British National Newspapers:

• The Sun (right wing)
• The Guardian (left wing)
• i
• The Evening Standard
• The Daily Mail (right wing)
• The Daily Mirror (left wing)
• The Times
• The Metro
• The Daily Telegraph (right wing)
• The Daily Express (right wing)
• The Daily Star
• The Independent
• The Observer (left wing)
• Financial Times (central)

Main formats of newspapers

Tabloid (informal)- A newspaper which concentrates on sensational and lurid news, usually heavily illustrated- a short form or version; condensation; synopsis; summary. Physically smaller than Broadsheets

Broadsheet (formal)- A newspaper which a large format, regarded as more serious and less sensationalist than tabloids.

Political Perspectives

Newspapers, like any media texts have an agenda. Most are associated with political perspectives and ideology, as well as specific political parties.

Left-Wing Politics: Liberal values, values, multi-culturalism. In opposition of inequality and hierarchy. Has been associated with civil rights, feminism, environmentalism and anti-war movements.

Centrism: A political outlook or specific position that involves acceptance or support of a balance of a degree of social hierarchy.

Right-Wing Politics: Conservative and traditional values, supports capitalism. This type of politics upholding ‘traditional’, perhaps “outdated” values that create a sense of inequality and hierarchy becomes apparent.

Regulating Newspapers in the UK

In the UK, three different organisations have set standards/regulated the Press since 1953. They are:

• Press Council
• Press Complaints Commission (PCC)
• Independent Press Standards Organisations (IPSO)

The Daily Mirror Powerpoint

What does OFCOM stand for?

The office of communications

What are the key functions of OFCOM (set by parliament)?

Through the Communications Act 2003 is to further the interests of citizens and consumers

What regulations television companies have to comply with?

• Ensure that television services are provided by a range of different organisations
• Ensure that a wide range of high-quality programmes are provided, which appeal to a range of tastes and interests
• Protect viewers from offensive or harmful material
• Protect people from unfair treatment and ensure their privacy is protected.

Define the term ‘watershed’ in relation to broadcasting.

The watershed is the time when it becomes permissible to show programmes that are unsuitable for younger audiences. In the UK, the watershed is at 9pm.

Do the BBC have to comply with OFCOM? If so, what do they need to do to comply?

Yes the BBC have to comply with OFCOM as they are regulated. Under the new BBC Charter, OFCOM is required to check the accuracy and impartiality of the BBC’s news and current affairs programming. It also has to ensure that the BBC does not use the license fee to gain an unfair competitive advantage over other broadcasters.

Stretch and challenge question (all students must answer this):

“The watershed is less relevant now than in the past” – How far do you agree with this statement?

On one hand, parents are now less strict in terms of content that children are watching, particularly 15-17 year olds as they are considered young adults. Likewise, most children between the ages of 12-17 often do not go to bed before 9pm. This accessible and potentially harmful content for younger people are now available outside of the watershed, through catch-up services such as BBC iPlayer & streaming services like Netflix, which only give you a small warning of the content at the beginning.

On the other hand however, there still needs to be some kind of regulation in the TV industry, particularly for audiences under the age of 10 to therefore protect them from inappropriate content. There are still warnings at the start of programmes on live TV (such as the BBC) to let parents and children know that the content they are about to watch may be unsuitable.

In what ways are TV shows marketed? Summarise the bullet points on p.153 and p.154. 

