I think I demonstrated strengths in the photography aspect of the coursework as well as arranging photographs on my final prints with reference to other media products and understanding of the wider industry. I believe that I linked to the brief and target audiences needs/interests.
Things I need to improve on are my photoshop skills and more variety in photograph content. I also need to add more content with the billboard poster.
Your target audience for your media production is a mainstream audience of 30-49 year olds.
Complete these tasks:
Mainstream is a term used to describe ideas and attitudes shared by most people and is regarded as normal
2. Identify five contemporary (last 10 years or so) mainstream films for each of these genres/subgenres:
Drama has the oldest audience overall, with over 60% of cinema-goers who watch dramas being older than 25. The oldest age group are best represented among dramas. Other genres which perform poorly with older audiences are Animation (13%), Sci-fi (16%) & Action (16%).
The most popular films with older cinema-goers
(45+ AS % Of audience)
Popular actors/actresses with 45+ age segment showed that Judi Dench appears in 9% of movies within this group. As well as Cate Blanchett (5 appearances), Meryl Streep (4), Maggie Smith (3), Ralph Fiennes (3) & Jim Broadbent (3).
My Survey Monkey: https://www.surveymonkey.co.uk/r/7HXMCW8
Stretch and challenge task: Analyse the survey data – what does this information tell us about film trends among this age group? (150-250 words)
It shows us that younger audiences enjoy more animations and fictional films, whereas older audiences enjoy almost the opposite. Their lack of interest in animation, sci-fi & action suggests that they enjoy more realistic approaches and representations in the film genres. It shows us that 15-24 year olds are most interested in horror (54%) & crime films (41%), whereas 45+ enjoy Dramas (28%), Romance (24%) & Mystery (22%). Although the 35-44 age range is fairly consistent across most genres, (with the lowest of 12%- Horror to 21%-Animation). These results are almost the inverse of what I would expect, suggesting that these age ranges likely were with their children to see Animation films which might help explain the data results. It clearly shows that the Horror genre is targeted towards 15-24 year olds, and a complete lack of anyone under 15 seeing these films. (which can be as expected due to the age ratings of most horror films being 15/18+). However, it could be argued that streaming sites such as Netflix may sabotage this data.
In Dave’s music video “funky Friday”. The video references different gang lifestyles which Dave and Fredo have partaken in. The scene starts with an extreme long shot of the countryside with a Lamborghini. This links the reference to the “country” in the song as a place where drug dealers go, as well as the expensive car to showcase their wealth. The music video throughout is relatively fast paced and a part of British hip-hop and grime. The music video shows Dave wearing designer brands such as Gucci and referencing that he shops at Harrods, further introducing the idea that he has fame and power in the world.
Dave mentions an “island girl” that he likes, which is further portrayed through the use of a tropical setting, with flower and fruit growing in the background. The use of clothing in the scene shows the girl dressed in pink and Dave dressed in a silk blue jacket, suggesting that he has money to be comfortable in every situation. Throughout this scene there is a continuous use of red and blue contradicting each other, perhaps highlighting the modern Romeo and Juliet scenario. Roland Barthes’ theory relates to the concept of semiotics (the study of signs) and, more specifically, denotation and connotation. Denotation is the literal meaning of the text whereas connotation is a more inferred and ‘hidden’ meaning. In this music video, there is a presence of the literal hip hop/grime lifestyle of money whereas in connotation it refers to how Dave and Fredo got into their position in the first place. There are also mentions of knife crime through the reference of his girlfriend holding a “dipper” (knife).
There is a use of Rottweiler in the music video, these types of dogs are usually feared and used in music videos to symbolise power and how the artist is entitled to have the protection of the dog. Dogs of this type of breed are usually portrayed in a lot of rap songs and albums. Offset, 21 Savage & metro Boomin’s album “Without Warning” portrays a dog of a similar breed (Doberman) attacking someone/thing. Neale’s genre theory is the idea that genres may be dominated by repetition, as it shows in this case. This music video portrays most stereotypical rap videos with the use of expensive cars, clothing and dangerous animals, rappers such as Cardi B, the Migos & Travis Scott all use these methods to show off their wealth.
Dave suggests that he is self-made by the reference of “one hand on the cash I’m making” whilst he is holding a Gucci bag. Both rappers also reference the American justice and British prison system by mentioning him running away from the police whilst a bald eagle appears on screen, suggesting that he is running from both the British and American police.
