Friday, 17 May 2019
Theories Explained and Grouped
Media Language Theories
Genre Theory Neale - Genre codes and conventions are established and evolve through repetition within media products and intertextual relay. The concept that genre is a shared code explains how genres can change (e.g. quality press becoming more like tabloids) and hybridise (e.g. the middle market tabloids such as The Mail that follows tabloid and broadsheet conventions).
Structuralism Levi-Strauss - Identifying binary oppositions (pairs of opposed forces) can suggest the ideology of a text. Particularly applies to newspapers that set up an 'us' and 'them' opposition, in which the audiences are invited to think of themselves as 'us', a common mode of address in newspapers.
Narratology Todorov - Identifying the different stages of a narrative helps to reveal the values and ideological messages it communicates. Enables us to think of news stories as a series of disruptions, each implying an initial equilibrium and a possible resolution.
Postmodernism Baudrillard - In postmodern cultures, representations are more powerful than reality, and representations themselves no longer relate to reality.
Media Representation Theories
Theories of Representation Hall - Representation is the process of creating meaning; whilst producers may try to fix meanings, audiences can resist this.
Theories of Identity Gauntlett - Media representations offer us a range of diverse and contradictory messages about identity, with the media being used by audiences to explore and express their identities.
Feminist Theory Van Zoonen - Women are objectified in media representations in patriarchal culture; gender identity is determined by cultural and historical contexts.
Feminist Theory Hooks - Feminism challenges patriarchy, with Hooks arguing for an intersectional approach considering how identities such as race, class and sexuality contribute to oppression alongside gender.
Theories of Gender Performativity Butler - Gender identity is not something we are born with but something we express through the performance of it; Butler challenges the notion of fixed binary identities of sexuality and gender.
Theories around ethnicity and post-colonial theory Gilroy - The history of colonialism continues to influence attitudes to ethnicity in western societies.
Media Industries Theories
Power and Media Industries Curran and Seaton - Media ownership is the most important influence on the media, with a small number of major conglomerates continuing to dominate the media industry despite the emergence of the internet.
Regulation Livingstone and Lunt - Media regulation is necessary to protect consumers and make sure media industries act in the public interest, however this is being undermined by the development of a global online media culture.
Cultural Industries Hesmondhalgh - Media industries are dominated by a small number of media conglomerates, who rely on the repetition of popular genres, stars and narratives to reduce risk.
Media Audiences Theories
Media Effects Bandura - Media representations can directly or indirectly influence audience values and behaviours.
Cultivation Theory Gerbner - The media can influence audience perceptions of the world over a long period of time through the repetition of similar messages.
Reception Theory Hall- Producers encode preferred meanings into media texts, which audiences respond to in one of three ways. Either accept it (dominant position), reject it (oppositional position) or partially accept elements with modifications (negotiated position).
Fandom Theory Jenkins - The development of online media has allowed audiences to participate in media culture, adapting media products to create their own content which is shared with online audiences.
End Of Audience Theory Shirky - Technological developments have changed the way in which audiences engage with media culture, leading to the rise of user generated content and reducing the power of media producers to act as gatekeepers.
Reception Theory Hall- Producers encode preferred meanings into media texts, which audiences respond to in one of three ways. Either accept it (dominant position), reject it (oppositional position) or partially accept elements with modifications (negotiated position).
Fandom Theory Jenkins - The development of online media has allowed audiences to participate in media culture, adapting media products to create their own content which is shared with online audiences.
End Of Audience Theory Shirky - Technological developments have changed the way in which audiences engage with media culture, leading to the rise of user generated content and reducing the power of media producers to act as gatekeepers.
Thursday, 9 May 2019
Newspaper Revision
Broadsheets (Quality Tabloids) - The Guardian, The Times, The Daily Telegraph, The Independant, The Financial Times.
Higher ratio of text to photography
Narrative content split
More hard news
Formal address
Elaborated language code
Objective epistemologies (facts and figures)
Less variations in typography than tabloid
Balanced non biased reporting
2018 return of the Capital T
Tabloids - The Sun, Daily Mirror, Daily Star.
Mid Market Tabloids - Daily Mail, Daily Express.
Typography - Dramatic Headlines in large, bold, uppercase font.
Traditional British News Values
Headlines can explore Moral Panics - NHS/Knife Crime
Higher ratio of text to photography that tabloid
Direct, Informal address
Use of pronouns 'we' and 'you' - shared beliefs and values
Subjective Epistemologies - emotive representation
Cross of broadsheet and tabloid - hard (politics,Science,Health) and soft news (celeb gossip,sport,Fashion).
Local Newspapers e.g. South London Press
Freesheets e.g. The Metro
Sunday Newspapers - The Observer (The Guardian), Sunday Times, Mail on Sunday, Sunday Telegraph, The Sun On Sunday, Sunday Mirror.
Media Language and Representation
Familiar masthead and lower case font blue and white palette - brand identity
Price Anchors Broadsheet genre and ABC1 Audience
Entertainment stories in masthead target culturally aware readers
Directs traffic to online platform - institutional synergy
Juxtaposition and binary opposition (Strauss) e.g. next to diversity story will be article critical of male dominated freemasonry
News values
High ratio of text to photography - broadsheet conventions
Objectivity - Investigative journalism
Binary oppositions Individual v Institution
Foregrounds 'open journalism', Citizen journalism and need for reform (interactive comments)
Declining newspaper circulation:
Digitisation means proliferation of news platforms
Newspapers and print are seen by digital natives as 'old media'
Social media, 24hr news offers immediacy, challenging relevance of newspapers
App platforms offer ease of access and online news can exploit convergence
Stereotype is middle aged middle class middle of England, Traditionally British - Right Wing political ideologies.
35+ with significant 55+ print readership (average 58) younger online
Supporters of Brexit and British institution of the royal family
Established British Publication (1896) ofter refer to tradition
Loyal supporters of conservative party
Outspoken right wing political ideologies binary opposite to the Daily Mirror
Sister paper The Mail On Sunday (1982)
Tradition dictates ownership
Daily Mail and general trust is a wealthy British Multinational organisation
1.25M+ Circulation, 2nd highest to the Sun
New Editor Geordie Grief 'Softening'
Positioning the audience using Stuart Hall
Daily Mail readers share cultural or situated Capital.
They are often positioned into a preferred reading by reference to tradition or History.
Frequent usage of words 'we' or 'us' encode a mythical shared identity
Direct mode of address anchors the representations
The Daily Mail through use of language, Juxtaposition, Typography and inage choices or reinforces right wing beliefs and values
Key to theory is that it affects behaviour e.g. headline encouraging racism
Gerbner argues that repeated similar headlines, repeated positive representations or the Royal Family for example, establishes a 'world view' that is hard to challenge.
Cultivates a right wing ideology and reinforces traditional values
Online News v Offline
Expanded content - more feature based reporting and opinion
Complex issues simplified through visual representations - Broadening Audience
Convergent links, even intertextuality
Interactivity plus links to social networking
Increased Brand Identity
The Daily Mail Online Brand Identity
Same serif font 'Mail'
News values - support British tradition/institution
More soft news
Targets a younger female demographic - Kim Kardashian Story
Saturated primary colour palette - more like gossip mag
Femail section:
Stereotypically pink/red
significant advertising content reflecting stereotypically gendered consumerist ideology
Brands reinforcing this stereotype
Meghan Russell (Fashion)
Editorial content reflecting stereotypical female interests - Home Makeovers and Babies
Summary:
Reflects decline in print media circulation Target younger females
Convergent links to Audio Visual media including Daily Mail TV - Synergy with syndicated american daily news broadcast
Over 100M unique visitors per month
Successful brand extension
Increased competition with - Broadcaster news websites, stand alone news platforms, international news platforms, news aggregation services and crucially social networking.
Ownership Models
Consolidated - Trinity Mirror, News UK, Daily Mail General Trust.
Privately owned - Press holdings, The Independent.
Trust Ownership - Guardian Media Group owned by The Scott Trust
Regulation
Leveson said "Politicians and Press have become too close"
The Police are too close to News International
Press behaviour is sometimes outrageous
Must be a new Independent regulator with statutory underpinning - fines and possible jail for editors.
Deal with complaints that have breached the editors code of practise. Some 'new sanctions'
Decisions - Committee of 12. 7 Independent, 5 Representing newspaper.
Hacked off - Campaign for exposing press regulation failures. Believe widespread corruption. Most complaints regarding accuracy.
Daily Mail regulation:
Has disproportionate impact on the news stands but also dictating a broadcast media agenda - BBC radio 4 .
Impress is a pro-leveson alternative regulator but no national newspapers are signed up.
Higher ratio of text to photography
Narrative content split
More hard news
Formal address
Elaborated language code
Objective epistemologies (facts and figures)
Less variations in typography than tabloid
Balanced non biased reporting
2018 return of the Capital T
Tabloids - The Sun, Daily Mirror, Daily Star.
Mid Market Tabloids - Daily Mail, Daily Express.
Typography - Dramatic Headlines in large, bold, uppercase font.
Traditional British News Values
Headlines can explore Moral Panics - NHS/Knife Crime
Higher ratio of text to photography that tabloid
Direct, Informal address
Use of pronouns 'we' and 'you' - shared beliefs and values
Subjective Epistemologies - emotive representation
Cross of broadsheet and tabloid - hard (politics,Science,Health) and soft news (celeb gossip,sport,Fashion).
Local Newspapers e.g. South London Press
Freesheets e.g. The Metro
Sunday Newspapers - The Observer (The Guardian), Sunday Times, Mail on Sunday, Sunday Telegraph, The Sun On Sunday, Sunday Mirror.
