialised
audiences can be reached on a global and national scale through different media
technologies and platforms. Consider:
The choice of presenter. Lauren Laverne is of a similar age as the target audience.
– Her northern accent also subverts the stereotype of the typical Radio 4 presenter
and makes her more relatable to the audience.
The language and mode of address are aimed at a younger female target
demographic.
– lt appeals to a niche, specialised audience signified by the scheduling time.
The themes of the programme and subsequent podcasts are constructed to be of
interest to the specialised audience.
– The audience is constructed through the style of the programme and the choice
of guests tend to be educated and often highbrow, for example Susie
Orbach, a psychotherapist and author, and Rachel Hurley, Cardiff University.
– It is available across a range of platforms and is therefore available to a bigger
audience.
Read and takes notes on the pages 101-109 of your Yr2 Media Studies textbook. (45 min)

Set Product Industry Focus: The BBC

Significance of patterns of ownership and control, including conglomerate ownership, vertical integration and diversification , The BBC is a public service broadcaster whose output spans across national and local services. In addition, the BBC World Service broadcasts globally in over 28 languages.
The advances in digital technology have ensured the continued expansion of the BBC Radio network. The BBC does not carry advertising and is funded by the licence fee, giving it some freedom from competition and allowing it to produce programmes to target a range of audiences, not just the mainstream. Every ten years the government sets out its vision for the BBC in the Royal Charter .The aim of the BBC Royal Charter
of 2016 was to ‘reinvent public service broadcasting for a new generation’. The BBC
announced a new mission statement:
“To act in the public interest, serving all audiences with impartial, high quality and
distinctive media content and services that inform, educate and entertain”
(BBC, 2016)

This echoes the aim of Lord Reith ,the founder of the BBC, who first said that the
role of a public broadcaster was to inform, educate and entertain. Part of the 2016
mission statement included the need to reach a younger audience. However there was some controversy over the 2016 Charter as there was seen by many to be government interference and the threat of the loss of the publicly funded and autonomous nature of the BBC. Several actors and industry professionals used the 2016 BAFTA Award ceremony to air their concerns about the future of the BBC: We’re a nation of storytellers, we’re admired around the world for it and may it live and long may it be a privilege to the people here without having to watch commercials. (Mark Rylance, BAFTA Awards 2016) One of the requirements set out in the charter was for the BBC to name all its stars
who were paid more than £450,000 per year.
In response to the new Charter, the BBC and its Director General Tony Hail set out
their mission to inform, educate and entertain in a speech to staff:
Our task is to reinvent public service to present public broadcasting for a new
generation and also to ensure it works for all audiences so that everyone in the
country gets value from the BBC.
Why is this so important? During the debates about the Charter we learned
something vital: the public continue to believe strongly in the BBC ‘s mission.
When we look at how society is changing, see the B8C’s mission as more
important to the UK than ever (BBC, 2017)
The main points set out in the Annual Report were:
To provide impartial news and information to help people understand and engage
with the world around them.
To support learning for all ages.
To show the most creative, highest quality and distinctive output and services.
To reflect, represent and serve the direct communities of all the UK’s nations and
regions, and in doing so support the creative economy across the UK.
To reflect the UK, its culture and values to the world. (BBC, 2018)

Marketing
It is important, as with all media forms, that the radio station markets itself to the
potential audience. Radio uses some of the following strategies:

Cross-platform marketing websites linked to a specific station
BBC Taster : allows audiences to sample new programmes and interact with the BBC. the Schedule: the station’s output will be marketed regularly throughout the
day on the radio with trailers. The schedule is also published and particular
programmes may be covered in more detail in articles in the press, for example in
the Radio Times.
Discussion focused programmes; the format of many speech-based programmes is
a group of people talking about a series of or one specific topic, led by a presenter Contributors: can be a range of different people brought onto the programme to add to its content and can include: experts in a particular topic, news correspondents and location reporters. The public can also be participants in radio programmes through phone-ins where they are encouraged to give their ideas and
opinions related to events and issues.
Dramas: part of Radio 4’s speech-led output is its dramas, which include works
from new writers, a soap opera and adaptations of novels.
Documentaries: cover a range of topics and are an important feature of the Radio
4 schedule.
Outside broadcasts: the versatility of the radio medium allows programmes to
be easily broadcast from different national and global locations. For example, The
Listening Project is a partnership between BBC Radio 4, BBC local and national
radio stations, and the British Library. Since 2012 the project has invited people in
different locations around the country to have their conversations on a range of
topics recorded. These would then be archived in the British Library’s permanent
audio archive

Industry: Set Product Late Night Woman’s Hour
The impact of digitally convergent media platforms on media production, distribution and circulation Late Night Woman’s Hour is an interesting example of how Radio 4 is evolving and fulfilling its mission to provide content that will appeal to a younger demographic. Part of the success of this product is the fact that it is distributed across different platforms, which suits the listening patterns of a younger audience who may be less familiar with listening to live radio programmes.
“Woman’s Hour has long been considered to be a safe, if slightly worthy, staple of
the daytime Radio 4 schedule. Until now, few would have described it as cool, and
nobody would expect it to turn the airwaves blue. All that has changed now Lauren
Laverne has taken the helm of a new late night version of the long-running show that is shaking up some of the cosier conventions of BBC speech radio. (Glennie, 2015)”

Consider how Late Night Woman’s Hour fulfils the remit of the BBC to inform, educate and entertain. It is a specialised programme, specifically produced to target a niche audience. The fact that the BBC is funded by the licence fee allows the channel greater freedom to be more creative and experimental with its programming content. The programme has low production values, no music, location reporting or clever editing, the focus is the calibre of the guests and their discussion topics. This style of programme may be deemed too risky for more commercial channels that have to attract advertisers by securing audience numbers.
Consider how Late Night Woman’s Hour fits a specialised profile of Radio 4 and how
it conforms to the codes and conventions of speech-led radio broadcasts:
The presenter: Lauren Laverne has proved a successful choice for this
programme. She is of a similar age to the target audience and will be known to
them as both a television presenter and one of the main anchors of BBC Radio 6
music.