The beginning setting show it is set in the UK and is therefore familiar to the audience, the Warburtons van makes it clear to the audience what it is advertising. This is reinforced by what we assume is the ‘top man’ in the Warburtons industry as he wears an orange tie, the same as the iconic Warburtons logo. The use of Robert De Niro in the extract shows a celebrity figure in the advert which the British public are familiar with and recognise as he featured in many films such as Goodfellas. Throughout the interaction between the Warburtons manager and De Niro there are a continuous use of close-ups to make it appear more personal and direct. The change in lighting with the blinds mimics the style of interrogation in many New York mob films, something which De Niro is associated with.
The use of extreme electric guitar in the background during the montage makes it clear to the audience that it is only a joke and is not to be taken seriously. The advert is meant to be more comical to therefore stand out from other competitors in the industry. Neale’s genre theory is the idea that genres may be dominated by repetition, but are also marked by difference, variation and change. The Warburtons advert supports this theory that the brand is trying to sell their identity as something which isn’t as ‘serious’ as most advertisements out there, so consequently their product will stick in more people’s heads as a result.
Gerbner’s cultivation theory is the idea that exposure to repeated patterns of representation over long periods of time can shape and influence the way in which people perceive the world around them. This theory applies to this advert because the audience are familiar with the New York style mob movies and the portrayals and popular actors as a result, so the crossover between an American actor and a British advertisement is a more unique concept and stands out more than most basic adverts.
It is made clear to the audience that the advert is a skit of other films. The reference to Bolton, a commonly known British town being taken over by American mobsters over bagels is a funny concept so therefore the advert succeeds in sticking in people’s heads. The cross-over of these types of feared characters are also seen in the Direct Line adverts with the use of the fictional character of Winston Wolf.
The film extract of the film creates meaning through the use of eerie silence at the beginning of the scene, as the audience expects something to happen in the scene. The costumes make it clear that is a historic event, the clothing suggest it is during WW2 (It is set in 1940-Dunkirk). The close-up of the leaflet flying down on the soldier’s heads suggests helplessness as it reads “we (the Germans) surround you”. It represents the idea that they are truly trapped on the beach much like the historical event.
There is no dialogue in the beginning of the scene, showing anticipation for something to happen. The silence is then broken by the sounds of gunfire at the soldiers as the fast-paced music begins, a common use in chasing scenes. The positioning of the soldiers running away show every soldier around the main character be shot dead, highlighting the harsh but true reality of war. The fast-paced music shows the pressure that soldiers are put under in life-threatening conditions. Neale’s genre theory is the idea that genres may be dominated by repetition, but are also marked by difference, variation and change. The film supports Neale’s theory by being a traditional war film, however it plays on the true events of Dunkirk as represented by Christopher Nolan.
Throughout the chasing scene there is a use of a handheld camera to symbolise the true panic of the soldier as he is attempting to escape. The idea of these soldiers being helpless is reinforced when he appears to escape only to be shot at again, yet this time is saved by the French. The music comes back as the French are attacked and there is a shot of the camera tracking the soldier as he runs away from the confrontation, symbolising that he can’t escape the conflict. He then enters Dunkirk beach where there are many more soldiers awaiting their fate, showing the beginning scene of the film. Todorov’s narrative theory is the idea that all narratives share a basic structure that involves a movement from one state of equilibrium. The scene starts off as peaceful, using silence within the film, however the disruption comes as the Germans attack the group of soldiers. The resolution shows the soldier at the end of the scene getting to safety on the beach, yet it is only the beginning of the film so therefore there are more disruptions throughout, with the text at the start predicted.
Semiotics: Roland Barthes
Narratology: Tzvetan Todorov
Genre theory: Steve Neale
Theories of representation: Stuart Hall
Theories of identity: David Gauntlett
Power & Media Industries: Curran and Seaton
Media Effects: Albert Bandura
Cultivation Theory: George Gerbner
Reception Theory: Stuart Hall
The Tide advert shows the literal meaning of the product advertisement to be aimed at women during the 50s. It represents that stereotypical women were meant to ‘love’ the product, through the use of hearts and the main image of the woman smiling whilst hugging the product. Neale’s theory also show that the use of primary colours is to appeal to the stereotypical housewife at the time and would be familiar to child-like colours. The social contexts at the time showed that media repeatedly targeted women for these products because of the belief of the roles of the housewife at the time. The economical contexts also suggest that the post-war boom saw many families having a more disposable income and therefore about to finally spend money on such luxury items.