The Guardian (£2.00)
Media Language and RepresentationFamiliar masthead and lower case font blue and white palette - brand identity
Price Anchors Broadsheet genre and ABC1 Audience
Entertainment stories in masthead target culturally aware readers
Directs traffic to online platform - institutional synergy
Juxtaposition and binary opposition (Strauss) e.g. next to diversity story will be article critical of male dominated freemasonry
News values
High ratio of text to photography - broadsheet conventions
Objectivity - Investigative journalism
Binary oppositions Individual v Institution
Foregrounds 'open journalism', Citizen journalism and need for reform (interactive comments)
Declining newspaper circulation:
Digitisation means proliferation of news platforms
Newspapers and print are seen by digital natives as 'old media'
Social media, 24hr news offers immediacy, challenging relevance of newspapers
App platforms offer ease of access and online news can exploit convergence
Daily Mail
Female/Male gender splitStereotype is middle aged middle class middle of England, Traditionally British - Right Wing political ideologies.
35+ with significant 55+ print readership (average 58) younger online
Supporters of Brexit and British institution of the royal family
Established British Publication (1896) ofter refer to tradition
Loyal supporters of conservative party
Outspoken right wing political ideologies binary opposite to the Daily Mirror
Sister paper The Mail On Sunday (1982)
Tradition dictates ownership
Daily Mail and general trust is a wealthy British Multinational organisation
1.25M+ Circulation, 2nd highest to the Sun
New Editor Geordie Grief 'Softening'
Positioning the audience using Stuart Hall
Daily Mail readers share cultural or situated Capital.
They are often positioned into a preferred reading by reference to tradition or History.
Frequent usage of words 'we' or 'us' encode a mythical shared identity
Direct mode of address anchors the representations
Albert Bandura
Theory suggesting audiences are victim to passive consumptionThe Daily Mail through use of language, Juxtaposition, Typography and inage choices or reinforces right wing beliefs and values
Key to theory is that it affects behaviour e.g. headline encouraging racism
Gerbner
The Daily Mail reflects news values that are continually reinforced as 'common sense' A hegemonic assumptionGerbner argues that repeated similar headlines, repeated positive representations or the Royal Family for example, establishes a 'world view' that is hard to challenge.
Cultivates a right wing ideology and reinforces traditional values
Online News v Offline
Expanded content - more feature based reporting and opinion
Complex issues simplified through visual representations - Broadening Audience
Convergent links, even intertextuality
Interactivity plus links to social networking
Increased Brand Identity
The Daily Mail Online Brand Identity
Same serif font 'Mail'
News values - support British tradition/institution
More soft news
Targets a younger female demographic - Kim Kardashian Story
Saturated primary colour palette - more like gossip mag
Femail section:
Stereotypically pink/red
significant advertising content reflecting stereotypically gendered consumerist ideology
Brands reinforcing this stereotype
Meghan Russell (Fashion)
Editorial content reflecting stereotypical female interests - Home Makeovers and Babies
Summary:
Reflects decline in print media circulation Target younger females
Convergent links to Audio Visual media including Daily Mail TV - Synergy with syndicated american daily news broadcast
Over 100M unique visitors per month
Successful brand extension
Increased competition with - Broadcaster news websites, stand alone news platforms, international news platforms, news aggregation services and crucially social networking.
Ownership Models
Consolidated - Trinity Mirror, News UK, Daily Mail General Trust.
Privately owned - Press holdings, The Independent.
Trust Ownership - Guardian Media Group owned by The Scott Trust
Regulation
Leveson said "Politicians and Press have become too close"
The Police are too close to News International
Press behaviour is sometimes outrageous
Must be a new Independent regulator with statutory underpinning - fines and possible jail for editors.
Deal with complaints that have breached the editors code of practise. Some 'new sanctions'
Decisions - Committee of 12. 7 Independent, 5 Representing newspaper.
Hacked off - Campaign for exposing press regulation failures. Believe widespread corruption. Most complaints regarding accuracy.
Daily Mail regulation:
Has disproportionate impact on the news stands but also dictating a broadcast media agenda - BBC radio 4 .
Impress is a pro-leveson alternative regulator but no national newspapers are signed up.
Friday, 3 May 2019
Jungle Book Exemplar Questions
The 1967 Jungle book relied on a budget of $4 Million as they key focus was that of the animation as Disney himself had developed a multiplane camera that enabled special effects like moving water. Disney was very involved with the making of The Jungle book due to the last Disney release (The Sword and The Stone) proving underwhelming at the box office,
Trailers
Posters
Convergence
Social media
Triptych posters
Sir's Exemplar
Both The Jungle Books (1967 and 2016) were mainstream films distributed by Disney - this would mean a saturated marketing campaign targeting a mass, mainstream audience.
The economic context underpinning production and distribution links to patterns of ownership which means Disney, in 2016 as one of the so-called big six would have significant funding as a multinational conglomerate to fund high production value films with cross-platform marketing campaigns. In the case of Jungle Book 2016 (estimated budget of 177 million dollars), Disney used high production values which means 'A' star marketing (voices), more time spent on production, access to the latest CGI (with live action) and important synergy with the 1967 film including iconic soundtrack but also institutional synergy. The Jungle Book 2016 was heavily promoted through its theme parks. The same could be said about the 1967 version ( estimated budget of 4 million dollars) as they used the latest technology in animation (the multi-plane animation camera and technicolor).
In 2016 and 2017 Disney was the number one distributor in terms of theatrical revenue including films that are part of the Marvel Cinematic Universe (that it owns). Early Jungle Book teaser trailers made direct intertextual homage to the 1967 film with familiar characters and an emotive narrative. Mowgli featured extensively in a range of posters targeting global audiences, particularly the lucrative asian market - with Shere Khan, Bagheera, King Louis and Baloo. The unique selling point from 1967 of animals raising a human boy in Mowgli was heavily exploited in 2016 across platforms in the run up to the films release. A website was the central marketing hub that allowed audiences to click through convergent links to YouTube trailers, Social networking platforms, behind the scenes and interviews with the cast and the crew. The Jungle Book 2016 marketing was an interactive experience that targeted parents and children - primary and secondary audiences including families.
Bloggers and entertainment sites were used to get the message across - paid for communications and 'mentions' built viral hype along with 360 degree Facebook videos. More traditional marketing included trailers and 3D trailers played before the late 2015 Disney brand Star Wars: The Force Awakens but also during high rating TV spots like Superbowl (a telecast known for having the most lucrative advertising break in the world).
3D marketing was important to 2016 Jungle Book as available technology meant the film could be marketed as 'the spectacle' in IMAX format whereas 1967 Jungle Book relied on character and narrative. However, the iconic status of the 1967 Jungle Book cannot be underestimated in the marketing of the 2016 film with nostalgia targeting older audiences.
Both films relied to some extent on Disney merchandising with 1967 focusing on animation technology and humour to sell the film. Obviously in 1967 there was a heightened print campaign as a result of a lack of technology that is available nowadays.
In terms of ownership and economic context and mapping the theories of David Hesmondalgh, at the time, Disney were also vertically integrated linking funding, production and distribution ensuring commercial success for a safe genre film thus minimising risk and maximising profit.
Tuesday, 30 April 2019
Jungle Book Fact Sheet
1967 and 2016
Media Industries: Audiences, Production, Marketing, Distribution, Funding, Technology, Convergence, Ownership, Regulation.Economic and Historical Contexts
The big six Oligopoly:
- Disney (Conglomerate)
- 20th Century Fox (Owned by Disney)
- Warner Bros (Owned by Warner Media/AT&T)
- Universal Studios (Owned by Comcast)
- Columbia Pictures (Owned by Sony)
- Paramount (Owned by Viacom Dropped out in 2016)
Impact of Disney ownership on production
- Big six ownership provides significant funding for high production value films such as Avengers: Infinity War (2018) distributed by Disney with a budget of $320-$400M.
- Attracting star marketing - e.g. Jungle Book A List voices.
- More time spent of production
- Access to latest production technology e.g. CGI
- Synergy e.g. theme parks and plus platform convergence.
Key Jungle Book facts
2016 and 2017 - Disney as Number one distributor (£301M UK theatrical revenue)
Jon Favreau produced and directed - Iron man1/2/3, The Avengers, Avengers: Age of Ultron.
Direct links/ experience with non realist, fantasy high production value film genres
Just under Blockbuster budget at $177M
Synergy - Linking with original soundtrack/ theme park.
Tentpole movie - made to make a lot of money in order to fund future endeavours.
Jungle Book 2016 "Mainstream Film"
High production values e.g. CGI and Soundtrack
Star Marketing - Scarlett Johansson et al voiceover
Wide/saturated distribution of one of The Big Six (not always). Synergy with other Disney Blockbusters.
Commercial success - Homage to 1967 film.
Safe genre, simplistic emotive narrative - focused of entertainment values e.g. IMAX and 3D Availability.
Terminology:
- Mainstream film
- Independent Film
- Production/Production values
- Distribution and marketing
- Exhibition/Exchange
- Critical Success
- Commercial success
- Digital Technology
- Convergence - cross media consumption e.g. DVD, Streaming, Cinema.
- Synergy
2016
'a cartoon musical'
Big Budget, non realist, entertainment on 'epic' scale
Significant use of CGI with live action
Representation of familiar characters
Emotive narrative (children and animals)
Star Marketing (voice over and characters) e.g. Idris Elba
Ownership, Marketing and Distribution
"In the film industry, to ensure commercial success you need a successful marketing campaign" - this costs money and is funded by the distributor e.g. Disney (The Jungle Book)
The distributor chooses which films to distribute - often from seeing a film at a film festival for example.
They decide the number of digital copies and pay for each
Negotiate the release date and site of exhibition - when/where
Agree on budget and sequence a campaign across a range of online, audio visual and print-platforms.
Online platforms include a website as central marketing hub with convergent links to YouTube trailers and social media.
Bloggers and entertainment news sites were used by Disney to get the message across.