• Trailers– Short promotional films that feature clips from the programme. Teaser trailers are typically shorter to arouse the audiences interest. As well as appearing in gaps between programmes they are generally made available on social media platforms such as YouTube
• Poster/Billboard campaigns– This can be a useful way of building public awareness as they are generally seen by large numbers of people.
• Viral marketing campaigns– Typically involves the use of social media platforms (Twitter, Facebook, Instagram) Messages or clips are posted relevant accounts and are then shared more widely by users. The marketing message therefore spreads like a virus.
• Marketing Stunts– (e.g. part of the marketing campaign for ‘Humans’ involved creating fake advertisements for androids. A fake storefront for a company selling the Synths was also created.
• Websites– Often used to develop or extend brand identity of the programme. They include a range of different features including clips, interviews, articles and BTS footage.
• Preview screenings and Q&A sessions– Appearances at festivals or conventions such as New York Comic Con and industry events such as SeriesFest help to create buzz and publicity.
• Press and Publicity– Can include appearances on talk shows, interviews with newspapers and magazines as well as press events such as the TCA Press Tour in America where the networks promote their new shows.

Exam question: How does media language communicate meaning in this promotional poster?

The large title “Back in the nick of time” constructs a disrupted narrative through the use of “back in time”. The slang “nick” is a word which the character of Gene Hunt would likely use. Sam Tyler and Gene Hunt are both positioned at the side of the poster with the 70s car in the middle, with both characters wearing 70s clothing it suggests to the audience that the programme is not set in modern day. The colour palette is of brown neutrals and the colour of the background matches both the car and Gene Hunts iconic coat. The BBC 1 Colour logo at the bottom is a recognisable logo of which the older generations during the 70s would associate with.

Define the term ‘prime-time’?

Prime-Time is the block of time when an audience viewership peaks for programming during a defined period of time. In the US, this is considered 8pm-11pm, this is when most people have returned from work and are catching up with the news or their favourite shows.

What is the BBC’s catch-up service called?

BBC iPlayer

What does non-linear viewing meaning?     

Non-traditional means of viewing, it contrasts with traditional linear television, where viewers must watch a scheduled program at the time it is broadcasted.

What happened to BBC 3 in 2016?

The BBC closed down BBC3 in early 2016, the final programme with an episode of Gavin & Stacey.

Stretch and challenge question (all students must answer this):

“The emergence of Netflix and Amazon Prime means that scheduling has become obsolete” – How far do you agree with this statement?

On one hand, the watershed still exists, suggesting that audiences and their families are still watching live TV. There is also the difference between daytime TV and primetime TV, conveying during prime-time (where most amount of people are watching) broadcasters show their best programmes, implying that audiences are sticking to this timetable of programming.

However, steaming services such as Netflix and Amazon Prime means that audiences can watch different and varied shows at any given time. Live TV broadcasters such as the BBC and Channel 4 have integrated their own catch-up service (BBC iPlayer & All 4) therefore suggesting that people don’t have to stick to traditional scheduling of live TV. Both Netflix and Amazon Prime have created their own ‘originals’ shows that are only available through the streaming sites, connoting that they are making a profit as well as rivalling with live TV broadcasting.

Representation

How are representations constructed/encoded?

Narrative: The audiences sympathise with Sam theough his situation and the restricted nature of our narrative positioning.

Humour: The main humour aspect of the TV series is through dialogue exchanges between Sam and Gene.

Technical Codes (language): The camera movement throughout the chasing scenes use a handheld camera which generates a more realistic viewpoint. The overall editing and aesthetic outcome links to typical 70s police shows such as The Sweeney.

Lighting: The lighting in the police office and interrogation rooms are stereotypical 70s low light with a yellow tint to recreate the original police shows that it is inspired by.

Mise-en-scene: It is clear to the audience that Sam is in a modern day setting at the start of the first episode, shown through the clothing, cars and office settings. When Sam goes back to show this shift in timeline, he is wearing a leather jacket which is fashionable during the 70s. The song ‘life on mars’ by David Bowie is playing at the time he is hit by the car to justify the time shift to the 70s. During the modern day part of the series, the office lighting was bright and vibrant, suggesting a modern environment.

Performance: Gene Hunt is the best example of performance as he is the strongest character with a strong accent and voice to represent himself as a strong willed character.