Water-aid uses Todorovs basic narrative theory to create understanding on the issue of water supply in Africa. The advert starts in Britain to familiarise audiences with the surroundings and then perceeds to represent Claudia and the lack of water in the area. The resolution is seen to be the water-aid taps installed in the community, and continues the equilibrium through persuading the audience to donate money for more people like Claudia. Barthes’ theory presents the literal meaning of advertising water-aid through a pitied perspective, whilst the connotations of this mention the song “Sunshine on a rainy day”, linking Britain to Africa to link audiences with the cause.
Representation is explored in the Tide advert as Gauntlett’s theory of identity shows that the media provides us with tools and resources to construct our own identities. Past media tends to convey straightforward messages about female identities and that media today is more diverse. Tide uses a woman to represent the target audience of the product as well as makeup to reinforce the idea of women to always ‘look appealing’. These representations, reinforced by Hall’s theory shows that the stereotypical vision of a housewife was a normal belief at the time the product and advertisement was made. Water-aid uses a pitied representation approach to show the stereotypes of typical vulnerable people in Africa. However, Water-aid also challenge traditional representations through the use of Claudia’s upbeat singing. Gauntlett’s theory of identity shows that it provides us with a more diverse advertising and representations. Claudia acts as a role model to audiences.
In Beyonces music video, it uses media language to communicate meaning. Barthes’ theory shows that Beyonce has incorporated intertextuality within her video to represent the level of oppression that being an African American women brings. Scenes referencing films, historical references to slavery and Hurricane Katrina show elements of Beyonces understanding to surrounding issues in the world. Neale’s theory is disputed in this music video as it constrasts traditional mainstream music videos by the wider contexts of which the video references. Beyonce is also trying to develop the genre through creating a niche subject and making it popular within the large media industry. This can be seen on a wider level with music videos such as ‘This is America’ by Childish Gambino being released 2 years after.
In Beyonces music video “Formation”, there is a use of representation as well as challenging traditional and stereotypical representations of African American women. Hall’s representation theory implies that stereotyping reduces people to a few simple characteristics. However, in Beyonces music video she shows these stereotypes by a line of women all wearing similar clothing. The use of this shot is to empower and address the mainstream and traditional media that the representations of women are inaccurate. Gauntlett’s theory of identity shows that the media tries to provide audiences with tools and resources to construct our own identities. Beyonce tries to be a role model for audiences (specifically African American women who are oppressed and underrepresented in mainstream media).
Media Language is used by The Daily Mirror in order to present ideas and beliefs upon the reader. Barthes’ theory suggests that the newspaper communicates political meaning through representations. Examples of these representations include the negative portrayals of Theresa May & the conservative party as well as Donald Trump during the 2016 US Presidential Elections. The Daily Mirror is a left-leaning political newspaper that uses negative language towards the right-leaning parties. “What have they done?” is a rhetorical question used by the Daily Mirror from the US Presidential result, implying that the election outcome is negative and as a result blame the American voters. Neale’s theory shows that these ideas are shown through the repeated patterns of consistent representations to suggest the newspapers political stance.
Representation is used by The Daily Mirror in order to appeal to the common target audience as they are mostly left wing readers so therefore the paper reflects these beliefs through the choices of stories and headlines. In the Brexit campaign, The Daily Mirror used negative portrayals of Theresa May and the conservative party. In the 2016 US Presidential election, The Daily Mirror also used images of the statue of liberty with the caption “What have they done?”, this therefore generates negative connotations to the election result and Donald Trump. The Daily Mirror does this to make sure that their audience takes the ‘preferred reading’ of their stories and supplies the readers with headlines which underline the papers political views and perspectives.
In the Tide advert, it presents the stereotypical housewife of the 50s doing domestic chores that directly links to the target audience and product. Bandura’s media effects theory show that the use of advertising implants these stereotype attitudes and reflect these beliefs of women at the time. It desensitised people to the representation of these housewives. Gerbner’s cultivation theory argues that these repeated patterns of representation influence these views and perceive these as ‘normal’. This therefore reinforces the mainstream values of society at the time of the advert being produced.
Water-Aid uses these pitied representations of the African children in order to attract the audiences attention and to sympathise with them. Bandura’s media effects theory show that Water-aid were attempting at provoking an emotional response from the audience in order for them to donate money. This is mostly done by using contrasts between a rainy day in Britain and the lack of water in Africa. In relation to Gerbner’s cultivation theory however. Water-Aid dispute this common conception of African children being miserable. They challenge this belief through Claudia and her upbeat singing in order to stand out from other adverts.