Global Marketing - cross continents (aggressively targeting an asian market)
High production value trailers and 3D trailers played before Disney brand Star Wars: The Force Awakens, including during superbowl.
All targeting an older/younger primary and secondary audience
Available in IMAX 3D - marketing via 'the spectacle'
Deliberate viral leaks creating hype
Significant online marketing campaign (including trailers and TV spots + 360 degree FB video)
Primary target audience (12-21) targeted via production values and scale, secondary family target audience via synergy and intertextual links - crucially nostalgia.
Merchandising key
Successful box office
Full triptych film poster:
Jan 2016 poster campaign (April release)
3 separate posters before unveiling full triptych
Expansive canvas - ability to show size and scale (production values) but also character representation.
Other film posters focused more exclusively on Mowgli (emotive representations)
Posters also targeted a global market
Re-represent back catalogue of classics for new audiences.
2016 version planned by chairman Alan Horn 'Disney reboots may be one of the few safe bets'
DVD sales declining and digital downloads on the rise can't reissue old films.
Used to just change packaging now re-imagining them is whats popular.
Disney's annual output doesn't exceed a dozen as they have no rush.
Warner Brothers producing own adaptation most likely because book was out of copyright, delayed release date to seperate from disneys to assist at box office.
'telling an old story with new technology'
Had Facebook, Twitter and Instagram accounts to release teaser videos including bts.
Interactive movie poster (convergence) on snapchat filter.
3D and 2D one of first Dolby Vision 3D
Now released on DVD and Blu-Ray
Soundtrack album merchandise - Kenzo produced clothing for new film.
designed set like you would for a video game
VFX won both the BAFTA and Academy Award.
Production
Re-represent back catalogue of classics for new audiences.
2016 version planned by chairman Alan Horn 'Disney reboots may be one of the few safe bets'
DVD sales declining and digital downloads on the rise can't reissue old films.
Used to just change packaging now re-imagining them is whats popular.
Disney's annual output doesn't exceed a dozen as they have no rush.
Warner Brothers producing own adaptation most likely because book was out of copyright, delayed release date to seperate from disneys to assist at box office.
'telling an old story with new technology'
Had Facebook, Twitter and Instagram accounts to release teaser videos including bts.
Interactive movie poster (convergence) on snapchat filter.
3D and 2D one of first Dolby Vision 3D
Now released on DVD and Blu-Ray
Soundtrack album merchandise - Kenzo produced clothing for new film.
designed set like you would for a video game
VFX won both the BAFTA and Academy Award.
Production
Director Jon Favreau writer Justin Marks Produced by Walt Disney Studios
Based on 67 but took notes from the Kipling books hence the darker tones.
Disneys on-going policy to create live action versions of earlier animated classics (e.g. Cinderella, The Lion King, Dumbo and Beauty and The Beast)
Exists in strange limbo world where part CGI and part live action
Favreau wanted film to be homage to classic Disney 30s and 40s
Mostly looked at Bambi for 'tonal clues' on balancing danger, humour and emotion without scarring younger audience.
All animals and landscape computer made
Based on 67 but took notes from the Kipling books hence the darker tones.
Disneys on-going policy to create live action versions of earlier animated classics (e.g. Cinderella, The Lion King, Dumbo and Beauty and The Beast)
Exists in strange limbo world where part CGI and part live action
Favreau wanted film to be homage to classic Disney 30s and 40s
Mostly looked at Bambi for 'tonal clues' on balancing danger, humour and emotion without scarring younger audience.
All animals and landscape computer made
Target older movie goers with more realistic animals less cute and cuddly.
Humour from original too broad for live action
Structurally with narrative he went back and forth between book and original 67 did try to stick to film though.
Included original music from 67 film to compete with Warner version also in production.
Sean Bailey head of production.
Economics and Funding
Cost an estimated $175M, Grossed over $966M 5th highest in 2016
2016 Disney beat the big six with $2.56Billion globally
Can sustain losses from The BFG etc
Released in 70 Countries at different times depending on school holiday dates
Biggest Hollywood release for India $36.8 M, successful in china where locally known as fantasy forest.
Sequel is planned for 2019.
Maintaining Audiences
Part of success was marketing that appealed to wide range of age groups 49% over 25y/o
18-24 - 33% of sales
Embraced by critics making nearly $600M
Males flocked to the film due to amazing graphics.
95% fresh on rotten tomatoes 'definite reccomend'
Humour from original too broad for live action
Structurally with narrative he went back and forth between book and original 67 did try to stick to film though.
Included original music from 67 film to compete with Warner version also in production.
Sean Bailey head of production.
Economics and Funding
Cost an estimated $175M, Grossed over $966M 5th highest in 2016
2016 Disney beat the big six with $2.56Billion globally
Can sustain losses from The BFG etc
Released in 70 Countries at different times depending on school holiday dates
Biggest Hollywood release for India $36.8 M, successful in china where locally known as fantasy forest.
Sequel is planned for 2019.
Maintaining Audiences
Part of success was marketing that appealed to wide range of age groups 49% over 25y/o
18-24 - 33% of sales
Embraced by critics making nearly $600M
Males flocked to the film due to amazing graphics.
95% fresh on rotten tomatoes 'definite reccomend'
1967
Key focus on animation technology at the time
more comedic representations
Disney's ownership and distribution still foregrounded
Animals have more obvious identity
Narrative voice over - heightened emphasis (music is 'visual grammar' in 2016 trailer)
Production and Technology
Created at Walt Disney Studios in California.
Storyman was Bill Peet who complained that more than forty men has once been assigned.
Last one before Walt Disney died.
Previous Sword and the Stone had bad box office rating.
Production and Technology
Created at Walt Disney Studios in California.
Storyman was Bill Peet who complained that more than forty men has once been assigned.
Last one before Walt Disney died.
Previous Sword and the Stone had bad box office rating.
First script version too dark and audiences could not identify with Mowgli and that the Villain (Tiger) was too cliché.
Larry Clemmons new scriptwriter.
Drawings based on voice actors - subverted norms.
Director Wolfgang Reitherman (also did Robin Hood and Aristocrats)
Most songs written by Sherman Brothers (Mary Poppins)
Some characters cut out during the process.
Shere Khan made to resemble voice actor George Sanders
Animated animals based on how previous films portrayed them.
Firstly did not have a way to get Mowgli back to man village, Walt came up with idea of he sees a girl, didn't think would work but it did - perhaps curiosity as he is only 11.
Created on transparent 'cels' created by Earl Hurd 1914.
Disney developed multiplane camera which enabled special effects like moving water.
Also used xerography created sharper lines so not watered down.
Ownership, distribution and economics
Walt Disney mostly at the centre of decision making
After commercial failure of Sword and the Stone Walt became more personally involved.
Conservative right wing
Ignores black civil rights movements of 60s as black jazz music with apish behaviour of orang-utan king louis - reinforcing racial stereotypes.
Has now made $141M in US $6.8M from Germany (highest grossing film there)
Live action version in 1994 and Jungle Book 2 in 2003.
Vertically integrated - produced, and distributed by Disney via Buena Vista Distribution.
Very large influence over animated film industry
After Walt Disney's death Disney company went into decline for couple of decades.
Larry Clemmons new scriptwriter.
Drawings based on voice actors - subverted norms.
Director Wolfgang Reitherman (also did Robin Hood and Aristocrats)
Most songs written by Sherman Brothers (Mary Poppins)
Some characters cut out during the process.
Shere Khan made to resemble voice actor George Sanders
Animated animals based on how previous films portrayed them.
Firstly did not have a way to get Mowgli back to man village, Walt came up with idea of he sees a girl, didn't think would work but it did - perhaps curiosity as he is only 11.
Created on transparent 'cels' created by Earl Hurd 1914.
Disney developed multiplane camera which enabled special effects like moving water.
Also used xerography created sharper lines so not watered down.
Ownership, distribution and economics
Walt Disney mostly at the centre of decision making
After commercial failure of Sword and the Stone Walt became more personally involved.
Conservative right wing
Ignores black civil rights movements of 60s as black jazz music with apish behaviour of orang-utan king louis - reinforcing racial stereotypes.
Has now made $141M in US $6.8M from Germany (highest grossing film there)
Live action version in 1994 and Jungle Book 2 in 2003.
Vertically integrated - produced, and distributed by Disney via Buena Vista Distribution.
Very large influence over animated film industry
After Walt Disney's death Disney company went into decline for couple of decades.
Marketing and Distribution
Personal Involvement - Walt Disney (last film)
$4M production budget, $205M box office worldwide
Significant print campaign
Heavily promoted on VHS in 1993 UK, several re-releases on DVD 2007 and BluRay
Available as digital downloads - iTunes, Disney Movies anywhere, Google Play.
Regulation and film
Main issues - Copyright and Classification
Main issues - Copyright and Classification
"The traditional regulator" bbfc
2016 seen as 'darker' than 1967 film hence PG instead of U.
Curran and Seaton, Disney is driven by profit hence a PG classification maximises audiences.
Both ratings ensure mass audiences
Politically 1967 one depicted racial stereotypes at a time of black civil rights.
Maintaining Audiences
Shape product to appeal to family audiences
Early master of synergy by persuading companies to tie in with film releases.
Producer used popularity of cartoon on ABC to advertise for his theme park
Visiting Disneyland secured customers brand loyalty. - cross promotion.
Mcdonalds had Jungle Book 2 toys with happy meals 90s
Virgin developed Jungle book video game for Sega.
Maintaining Audiences
Shape product to appeal to family audiences
Early master of synergy by persuading companies to tie in with film releases.
Producer used popularity of cartoon on ABC to advertise for his theme park
Visiting Disneyland secured customers brand loyalty. - cross promotion.
Mcdonalds had Jungle Book 2 toys with happy meals 90s
Virgin developed Jungle book video game for Sega.