Applying Theory
Regulation: Livingstone and Lunt
Consider how you could apply and critically explore the following aspects of Livingstone and Lunt’s theory to Late Night Woman’s Hour:
The idea that there is an underlying struggle in recent UK regulation policy between the need to further the interests of the citizens (by offering protection from harmful or offensive material) and the need to further the interests of consumers (by ensuring choice, value for money and market competition). BBC Television and Radio is self-regulatory in the first instance. As a media organisation it is responsible for working with production companies to ensure that it does not breach regulatory codes. The new unitary BBC Board is responsible for ensuring that the BBC fulfils its mission as set out in the 2017 Charter. The Board is accountable for all the BBC ‘s activities. Where there are concerns the BBC has the option to give pre-programme warnings and to schedule programmes after the watershed. The BBC is also externally regulated by Of com who can act in response to audience complaints.
Radio has retained an appeal for audiences for the following reasons:
It is an undemanding form. It does not ask for complete concentration
from listeners, allowing them to do other things while listening, for
example driving.
It distributes its content on other platforms to broaden access to the content. In 2016/2017 BBC online was used by 51% of UK adults and was one of the top five highest-reaching websites. BBC content on Facebook globally was 6.9 million per week (BBC, 2017). BBC iPlayer Radio has also taken measures to improve its homepages to be more attractive to audiences.
It is referred to as a companion medium because omits intimacy with audiences. Many programmes also offer opportunities for the audience to interact. The form also encourages intimacy with the direct mode of address adopted.

Audiences: Social and Cultural Context
The fact that Radio 4 has produced a programme in the style of Late Night Woman’s
Hour reflects its concern that it has not previously produced content that appealed to
a broad spectrum of society, particularly in relation to targeting younger women. This
move also reflects a shift in society with regards to the changing roles of women and
the demands of this audience to have programmes on both radio and television that
cater for their interests and concerns.
Although Late Night Woman’s Hour has direct links with the long running radio
programme Woman’s Hour, which itself has a very specific audience, the late night
scheduling time, the largely all female line-up and the often controversial subject
matter suggests the targeting of a new audience of independent young women who
were previously underrepresented on Radio 4.

How audiences are grouped and categorised by media industries, including by
age, gender and social class, as well as by lifestyle and taste
Late Night Woman’s Hour is a good example of how a media product and industry
can group an audience. This makes the programme easier to market for the BBC
as the target audience is clearly defined.
The audience group is suggested by the programme’s content, reflecting gender
age, lifestyle and taste. In the set product Home there is a distinct sense of
middle-class values as highlighted through the discussion of dinner parties,
quilting, tea lights.
There is an expectation that the female listener will have a historical understanding
or a wish to learn about how women’s roles have changed since the 19505. There
is also an assumption that the women listening are professional and independent
and have a particular set of values.

Applying Theory
‘End of Audience’ Theory: Clay Shirky
Shirky (2009) suggested that the internet and digital technologies have had a profound effect on the relations between media and individuals. In his theory he puts forward the idea that audiences have changed as the ways in which they can access media products have revolutionised access and ability to interact with and respond to
media products. Consider how advances in digital technologies, as outlined by Shirky, have allowed radio to exist as a viable platform with a distinct relationship with its listeners.

Task 2 – Exam Questions Planning (1 hour):

Spend 30 minutes (each question) planning a detailed response to the questions below. Use the PEETA model when you are planning your response.

Question 1 – With reference to Late Night Woman’s Hour to support your points, how does radio use ‘star’ presenters to target audiences. [10]

• Use of Lauren Laverne– similar age to the target audience and can therefore relate to issues involving the audience. She also has an extremely distinctive radio voice.
• Lauren is known to the target audience as both a television presenter and one of the main anchors of BBC Radio 6 music.
• Lauren guides the invited guests through the topic of each episode- she is seen as managing the discussion. It is an open discussion whereby they can comment on their particular interests and contributions- Episode of ‘home’ discusses the hygge and Lauren introduces a Danish chef and author Trine Hahnemann to discuss this issue
• Topics discussed on the show- lowkey and quiet discussions reflecting the time of scheduling and creating an intimacy with the listener. The topics involve issues that would relate to the main target audience, they refer to the Great British Bake Off and Nigella Lawson’s cookery programmes.
• Lauren commented on her move from music to speech-led radio: “Listening to five contributors all talking at the same time, keeping it moving, making sure everyone gets a chance to be heard… it is surprisingly similar to doing a mix, just with human voices.

Question 2 – Explain the impact of media technologies on audience consumption of radio. Refer to Late Night Woman’s Hour to support your points. [10]

• Evolution of Digital Technologies over the years: People no longer have to use radios on certain times- BBC iPlayer, catch-up and podcast apps means that audiences can interact with these services at their own time. This is different from a couple of years ago.
• Royal Charter: “to reinvent public service broadcasting for a new generation”. With the BBC announcing a new mission statement: “To act in the public interest, serving all audiences with impartial, high-quality and distinctive media content and services that inform, educate and entertain.
• Online media platforms have become particularly important in the distribution and circulation of media content. With use of amateur podcasts and radio shows being able to be uploaded on websites such as YouTube. Likewise, the BBC uses social media to promote these shows.
• The advent of Digital Audio Broadcasting digitally rather than through an analogue signal, has improved sound quality dramatically and improved problems with interference.

Task 3 – Exam Question Response (1 hour):

Select one of the questions and, using the plan and the PEETA model, write an extended response to the question. (300 words)

Question 2 – Explain the impact of media technologies on audience consumption of radio. Refer to Late Night Woman’s Hour to support your points. [10]

The impact of media technologies in terms of audience consumption of radio has adapted over several years. Late Night Women’s Hour, which aired at 11pm for audiences, providing these viewers with the opportunity to consume the product at any time they desire. Therefore this contradicts stereotypical viewing of radio products, which would be aired analogue at a certain time for audiences to listen to. This allows for audiences to experience media products that their everyday lives previously restricted them from. However, through the use of adapting technologies, audiences are now able to listen to radio shows at any given time, they also allow for easy access to this content- through the use of BBC iPlayers feature and podcasts apps for phones. This creates a form of freedom for the listener as they don’t have to be restricted to a given time.

The digital revolution also meant that radio production and consumption’s quality increases the quality of the audio from previous radio quality. The use of Lauren Laverne in Late Night Women’s Hour highlights the audiences interaction with similar media texts as Lauren is recognisable to the audience through her work in the regards to the music industry and Glastonbury Festival.