Straight Outta Compton argues many media theories applied to mainstream media. On one hand, it could be argued that Straight Outta Compton uses positive portrayals of the work of the NWA, a group that was commonly criticised by the media for its controversial lyrics. Whereas Straight Outta Compton shows creativity through ethnic minority representations and is created with high quality. The Straight Outta Compton film also disputes most mainstream films as it was created by a niche group which consequently disputes the media industries theory. Few of the original members of the NWA (Ice Cube & Dr Dre) produced the film to therefore contradict the stereotypical mass media film production process.
The Daily Mirror uses various different stories and headlines in order to appeal to the audience. Hall’s reception theory argues that the newspaper have created headlines with the intended response being the preferred reading. However, as the newspaper is left-leaning, it shows that the story choices may be biased as well as creating oppositional meaning for readers who have a different/opposite political stance (e.g. right-leaning). During the Brexit referendum, it is clear that The Daily Mirror directly communicates to the audience and wanted voters to vote remain and used examples from the Labour Party to persuade voters. Bandura’s media effects show that the media can implant ideas in the mind of the audience directly. This is shown through the 2016 US Presidental election as The Daily Mirror uses negative portrayals of Donald Trump and Republicans to therefore manipulate audiences into acquiring a particular attitude and emotional response to issues surrounding the election.
The mass media plays a direct role in political representations as well as society’s views and attitudes. A small amount of large industries own the mainstream media including Reach PLC which is one of Britain’s biggest newspaper groups, it owns nationally The Daily Mirror, Sunday Mirror, The Sunday People, Scottish Sunday Mail, Daily Record and 240 regional papers. Power & Media Industries theory argue that the media are controlled by a small number of companies primarily driven by the logic of profit and power. The focus of The Daily Mirror’s stories imply that it encourages readers to purchase the papers through bold headlines. It is clear that The Daily Mirror is owned by large media companies who mass produce in order for financial gain, therefore inhibiting creativity and quality.
The cultivation theory suggests that LNWH reinforces mainstream media values by trying to appeal to these audiences without being too niche and excluding topics which affect most younger female audiences. The repeated representations of these topics and people influence both the radio show and the way listeners of the show perceive the world around them. Some topics which are discussed on LNWH include, body positivity, men & feminism & self-esteem. However, targeting these topics directly towards women in the mass media can create a stigma towards men feeling as if they cannot talk about the same subjects. The reception theory demonstrates that women are meant to have a preferred or negotiated reading of the LNWH’s discussions, the radio show also make it available for listeners to come in contact with the show to voice their opinions on particular subjects, creating a connection between the audience and Lauren.
Late Night Women’s Hour is created by BBC Radio 4 and therefore reflects the idea of a large media company that is in control of the platform. The radio show is created to appeal to young women audiences and is generated as a result of ‘Woman’s Hour’, which is also created by the BBC. The power and media industries theory suggest that this concentration to constantly appeal to the mainstream audience limits variety, creativity and quality. Although it could be argued that Late Night Women’s Hour is presented for younger female audience, it is still a very mainstream approach and therefore restricts from reaching niche audiences.
Assassins Creed III: Liberation appeals to audiences by challenging traditional white male main characters. Gerbner’s cultivation theory show that the game contradicts mainstream values of the media through the use of the main character Aveline. This movement of a female main character in the game influences audiences to become desensitised to the idea of equality and positive representations in games. It helps perceive the franchise as more niche to others though this inclusion of a main character which goes against the norms of an Assassins Creed game. Bandura’s Media effects theory suggests that the developers of the game wanted to implant the idea that the game is more unique and reflects society’s changing views and perceptions. It helps create the idea of equality in the media industry and helps gamers acquire the same attitudes.
The Media industries in Assassins Creed III Liberation develop a game which is based around of Aveline, a female assassin of an ethnic minority background. The game was perceived to be a large movement at the time of release through the use of a female and minority main character. The game was created by Ubisoft (the normal creators of the Assassins Creed franchise). It could be argued that Assassins Creed III is controlled by a large company in charge of mass media products (Power & Media Industries Theory). However, the video game is niche in its creation through the use of Aveline’s character and storyline. Yet the game was released in 2012 and there is yet to be another Assassins Creed game which features a female main character.