Regulation theory Livingstone and Lunt
The idea that UK regulation policy e.g. the BBFC is driven by conflict to 'protect' from harm but also allow diversity/choice.
Desensitisation and deregulation are core concepts here - Disney knew audiences would accept the 2016 film would be darker.
Can link back to Curran and Seaton - theatrical release wanted to target wide demographic to ensure good box office profit.
Disney carefully controlled the representations in The Jungle Book to appeal to a wider demographic.
Mapping Theory Curran and Seaton
The idea that the media is controlled by a small number of companies which can inhibit creativity (driven by profit).
The Jungle Book is distributed by one of the big six, Disney - critics have suggested there were racial and political messages in the 67 film diluted to make an entertaining animated film, exploiting synergy and targeting mass audiences.
Mainstream films tend to offer a lack of diversity with the primary objective being commercial success and profit - both films offer escapist narratives without challenging stereotypes.
Mapping Theory David Hesmondhalgh
Cultural companies try to minimise the risk and maximise audience through vertical and horizontal integration (pattern of ownership theory) and also operate cross media.
Vertical integration - The Jungle Book is produced, funded and distributed by Disney.
Horizontal integration - Disney own several companies in the same sector e.g. Lucasfilm and Marvel Studios
Minimising risk - safe genre, established audiences
Thursday, 25 April 2019
Minecraft Question Exemplar
Explain the impact of digital technology on video game production, distribution and consumption. Refer to Minecraft to support your answer.
Markus (Notch) Persson initially thought up Minecraft in May 2009 and released it through Mojang Studios in November 2011. Since then, the impact of digital technology on video game production, distribution and consumption has changed dramatically.
When it was first created, it was a massive hit with gamers because of the sandbox genre. This means players were free to do what they choose and let their imagination be free and create anything they wanted to with blocks, this lack of objective and heroes is what made Minecraft so successful and the most popular PC game to exist
However, since then the number of fans and followers have only grown. Minecraft always develop their game with their fans in mind, which is why, thanks to digital technology developers and programmers can create forums and chat with such fans on how they can improve the game.
Their most recent improvement is the added feature of "better together" gameplay. This allows all devices and consoles to cross-play ao users can all play together disregarding the console they use in all realms of the game. Before this, they were still digitally convergent as Minecraft was available on so many different devices such as Xbox, Playstation, PC and even on smartphones which is a rather new form of distribution and consumption for gamers to distribute and consume their own mods which has never before been seen in video game play. Fans and players have always been central to Minecraft and it has been a great way for them to distribute their game.
For example, word of mouth from players assisted Minecraft become known initially get heard as they were an independent company which meant that they didn't advertise mainstream like Xbox and Playstation games would. From thereon, fans make their own online comic strips, merchandise and YouTube videos which all helps Minecraft's production production, distribution and consumption.
One way they are able to get all this advertisement for basically free from fans because it is not advertised like a video game would traditionally, instead it is presented like a recommendation. This is one of the main reasons for why these YouTube tutorials and "lets play" videos exist. In fact, Minecraft was the second most searched YouTube video after music which shows the impact and rate on digital technology from prosumers.
Other major ways Minecraft has been digitally and technologically advanced is their live streams of MineCon, which allows all audiences to consume this media product. In addition, the future release of Minecraft The Movie also allows the impact on distribution and consumption. Followers are also producing their own YouTube trailers which again helps Minecraft advertisement. Merchandise of the video game also shows how far Minecraft's distribution has come, with deals not only from Warner Brothers for the movie but also merchandise from lego and Egmont group for various annuals, guides, magazines and books.
This all shows the impact of technology on video game production, distribution and consumption.
How do media producers in the video games industry attract new and sustain existing audiences? Refer to Minecraft to support you answer.
- Opening chat forums to ask fans what developments they would like - Minecraft marketplace.
- Teaming with Warner Brothers and Netflix.
- Variety of game modes to reflect all demographics.
-Creation of realms dedicated servers increase subscription.
- Initial word of mouth now conglomerate mainstream releases.
- Socials such as facebook allow a voice for audience.
-Learn programming
-Dedicated YouTube channels e.g. Yogscast.
-Oculus surrender creative license.
Minecraft was created by Markus Persson (Notch) in November 2011 in Mojang Studios, It was later bought out by the conglomerate of Microsoft in 2014 for $2.5 Billion. The sandbox game initially relied on word of mouth with regards to attracting audiences which successfully assisted it to becoming the second most successful game ever, the sandbox genre connotes that the game is without narrative or goals leaving the player free to do what they wish. Synergy from shows like The Simpsons and South Park also assist with the attraction of new gamers as well as Netflix's Minecraft story mode.
Sustaining its audience through the creation of realms and the Minecraft Marketplace increased subscriptions to the game itself and displayed the
How do media producers use technology to develop a relationship with their audiences?
Refer to Minecraft to support your answer.
Explain the impact of digitally convergent media platforms on video game production, distribution and consumption. Refer to Minecraft to support your answer.
The development of Minecraft in 2011 came at a time when video gaming was increasingly focusing on online and multi-platform gaming, a response to the rise of gaming on a range of devices, other than consoles. Digitally convergent media platforms opened up opportunities for games distributors to reach a wider audience of non-traditional gamers who game on media devices such as phones and tablets. This is evidenced by the media convergence that enables digital distribution and global access which hitherto had not been available. This was exploited by Persson in the distribution and circulation of Minecraft, meaning fewer master copies of the game were needed. Minecraft became a multi-platform game aimed not just at PC gamers but those who own smartphones, Microsoft X Box consoles and handheld devices, for example. Not only did Minecraft and its production company develop online distribution which saved costs, it also struck deals with Nintendo, the largest game software seller, and Sony, a hardware manufacturer and global conglomerate. By 2014 the intellectual property rights were acquired by Microsoft, an American multinational technology company. These gaming giants and technology companies had a vision for a product, Minecraft, which could be globally distributed and marketed through its community. In addition to the sales of hardware or software, Minecraft ‘gamers’, like any other media audience, could be sold games, add-ons and a whole range of merchandise including Minecraft magazine, t-shirts, mugs, calendars, backpacks, hoodies, ties-ins with Lego, Minecraft mini-games, and a proposed Minecraft movie in 2019 (with Warner Brothers film studio). This is an example of how Minecraft had multiple conduits of revenue for its product, not only in the gameplay but, also through merchandising, and in a very short space of time it was able to develop itself as a leading brand of computer game. The Microsoft Minecraft market place allows users to buy other features of Minecraft online, such as a new realm, story mode or modification. This online marketplace is a virtual store making it easier for Minecraft’s community to shop for its products. Digitally convergent media platforms had a significant impact on the distribution of Minecraft and its promotion to an audience, allowing it to maximise profits. Recent additions include The Minecraft: Story Mode available via Steam. Steam is developed by Valve Corporation, which offers digital rights management, multiplayer gaming, video streaming and a social networking service. Steam can be considered the equivalent to an online video games store, comparable to the internet platforms iTunes or Amazon. Online fan communities have enabled Minecraft’s audience to have an active voice in its on-going production through detailed feedback and commentary on modifications and also beta testing through social media such as Facebook and YouTube. In addition, Minecraft has a Twitter account which documents game developments for its users. Minecraft has tapped into the potential of the audience to ensure that the audience were engaged in its development. Minecraft allowed users to create new in-game content via beta testing processes, producing shareable, downloadable game modifications, called mods and producing texture and resource packs – such game development at the level of exchange is made possible by a cloud based platform where the transfer of data is now two-way and quick. With digitally convergent platforms the biggest threat to the video games industry is piracy via leaked content that is playable across a number of platforms. However, video gamers are comparable to film fans in that they are willing to pay for game content, but will also share elements for free. As the cost of Minecraft is kept low and accessible to many audiences due to convergent media practices, and combined with the attitude of Minecraft that gamers will share and develop content – a philosophy that comes from the founder Marcus Persson - piracy of Minecraft is not as much of an issue as with other video games. Minecraft’s embracing of online distribution and exchange offers value for content for its users – not only in the gameplay and shareable features but in the presence of its community. It does not just sell digital copies of a game but also packages an online experience for them. Of course, with the backing of Microsoft and the development of Occulus as a virtual reality headset game, Minecraft is now being packaged as a premium games experience and one that cannot be copied digitally.
Minecraft now has a global mass market audience and the game is highly successful. The takeover by Microsoft enabled Minecraft to be delivered by the world’s leading technology company, reliant on providing instant and online access to the game, without the need for console-based technology. The success of Minecraft has been due to its ability to distribute and circulate engagement amongst its users – not just gaming fans but also non-traditional gamer audiences using digitally convergent media.
Markus (Notch) Persson initially thought up Minecraft in May 2009 and released it through Mojang Studios in November 2011. Since then, the impact of digital technology on video game production, distribution and consumption has changed dramatically.
When it was first created, it was a massive hit with gamers because of the sandbox genre. This means players were free to do what they choose and let their imagination be free and create anything they wanted to with blocks, this lack of objective and heroes is what made Minecraft so successful and the most popular PC game to exist
However, since then the number of fans and followers have only grown. Minecraft always develop their game with their fans in mind, which is why, thanks to digital technology developers and programmers can create forums and chat with such fans on how they can improve the game.
Their most recent improvement is the added feature of "better together" gameplay. This allows all devices and consoles to cross-play ao users can all play together disregarding the console they use in all realms of the game. Before this, they were still digitally convergent as Minecraft was available on so many different devices such as Xbox, Playstation, PC and even on smartphones which is a rather new form of distribution and consumption for gamers to distribute and consume their own mods which has never before been seen in video game play. Fans and players have always been central to Minecraft and it has been a great way for them to distribute their game.