Task 4 – Mrs. Fisher video (30 min)

Watch and take notes on Mrs. Fisher’s video on Radio:

https://youtu.be/2BLEXrko0T4

• Broadcast on BBC Radio 4, BBC is a global conglomerate. The BBC is funded through TV licence. BBC have to try and please the audience for this
• As a Public Service have to ensure their products inform and educate. BBC also have to introduce some diversity- all female cast of presenters and guests. Majority of presenters are white middle class women.
• Their PSB remit means their programmes MUST have an informational r educational benefit- Home episode, cultural habits and hobbies and global backgrounds.
• Other topics include women’s health, laws, entertainment and politics
• The BBC can afford to broadcast more niche audiences due to
• No music, sound effects and complex language.
• Spin-off from Woman’s Hour- Broadcast earlier in the day, younger women aged 40-55 were finding it harder to engage the appeal from Woman’s Hour and therefore LNWH were created.
• Is the show niche and separate as it is aimed at a separate gender?
• Would men not be interested in these topics?
• 11pm might limit the audience in terms of scheduling. However, with new technologies of BBC Sounds and Podcasts.
• May restrict Ofcom regulation due to the watershed. The use of BBC Sounds might circumvent these restrictions and therefore mean that children can view content that is not suitable for them.
• Lauren Laverne- Well known had a reputation in her younger years as being wild, rebellious and a bit of a ‘ladette’. So the presenter choice communicates the controversial topics and the rebellious nature of the programme.
• Relative Youth- Lauren Laverne is seen as relatively young compared to the presenters of Woman’s Hour.
• BBC is a dominating a market, LNWH can be seen to challenge Curran and Seatons theory as it is not earned through commercials. Inform, educate and entertain
• When Lauren Laverne presented the programme she used Twitter to regularly promote the show to show to her millions of followers.
• The webpage for LNWH on the BBC site allows audiences to ‘interact’ by listening to clips, doing quizzes, commenting etc.

Task 5 – Late Night Women’s Hour booklet (3 hours)

Read and take notes on the extensive booklet (attached at the bottom) on the Radio case study, Late Night Woman’s Hour. Instead of completing tasks, I would like you to put these a summary of these notes into either a spider diagram or PowerPoint presentation – and then upload onto your WordPress blog.

Radio Industry Powerpoint

Read and take notes on Chapter 5 (p.180-185) of your Yr1 Media Studies textbook on key approaches used to study online media products. (30 min)

When studying Zoella, you will need to explore the following:

• The homepage of the product
• Linked blogs and/or YouTube channels, including relevant audio-visual material such as videos
• Links to social and participatory media, such as Facebook, Twitter and Instagram.

Using Theoretical Framework

• Media language of online products– how blogs, vlogs and online videos communicate meanings through their forms, codes, conventions and techniques
• Representation– the way individuals and social groups are representations in blogs, vlogs and online videos
• Industry– the impact of recent technological change in media production, distribution and circulation as well as significance of economic factors in relation to online forms
• Audiences– How the producers of blogs and vlogs target, attract, reach, address and potentially construct audiences, and how audiences interact with and respond to online media products.

Media Language

Recent years have seen the growth of the internet dramatically. It challenges traditional understandings of the relationship between the media producers, products and audiences. The emergence of new online media forms such as blogs and vlogs has played an instrumental role in this regard, reflecting the cultural shift towards user interaction, participation, connection and collaboration that is often said to characterise the Web 2.0 era.

The growing cultural significance of content creators such as Zoella is not only evident in the number of subscribers that their blogs and YouTube channels attract, it is also apparent in the way their images circulate within the mass media and mainstream culture. Zoella and Alfie both featured in Band Aid’s 30’s re-recording of ‘Do they know its Christmas?’ in 2014, becoming the first non-music artists to appear on the charity single. Further evidence of their status as cultural icons can be found in Madame Tussauds, where wax figures of Alfie and Zoella were unveiled to mark the launch of the museums new YouTube themed area in 2015.

Types of Blog

Blogs come in different forms and have a wide range of purposes or functions. They can be political or personal, instructional or journalistic. Some are created by amateurs while others are produced by professionals. They may be commercial or non-commercial. They also cover a wide range of topics There are food blogs, health, blogs, film blogs, travel blogs, research blogs and news blogs to name just a few.

One of the most popular types of blogs is the fashion, beauty and lifestyle blog. These blogs usually offer a personal insight into the everyday life and interests of the blogger.

Types of Vlogs

• Personal vlogs-shares their thoughts, experiences or feelings with viewers. The vlogger generally uses direct mode of address, speaking straight to the camera in the style of a video diary.
• Fashion and beauty vlogs-including:a) demonstration or tutorial videos in which the vlogger shows viewers how to achieve a specific look. B) Haul videos in which the vlogger displays and discusses the shopping purchases they have made. C) Reviews- videos in which the vlogger reviews or comments on a specific fashion or beauty product
• Entertainment vlogs- This is a broad category that encompasses comedy sketches and pranks
• Gaming vlogs- may include: A) Walkthroughs: videos in which a gamer demonstrates how to complete certain stages or levels in a video game. B) ‘Lets Play’ videos: Videos in which the gamer records themselves playing a video game, usually accompanied by their own personal commentary.

Read and takes notes on Chapter 5 (p.215-220) of your Yr2 Media Studies textbook on the Media Language aspects of online media products. (30 min)

Media Language

Website code and conventions

• A logo: This is an important role in the websites visual branding as it helps to create continuities of iconography between the different pages of the website and across the different platforms in which the brand operates.
• Main navigation: this usally takes the form of a menu bar
• A carousel or slider: this enables multiple pieces of content to be presented sequentially in the form of a slideshow
• A footer: This is the information that appears at the bottom of the page
• A search bar: this enables users to look for particular topics or articles. It generally appears towards the top of the homepage.
• Social media icons: provide links to Facebook, Instagram, Twitter pages as well as the relevant YouTube channel
• Banner ads: These are advertisements that are embedded in the webpage.

Structuralism

Consider the extent to which they rely on binary oppositions. These may be between competing sets of ideas or values. Binary oppositions often play an important role in the construction of cultural or subcultural identity as they set up borders and boundaries between different social groups. Therefore, as the online magazine or magazine website has been produced for the minority audience, may find it useful to explore the extent to which it operates.