Todorov’s narrative theory refers to the scenes involving Sam’s everyday life and job working in what appears to be Manchester. The scenes show him chasing and arresting a criminal, as well as interviewing the criminal afterwards. This therefore makes the audience engage with Sam’s interactions and makes the audience further understand his character. The disruption in the episode occurs when Maya appears to have been kidnapped. An uncommon occurrence is that during this first disruption, Sam is also hit by a car, after this, the general order of narrative and chronological order of events appear to be disrupted. This accident creates enigmas for the audience to respond to as it appears like Sam is dying or in a coma for the rest of the episode. The structure of events centre around the serial killer and finding the culprit and possible abductor of Maya. The two worlds of how different 70s and 00s Manchester was/is, and the different attitudes back then highlight the change which society has brought, with Sam’s contrasting opinions from Gene Hunt underlining this issue.
Throughout the episode, there appears to be several scenes regarding a man speaking to Sam as if he was in a coma, consequently creating the confusing narrative and understanding as to what has happened to Sam. A technique which is relatively rare in Television is the audience’s lack of understanding throughout the episode. This is the beginning episode into the series and therefore engages the audience’s interest into the series. The episode appears to end without a resolution or a re-equilibrium which continues the question as to if Sam is in a coma, this makes audiences want to watch more of the series to gain answers to these questions.
Denotation is the literal reading of the media text, therefore it appears to show a woman looking at the camera wearing blue and green exotic clothing. However, the connotations to this can suggest an element of femininity and a form of change in representation of beautiful exotic clothing as it was not commonly published about in 1965. Therefore Vogue is creating this different standpoint on fashion by including different social groups.
The representations for Vogue in the July 1965 edition reflect the lack of diversity in historic magazines. The picture represents exotic clothing which is shown by the Turkish headwear. However there is also the use of cultural appropriation in the piece as Sophia Loren is not a Turkish model. This therefore creates the sense of whitewash in the fashion industry as white models appear to be preferred in historic Vogue magazines. It is also believed that this form of clothing is represented as ‘exotic other’ to readers, as the culture does not seem to be important and is only there for visual pleasure. Up until present day, magazines such as Vogue are heavily criticised for their underrepresentation of diversity. However, it is likely that the common readers of Vogue would use the preferred inference to not question the lack of minority and ethnic women in Vogue as at the time it was common view that these women were less thought of in society. This can be applied to David Gauntlett’s theory of identity as it is clear that media products were less diverse and complex than those of previous generations.
Likewise, the 60’s view on women and their roles were that their purpose were to be entirely domestic. The stereotypical image of the ‘happy housewife’ who looked after the home and family while the husband went out to work were prominent in many magazines in the 50s and 60s. Sophia Loren is pictured in heavy makeup, reflecting 60s belief that women were purely objects and to look appealing. The representations of female beauty in the industry show a lack of diversity regarding independence. However, it could be argued that in the Vogue July 1965 edition, Sophia Loren takes up most of the main cover, implying dominance to the magazine.
Blogs and vlogs use strategies in order to appeal to their intended target audiences, for example Zoella’s videos are very personal and have a home-like setup in order to engage the audience and feel part of the video. Zoella also encourages her audience to engage with her on social media, maintaining interactions and consequently keeping the viewers engagement. Zoella’s target audience is pre-teen/teenage girls, which is clear through the topics of her videos being heavily focused on makeup, fashion or baking. These video types naturally attract predominantly female audiences and therefore her introduction style reinforces this idea. Zoella does tutorials and ‘how tos’ on her channel in order to teach the audience more about her daily life, routines and makeup tips and advice. There is a strong representation of gender on her channel, with collaborations with mainly female YouTubers, the only exception to that being her boyfriend Alfie Deyes. There is a sense of Zoella’s brother, Joe Sugg also producing a channel for teenage audiences to enjoy content from (mainly boys).
Zoella uses colours which are more pastel such as pink in her logos are marketing to further appeal to a female audience. She uses a handwritten signature style logo to make her blog posts and videos seem more personalised to the viewer. Zoella’s merchandise such as her beauty and makeup line help reinforce the target audience’s appeal with fashion for mainly female fans of her videos. She also owns her book series ‘Girl Online’, a story about a girl that falls in love, further generating the idea that her audiences are predominately female and therefore targets her products towards that.
Using textbook p.189-190 to aid you, answer these questions (remember to copy these questions on your blog)
The amount of content being created is hard to keep up with, thousands of hours of vlogs each week and hundreds of blog posts.Partly because of the volume of content as well as the content coming from so many different sources.