For example, word of mouth from players assisted Minecraft become known initially get heard as they were an independent company which meant that they didn't advertise mainstream like Xbox and Playstation games would. From thereon, fans make their own online comic strips, merchandise and YouTube videos which all helps Minecraft's production production, distribution and consumption.
One way they are able to get all this advertisement for basically free from fans because it is not advertised like a video game would traditionally, instead it is presented like a recommendation. This is one of the main reasons for why these YouTube tutorials and "lets play" videos exist. In fact, Minecraft was the second most searched YouTube video after music which shows the impact and rate on digital technology from prosumers.
Other major ways Minecraft has been digitally and technologically advanced is their live streams of MineCon, which allows all audiences to consume this media product. In addition, the future release of Minecraft The Movie also allows the impact on distribution and consumption. Followers are also producing their own YouTube trailers which again helps Minecraft advertisement. Merchandise of the video game also shows how far Minecraft's distribution has come, with deals not only from Warner Brothers for the movie but also merchandise from lego and Egmont group for various annuals, guides, magazines and books.
This all shows the impact of technology on video game production, distribution and consumption.
How do media producers in the video games industry attract new and sustain existing audiences? Refer to Minecraft to support you answer.
- Opening chat forums to ask fans what developments they would like - Minecraft marketplace.
- Teaming with Warner Brothers and Netflix.
- Variety of game modes to reflect all demographics.
-Creation of realms dedicated servers increase subscription.
- Initial word of mouth now conglomerate mainstream releases.
- Socials such as facebook allow a voice for audience.
-Learn programming
-Dedicated YouTube channels e.g. Yogscast.
-Oculus surrender creative license.
Minecraft was created by Markus Persson (Notch) in November 2011 in Mojang Studios, It was later bought out by the conglomerate of Microsoft in 2014 for $2.5 Billion. The sandbox game initially relied on word of mouth with regards to attracting audiences which successfully assisted it to becoming the second most successful game ever, the sandbox genre connotes that the game is without narrative or goals leaving the player free to do what they wish. Synergy from shows like The Simpsons and South Park also assist with the attraction of new gamers as well as Netflix's Minecraft story mode.
Sustaining its audience through the creation of realms and the Minecraft Marketplace increased subscriptions to the game itself and displayed the
How do media producers use technology to develop a relationship with their audiences?
Refer to Minecraft to support your answer.
Explain the impact of digitally convergent media platforms on video game production, distribution and consumption. Refer to Minecraft to support your answer.
The development of Minecraft in 2011 came at a time when video gaming was increasingly focusing on online and multi-platform gaming, a response to the rise of gaming on a range of devices, other than consoles. Digitally convergent media platforms opened up opportunities for games distributors to reach a wider audience of non-traditional gamers who game on media devices such as phones and tablets. This is evidenced by the media convergence that enables digital distribution and global access which hitherto had not been available. This was exploited by Persson in the distribution and circulation of Minecraft, meaning fewer master copies of the game were needed. Minecraft became a multi-platform game aimed not just at PC gamers but those who own smartphones, Microsoft X Box consoles and handheld devices, for example. Not only did Minecraft and its production company develop online distribution which saved costs, it also struck deals with Nintendo, the largest game software seller, and Sony, a hardware manufacturer and global conglomerate. By 2014 the intellectual property rights were acquired by Microsoft, an American multinational technology company. These gaming giants and technology companies had a vision for a product, Minecraft, which could be globally distributed and marketed through its community. In addition to the sales of hardware or software, Minecraft ‘gamers’, like any other media audience, could be sold games, add-ons and a whole range of merchandise including Minecraft magazine, t-shirts, mugs, calendars, backpacks, hoodies, ties-ins with Lego, Minecraft mini-games, and a proposed Minecraft movie in 2019 (with Warner Brothers film studio). This is an example of how Minecraft had multiple conduits of revenue for its product, not only in the gameplay but, also through merchandising, and in a very short space of time it was able to develop itself as a leading brand of computer game. The Microsoft Minecraft market place allows users to buy other features of Minecraft online, such as a new realm, story mode or modification. This online marketplace is a virtual store making it easier for Minecraft’s community to shop for its products. Digitally convergent media platforms had a significant impact on the distribution of Minecraft and its promotion to an audience, allowing it to maximise profits. Recent additions include The Minecraft: Story Mode available via Steam. Steam is developed by Valve Corporation, which offers digital rights management, multiplayer gaming, video streaming and a social networking service. Steam can be considered the equivalent to an online video games store, comparable to the internet platforms iTunes or Amazon. Online fan communities have enabled Minecraft’s audience to have an active voice in its on-going production through detailed feedback and commentary on modifications and also beta testing through social media such as Facebook and YouTube. In addition, Minecraft has a Twitter account which documents game developments for its users. Minecraft has tapped into the potential of the audience to ensure that the audience were engaged in its development. Minecraft allowed users to create new in-game content via beta testing processes, producing shareable, downloadable game modifications, called mods and producing texture and resource packs – such game development at the level of exchange is made possible by a cloud based platform where the transfer of data is now two-way and quick. With digitally convergent platforms the biggest threat to the video games industry is piracy via leaked content that is playable across a number of platforms. However, video gamers are comparable to film fans in that they are willing to pay for game content, but will also share elements for free. As the cost of Minecraft is kept low and accessible to many audiences due to convergent media practices, and combined with the attitude of Minecraft that gamers will share and develop content – a philosophy that comes from the founder Marcus Persson - piracy of Minecraft is not as much of an issue as with other video games. Minecraft’s embracing of online distribution and exchange offers value for content for its users – not only in the gameplay and shareable features but in the presence of its community. It does not just sell digital copies of a game but also packages an online experience for them. Of course, with the backing of Microsoft and the development of Occulus as a virtual reality headset game, Minecraft is now being packaged as a premium games experience and one that cannot be copied digitally.
Minecraft now has a global mass market audience and the game is highly successful. The takeover by Microsoft enabled Minecraft to be delivered by the world’s leading technology company, reliant on providing instant and online access to the game, without the need for console-based technology. The success of Minecraft has been due to its ability to distribute and circulate engagement amongst its users – not just gaming fans but also non-traditional gamer audiences using digitally convergent media.
Wednesday, 24 April 2019
Minecraft Fact sheet
Created and designed by Swedish Markus Persson in Mojang Studios in May 2009, Minecraft was finally released in November 2011 where is eventually became the second most successful game ever created under Tetris. $121M+ copies sold over all platforms, $27M PC copies (highest selling PC game).
Questions on this section will explore the production, distribution and circulation as well as how the processes affect media forms and platforms. Also how Minecraft targets, reaches and addresses customers as well as examines the way an audience reacts both as consumers and prosumers.
Demographic originally was : Male, Geeky, Educated 25-55 year old individualists. Problem solvers, Pragmatic and scientific as well as interested in engineering.
Now: Diverse age gender ethnic demographic crossing social economic backgrounds.
Digitally convergent media example is how on consoles you can stream, access social media, use the internet as well as gaming.
Distribution regards tangible disc copies opposed to cloud based digital ones.
Consumption regarding user generated content on several platforms.
Media industries:
UK Interactive Entertainment suggest that the global games market is now worth around $100 billion a year, estimating growth of $120 billion by 2020. UK - $4 Billion. US - $23.6 Billion.
China - $24.4 Billion.
70s were the golden era for gaming which peaked between 1978-1983 however crashed heavily around 1985 due to rival consoles, poorly designed games and a lack of quality control lowering its worth to around just $100 Million.
30+ years later there is now a resurgence in the industry with new types of gamers and tighter regulation aided by developments in both internet speed and accessibility. Culturally and financially significant in places like Japan, Europe and the USA as new console and game releases by popular brands are classed as major economic events.
Minecraft:
A sandbox game described as a virtual world of lego with instructions to explore, mine and build.
Without commercial backing from mainstream publishers and no money spent on advertising, the game relied on word of mouth between gamers. Popularity leading from this and its official release enabled its release on other platforms such as on Sony Xperia play and Android/iOS devices.
Formats - By 2012 it was available on Xbox 360 and Xbox live.
Microsoft bought Minecraft in 2014 for $2.5 Billion.
Distribution is seen as versions of the game can be purchased on the internet using playstation network or Xbox live arcade recently added to the Nintendo platform, available to download from December 2015 with tangible copies from June 2016 and most recently Nintendo switch May 2017.
Critical reception on its release proved good as it won five awards including an innovation award, best debut game, Best downloadable game, Audience award and Seumas Mcnally grand prize.
Genre (sandbox game) due to lack of structure or constraint, players can use the freedom to choose how they use the content available.
Process of production, distribution and circulation by organisations, groups and individuals in a global context:
The specialised and institutionalised nature of media production, distribution or circulation.
A PC java game has become a globally successful phenomenon across many platforms.
Modern versions such as Minecraft story mode follow more recognisable institutional conventions of game development such as tutorials which the original Minecraft never had.
In global context Microsoft buying Mojang $2.5B is a testament to the lucrative industry and global appeal.
The relationship of recent technological change and media production, distribution and circulation.
Physical copy of game not needed, wanted to put on windows 10 to promote Microsoft brand across home computers as a form of synergy. Users encouraged to download the game through cloud servers as physical copies incurred more of a cost to the institution.
Significance of patterns of ownership and control, including conglomerate ownership, vertical integration and diversification:
Markus Persson was quick to vocalise that he would not be developing a version of Minecraft with Oculus because Facebook was not owned by a group of 'grassroots' game developers. However when Microsoft bought out Mojang and the intellectual property rights of Minecraft in November 2014, plans to work on a virtual reality version of Minecraft were renewed; Markus Persson's stakes in the company were no more. Sparking interest about the ideology of game developers and prosumers who often surrender their creative license to cologmerate interests to maximise profits.