Another useful concept which can be applied to vlogs, blogs and online magazines is Levi-Strauss’ notion of myth. It explores the way in which Zoe Sugg manages to address a mass audience whilst maintaining the illusion of personal, face-to-face communication,

Representation

In terms of blogs or vlogs, there is a sense of self-representations well as the representation in relevant aspects of social identity such as gender.

The underrepresentation of social groups in the media

How and why particular social groups may be under-represented. This is odten to do with power relations, as the under representation of minority groups can be seen to both reflect and reinforce social inequalities.

Task 2 – Exam Questions Planning (1 hour):

Spend 30 minutes (each question) planning a detailed response to the questions below. Use the PEETA model when you are planning your response.

Question 1 – To what extent is Zoella’s content a postmodern media text? Use p.218 to support you with this question.

Baudrillard’s theory of Postmodernism:

Key aspect: the boundaries between the real world and the world of media have collapsed and imploded so that it is no longer possible to distinguish between reality and simulation.

Points that support this point:

• Zoella wax figure in Madame Tussauds- Shows the audience would be interacting with the figure through taking pictures with it and sharing it on social media.
• Zoella’s ‘meet and greets’- shows that audience still want to interact personally with the creator- able to give the content creator fan art etc. Vidcon can be an example of this within the Web 2.0 era.
• Zoella’s use of direct address to the audiences in the vlogs- implements a sense of familiarity with the audience
• Zoella’s mainstream presence in regards to her brand- Zoella bath collection is available in Superdrug stores for example.
• Zoella’s content- includes everyday aspects- cooking, walking the dogs etc- her internet/star persona

Point that do not support this point:

• Due to Zoella’s popularity there are comments that can be overlooked by the creator.
• ‘Question and Answer’ sessions held by the creator means that she personally chooses the questions to answer and therefore some may get overlooked.

The rise of social media and online forms such as Vlogs and blogs can be seen as symptomatic of this cultural shift, as the lines separating real, everyday life from the world of the media have become increasingly blurred. In a digital age where we live so much of our lives online, it might reasonably be argued that the real, everyday world is the world of the media.

Baudrillard therefore argues that in the postmodern world, instead of referring to anything as real, we simply get signs referring to other signs- texts referring to other texts. Again, the very nature of the web could be seen to illustrate this idea.

Online and the loss of meaning

• How might vlogs, blogs and social media be seen to represent ‘that which was kept secret?

Zoella uses vlogging in public places as well as in the domestic environment which highlights the personal attachment between the audience and Zoella.

• Can we see in these new media forms what Baudrillard describes as ‘the representation of nothing at all’? Do they simply represent the trivial and the mundane for instance? Are they symptomatic of the superficiality or lack of depth that Baudrillard associates with postmodern culture?

There is a representation and elements of her everyday life which makes the audience have a personal connection with Zoella. Her themed videos include fashion and cooking elements.

Question 2 – How does Zoella use media language to connote an idealistic lifestyle?

• Zoella uses her signature themes of a ‘cutesy’ lifestyle, she uses thumbnails of her YouTube channel with deep toned and rustic colours. However, these thumbnails follow a theme and have changed over the years alongside the themes.
• Furthermore, Zoella also entirely features in the thumbnails of the videos representing that it is her channel
• Setting- In her set-up she uses similar backgrounds featuring fairy lights, polaroids, plants and simplistic elements with keep the video on-theme with her channel.
• Hand-held camera elements show Zoella’s personal life as she vlogs pretty much through all periods of the day. She vlogs whilst walking down the street, in cafes and other public settings.
• During December 2019, she participated in ‘Vlogmas’ a content creators feature where vloggers will upload a vlog everyday in advent (Dec 1-25). She also includes Christmas elements such as ice skating.
• Positive tone and attitude- She always vlogs positive elements of her everyday life alongside happy background music.

Question 1 – To what extent is Zoella’s content a postmodern media text? Use p.218 to support you with this question.

Zoella conforms as a postmodern media text through the use of blogs and vlogs. Her vlogs include peaks into her everyday life that she shares with the audience. Therefore creating a sense of trust with the viewer as she uses elements of direct address to her viewers to make them feel as if she is addressing them personally, often with a  greeting “Good morning”. She also shows a sense of interaction with the viewer in a personal sense, with ‘meet and greets’ and formal events such as Vidcon being created out of the internet persona of content creators, portraying the web 2.0 era. This is also highlighted through her wax work at Madame Tussauds in London, providing audiences with a chance of meeting the wax version of the internet star instead of the real-thing. This highlights how audiences are still limited in terms of reach with internet celebrities, highlighted by the comments section of her vlogging channel, whereby during her peak in 2014, she received around 4,000 comments per video.

Zoella also shows the relationship between the audience and the creator, as she responds to questions that viewers have in her ‘question and answer’ sessions, through YouTube and other social media platforms. Zoella is likely to be viewed as more personalised with the audience through her online presence on YouTube, yet she has a mainstream presence in regards to her brand, where it sells products from Amazon and Superdrug.

However, it could also be argued that Zoella’s mainstream popularity means that it lacks her reach in terms of audiences, where the masses of comments and questions are left unanswered. This is also portrayed through Bauldrillard’s notion of hyperreal being applied to digital media, with audiences taking selfies with Zoella at meet and greets or at Madame Tussauds with the wax work to share on social media, portraying that the image on the screen is more real that the creator in front of them.

Attitude Booklet: Attitude booklet

Zoella – Booklet

The Big Issue Booklet

Industry Context

Mainstream Magazines-

• large-scale and geared towards large, homogeneous audiences
• state-owned organisations or commercial companies
• vertically structured organisations staffed by professionals
• carriers of dominant discourses and representations

Alternative Media-

• small-scale and oriented towards specific communities, possibly disadvantaged groups
• independent of state and market
• horizontally structured, facilitating greater audience access and participation

The Economic Context of Magazines

Although independent publishers are not generally driven by the same ‘logic of profit and power’ as the larger publishing houses, they still need to generate revenue in order to survive. While most magazines generate revenue through advertising as well as their cover price, the fact that independent magazines are not made purely or primarily for commercial gain means that they are often more selective rather than mainstream magazines in terms of the advertising they choose to carry. For many independent publishers, maintaining integrity and identity of the magazine is more important than maximising profit. In order to do this, they have to ensure that the advertisements they carry fully cohere with the magazines brand values and editorial philosophy.