Responsibility of internet service providers, the companies which own the social media platforms or whether wider regulation by independent bodies or national governments.
Subject to the Advertising Standards Authority (ASA), they are also required to comply with customer protection laws enforced by the Office of Fair Trading
Stipulates that paid-for content in blogs/vlogs, in the form of advertisements, advertorials or sponsored content, must be clearly signposted to users
An advertisement that is presented in the style of the media product of which it features. An advertorial vlog e.g. something that is presented in their usual editorial style.
YouTube can also impose age restrictions on videos to protect younger audiences from harmful content. It also provides user with the facility to flag videos. Once a video has been flagged, it is reviewed and if it violates community guidelines it is removed, in more severe cases the users accounts are deleted.
On one hand, regulating all online media platforms especially in relation to safeguarding children from harmful content such as Logan Paul’s controversial video may help protect audiences from otherwise dangerous, harmful or offensive content. This regulation would mainly effect YouTubers as they aren’t usually individually regulated by an established company. On the other hand, it makes these content creators become less creative in the content which they are producing out of fears of having their video taken down, not making enough/any money off of the video, and in more serious situations risk having their channel shut down. This regulation in media might also make these content creators lose interest in what they are doing and consequently quit, therefore losing revenue for YouTube as well. This regulation can penalise other creators which otherwise have been unaffected by the current regulation, this creates a possibility for injustice in the system. YouTube has already been heavily criticised by content creators who argue that their videos have been wrongfully striked/demonetised/taken down. It is also extremely difficult and expensive to manage this regulation accurately and effectively, therefore creating a thin line between media which is over-regulated.
GLOSSARY
Advertorial: An advertisement that is presented in the style of the media product in which it features.
Algorithm: Set of steps/rules to make a calculation. The steps involve determining which advertisements are most suitable for a particular website.
Blogger: Someone who engages in blogging. The term blog is short for weblog
Brand recognition: Extent to which brand can quickly be identified by visual codes such as logos
Call to action: Instruction issued to the audience with the aim of promoting an immediate response “subscribe now”, “like the video” etc
CAP Code: Advertising code that covers non-broadcast media. The code is written by the Committee of Advertising Practice (CAP)
Collaboration video: Video which features two or more content creators
Content creators: Those are involved in creating/sharing content online
Convergence: Process which different media industries and forms merge to one another. (e.g. mobile phones bring together so many different functions)
Digital influencer: Someone with a significant amount of online following to shape and influence.
Gatekeeper: A person who is involved in filtering content in some way. (e.g. in the newspaper industry editors generally perform this function as they determine which stories to make)
Hyperlink: Word/Phrase/Image in a document that the reader can click on to navigate to a different part of the document/different page
‘Let’s play’ video: A recording of someone playing a video game, usually with some kind of commentary.
Metadata: The additional or contextual information that accompanies an online video, description, thumbnails and tags
Monetisation: Process through which product/service- blog or vlog
Multi-channel networks: Organisations that curate a large number of channels, offering creators support in areas such as video production
Non-verbal communication: Communication that doesn’t involve words. The way in which we communicate messages and meaning through our facial expressions, our body language and our tone of voice for example.
Para-social interaction: Illusion of face-to-face through direct address. The theory was originally coined for mass media but has since been applied to online forms.
Synergy: Term used to describe the cross-promotional of products (the theme song to Spectre will help promote the film for example)Synergy is all about different products and processes working together.
Transmedia storytelling: A process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose
User-generated content: Material created by everyday users of media platforms rather than by professionals working for media organisations.
Vlog: A blog in video form. Short for video blog.
Walkthough: A demonstration of how to play a video game
Web traffic: Number of people who visit a particular page/website
Web 2.0: new phase in the internet’s development, characterised by interactivity, user participation, connection and collaboration.
Who regulated the press from 1991 to 2014?
The Press Complaints Commission (PCC)
Independent Press Standards Organisation (IPSO)
Lord Leveson is an English judge who chaired the public enquiry into the culture, practises and ethics of the British press.
Task:
November 2005 – News of the World (NoW) prints a story about Britain’s Prince William injuring his knee, prompting royal officials to complain to police about probable voicemail hacking.
May 15, 2007 – The Press Complaints Commission says it found no evidence of phone hacking at NoW
January 2007 – NoW royal editor Clive Goodman and private investigator Glenn Mulcaire are convicted of conspiracy to hack into phone voicemails of royals and are jailed. Andy Coulson, the paper’s editor, insists he is unaware of hacking but still resigns.