Economic factors including not-for-profit public funding and commercial to media industries and their products:
Games often have simultaneous releases across each game market.
Budgets vary but Minecraft is a game made on readily available software (Java) making it a cross-platform running on Windows Mac OS X and Linux. By comparison other mainstream games require entire teams that have budgets up to that of mainstream films.
Link with Not-for-profit projects like UNs Block by Block project, encouraging communities globally to redesign their neighbourhoods using the game.
MinecraftEdu 2012 is educational to help develop a culture of computer programming amongst digital natives.
Maintaining audiences nationally and globally including through marketing:
Cultural impact significant, can put success down to word of mouth and audience sharing of mods and game footage across web forums e.g. YouTube.
Different versions released to entice different audiences including story modes.
Physical lego set introduced to entice younger audiences as well as merchandise opportunities and bonus content.
Culturally intertextual links have been made to the game by Runescape, The Elder Scrolls V, South park and The Simpsons etc. Heightens exposure to audiences.
2019 it is predicted that a joint venture with Warner Brothers will result in Minecraft the movie anticipated to have equal commercial success to The Lego Movie with likely spin-offs.
Framework in contemporary media UK and impact of new digital technologies on regulation including role of individual producers:
The UK video standards council uses the PEGI rating system on Minecraft, it is family friendly thus it was rated a PEGI 7.
Consider whether a game like Minecraft needs regulating and then consider the impact of freely available fan-made videos where language a content is more risqué,
Direct comparison to Tetris PEGI 3.
Realms hosted on specialised servers by Mojang. Stipulations by the company that they own anything created using blocks in their own game and that you will not always have to be accredited for worlds or structures created by fans.
2016 marketplace for communities to trade maps, skins and texture packs.
Media audiences:
PC version noted for its modding scene where prosumers would alter mechanics and create new skins.
MineCon conventions globally, Music a popular convention of the game.
July 2017 cross-play feature meant less emphasis on brand loyalty to consoles.
Focus on developing content for newer devides such as 3DSXL which is concerning regarding proliferation of technology and sustainability of audiences being able to afford new consoles just to play a game.
New generation of gamers who prefer hand held devices over traditional consoles.
Fan made media across social media and fan sites/blogs shows active community sharing common interests. The Yogscast are an active YouTube account producing these videos collecting Billions of views.
Conventions will take place online in the future as the game shows no signs of deteriorating.
Fan made clones of the game are across all market places and various merchandise (official and fan made) is available to purchase online as well as books/magazines after a deal with the Egmont Group.
Audiences grouped and categorised by industries by age, gender and social class, lifestyles as well as taste:
Variety of game modes contributes to its success but also how audiences control and shape their worlds.
How producers target, attract, reach, address and construct audiences:
Creation of realms was a way of attracting and encouraging audiences to use the game on dedicated servers and increase subscription revenues, new experiences can be found online shared by prosumers.
Targeting audiences through content and appeal of media products and through ways they are marketed, distributed and circulated:
Word of mouth across forums was enough to create a buzz about it, now it is established and owned by a division of a conglomerate, advertising methods are alike mainstream releases.
Interrelationship between media technologies and patterns of consumption/response:
YouTube, Facebook and online fan communities enable active voice for audience in its ongoing production.
Audience interpretation including how they interpret the same media in different ways:
Several formats and versions to play the game however cross-play is most important.
Audiences interaction with media can be actively involved:
Minecraft Marketplace is industry listening to its fans allowing the trading of maps and skins.
Can learn new skills such as programming.
Dedicated YouTube channels.
Theories to reference:
Sonia Livingston and Peter Lunt Regulation Theory
New technologies open ip opportunities and risks that complicate regulation.
David Hesmondhalgh Cultural Industries Theory
How cultural industry companies attempt to minimise risk and maximise audiences.
David Gauntlett Identity Theory
series of studies around lego to create and share ideas. Connecting is all about how prople build a strong sense of self-identity through creativity.
Henry Jenkins Fandom Theory
'if it doesn't spread, it's dead' strong well developed fan base who actively promote the game on social media platforms.
Clay Shirky's End of Audience Theory
Audiences are mainly prosumers at modern day.
Gaming Industry over 50 years old. Minecraft 2011.
£3.6 Billion annually on marketing online and app platforms are massively successful.
Gamers now - Nearly 50% gender split with significant 35-55 secondary demographic.
Triple A Games often multi platform with even higher production values.
Mainstream games have Oligopoly control e.g. Sony, Microsoft, EA, Ubisoft, Activision.
Safe genres make money, Sandbox.
Regulation - AA and FPS most violent.
Rapid change - steam revolutionised distribution over 10 years ago.
Originally an Indie now globally massive including meme/clones/merchandising.
Defined as a casual game probably because of a lack of narrative/goals/objective like Sims.
Video evidences Minecraft and cultural appropriation for purposes of improving well being and health care.
PEGI - Pan European Games Information
Questions on this section will explore the production, distribution and circulation as well as how the processes affect media forms and platforms. Also how Minecraft targets, reaches and addresses customers as well as examines the way an audience reacts both as consumers and prosumers.
Demographic originally was : Male, Geeky, Educated 25-55 year old individualists. Problem solvers, Pragmatic and scientific as well as interested in engineering.
Now: Diverse age gender ethnic demographic crossing social economic backgrounds.
Digitally convergent media example is how on consoles you can stream, access social media, use the internet as well as gaming.
Distribution regards tangible disc copies opposed to cloud based digital ones.
Consumption regarding user generated content on several platforms.
Media industries:
UK Interactive Entertainment suggest that the global games market is now worth around $100 billion a year, estimating growth of $120 billion by 2020. UK - $4 Billion. US - $23.6 Billion.
China - $24.4 Billion.
70s were the golden era for gaming which peaked between 1978-1983 however crashed heavily around 1985 due to rival consoles, poorly designed games and a lack of quality control lowering its worth to around just $100 Million.
30+ years later there is now a resurgence in the industry with new types of gamers and tighter regulation aided by developments in both internet speed and accessibility. Culturally and financially significant in places like Japan, Europe and the USA as new console and game releases by popular brands are classed as major economic events.
Minecraft:
A sandbox game described as a virtual world of lego with instructions to explore, mine and build.
Without commercial backing from mainstream publishers and no money spent on advertising, the game relied on word of mouth between gamers. Popularity leading from this and its official release enabled its release on other platforms such as on Sony Xperia play and Android/iOS devices.
Formats - By 2012 it was available on Xbox 360 and Xbox live.
Microsoft bought Minecraft in 2014 for $2.5 Billion.
Distribution is seen as versions of the game can be purchased on the internet using playstation network or Xbox live arcade recently added to the Nintendo platform, available to download from December 2015 with tangible copies from June 2016 and most recently Nintendo switch May 2017.
Critical reception on its release proved good as it won five awards including an innovation award, best debut game, Best downloadable game, Audience award and Seumas Mcnally grand prize.
Genre (sandbox game) due to lack of structure or constraint, players can use the freedom to choose how they use the content available.
Process of production, distribution and circulation by organisations, groups and individuals in a global context:
The specialised and institutionalised nature of media production, distribution or circulation.
A PC java game has become a globally successful phenomenon across many platforms.
Modern versions such as Minecraft story mode follow more recognisable institutional conventions of game development such as tutorials which the original Minecraft never had.
In global context Microsoft buying Mojang $2.5B is a testament to the lucrative industry and global appeal.
The relationship of recent technological change and media production, distribution and circulation.
Physical copy of game not needed, wanted to put on windows 10 to promote Microsoft brand across home computers as a form of synergy. Users encouraged to download the game through cloud servers as physical copies incurred more of a cost to the institution.
Significance of patterns of ownership and control, including conglomerate ownership, vertical integration and diversification:
Markus Persson was quick to vocalise that he would not be developing a version of Minecraft with Oculus because Facebook was not owned by a group of 'grassroots' game developers. However when Microsoft bought out Mojang and the intellectual property rights of Minecraft in November 2014, plans to work on a virtual reality version of Minecraft were renewed; Markus Persson's stakes in the company were no more. Sparking interest about the ideology of game developers and prosumers who often surrender their creative license to cologmerate interests to maximise profits.
Economic factors including not-for-profit public funding and commercial to media industries and their products:
Games often have simultaneous releases across each game market.
Budgets vary but Minecraft is a game made on readily available software (Java) making it a cross-platform running on Windows Mac OS X and Linux. By comparison other mainstream games require entire teams that have budgets up to that of mainstream films.
Link with Not-for-profit projects like UNs Block by Block project, encouraging communities globally to redesign their neighbourhoods using the game.
MinecraftEdu 2012 is educational to help develop a culture of computer programming amongst digital natives.
Maintaining audiences nationally and globally including through marketing:
Cultural impact significant, can put success down to word of mouth and audience sharing of mods and game footage across web forums e.g. YouTube.
Different versions released to entice different audiences including story modes.
Physical lego set introduced to entice younger audiences as well as merchandise opportunities and bonus content.
Culturally intertextual links have been made to the game by Runescape, The Elder Scrolls V, South park and The Simpsons etc. Heightens exposure to audiences.
2019 it is predicted that a joint venture with Warner Brothers will result in Minecraft the movie anticipated to have equal commercial success to The Lego Movie with likely spin-offs.
Framework in contemporary media UK and impact of new digital technologies on regulation including role of individual producers:
The UK video standards council uses the PEGI rating system on Minecraft, it is family friendly thus it was rated a PEGI 7.
Consider whether a game like Minecraft needs regulating and then consider the impact of freely available fan-made videos where language a content is more risqué,
Direct comparison to Tetris PEGI 3.
Realms hosted on specialised servers by Mojang. Stipulations by the company that they own anything created using blocks in their own game and that you will not always have to be accredited for worlds or structures created by fans.
