1. Most media texts target a range of different audiences' How true is this for your chosen texts? - Music Industry
Other similar possible questions
· How does the same media text attract/target a range of different audiences?
· What do texts offer audiences? Refer to your three main texts in your answer. [30]
· How do your chosen texts attract their audiences? [30]
· Explore the different ways your three main texts attract their audiences. [30]
· Explore the different ways in which audiences and/or users respond to your chosen texts. [30] (reception theory) - STUART HALL
MS4 Question specific comments from examiners
A1: Explore the different representations of either men or age within your three main
texts.
This was the more popular of the Section A questions with the majority of candidates
responding using ‘men’. Many responses were well handled but, in general, too many basic
points were made. For example: men are heroes followed by a basic description of why. A
lot of candidates resorted to describing male characters, which resulted in over-simplified
responses, and a significant number appeared to misquote Laura Mulvey and discussed a
simple female gaze idea. Sound points included references to how different the
representations discussed were and how those representations were constructed.
A1: Explore how the key representations in your three main texts have been
constructed. [30]
Please note: this question asks for key representations – allowing candidates to
identify these. Look for coherence in discussion and a clear understanding of the
selection and construction process. Responses may include reference to some of
the following points:
Gender – appearance, dress codes, character, attitudes, stereotypes,
reinforcing/challenging.
Age – typical characteristics, negative youth portrayals, stereotypical older
images; challenging types.
Ethnicity – appearance, attitudes, stereotypical assumptions, reinforcing,
negativity, positive characteristics
National Identity – stereotypical, referential codes; accents, mannerisms
Issues – signifiers, connotations, coverage
Events – news coverage.
Links to theoretical perspectives e.g. Mulvey, Alvarado, Gauntlett etc (used
relevantly!)
A1: Explore the genre conventions in your three main texts. [30]
Lower level candidates may simply describe the main genre conventions of their
three main texts – this acceptable but needs to be marked on merit. Higher level
candidates should be dealing with the ‘explore’ part of the question. Points covered
are likely to be diverse but may include references to:
Typicality
Key signifiers
Iconography
Characters
Storylines, plots
Settings/locations
Mise-en-Scène
Use of dialogue, language, music
Use of technical codes.
A2: How important are characters to the narrative of your three main texts?
Fewer candidates responded to this question and some answers were well handled with
candidates really trying to tackle the how important part of the question. Many, however,
simply described their characters and stated that there wouldn’t be a narrative without them
or gave unapplied and descriptive explanations of narrative theories.
A2: Explore how narrative is constructed in your three main texts. [30]
Candidates may respond to this question by discussing narrative theory – this is
acceptable but the theory should be accurately applied to the selected texts. Other
candidates may discuss the structure and format of the story combined with a
discussion of narrative codes. Again this is acceptable. References may be made
to:
Propp and character driven narrative. Lower grade candidates may simply list
and match character roles. Higher grade candidates may challenge or use the
theory to discuss character importance at a more sophisticated level.
Todorov and action driven narratives: lower grade candidates may offer a
straightforward (but valid formula). Higher grade candidates may offer a more
detailed discussion of this theory beyond its simplest form.
Levi-Strauss and binary oppositions: lower grade candidates may simply identity
whilst higher grade candidates may discuss the idea of narrative construction
linked to oppositions.
Linear, multiple, sequential, interwoven narrative structures.
Use of flash backs, non linear formats, circular narratives etc.
Narrative codes – for example technical, audio, enigmatic, symbolic, referential,
action – and how they are used to help construct narrative
B1. Assess the main advantages of the internet for your three main texts.
This was a popular question but one that many candidates responded to by simply talking
about the link between their text and the internet (often little more than that the text had a
website followed by a description of it). Where candidates assessed the main advantages of
the internet for their texts, they produced a more detailed and coherent response which
enabled them to access higher levels. Many discussed the advantages of the internet for
audiences rather than for the texts.
B1. Explore the use of digital technologies in your selected industry. Refer to your
three main texts. [30]
Below are some generic points candidates might make for each of the industries but,
overall, responses will be dependent on texts studied. The lists are not intended to
be prescriptive.
Discussion of digital technologies may include any or all of the following:
Use of digital technologies in production
Use of digital technologies in distribution (which will include the use of websites &
social media in marketing, either direct or indirect and as an additional platform to
access media texts)
Use of digital technologies in exhibition (which will include the different platforms
on which media texts can be accessed)
Sophisticated Level 4 responses may discuss the implications of converged
digital media and of its potentially global reach.
The following are some generic points candidates might make – this list is not intended to be prescriptive.
TELEVISION:
Production – e.g. cameras, editing, use of graphics etc.