June 2008 – News Group Newspapers pays a £700,000 (nearly $1.13 million) settlement to football executive Gordon Taylor, whose phone was hacked by Mulcaire.
November 2009 – Britain’s Press Complaints Commission releases a report concluding that there is no evidence of continued phone hacking.
January 26, 2011 – London’s Metropolitan Police launches a new investigation into voicemail hacking allegations at NoW.
April 10, 2011 – News of the World officially apologizes for hacking into voicemails from 2004 to 2006 and sets up a compensation system for unnamed victims.
July 4, 2011 – It is reported that News of the World journalists possibly hacked into then-missing teenager Milly Dowler’s voicemail and deleted messages to free space, causing her parents to believe she was still alive.
July 8, 2011 – Coulson is arrested. Goodman, the paper’s former royal correspondent who served a four-month jail term in 2007, also is arrested on corruption allegations.
July 10, 2011 – The 168-year-old News of the World publishes its final edition with the headline “Thank you and goodbye.”
July 14, 2011 – The FBI launches an investigation into allegations that News Corp. employees or associates hacked into the phones of 9/11 victims, a federal source says.
July 16, 2011 – Rupert Murdoch apologizes to the British public with full-page advertisements in seven national newspapers.
September 14, 2011 – Dozens of celebrities, including Hugh Grant and J.K. Rowling, are given permission to participate in a top-level inquiry into phone hacking by British journalists.
November 23, 2011 – Gerry and Kate McCann, the parents of missing toddler Madeleine McCann, testify before the Leveson Inquiry.
November 24, 2011 – Celebrities Sienna Miller, Max Mosley and J.K. Rowling testify before the Leveson Inquiry.
December 20, 2011 – Then-CNN host Piers Morgan, former editor of both the News of the World and Daily Mirror, testifies regarding his knowledge of the phone-hacking scandal involving Paul McCartney and Heather Mills.
March 13, 2012 – UK police arrest six people, including Brooks. All six are arrested on suspicion of conspiracy to pervert the course of justice contrary to the Criminal Law Act 1977.
September 4, 2012 – The number of likely victims jumps to more than 1,000 people, according to the top police officer working on the case.
February 8, 2013 – News International settles 144 lawsuits related to phone hacking. Seven cases were not settled and are scheduled to go to trial in June.
October 30, 2013 – It is revealed that former News of the World employees Neville Thurlbeck, James Weatherup and Greg Miskiw have pleaded guilty to phone hacking.
December 19, 2013 – News of the World hacked Kate Middleton’s phone while she was dating Prince William, a prosecutor tells the court.
January 31, 2014 – Actress Sienna Miller testifies regarding the alleged affair with Daniel Craig, which is exposed by a tabloid journalist who hacked Craig’s voicemail.
February 25, 2014 – Rebekah Brooks denies in court ever having approved the practice of phone hacking while editor of News of the World.
June 24, 2014 – Andy Coulson is found guilty at the Old Bailey of conspiracy to hack phones. The jury is still considering additional charges against him and former royal editor Clive Goodman of conspiring to commit misconduct in a public office. Rebekah Brooks and the other defendants are cleared of all charges.
The PCC was heavily criticised in the Leveson enquiry. The PCC were seen to be largely ineffectual in regulating the newspaper industry. Lord Leveson made recommendations for a new regulatory body to replace the PCC (IPSO).
The independent Press Standards Organisation (ISPO)
IPSO was created to regulate over 1,500 print and 1,100 online titles. It also deals with complaints about possible breaches of the Editors code of practice. It gives help to unwanted press attention and advice to editors and journalists.
Go onto https://www.ipso.co.uk/rulings-and-resolution-statements/ – read some of the recent rulings from the ISPO:
Inaccurate information/Harassment
Often celebrities/politicians (such as the labour party) against newspapers (Most commonly The Sun)
Around half of complaints after investigation is found to have no breach. However, some are still under investigation and others have had IPSO mediation or have requested that the publication is changed.
Stretch and challenge question (all students must answer this):
On 7th January 2015 twelve cartoonists were shot dead by three extremists who were offended by the magazine printing a satire of the prophet Muhammad.