2016 marketplace for communities to trade maps, skins and texture packs.
Media audiences:
PC version noted for its modding scene where prosumers would alter mechanics and create new skins.
MineCon conventions globally, Music a popular convention of the game.
July 2017 cross-play feature meant less emphasis on brand loyalty to consoles.
Focus on developing content for newer devides such as 3DSXL which is concerning regarding proliferation of technology and sustainability of audiences being able to afford new consoles just to play a game.
New generation of gamers who prefer hand held devices over traditional consoles.
Fan made media across social media and fan sites/blogs shows active community sharing common interests. The Yogscast are an active YouTube account producing these videos collecting Billions of views.
Conventions will take place online in the future as the game shows no signs of deteriorating.
Fan made clones of the game are across all market places and various merchandise (official and fan made) is available to purchase online as well as books/magazines after a deal with the Egmont Group.
Audiences grouped and categorised by industries by age, gender and social class, lifestyles as well as taste:
Variety of game modes contributes to its success but also how audiences control and shape their worlds.
How producers target, attract, reach, address and construct audiences:
Creation of realms was a way of attracting and encouraging audiences to use the game on dedicated servers and increase subscription revenues, new experiences can be found online shared by prosumers.
Targeting audiences through content and appeal of media products and through ways they are marketed, distributed and circulated:
Word of mouth across forums was enough to create a buzz about it, now it is established and owned by a division of a conglomerate, advertising methods are alike mainstream releases.
Interrelationship between media technologies and patterns of consumption/response:
YouTube, Facebook and online fan communities enable active voice for audience in its ongoing production.
Audience interpretation including how they interpret the same media in different ways:
Several formats and versions to play the game however cross-play is most important.
Audiences interaction with media can be actively involved:
Minecraft Marketplace is industry listening to its fans allowing the trading of maps and skins.
Can learn new skills such as programming.
Dedicated YouTube channels.
Theories to reference:
Sonia Livingston and Peter Lunt Regulation Theory
New technologies open ip opportunities and risks that complicate regulation.
David Hesmondhalgh Cultural Industries Theory
How cultural industry companies attempt to minimise risk and maximise audiences.
David Gauntlett Identity Theory
series of studies around lego to create and share ideas. Connecting is all about how prople build a strong sense of self-identity through creativity.
Henry Jenkins Fandom Theory
'if it doesn't spread, it's dead' strong well developed fan base who actively promote the game on social media platforms.
Clay Shirky's End of Audience Theory
Audiences are mainly prosumers at modern day.
Gaming Industry over 50 years old. Minecraft 2011.
£3.6 Billion annually on marketing online and app platforms are massively successful.
Gamers now - Nearly 50% gender split with significant 35-55 secondary demographic.
Triple A Games often multi platform with even higher production values.
Mainstream games have Oligopoly control e.g. Sony, Microsoft, EA, Ubisoft, Activision.
Safe genres make money, Sandbox.
Regulation - AA and FPS most violent.
Rapid change - steam revolutionised distribution over 10 years ago.
Originally an Indie now globally massive including meme/clones/merchandising.
Defined as a casual game probably because of a lack of narrative/goals/objective like Sims.
Video evidences Minecraft and cultural appropriation for purposes of improving well being and health care.
PEGI - Pan European Games Information
Thursday, 21 March 2019
Radio Content
Radio - Paper 2 Evolving media
BBC Radio 1 Breakfast Show 2017
Nick Grimshaw (started 2012) and they changed the show and caused audience slump.
Swapped with Greg James well established DJ(August 2018)
Show was first running in 1967
Show was first running in 1967
Framework areas:
Media industries
BBC Produced at Broadcasting House in London
Media Audiences
How are they targeting audiences in terms of advertising and convergence? - Podcasts
friendly formal mode of address
Proliferation of digital radio
Less brand loyalty
Radio and Newspapers seen as least dynamic/interactive media for youth audiences
Internet radio and digital platforms provide more diversity and choice
YouTube now a major provider
Decline in culture of personality jocks
Down to 9 million listeners per week/ youtube views rising to 16 million per week
Can be accessed through radio one on FM, DAB, Freeview, Freesat, Virgin, Sky or Online via BBC radio player ( can be hear or live streamed for 30 days).
Can be accessed through radio one on FM, DAB, Freeview, Freesat, Virgin, Sky or Online via BBC radio player ( can be hear or live streamed for 30 days).
Economic Context
Funding
How BBC respond to the public
How BBC respond to the public
Cultural Context
The impact of streaming
The popular music being downgraded compared to high arts
The popular music being downgraded compared to high arts
Political Context
conflict between the remit and the need for popular content
The BBC's role as an institution in Britain
BBC being biased
influence and role of government in public service broadcasting.
Ownership and Funding
Funded by the Television License fee
2016/17 budget was £34.7M
For the benefit of the public funded by the public.
Public service remit by the royal charter saying their aim is to Inform, Educate and Entertain.
Should nurture UK Talent.
Impartial and independent news should be at the heart of daytime radio.
Should offer regular social action campaigns.
covering topics to teens and young adults.
Reflecting the UKs nations, regions and communities e.g. interactive forums.
Bringing the UK to the world and the world to the UK offering the best global talent and coverage of international events.
Emerging communications
Presenters often tweet to get in touch with listeners.
Key agent of change in radio in online age is media convergence.
Also have Tumblr and Vevo
Maintaining audiences: Their Audience is declining. 5.29M listeners per week opposed to 5.7M beforehand.
Categorisation: Radio Joint audiences Research (RAJAR) measures radio audiences.
Aims to reflect a diverse young audience.
Reaching Audiences: 15-24 year olds listen to just over 14 hours of radio a week, seven hours less than average adult.
Audience went down after Nick Grimshaw started despite his purpose being to boost it.
Radio 1s controller Ben Cooper said the show should not be based on RAJAR, must take into account digital innovations.
Provides on demand service covered under license fee, special events are broadcasted e.g. Wimbledon, Video available on their website, content can be streamed or downloaded.
Loss in figures was due to change in audience as Ben Cooper wanted Nick Grimshaw to aim the show at a younger audience, the loss was the over 30s.
Audience interaction:
Audience often on phone choosing tracks for segments of the show.
Collective presentation style and mode of address makes audience feel like they're with a group of their own friends.
Station should make an effort to reach out to external content which is deemed of public value interest to its audience.
Youtube channel is used as a means of displaying the best bits of the show.
Twitter should be used to promote issues of Education, finance, personal, social and health.
All Facebook posts indicate how to listen to Radio 1.
Has a channel on BBC iPlayer to showcase its best parts and to reach more of an audience.
Short musical phrase or sound used to punctuate the programme is called a sting.
conflict between the remit and the need for popular content
The BBC's role as an institution in Britain
BBC being biased
influence and role of government in public service broadcasting.
Ownership and Funding
Funded by the Television License fee
2016/17 budget was £34.7M
For the benefit of the public funded by the public.
Public service remit by the royal charter saying their aim is to Inform, Educate and Entertain.
Should nurture UK Talent.
Impartial and independent news should be at the heart of daytime radio.
Should offer regular social action campaigns.
covering topics to teens and young adults.
Reflecting the UKs nations, regions and communities e.g. interactive forums.
Bringing the UK to the world and the world to the UK offering the best global talent and coverage of international events.
Emerging communications
Presenters often tweet to get in touch with listeners.
Key agent of change in radio in online age is media convergence.
Also have Tumblr and Vevo
Maintaining audiences: Their Audience is declining. 5.29M listeners per week opposed to 5.7M beforehand.
Categorisation: Radio Joint audiences Research (RAJAR) measures radio audiences.
Aims to reflect a diverse young audience.
Reaching Audiences: 15-24 year olds listen to just over 14 hours of radio a week, seven hours less than average adult.
Audience went down after Nick Grimshaw started despite his purpose being to boost it.
Radio 1s controller Ben Cooper said the show should not be based on RAJAR, must take into account digital innovations.
Provides on demand service covered under license fee, special events are broadcasted e.g. Wimbledon, Video available on their website, content can be streamed or downloaded.
Loss in figures was due to change in audience as Ben Cooper wanted Nick Grimshaw to aim the show at a younger audience, the loss was the over 30s.
Audience interaction:
Audience often on phone choosing tracks for segments of the show.
Collective presentation style and mode of address makes audience feel like they're with a group of their own friends.
Station should make an effort to reach out to external content which is deemed of public value interest to its audience.
Youtube channel is used as a means of displaying the best bits of the show.
Twitter should be used to promote issues of Education, finance, personal, social and health.
All Facebook posts indicate how to listen to Radio 1.
Has a channel on BBC iPlayer to showcase its best parts and to reach more of an audience.
Short musical phrase or sound used to punctuate the programme is called a sting.
The shows decline was due to:
Proliferation of digital radio
Less brand loyalty
Radio and newspapers seen as least dynamic/interactive media for youth audiences
Internet radio and digital platforms provide more diversity and choice
YouTube is now a major provider
Decline in culture of personality jocks
Greg James's show rebranding after being swapped to the morning:
Show added a new theme tune (gap in the market) "warm and inclusive, mischievous and brooding"
Mode of address inclusiveness and diversity as potentially lacking.
Big imaging (audio signifiers). Wanted the show to have a confident but big feel reflecting the BBC as an institution (production values).
A range of music beds (behind the talking) allow for narrative continuity.
New features 'Ten Minute Take-Over' (empowering audience) and Game of Phones (exploiting intertextuality with a dominant A-V brand).
Main competition is Capital and Heart.
Mainstream entertainment based on flagship BBC shows ( since Tony Blackburn in 1967 - 24M weekly listeners).
Broadcast in comedic 'zoo formt' (wacky, Zany, Personality led|).
Nick Grimshaw/ Greg James Rhetorics of presentation important - audience identification with personality jocks.