Within more commercial mainstream companies,these priorities are often reversed, as magazine content is sometimes tailored to suit the needs and interests of advertisers. For example, when a nylon company called ‘British Nylon Spinners’ paid £7,000 for a double-page spread in Woman in 1956, the magazines publishers agreed not to include any articles ‘which predominantly featured natural fibres in the same issue’ (Winship 1987). As this demonstrates, the need to attract, retain and appease advertisers can influence the decisions that editors make about what to include in a magazine and how that content should be presented.

Industry Context- The Big Issue

Since 2011, The Big Issue has been published in partnership with the independent media company Dennis Publishing. Under the terms of the partnership, Dennis provides support with subbing, production and design. It is also responsible for generating advertising revenue.

The Big Issue’s business model is primarily designed to support those who are homeless or experiencing poverty by enabling them to become street vendors or entrepreneurs. However, over the past decade The Big Issue has diversified, moving into a number of different business areas. Alongside the magazine, there is also an independently funded charity, The Big Issue Foundation, which provides support and guidance to vendors in areas such as training, education and health and housing. The Big Issue Group also has a  social investment arm, Big Issue Invest, which helps to finance sustainable social enterprises and charities, and a social trading platform, The Big Issue Shop, which aims to promote ‘social consumerism’ or ‘shopping with a social echo’. This is where the purchases that consumers make have a positive social impact. It might involve purchasing eco-friendly products, for instance, or buying products from organisations that use the profits to support social enterprises or charitable causes.

Digital Convergence

As digital convergence enables publishers to disseminate content across multiple platforms, this has led to an increasing number of magazines to adopt a digital-first strategy. It is commonly argued that in the digital new age, publishers can no longer rely on print alone.

The increasing importance of transmedia storytelling in the magazine industry is reflected in the way that videos are posted to accompany or supplement articles either on the magazine’s website or through social media platforms such as YouTube.

Audiences

While some magazines target a mass audience, others are aimed at more specialised, niche audiences. Since the mid-20th century, the general trend within the magazine industry has been away from mass-market publications and towards more specialised titles aimed at specific audience segments.

The circulation figures shoe to provide a general indictation of the audience reach for each of the set products.

Vogue circulation in 1965: 139,000

The Big Issue circulation in 2017: 83,073

Marketing and Distribution

The internet and social media have become increasingly important in magazine marketing in recent years. Platforms such as Twitter and Facebook are commonly used to alert readers when a new issue of a magazine is about to be published. These social media posts often include links that direct readers to the magazines website, where the readers can preview articles or access additional content. The use of hashtags also encourages user participation and facilitates viral marketing, as key messages are passed from user to user through social networks.

As well as social media, magazine producers may also use other channels and platforms to market their products. For example, for the 25th anniversary edition of The Big Issue, the magazines co-founder, John Bird appeared on The One Show, which is shown at peak time on BBC One, and BBC Radio 4’s late-night show Westminster Hour.

How magazines construct their audiences

More than simply targeting audiences, magazines can also be seen to construct their audiences in various ways. For example, Gerbner’s cultivation theory suggests that regular exposure to repeated patterns of representation over long periods of time can shape and influence the way in which people percieve the world around them.

The Big Issue can be seen to shape and influence audience understandings of social inequality. By challenging the dominant discourses that surround homelessness and poverty, the magazine aims to change public perceptions, shaping the values, attitudes and beliefs of its readers.

How audiences interact with magazines

Considering when analysing magazines, another issue to consider is how the readers engage and interact with themes products. While the majority of articles in The Big Issue are written by professional journalists, the magazine does provide a space for vendors to tell their own stories in the ‘My Pitch’ section.

Key Words

Homogeneous: Being composed of elements that are all the same or broadly similar. The opposite of this is heterogeneous, which means being composed of diverse or varied elements.

Co-opt: To adopt or appropriate something for ones own uses. Often used to describe the way in which aspects of alternative culture are exploited and incorporated by mainstream media to make a profit.

Independent Magazine: A magazine that is produced outside the control or ownership of the major publishing houses.

Subbing: A term used in publishing for the process of reviewing, editing and correcting copy in preparation for publication.

Desktop Publishing: The use of computers and software programs to design, create and publish books, newspapers or magazines.

Convergence: A process through which different media forms merge or overlap with one another.

Digital-first: A policy in which media content is first created in digital form and then adapted for other mediums. For example, in the case of a digital-first magazine, content is generally published online before it appears in print.

Transmedia storytelling: Defined by Jenkins (2007), a process where integral elements of a story/narrative get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience.

Reformers: One of the psycho graphic groups in the 4Cs system of consumer classification developed by advertising agency Young and Rubicam. Reformers tend to be tolerant, socially aware and anti-materialistic. Their core need is for enlightenment.

Exam Question

Explain what you understand by intertexuality. Refer to the set episode of Life On Mars to support your response.

Life On Mars is a British crime drama, the television show subverts from typical themes by implementing the science-fiction genre into the show, giving it a unique selling point to the viewer. The dynamic of the genre is shown in the show through Steve Neale’s genre theory. The use of police uniforms, cars and stations apply directly to the genre. However, it subverts from stereotypical police programs by having a 2006 show set in the 70s. Life On Mars has adapted from taking elements from both genres and combining it together.

Whilst Life On Mars could be viewed as a conventional police procedural, these stereotypical conventions are challenged when Sam is hit by a car and travels back in time. The mise-en-scene completely changes highlighting the change in time period and characters reflecting the disruption from conventional police procedural. The show mimics the 70s show The Sweeney, creating a nostalgia for the audience whilst contradicting some of these attitudes to suit a modern-day audience. Therefore the attitudes and opinions were vastly different to 2006. For example, the character of Gene Hunt being represented as a toughened cop, directly reflecting the character of Jack Regan. Sam Tyler, from the era of 2006, alongside the modern-day audience are able to recognise comments made by Gene Hunt and therefore highlight the change in societies attitudes towards gender and race. Gilroy’s Postmodernism theory shows the difference in police work alongside the persona of 70s police officers vs modern police officers. Furthermore, the postmodern culture is rarely represented in mainstream media in present day, therefore most audiences would never of experienced The Sweeney in its prime. Police work is also extremely different, with the juxtaposition of the 70s high-speed dramatic car chases against the modern office work of the police. The character of Sam Tyler is there to produce insight and influence on the other characters, showing that society is capable of changing.