Write two contrasting arguments for this question -for regulation (100 words) and against regulation (100 words)
On one hand, there is a sense for people to have the right to free speech and expression on their opinions with light-hearted humour intended to entertain and not offend. Likewise, if the press are not allowed to do this, it might become too extreme as we attempt to regulate it too much and therefore create no sense of opinion in newspapers and magazines. On the other hand, people may find the content upsetting or offensive. The content may encourage bullying by not only the press but the wider community especially when it comes to religion. Most of the content encourages radical behaviour on both spectrums, on one hand people may assault people who fit that criteria and have prejudice as a result of press’ representations. However, it may also provoke more extreme scenarios such as the 2015 Charlie Hebdo attack, in which the magazine printed a satire of the prophet Muhammad, these portrayals aren’t too dissimilar from jokes made of government members in the UK such as PM Theresa May. The attackers then opened fire on the cartoonists, killing 12 and injuring 11 others.
Powerpoint: Radio Industry Powerpoint
Audience streaming- Listeners can click on a link to play the radio programme instantly. Increasing the global reach of BBC radio, as listeners abroad can tune in to hear the live programme.
Cross-platform marketing- Where one form is advertised on another media platform. (e.g. BBC 1 will broadcast promotional advertisements for its radio stations which are also on the websites).
Emerging media- Referring to communication through digital technology and new platforms with interactive elements. (e.g. podcasts, social media etc)
Profile- For radio stations this refers to how they are defined to their target audience through their brand identity, (e.g. the presenters or programme style). This includes their aims and ethos.
Public service broadcaster- A radio/television broadcaster that is seen to offer public service by catering to a range of audiences. These main public service broadcasters in the UK are the BBC, ITV & Channel 4.
Stripping- A technique in radio and television where a certain programme is broadcast at the same time every day. In radio, this attracts an audience who associate a particular programme with their daily routine.
Syndicated output- Radio stations make and sell a programme to other stations, or buy a programme that may be available to other radio stations.
Commercial radio stations tend to advertise within other radio programmes on the same station. Local radio stations also use local advertising e.g. bus shelters, local press and billboards
BBC Taster is an important service as it produces content which is not usually seen on most platforms. It allows audiences to feel involved through interactions. For the BBC, it provides quick, free and easy feedback about proposed programmes and test out ideas upon audiences.
It is important to have an independent regulator as it creates a non-bias attitude towards the company that is being regulated. They work outside of the industry and is therefore impartial.
LNWH can inform audiences as well as entertain them through the different discussions. One of the strategic objectives set by the BBC was to ‘transform mainstream services to better appeal to younger audiences’, this is done by LNWH through the topics as well as the presenter.
This can be done through the title of the programme, attracting younger audiences. As well as the themes that are covered and the mode of address of the presenter that appear in the programme. It helps to engage audiences and create a discussion/debate surrounding a particular topic.
If the listener bas tuned into/downloaded the programme, they are part of the target audience and will therefore accept the preferred reading of the text. However, some audiences may adopt a negotiated response because they do not agree with some of the themes featured in the programme.
The Sun urged readers to vote leave during the Brexit referendum. The informal text addresses the readers as it is a right-wing newspaper. The union jack is placed over the wording of “leave” to create a bold title which at a quick glance encourages the public to vote to leave the EU.
The Sun reported on the US Presidential election (2016) with a light-hearted joke. They use cartoons from The Simpsons to make fun of the election result. It uses slang such as “the prez..” to target readers to make the article more amusing.
The Daily Mirror is a more left-wing newspaper which addresses the state of Brexit as “broken” addressing the government directly. The image portrays the prime minister as the only person dressed in red (which has several connotations). It shows how the newspaper embarrases the prime minister showing their viewpoint on Brexit. The style of editing in the Daily Mirror is different to The Sun as they use less caps lock in the titles to generate less bold and “in your face” titles.
The Daily Mirror reports on the outcome of the 2016 US Presidential Election result. It shows an iconic US landmark to British readers with their face in their hands. The rhetorical question conveys a sense of hopelessness for the US through this election result. Similarly, this creates an opposite viewpoint than The Sun, as the Daily Mirror creates a sense of weakness.
The Guardian reports the prime minister as “desperate” in an almost comical manner. The newspaper also represents Theresa May as not in power through the image of her portraying seriousness in the topic as well as humorous in the title. The newspaper is left-wing therefore showing the beliefs of the newspaper on the Conservative party.
The newspaper reports the US election result as a form of doom as the wording “now the world waits” represents the president as a threat to the world. The image of Donald Trump is large to indicate this threat to the ‘world’.
Blog 