The BBC 1946.25M licenses bought in 2018 = £3.76 Billion in revenue.
Losses can be sustained by the BBC such as the shows decline.
Decline in quality is different as it effects the brand reputation of BBC as an institution, hence the switch of hosts.
Niche programmes can be broadcast on the back of the success of more mainstream products like the breakfast show and drive time.
Increasing fragmentation through digitisation however like most media will ultimately lead to further change.
Applying audience theory:
Clay shirky - the internet and digital technology has had a profound effect on the breakfast show. Interactive elements in the Greg James show allow listeners to 'speak back' to the media.
Uses and Gratifications Theory
Escapism/Diversion - light hearted entertainment.
Personal Identity - with the DJ and guests.
Social Interaction - 'speaking back' active participation.
Surveillance - info on artists and events.
Greg James's schedule:
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License fee Research The current fee is £150.50 for a colour licence and £50.50 for a black and white licence. The licence is free if you are 75 or over, and half-price if you are registered blind. On Monday 1 April 2019 the licence fee will increase to the following: £154.50 for a colour licence. £2.06 for radio per month. |
This applies to any provider you use and any device, including a TV, desktop computer, laptop, mobile phone, tablet, games console, digital box or DVD/VHS recorder.
OFCOM became the regulator of the BBC on the 3rd of April 2017.
The BBCR1BS justifies its public service remit by providing for under representing 15-29 y/o and offering diversity
R1BS music beds are when music plays in the background.
Cultural contexts include the impact of streaming services and downgrading popular music compared to high arts.
Off air marketing is done through Instagram, youtube and their website.
PSB refers to broadcast intended for public benefit (free).
TV License makes £3.74 Billion per year.
Brand identity of the show is reinforced by: image orchestration, station indent/jingles and the presenters voice.
The interconnection of ICT, computer networks and media content is media convergence.
A theory called use and gratification suggests that people seek out specific radio to meet their specific needs. (seek entertainment, seek escapism, seek social interaction, seek to relate to presenters or looking for info)
Lord Reith is the founder of the BBC.
Thursday, 28 February 2019
Notes on advertisements and The Big Issue
Old Spice, Shelter and Lucozade
Media elements creating meaning - semiotics (signs create meaning)
Charities advertise to raise awareness of the issue and to persuade new people to donate.
AIDA model - Attention, interest, desire, action.
Use of celebrity, To emulate the celebrity, Use the product to improve.
Use of faces, issues the reader could face, to be helped or to help, contact or donate.
Lucozade a mix of science passion and aspiration (purpose).
Old spice surrealist humour and pleasure , uses and gratification theory - seek entertainment, info, social interaction or escape. (Blumber & Katz)
pleasure in bright media language.
Lucozades previous slogan claimed they hydrate better than water.
Consumerism - media language of glamour, quality and aspiration.
The big issue
Language, Representations, social context, political context and cultural contexts.
Not politically oriented.
£2.50 challenges traditional methods of distribution (homeless people sell them at stations).
Published by Dennis and The Big Issue ltd (first in 1991).
Founder conservative capitalist .
Circulation 82,000 available in 9 other countries, popular in south Korea (Australia, Japan, south Africa, Taiwan).
Hybrid Genre current affairs/Entertainment, Street Magazine.
Edited by professional journalists.
Guidance and counselling offered to vendors.
Online convergent platform.
1 - What media language are they using to represent people and events?
This front cover for The Big Issue uses media language to represent Meghan Markle as Regal yet omnipotent, this is shown through the typography used to display her name; gold and rather large font almost suggests she is bigger and richer than everything else despite her charitable efforts shown in the chosen image (which also has hints of diversity found in the asian survivor they have chosen to depict). Facial expressions within the photo display a rather large amount of happiness coming from both the Duchess of Sussex and the supposed Grenfell Survivors despite her visit being a reflection on a great tragedy in their lives. Moreover, other media language can be found by the increasing amount of the colour Black on this front cover; even their logo has taken a black alternative, this may be used to represent the realism found in this magazine (sold by the homeless) and in the actual event of Grenfell itself; where thick smoke poured from windows perhaps the same shade of black displayed throughout this cover, this symbolism allows readers to grasp a tiny element of which the survivors experienced on that mournful day.
2 - How do these people and events come across?
The Grenfell survivors kitchen is represented as a place of happiness as well as opportunity due to the previously mentioned positive expressions as well as the close proximity between the Duchess and the common folk, giving the cover a rather communal feel in order to suit the christmas theme for this particular £3 edition. The event itself oddly appears as though it's the "place to be", when in actual fact most people occupying said kitchen would have been feeling rather dismayed by their situation as they have became a charity case of which requires publicity (I presume that some may have not even wanted to feature due to a pride aspect to their situation). Furthermore, by labelling their location as the 'survivors kitchen', The Big Issue depicts these people as heros perhaps suggesting that they volunteered for such devastating challenges opposed to being recklessly exposed to such trauma.
Other points to make:
Issue and event based
Diversity foreground
Strong female representation
Layout (Christmas Card)
Positioning of the star above Meghan
White - Purity
Brand Identity
Exclusive
Self Reflective - Homeless Distributors
Looks like movie poster
A hand up not a hand out
Media elements creating meaning - semiotics (signs create meaning)
Charities advertise to raise awareness of the issue and to persuade new people to donate.
AIDA model - Attention, interest, desire, action.
Use of celebrity, To emulate the celebrity, Use the product to improve.
Use of faces, issues the reader could face, to be helped or to help, contact or donate.
Lucozade a mix of science passion and aspiration (purpose).
Old spice surrealist humour and pleasure , uses and gratification theory - seek entertainment, info, social interaction or escape. (Blumber & Katz)
pleasure in bright media language.
Lucozades previous slogan claimed they hydrate better than water.
Consumerism - media language of glamour, quality and aspiration.
The big issue
Language, Representations, social context, political context and cultural contexts.
Not politically oriented.
£2.50 challenges traditional methods of distribution (homeless people sell them at stations).
Published by Dennis and The Big Issue ltd (first in 1991).
Founder conservative capitalist .
Circulation 82,000 available in 9 other countries, popular in south Korea (Australia, Japan, south Africa, Taiwan).
Hybrid Genre current affairs/Entertainment, Street Magazine.
Edited by professional journalists.
Guidance and counselling offered to vendors.
Online convergent platform.
1 - What media language are they using to represent people and events?
This front cover for The Big Issue uses media language to represent Meghan Markle as Regal yet omnipotent, this is shown through the typography used to display her name; gold and rather large font almost suggests she is bigger and richer than everything else despite her charitable efforts shown in the chosen image (which also has hints of diversity found in the asian survivor they have chosen to depict). Facial expressions within the photo display a rather large amount of happiness coming from both the Duchess of Sussex and the supposed Grenfell Survivors despite her visit being a reflection on a great tragedy in their lives. Moreover, other media language can be found by the increasing amount of the colour Black on this front cover; even their logo has taken a black alternative, this may be used to represent the realism found in this magazine (sold by the homeless) and in the actual event of Grenfell itself; where thick smoke poured from windows perhaps the same shade of black displayed throughout this cover, this symbolism allows readers to grasp a tiny element of which the survivors experienced on that mournful day.
2 - How do these people and events come across?
The Grenfell survivors kitchen is represented as a place of happiness as well as opportunity due to the previously mentioned positive expressions as well as the close proximity between the Duchess and the common folk, giving the cover a rather communal feel in order to suit the christmas theme for this particular £3 edition. The event itself oddly appears as though it's the "place to be", when in actual fact most people occupying said kitchen would have been feeling rather dismayed by their situation as they have became a charity case of which requires publicity (I presume that some may have not even wanted to feature due to a pride aspect to their situation). Furthermore, by labelling their location as the 'survivors kitchen', The Big Issue depicts these people as heros perhaps suggesting that they volunteered for such devastating challenges opposed to being recklessly exposed to such trauma.
Other points to make:
Issue and event based
Diversity foreground
Strong female representation
Layout (Christmas Card)
Positioning of the star above Meghan
White - Purity
Brand Identity
Exclusive
Self Reflective - Homeless Distributors
Looks like movie poster
A hand up not a hand out
Tuesday, 29 January 2019
Essay Question Attempt
Why do long form television dramas from different countries offer different representations? In your answer you must:
• consider the contexts in which long form television dramas are produced and consumed
• explain how media contexts may have influenced representations in the set episodes of the two long form television dramas you have studied
• make judgements and reach conclusions about the reasons for the differences in representation between the two episodes.
In the following answer i will be comparing and discussing the U.S long form television drama of Stranger things with the German long form television drama of Dseutchland 83. I will be discussing various theorists and their theories including Van Zoonen's, Butler's, Curran and Seaton's, DH's and Todorov's. These will be used to reflect on representations created in both pilot episodes.
Produced by Sundance TV (under AMC's financing) and distributed by the governmentally financed Channel 4's more4 section of their streaming service at the suggestion of Italian Producer Walter Presents, Dseutchland 83 (2015) was 20 million dollars per season to finance (substantially less than stranger things). Despite their low production budget the series has a glossy finish giving the impression of a significantly higher budget. Strong segregation themes are evident within the spy drama which could easily make reference to the divided Brexit referendum as some claim the (right-wing) Conservative party are capitalists due to their increasingly one-sided governmental enforcements, this reflects the west side of Germany in the series where they often enjoy the luxuries of their time such as "proper coffee" a.k.a Nescafé. Likewise, the (left-wing) labour party can be seen in the communist (east) side of Germany during the cold war due to their rewarding nature towards those who work hard. This appeals to me as a British citizen, though it's inevitable that it would also appeal to Americans and potentially a scarce amount of Germans because each country have their own societal divisions which will allow them to relate in their own way to strands within the narrative.
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