Look at the characters, Analyse how they are represented and how this representation has been constructed

Sam Tyler (John Simm) is described as a driven and ambitious young detective who is determined to keep the 21st century Manchester streets safe. Sam Tyler is represented as committed to his work by his interest in his job in the modern day.

Sam’s boss Gene Hunt (Philip Glenister) is represented as a hard-nosed DCI working during the 70s. Gene belittles Sam and prefers to not be told what to do. Gene is also a contradiction to modern day policing, highlighting the social change between the 70s and modern day.

Annie Cartright (Liz White) plays the role as the nurturer towards Sam and reasons with him, helping him through and making him believe he is sane. She is not taken seriously throughout by the 70s police, Sam shows the change in attitudes towards women compared to 40 years ago.

What other stereotypes are evident in ‘Life On Mars’?

Nelson in Life On Mars is the Jamacian-British pub worker, he is first seen in the first episode as Sam Tyler comes in for a drink with Gene Hunt. In the first encounter with Nelson, he speaks in a Jamacian accent and the audience assumes this is his normal voice. However, when Sam Tyler goes back to the pub on his own, Nelson talks to him in a British accent. This represents the 70s views on ethnic minorities and how Sam Tyler represents the modern view for Nelson to open up to him.

bell hooks

Argues that feminism is a struggle to end patriachal oppression and the ideology of domination, and that the position of the underrepresentation is by class and race as well as gender.

“Women in lower class and poor groups, particularly those who are non-white, would not have defined women’s liberation as women gaining social equality with men since they are continually reminded in their everyday lives that all women do not share a common social status”

How is “patriarchal oppression and the ideology of domination” evident in Life On Mars?

Annie Cartwright is a representation of women during the 70s, she is shown as passive and accepts what the men say to her. When we first meet Annie, she is helping Sam Tyler medically, therefore portraying women as helping men. In another scene, she is implementing her education on psychology to create a profile of the killer with Sam. As Sam encourages Annie to help him, the men in the police team make fun of her. Ultimately, she gets embarrassed and walks away from the team without helping them further. There is a absence and marginalisation of women with Annie being told to “trot along now, sweetheart”. This is done to convey the level of inferiority that women had, and little say that they have in comparison to men.

Maya is Sam’s girlfriend who is abducted by the serial killer. She is used to portray the modern day society towards women and the difference between now and 40 years ago. The role of women in the police force contrast Maya in 2007, with the Equal Pay Act 1970 and the 1975 EU directive on Equal Pay was passed.

Other examples throughout Life On Mars of inequality to men include in masculine environments such as offices and pubs where women are irrelevent or objectified/sexualised. The attitudes of 70s police (especially characters such as Ray and Chris) use lanuage towards women such as “bird” and “skirt” to women or other men. Gene Hunt is an example of dominance within the work force, by being called “guv” represents his hypermasulinity. Other women in the series such as Mrs Raimes comments on her attitudes towards “lady policemen”- “No life for ’em, is it?”

Does Annie support bell hook’s argument?

I think that Annie does support the argument as she is oppressed especially in her work environment, therefore making her uncomfortable and unable to talk about it. Annie is an example of an intelligent female character who is put down by dominant male characters such as Gene Hunt. It shows the generation who are misinformed and consequently women of especially ethnic minority backgrounds suffer as a result in society by their expectations and judgements.

Liebet Van Zoonen

“(There is) a depressing stability in the articulation of women’s politics and communication. The underling frame of reference is that women belong to the family and domestic life and men to the social world of politics and work; that femininity is about care, nurturance and compassion, and that masculinity is about effciency, rationality and individuality” – Van Zoonen

Examples of men (in relation to Van Zoonen’s theory)

• Men such as Sam Tyler are committed to their work, to the point where his relationship with Maya was disrupted. He is shown as dedicated to his work as well as scene depicting him at pubs socialising.
• Gene Hunt represents hypermasculinity as he is less interested in his work than Sam Tyler but still represents dominance and he takes his police team out to pubs and to socialisation. Both Sam and Gene were doing door to door enquiries to find the missing girl, there were no presence of women to show the social difference between the genders

Examples of women (in relation to Van Zoonen’s theory)

• Annie is a very passive character which can be shown that she is uncomfortable in a work environment as she is oppressed.
• Maya represents the ‘domestic’ girlfriend to Sam as she continuesly asks Sam to stop taking his work so seriously.