When considering representation in magazines we will be analysing them in relation to:

• The genre- (and ideologies of consumerism driven by the need to ‘deliver’ readers to advertisers
• The social, cultural and historical context

Summarise the dominant representation of women in Vogue in a few key words

• Domestic
• Consumer
• Fashion/Glamour
• Martial
• Sexual
• Luxury
• Stylish

The Big Issue

• Set edition: 17-23 October 2016
• Published weekly by Dennis & The Big Issue Ltd 1991 to present
• Price: £2.50
• Circulation: 82,000 readership
• Genre: Independent/Current affairs/entertainment/street magazine
• Tagline: ‘A hand up not a handout’
• ‘From an award winning magazine offering employment opportunities to people in poverty, to a multi-million pound social investment business supporting enterprise to drive social change. For over 25 years The Big Issue Group has strived to dismantle poverty through creating opportunity, in the process becoming one of the most recognised and trusted brands in the UK’

How might this impact the content of the magazine?

How might this influence the representations of different social/cultural groups presented in The Big Issue?

Richard Dyer’s Typography of Representation (1983) – (Not a AS/AL Theory)

Richard Dyer suggests that when considering representation, it is important to ask several questions about the text being analysed

• What sense of the world is it making? (re-presentation)
• What does it imply? Is it typical of the world or deviant?
• Who is it speaking to? To whom? For whom?
• What does it represent to us and why?
• How do we respond to the representation?

Advert One- Benefits Aware- Turn2Us Advert

Who do you think the adverts are aimed at and what does this reveal about the audience of The Big Issue?

The advert is from a poverty charity based in the UK. It depicts a woman narrating her personal experience with pension credit. The advert represents an elderly woman photographed with a positive expression to reflect her satisfaction with the help she received. However, the hashtag also suggests that there is a social media presence to the advert for people to become more aware of the situation.

Generally, how are people being represented across the advert? How does this fit with the genre of the big issue?

The woman is being represented as having a positive experience and is suggesting to the audience that they are helping to fight poverty in the UK. The phrase ‘It meant we could stay in our home’ showcases the effects of using their service. The genre of The Big Issue is a current affairs magazine which depicts real-life people in real-life problems.

How do the adverts differ from those studied in Vogue? Why do you think this?

The adverts differ from Vogue through the difference in genres. Vogue’s main purpose is to entertain the audience whilst The Big Issue explores current affairs and problems within society. This provokes a reaction from the audience thus encouraging them to act.

Representation in The Big Issue: Article- Moving On

How are representations of social groups constructed?

There are various age, race and gender groups represented throughout the article is signify the change that The Big Issue has made in their lives. This use of success stories shows that there is still hope for the homeless whilst encouraging more homeless people to take part in this enterprise. This supports The Big Issues ethos ‘A hand up not a hand out’.

How do these representations reflect the industry context/ideology of TBI?

The representations reflect this context through employing homeless people, however the article is constructed to make these people look like ordinary people, it puts a positive outlook for the homeless and therefore to become less pitied by society through the use of success stories. It reflects the idea that anyone can experience homelessness.

How is the audience positioned in relation to this representation?

The audience is positioned to feel inspired by the article as they are represented as happy and fulfilled. Empowering message that positions the audience to respond positively and align with this point of view.

How can David Gauntlett’s ideas be applied to this article?

David Gauntlett’s theory of identity could be applied to this article through it pick and mixes their own identity and relatability of the situations. These success stories also show that there can be people who were previously homeless in any profession. It gives hope to other homeless people to not give up. Positive representations through media language, low angle shot of Marvina Newton, brightly lit and smiling, showcases a sense of power, success and happiness.

Close analysis- ‘Letter to my younger-self’ by Grayson Perry

• This article features representations of a social group that have traditionally been underrepresented and misrepresented. The article can be viewed in a contemporary social/ cultural context where there is increased understanding of gender fluidity and non-binary notions of gender.
• According to The Guardian, ‘there were advances in 2015 for trans visibility and rights’-visibility in the media through, for example, reality TV star Caitlyn Jenner and the sitcom ‘Boy meets Girl’ on BBC2.
• Dr Jay Steward of the group Gendered Intelligence was quoted in the Huffington Post as saying that Britain is ‘moving towards an era where it is a fundamental human right for each of us to self-determine our gender identity’.

David Gauntlett’s theory of identity applies to this article through the use of Grayson being open and honest about his experiences. This allows the viewers to sympathise and understand his point of view whilst perhaps not entirely being in the same situation. The construction of the story highlights main events in his life in bold, this therefore makes it easy for an audience to scan. This therefore means that an audience can pick and mix these representations. Furthermore, the shift in media representations for transvestites imply this social change surrounding traditional male and female identities.

Van Zoonen’s Feminist theory applies to this article through the portrayal of self-expression through turmoil. This replicates this idea of going through hard times that The Big Issue can relate to. Therefore, the cultural change highlights the shift in attitudes in modern contexts.

Alternative representations of gender in the 1960s

Nova released a magazine in 1965- Nova magazine: “A new kind of magazine for the new kind of woman”

• Emergence of contrasting messages and images
• Majority of magazines reinforced the stereotype of the ‘Happy Housewife’
• Minority offered more progressive representations of gender- these reflected a growing sense of female independence and liberation

Does Vogue (1965) reinforce traditional gender stereotypes of the time? Or does it offer a sense of female liberation or independence?

“Women’s magazines often offer contradictory messages and images”- David Gauntlett

Domesticity and Gender stereotypes in women’s magazines

• David Gauntlett identifies historical magazines significant use of the stereotypical perfect housewife
• This stereotype has a long cultural history as traditional women’s magazines have placed particular emphasis on the domestic sphere
• Even though the stereotype of the ‘Happy Housewife’ was prominent in the 1950s and 1960s over 50% of working age women were in paid employment during this time.
• By constructing ‘Domesticity’ as a feminine ideal, these magazines and print adverts were reasserting the importance of traditional gender roles
• Given that men occupied the majority of jobs and controlled corporations this can be seen as reinforcing the dominant ideology of patriarchy.

Van Zoonen: How can this idea be applied to Vogue and The Big Issue?

Discourse: Communication from the media. What is discourse of each magazine/Clue: Topics? What do we learn about being Male and Female?

She believes that our ideas about gender change depending on the Historical and Cultural context= How are the representations different in the Historical (Vogue) and contemporary (The Big Issue) set text?