Marketing: e.g. use of internet, social media
Distribution: via internet, iplayer, on demand etc.
FILM:
Production e.g. camera, editing, cgi, green screen, etc.
Distribution/exhibition – viewing formats, on-line.
Marketing – use of social media, websites
MUSIC:
Production techniques.
Distribution.
Use of social media –twitter etc.
Marketing – via website, youtube,
Listening formats
B2. With reference to your three main texts, discuss the key features of their
distribution.
This question was not popular. It was disappointing to note that the majority of candidates
appeared not to understand ‘distribution’ (a key bullet point in the specification) or how the
texts they had studied had been distributed to audiences.
B2. How is your chosen industry regulated? Refer to your three main texts.
[30]
Below are some generic points candidates might make for each of the industries but,
overall, responses will be dependent on texts studied.
Discussion of regulation may include any or all of the following:
A knowledge of the regulatory framework for the chosen industry
Exemplification of the regulatory framework in relation to the three main texts
Discussion of texts may involve discussion of the detail and reasoning for the
regulation.
Some texts may be outside regulatory frameworks and some texts may have
worked within the regulatory framework.
Sophisticated Level 4 responses may well discuss how texts are affected by
needing to work within a regulatory framework.
The following are some generic points candidates might make – this list is not
intended to be prescriptive.
TELEVISION:
Channel policies
OFCOM
Broadcasting code
BBC Board
Legal responsibilities
Watershed issues
FILM:
BBFC classification
Different regulators in other countries
DVD certificates
MUSIC:
Largely self regulated
Legal constraints in areas of copyright, licensing, downloading
Parental advisory stickers
B3. Explore the different ways your three main texts attract their audiences.
This was another popular question and many candidates handled it well by discussing
marketing and content. Many, however, did not focus on the word attract and instead
discussed audience responses. Unfortunately, many attempted to link their answer to
inappropriate audience theories.
B3: Explore the different ways audiences interact with your three main texts. [30]
Weaker candidates may just describe the ways that audiences interact with their
main texts but higher grade candidates should be dealing with the explore part of the
question. In general terms audiences interact with texts by using them and by taking
advantage of other interactive opportunities. Audience responses could also be
considered part of audience interaction and so candidates using this approach need
to be marked on merit. Responses will be dependent on industry selected and
possible points may include references to the following. This is not an exhaustive
list.
TELEVISION:
Via the red button
Websites
Through twitter
Facebook and other social networking sites
Competitions, contestants,
Apps
Voting
Complaints
Letters
FILM:
Cinema experiences
Via website
Via fan sites
Social media e.g. facebook, twitter
3D
Apps
Complaints
MUSIC:
Via social media
Through fan sites
Through magazines
At live concerts
B3. To what extent do your three main texts appeal to different audiences? [30]
This question asks to what extent – this allows candidates to form their own opinions.
Discussion of how far texts appeal to different audiences may include any or all of the
following:
How some texts are constructed deliberately to appeal to different audiences.
A recognition that not all texts appeal to different audiences.
Better candidates will recognise that texts appealing to different audiences is
dependent on how they are constructed and is different from the way texts may
be interpreted differently by different audiences.
Sophisticated Level 4 candidates will be able to discuss confidently the degree to
which their texts are constructed to appeal to different audiences and are likely to
recognise the (commercial) significance of that.
The following are some generic points candidates might make in terms of appeals –
this list is not intended to be prescriptive.
TELEVISION:
Narrative content and enigmas
Genre
Scheduling
Characters, actors, performers
Tone, style, presentational techniques
Links to social media
FILM:
Narrative content
Genre
Distribution and marketing
Characters, actors,
Cinematography
Marketing
Production values
Viewing experience
MUSIC:
Genre and music style
Performance
Videos, artwork etc.
Publicity
Attitude
Exposure
Websites, twitter, social networking sites
B4. How global is the appeal of your three main texts?
The best candidates knew their texts well and could discuss where and how their texts had
global appeal through points such as distribution and marketing, content (genre, narrative
and themes), the use of stars and so on. It was perfectly feasible (and a few candidates did
this well) to argue that texts did not have global appeal because of their very British
nature/funding/distribution/scope etc. However, this question was misinterpreted by many
candidates. Many wrote about audience appeal and missed out the ‘global’ part of the
question altogether. Some linked their responses to theoretical frameworks such as Uses
and Gratifications but could offer no factual evidence to suggest their texts had global
appeal. A few misunderstood what was meant by global.
B4. ‘A global audience is important to media industries.’ Discuss this statement
with reference to your three main texts. [30]
This question invites a point of view response. Candidates may argue (accurately
and coherently) that, although global audiences are important to their industry (e.g.
film), their selected text is not intended for a global audience. Their discussion,
therefore, will need to be focussed on why the local/national audience is key to that
specific text. However, some understanding of the global nature of most media
industries should be apparent in the responses of mid and higher-grade candidates.