Liesbet Van Zoonen

Argues that gender is constructed and that its meaning varies dependent on cultural and historical context. She suggests that masculinity as well as femininity is constructed and that codes are used to construct men ‘as a spectacle’ are different

Representations and identity (Gauntlett)

Audiences may react to these representations negatively, especially with the character of Gene Hunt with younger and more impressionable audiences.

Life On Mars- Narrative, Industry & Audience

Todorov’s narrative theory in relation to Life On Mars

Equilibrium:

• Sam Tyler in present day.
• He is a DCI in Manchester.
• He is having relationship problems with Maya
• Busy worklife, ‘normal’ everyday life for Sam

Disruption:

• Maya is abducted by the killer
• He is run over therefore awakens in 1972

Recognition:

• Realises he has travelled back in time

Resolution:

• Attempts to solve the disequilibrium, murder investgation
• Meeting with Neil and the rooftop scene

Re-Equilibrium:

• Not much true closure
•  Revelation and arrest of killer at the end

Audience

• Primary Target Audience – fans of crime texts = mainstream audience. 15+ (TV slot).
• Cross-gender appeal– male audiences may identify with either Tyler or Hunt (role models) – aspiration. Female audiences may identify with Annie and/or find Tyler/Hunt attractive.
• Experiencers may enjoy the vicarious thrill of crime/sci-fi.
• Audience for nostalgic crime’ e.g. ‘Grantchester’, is traditionally ABC1 but this crosses over into C2DE because of its violence and intertextual links with 70s crime shows e.g. ‘The Sweeney’.
• Secondary audience – fans of science –fiction – hybrid generic elements in the text – more alternative/niche audience – young males. Alternative audience because of non-linear, surreal narrative structure and lack of closure.
• Tertiary audience – Fans of period – 70s  Over 30s. Pleasure through nostalgia – music of period (Bowie etc. – intertextuality). Bowie more alternative than mainstream – “hipper”. Nostalgia through visual codes and iconography – Crombie, kipper ties, velvet jackets, Ford Cortina, flicked hair etc.
• Inherited fan bases – from e.g. ‘The Sweeney’,’ The Professionals’. Fans of stars – John Simmth ‘Doctor Fans of Gene Hunt – fictional character captured public affection – spin-off merchandise – T-shirts

Stuart Hall’s Reception Theory

What is the preffered meaning of ‘Life On Mars’?

The preferred meaning of Life On Mars is to learn from the mistakes of the past generations beliefs and as a result show the difference between then (the 70s) and now (2007). It shows how appauled Sam was to the policing methods of the 70s through the character of Gene Hunt. Hunt represented the stereotypical ‘bad cop’ who has old beliefs and views which to a modern audience is outdated. It represents Annie as oppressed although she is as equally qualified as the rest of the team.

How is this encoded?

These meanings are encoded through the scenes of anti-feminist behaviour and dialogue used by the male characters. To a modern audience they are viewed as immature, however in the 70s that was generally the belief that women werent in the same place as men.

What other readings might this text generate?

The text may have potential to be misinterpreted through the strong character of Gene Hunt as he is so dominant and adamant to his attitudes. It has potential to generate a sexist view on women as well as racism (as a result of the character Nelson being oppressed). The links the show have to The Sweeney’s could also reflect these opinions. It could be argued that the show is almost glamourising the beliefs of the past through nostalgia.

Oppositional reading of Life On Mars

“Mars drama ‘could spark bullying'”- BBC Online 12 April 2007

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

How does the text position audiences?