Representation of The Big Issue

Why is ‘The Big Issue’ more likely to use include representations of marginalised groups, over mainstream publications, like Vogue?

The Big Issue depicts articles and adverts targeted towards more marginalised groups in society as it is a contemporary magazine that is created to make profit for the homeless. The Grayson Perry article is an example of this, with the direct reference to being a transvestite whilst engaging the audience for his own viewpoint. The article references Grayson’s experiences to make the audience sympathise. The October 2016 issue reflects the advances within society in terms of transrights, a year before the set issue saw TV star Caitlyn Jenner come out as trans reinforcing the idea of the trans-movement within modern day media. This is also highlighted with the release of ‘Boy Meets Girl’ on BBC2. The Big Issue also implements various adverts for charity organisations which reflect the brand’s motto “a hand up not a hand out”. The advert for Turn2Us, a charity aimed at fighting UK poverty, reflects this sense of The Big Issue’s empathy towards more misfortunate members of society whilst raising awareness. Both articles show that The Big Issue does not necessarily have a specific target audience in terms of age, gender and race, highlighting that poverty is in all walks of life. David Gauntlett’s theory of identity represents that the audience can ‘pick and mix’ their identities through the media’s representations. Van Zoonen can be applied to The Big Issue through gender discourse, underlining that the cultural change in society means that this is reflected within wider media texts than historically. Grayson Perry’s article is an example of this, with the sense of femininity and identity being subverted from stereotypical and mainstream representations.

Vogue on the other hand, is a mainstream fashion magazine targeted at women, it deters from non-stereotypical representations in order to keep this audience of women. The July 1965 edition reflects the historical background of society. Articles in Vogue feature specific themes surrounding femininity, such as makeup and skincare. This reflects that

You explored the big issue magazine in detail (WELL DONE), however you made a point about how Van Zoonen, maybe further how it can be applied to the magazine.

Readership: How many are read

Circulation: How many are sold

The Big Issue

• Homeless people selling on the streets, never sold in shops
• Charity Organisation
• Since 1991, TBI have sold 200,000,000 copies in Britain
• Spread worldwide to USA, Australia, South Africa and Japan etc

Important notes

• The set edition is 1227, October 2016, celebrating the magazine’s 25th anniversary
• Motto: “hand up not hand out”
• Mostly funded through advertising
• Guerilla marketing
• 300,000 people are classified as homeless in the UK, UK councils spend a total of £1.15 billion homeless services every year, including £845 million temporary accommodation
• 134% rise in the number of rough sleepers
• Target Audience- Social grading: A, B, C1, C2

Eduqas A Level Media Studies C2SB Magazines – The Big Issue

• Subverts conventions as this is a ‘special anniversary edition’ announced at the top of the page
• Masthead: Masthead framed in a box (familiar logo used for Big Issue magazine, foundation etc.), sans serif font, upper case, grey – plain, serious.
• Strapline (under masthead box) ‘A hand up not a handout’ – reflects the ethos of the street magazine and links to the campaigning and socially active aspects of the foundation
• Main image: not a person (TBI often features a celebrity on the cover, but sometimes uses graphics) – attention-grabbing ‘25’ in lights, bright colours, stars – connotes success, celebration, huge achievement ‘Publishing Revolution’ – hyperbole, anchors the main image- reinforces the success story of the magazine
• ‘Publishing Revolution’ – hyperbole, anchors the main image – reinforces the success story of the magazine.
• ‘Celebrating with…’ – long list of celebrity endorsers named, reinforcing the positive message and sense of pride – opinion leaders
• ‘PLUS THOUSANDS AND THOUSANDS OF VENDORS’ – upper case, in yellow to stand out/appeal – message that the vendors are the real success story.
• Lack of conventional cover lines due to the ‘special edition’.

Roland Barthes would say that

• the 25 in LED lights creates a Hollywood/Broadway sense of glitz and glamour which promotes an exaggerated perception of success and achievement.
• Publishing Revolution

Comparison: What is the difference?

• Vogue is a mainstream magazine and The Big Issue is an alternative magazine, made by a small company.
• Key word: TBI, “Revolution”, taking on the establishment and big coporations

The difference between Vogue and The Big Issue covers:

• Vogue includes more use of cool toned colouring whereas TBI implements the use of warmer toned
• Vogue includes a model within the cover whereas TBI only uses numbers
• Vogue has a more niche (female/fashion) target audience whilst TBI is aimed at socially aware individuals

Vogue: Contents Page analysis

Magazine contents pages are very useful for analysing codes and conventions and also contexts and target audience.

AS-A-level-Media-Studies-Component-2-Section-B-Set-Products-Magazines-eduqas

Codes and Conventions:

• Language e.g. use of alliteration to appeal to audience, repetition of key words/phrases, play on words to link feature articles
• Features of fashion, style, culture, food/entertaining, travel- typical features of women’s magazines

Target Audience:

• Fashion item ‘op art’- art link presupposes cultured/educated reader
• Assumed interests- fashion, entertaining, culture, image
• Assumed to have high disposable income- consumerist focus- shopping, trends, travel
• Cultural competence- assumes understanding of ‘Dolce Vita’- Italian for ‘good life’, also a film

Reflecting social/cultural/ historical context:

• Focus on ‘exclusive’ places- Spain, Abu Dhabi, Deauville- a time when international travel was becoming accessible but still quite a new and preserve of the relatively wealthy
• Beauty- ‘suntanning’ article- culturally acceptable in the 1960s
• Fashion reflecting the culture and trends of the 1960s- pop art/’op art’
• Journalist- professional roles- not necessarily replicated in the assumptions about readers

Feature Article Analysis – The Big Issue- London to the world

Feature Article Analysis The Big Issue

Feature Article Analysis The Big Issue

Feature Article Analysis The Big issue

Feature Article Analysis Vogue

Vogue analysis

ISP20

a) Apply Stuart Hall’s Reception theory to both Life on Mars and The Bridge.

The Bridge uses representations of women in the product to therefore position an element of power, there are many female characters in high places in the text such as Saga who are idolised. The audience would be preferred to interpret the text in this way, potentially using the Uses and Gratifications theory (PIES) to perceive the audience in a different way. In contrast to this, audiences might be upset at the representations that this brings through the use of Saga being anti-social.