• Positioned with Sam Tyler & the restricted narrative means that we only know what he knows. We therefore seek answers to narrative enigma codes (as defined by Barthes)
• We solve the mystery alongside him and become part of the team with Annie, Chris & Ray. This fulfils the audience’s need for belonging or social needs within Blumler & Katz’ Uses & Gratifications model.
• Positioned with Sam Tyler – liberal, 21st Century, metrosexual, ‘new man’ to see Hunt’s ways as dated, shocking and unacceptable.
• Positioned with the forces of law & order to see certain criminal behaviours as deviant.

How does the marketing of Life On Mars Targets audiences?

• Iconic and recognisable characters and stars (John Simm- intertextuality with Doctor Who) & (Gene Hunt became iconic)
• Intertextuality (old BBC idents, 70s cop shows etc)
• Sense of place – nostalgia for the 70s for older audiences
• Genre with a twist – trailer, sci-fi and crime genre
• Enigma – social media buzz, particularly for “Ashes to Ashes” ending
• BBC quality drama – mark of trust audience will have
• Sold worldwide (US DVD has different testimonials)
• Coverage in magazines – “event” of second series made front pages of TV listings guides
• Some merchandising (e.g. calendar, spin-off books)
• Created series “brand”
• These elements target different audiences

Task One- Television Industry

What is a public service broadcasting company? Who funds the BBC?

A public service broadcasting company are paid for and available by the public. The BBC is an example of this as it is paid for by TV Licences.

What are PSBs ‘required’ to do?

They are required to provide high quality programmes that cover a wide range of different subjects, satisfying wider audiences.

Where are these requirements set out?

The Communications Act 2003, which are intended to insure that the audiences which otherwise be neglected are catered for with quality and diversity.

Which regulatory body is responsible for monitoring PSBs like the BBC?

OFCOM is the regulatory body responsible for monitoring PSBs.

What the main purposes of PSBs?

They are to:

• Inform our understanding of the world through news, information and analysis of current events/ideas
• Stimulate knowledge and learning of the arts, science, history and other topics through accessible content
• Reflect UK cultural identity, national and regional level
• Represent diversity and alternative viewpoints though programmes that reflect the lives of other people and communities, both within the UK and elsewhere.

What is OFCOM responsible for? Give specific examples

They are responsible for setting certain quotas that public service broadcasters have to meet. (e.g. there are quotas for news and current affairs programming and for original productions, independent productions and regional productions).

What does ‘BBC’ stand for?

The British Broadcasting Corporation (BBC)

What is the BBC’s mission?

The BBC’s mission is to inform, educate and entertain which has been a guiding principle since the corporation was founded in the 1920s.

Who is Lord Reith?

Lord Reith was the 1^st Director-General of the BBC. He is widely credited with establishing the corporations governing ethos.

How is the BBC’s new ‘charter’ different from previous ones?

The most recent charter came into effect in January 2017. The difference from this Charter is that it contained more explicit emphasis on distinctiveness. (Meaning that the BBC’s output and services have to be ‘substantially different’ from those offered by other broadcasters.) The Charter states that the BBC should “take creative risks”.

In what ways is the BBC a vertically integrated organisation?

It has its own in-house production unit, BBC Studios as well as a commercial subsidiary BBC Worldwide.

What functions does the BBC Worldwide service provide for the company?

• Facilitating international co-production deals
• Developing creative partnerships with independent production companies
• Building the BBC’s brand around the world
• Selling programmes and formats to international buyers

Task Two (watch pt 1 episode 1 of The Sweeney)

How are men represented in this section of the show?

Men are represented as dominating the show, there are barely any lines said by female characters throughout. There are also no mention of women in the opening credits. The men in the show are work oriented, in one scene where the main characters wife’s car is stolen, he cares more about his surveillance work rather than the car itself. The men are also presented as ‘heroes’ as they have a lack of care for consequences in their work.