Stuart Hall’s Reception theory applies to Life on Mars by its representations exhibited in the film. The use of a controversial character (Gene Hunt) can influence audiences to react in a certain way. This was also shown with some audiences idolising the character that made outdated remarks. Similarly, audiences may respond to the text with a negotiated response, with the text providing modern day insight into outdated views however the use of such language and representations can influence such behaviour. However, Life on Mars also provides positive role models and representations such as Annie Cartwright and Sam Tyler, who comments on the progression of modern-day (2006) Britain has made since the 70s in terms of sexism and racism within the police and other industries.

b) Read and take notes on pages 182-3

Theory of Fandom: Jenkins

• The idea that fans are active participants in the construction and circulation of textual meanings.
• The idea that fans appropriate texts and read them in ways that are not fully authorised by media producers.
• The idea that fans construct social and cultural identities through borrowing and inflecting mass culture images, and are a part of a participatory culture that has a vital social dimension.

Jenkins used the term ‘textual poaching’ to describe the way in which texts can be appropriated by fans and adapted to suit their own purposes.

Textual poaching and the Subversion of Dominant Messages and Meanings

In some cases, textual poaching may be used to challenge the operation of heteronormativity. In Life on Mars, this can be seen in the picture of Sam Tyler and Gene Hunt posted on the ‘Life in 1973’ LiveJournal website. By introducing a romantic/sexual dimension to Sam and Gene’s relationship, it challenges the heteronormative models of masculinity.

These examples show how fans appropriate texts and read them in ways that are not fully authorised by the original producers.

Fandom as an Example of Participatory Culture

Jenkins sees fandom as part of the broader phenomenon of participatory culture. The idea that fans are active participants in the production and circulation of textual meanings challenges the notion that audiences are simply passive consumers of media content.

The type of meaning-making that fans engage in has a vital social dimension. This has been facilitated to a significant extent by the growth of digital technologies as fans are able to interact with one another in a variety of ways. For example, the rise of social networking platforms such as Tumblr have made it easier for fans to share and exchange gifs, memes and other user-generated content online. Social media has played an important role in this regard as Twitter and Facebook are widely used to facilitate audience interaction.

The use of hashtags is a notable feature of marketing materials such as trailers and posters. Hashtags have also become increasingly prominent in the programmes themselves as audiences are encouraged to participate in online discussions about the programmes while they watch.

c) Apply Henry Jenkins’ Fandom theory to both Life on Mars and The Bridge.

Life on Mars has a dedicated fan-base which facilitate to Jenkins’ fandom theory. There are many websites and forums dedicated to the programme as well as fanfictions written surrounding the characters’ lives made by fans. These websites therefore allow audiences to interact and share art and stories together such as ‘Life in 1973’ and ‘Before I Walk Away’, both referencing Life on Mars characters in the programmes and lets the audiences communicate with each other. Ashes to Ashes highlight this dedicated fan-base with viewers of Life on Mars watching following series’.

The Bridge has a similar audience in terms of fan bases due to the many fan-art and fanfiction surrounding online and the characters personal lives. Both series’ allows the audiences to interact and perceive the text in different ways. The use of social media also allows for audiences to follow and have updates on The Bridge, with the Instagram hashtag #bronbroen, including audiences expressing their interests in the series and art being made of the different characters. This shows in both series’ that the audiences are actively engaging with the texts.

Extension Task- Exam Question

To what extent does the set edition of Vogue magazine target a particular audience? Explore specific aspects of the set product in your response.

Vogue directly targets a female audience through the use of the front cover depicting Sophia Loren in extreme makeup and colourful outfits. The front cover directly targets the audience through this reinforcement of fashion and feminine hobbies. The front cover depicts Loren in Turkish headwear representing Turkish culture yet using an Italian model to represent this highlighting the lack of diversity and acceptance at the time. The use of greens and blue undertones directly link to the links to “sea” and “swim”, lexis written at the bottom of the page which reinforce the exotic representations of women of Turkish backgrounds. Loren’s face in the image reflects a neutral pose to therefore draw away attention from her expression and more on her clothing and makeup. The July 1965 cover directly target white middle-class women of the time. bell hooks ‘feminist’ theory shows this as the large majority of the models fit this demographic, reflecting that Vogue’s message towards men or women from other backgrounds weren’t welcome.

The July 1965 edition also included various adverts which reinforce this perception of white middle-class women demographic. The imperial leather advert is an example of this, with a large image depicting a white woman looking caringly at her baby, this portrayal is shown throughout with links to “family” and “children” which the audience are shown to inflict an emotional response from, particularly when the image takes up most of the page. It generates a sense of trust between the consumer and the brand that it is gentle enough for babies and therefore the audience can rely on the product. This is also shown in the Revlon advert, with a tutorial on how to get a particular makeup look with suggestions of products. This feminine references reinforce this idea of a female target audience as well as the concept of a disposable income reference a middle-class audience.

On the other hand, there are articles that aren’t necessarily targeted at feminine audiences with the picnic section, referencing family life and a written account of what picnics were like for the writer. This is also shown in the article titled “money”, where the audience is given advice by the writer on the right ways to deal with money, which is generally a gender-neutral subject whilst also reinforcing the middle-class demographic. Likewise, it could be argued that the articles on makeup create a perception of feminine hobbies and in reality anyone is able to do these looks. However, based on the context of society during the 1960’s it is unlikely that this was widely accepted and intended by Vogue.

vogue-booklet

How does Life on Mars/The Bridge use representations of characters

The Bridge uses representations of women in the product to therefore position an element of power, there are many female characters in high places in the text such as Saga who are idolised. The audience would be preferred to interpret the text in this way, potentially using the Uses and Gratifications theory (PIES) to perceive the audience in a different way. In contrast to this, audiences might be upset at the representations that this brings through the use of Saga being anti-social.

Stuart Hall’s Reception theory applies to Life on Mars by its representations exhibited in the film. The use of a controversial character (Gene Hunt) can influence audiences to react in a certain way. This was also shown with some audiences idolising the character that made outdated remarks. Similarly, audiences may respond to the text with a negotiated response, with the text providing modern day insight into outdated views however the use of such language and representations can influence such behaviour. However, Life on Mars also provides positive role models and representations such as Annie Cartwright and Sam Tyler, who comments on the progression of modern-day (2006) Britain has made since the 70s in terms of sexism and racism within the police and other industries.