How are the police represented in this section of the show?

Police are represented as relatively unprofessional compared to modern day perspective of policing. In one scene, the police are seen bribing a potential witness for information. There is also a sense of corruption in the show and tension in the office towards varying different policemen. The criminals are represented as low intelligence and typically the lower class.

What are the parallels with Life on Mars?

Life On Mars has the same gritty 70s aesthetic as The Sweeney. There is also similar sense of style in relation to clothing, cars and hairstyles in both of the programmes. The settings in both of the shows also represent an urban area, with a similar ‘messy’ office setting. Some scenes in The Sweeney depict a sense of police conflict in the office, the same as the vibe from Life On Mars. In addition, there are street chasing scenes in both as well as a car chasing scene in the opening credits.

Challenge task: “Life on Mars is a ‘copy’ of 70s Police cop shows like The Sweeney” – How far do you agree with this statement?

I think that Life On Mars is definitely inspired by The Sweeney with the narrative of a policing show in the 70s. Both shows include a controversial ‘rogue cop’ character who does not care about higher authority and consequences. Both shows also perceive both modern day and 70s policing as disrespected by many. Both The Sweeneys and Life On Mars attempt to exclude female characters from the show as they are seen as irrelevant to the plot. However, Life On Mars also puts a modern day perspective on 70s policing conflicting with the attitudes and opinions of Sam Tyler. In Life On Mars, there is predominately one main character that the entire narrative centers around, as well as the ‘sci-fi’ theme of time travel is represented.

• Month and year of release: January 2006
• Actors/Actresses: John Simm, Philip Glenister, Liz White
• Director(s): S.J Clarkson, John Alexander, John McKay, Bharat Nalluri, Richard Clark, Andrew Gunn
• TV Channel: BBC One
• TV ratings: 6.7 million views
• Award Nominations: International Emmy Award for best drama series, Edgar Award for best television Episode, British Academy Television- Radio Times (9 wins, 30 nominations)
• Remake/Sequel/Spinoff?:  Ashes To Ashes, Life On Mars (American version)

A crime genre text is one which has crime (including the preparation for, or aftermath of) as its central construct.

Crime Genres

• Line Of Duty
• True Detective
• Sherlock
• Luther
• Happy Valley
• Breaking Bad
• The Killing
• Deep State
• Homeland
• You
• Peaky Blinders
• Tin Star

Sub-genres

Sub-genres refers to ‘distinct and fairly long-lasting types within a genre’.

Example- Sub Genres of the Horror TV Genre:

• Slasher (Scream)
• Gothic Horror (Penny Dreadful)
• Pyschological Horror (American Horror Story: Asylum, Bates Motel)
• Zombie (The Walking Dead)
• Supernatural Horror (The Haunting of Hill House)
• Teen (Stranger Things, Vampire Diaries)

Sub-genres of the Crime Genre

• Police Procedural
• Gangster/Mob
• Heist
• Murder Mystery/detective
• Serial Killer
• Vigilante
• Courtroom drama
• Prison

Genres of Life On Mars:

Both Crime & Science Fiction (a genre hyrid)

RESISTS- The Crime drama

Recurring Situations

Elements of Narrative

Style

Iconography

Settings

Themes

Stock Characters

Recurring Situations

What situations are repeated in crime dramas? (e.g.)

• Car Chase
• Murders
• Trials
• Street Chase
• Planning/Committing the crime
• Briefing
• Interrogation
• Secrets Revealed
• Double Cross/Betrayal
• Arrest
• Gunshots
• Verdict
• Finding Clues
• Collecting Evidence
• Forensic analysis
• Reading the rights
• Questioning witnesses
• Doorstep Challenge
• Searches
• Stakeouts
• False accusations
• Confession
• Autopsy
• The line-up

Elements Of Narrative

• Crime as disruption to equilibrium
• Investigative Narrative
• Intellectual puzzles and enigma codes throughout
• Binary oppositions: justice vs vengeance, personal vs professional, cop vs killer, good vs evil
• Flashbacks to crime
• Quest Structure (Investigator as hero on journey to find killer) Audience Surrogate: When the audience witnesses the life of the character without going away from that narrative (Sam Tyler in Life On Mars)

Style

• Can be either gritty/glossy- dependent on production values and budget
• Clear Mise-en-scene
• Handheld camera
• Tracking Shots
• Music to suit mood and pace
• Verisimilitude: Realism
• Low key lighting
• Slow Panning

Iconography

The visual conventions you can identify in the ‘mise-en-scene’. (e.g.)

What types of iconography would you associate with the crime drama?

• The badge
• Police equipment, cars etc
• Weapons, guns, baton, taser, knives
• Tape
• Costumes: Forensic Oversuits, Police costumes
• Blood
• Masks
• Plastic Sheets
• Drugs
• Evidence markers
• Fingerprints
• Clues
• Bulletproof Vests

Settings & Locations

• Abandoned Warehouses
• The deprived streets
• Office
• Police stations
• Interrogation rooms
• Urban Environment (Idyllically rural)
• Morgue
• Courtroom
• Back Alleys
• Locked Rooms

Themes

• The quest for justice
• Morality
• Guilt
• Nature vs nurture
• Sacrifice
• Mortality
• Sanity and mental health
• Duty v personal happiness
• Domestic v professional

Stock Characters

What type of characters do you associate with crime dramas?

• Rookie Cop
• Disillusioned old-timer cop
• Suspects
• Victims
• Corrupt Cops
• Escaped Prisoner
• Anti social, world weary detective- dark past/fatal flaw
• Partners
• Hot-tempered boss
• Femme Fatale- dangerous female villain
• Gangsters
• Supervillain (Intelligent)
• Suffering Villain
• Pathology/Forensics officers
• Victim with a past
• Criminal psychologist/expert
• Informant

70s cop shows- Intertextuality (The Professionals & The Sweeney)

• Music style
• Attitudes towards women, degrading representation of women
• Clothing, cars, hairstyle

How intertextual references create meaning in Life On Mars

The poster in the background in one of the scenes in Life On Mars shows that Hunt idolises the western character and masculinity. The positioning in this scene suggests that the gun is on Sam Tyler head, representing the threat that he faces & how Tyler is going against that original standpoint.

Direct Intertextual References

The Life On Mars song reinforces the science fiction genre. The reference to “follow the yellow brick road” from the Wizard of Oz.

Genre Theories

Richard Coe- Tyranny of Genre

Coe believes that “generic categorisation limits and constrains creativity”

Coe argues that genres make it difficult for authors to express themselves creatively as they must conform to genre specifics.

Steve Neale’s Repetition and Difference theory

The theory highlights:

• Dynamic and historical nature of the genre
• Emphasises economic and institutional contexts in which genres are produced
• Genres necessitate a ‘degree of repetition of ‘sameness’
• They are also marked by ‘difference, variation and change’

The character Nelson is a Jamaican individual in Life On Mars who is showing a persona which is not correct. In one scene, he shows his British accent to Sam Tyler.

AC Factsheet

Video Games Powerpoint ISP

Why do you think the creators of the game included the (female/mixed race) character of Aveline de Grandpre?

I think that the creators included Aveline in the game to therefore appeal to the female gaming side of the industry. The inclusion of a female main character in a best-selling game is a movement that the Asssassins Creed franchise (and Ubisoft) can take part-responsibility for. It creates a discussion with other game developers to promote the idea of having more positive portrayals of women in games- and the success of this game encourages developers further. It also makes the franchise more appealing by including a non-white main character in the game to more minority groups, therefore promoting the game further to different audiences than usual. The target audience for this game is different than most of the franchise before, consequently a broader audience are attracted to the different games in the franchise.