Discussion of how far a global audience is important to media industries may include
any or all of the following:
Global audiences are likely to be important to media industries in order to ensure
the economic viability of media production
Recognition that media texts, whatever their audience appeal, depend on
generating profits.
Some texts are more obviously constructed to reach a global audience more than
others and thus demonstrate the industry’s need to reach a global audience.
Sophisticated Level 4 candidates may recognise that some industries reach
global audiences through horizontally integrated organisations rather than
through individual products (media texts).
MS4 Question specific comments from examiners
A1: Explore the different representations of either men or age within your three main
texts.
This was the more popular of the Section A questions with the majority of candidates
responding using ‘men’. Many responses were well handled but, in general, too many basic
points were made. For example: men are heroes followed by a basic description of why. A
lot of candidates resorted to describing male characters, which resulted in over-simplified
responses, and a significant number appeared to misquote Laura Mulvey and discussed a
simple female gaze idea. Sound points included references to how different the
representations discussed were and how those representations were constructed.
A1: Explore how the key representations in your three main texts have been
constructed. [30]
Please note: this question asks for key representations – allowing candidates to
identify these. Look for coherence in discussion and a clear understanding of the
selection and construction process. Responses may include reference to some of
the following points:
Gender – appearance, dress codes, character, attitudes, stereotypes,
reinforcing/challenging.
Age – typical characteristics, negative youth portrayals, stereotypical older
images; challenging types.
Ethnicity – appearance, attitudes, stereotypical assumptions, reinforcing,
negativity, positive characteristics
National Identity – stereotypical, referential codes; accents, mannerisms
Issues – signifiers, connotations, coverage
Events – news coverage.
Links to theoretical perspectives e.g. Mulvey, Alvarado, Gauntlett etc (used
relevantly!)
A1: Explore the genre conventions in your three main texts. [30]
Lower level candidates may simply describe the main genre conventions of their
three main texts – this acceptable but needs to be marked on merit. Higher level
candidates should be dealing with the ‘explore’ part of the question. Points covered
are likely to be diverse but may include references to:
Typicality
Key signifiers
Iconography
Characters
Storylines, plots
Settings/locations
Mise-en-Scène
Use of dialogue, language, music
Use of technical codes.
A2: How important are characters to the narrative of your three main texts?
Fewer candidates responded to this question and some answers were well handled with
candidates really trying to tackle the how important part of the question. Many, however,
simply described their characters and stated that there wouldn’t be a narrative without them
or gave unapplied and descriptive explanations of narrative theories.
A2: Explore how narrative is constructed in your three main texts. [30]
Candidates may respond to this question by discussing narrative theory – this is
acceptable but the theory should be accurately applied to the selected texts. Other
candidates may discuss the structure and format of the story combined with a
discussion of narrative codes. Again this is acceptable. References may be made
to:
Propp and character driven narrative. Lower grade candidates may simply list
and match character roles. Higher grade candidates may challenge or use the
theory to discuss character importance at a more sophisticated level.
Todorov and action driven narratives: lower grade candidates may offer a
straightforward (but valid formula). Higher grade candidates may offer a more
detailed discussion of this theory beyond its simplest form.
Levi-Strauss and binary oppositions: lower grade candidates may simply identity
whilst higher grade candidates may discuss the idea of narrative construction
linked to oppositions.
Linear, multiple, sequential, interwoven narrative structures.
Use of flash backs, non linear formats, circular narratives etc.
Narrative codes – for example technical, audio, enigmatic, symbolic, referential,
action – and how they are used to help construct narrative
B1. Assess the main advantages of the internet for your three main texts.
This was a popular question but one that many candidates responded to by simply talking
about the link between their text and the internet (often little more than that the text had a
website followed by a description of it). Where candidates assessed the main advantages of
the internet for their texts, they produced a more detailed and coherent response which
enabled them to access higher levels. Many discussed the advantages of the internet for
audiences rather than for the texts.
B1. Explore the use of digital technologies in your selected industry. Refer to your
three main texts. [30]
Below are some generic points candidates might make for each of the industries but,
overall, responses will be dependent on texts studied. The lists are not intended to
be prescriptive.
Discussion of digital technologies may include any or all of the following:
Use of digital technologies in production
Use of digital technologies in distribution (which will include the use of websites &
social media in marketing, either direct or indirect and as an additional platform to
access media texts)
Use of digital technologies in exhibition (which will include the different platforms
on which media texts can be accessed)
Sophisticated Level 4 responses may discuss the implications of converged
digital media and of its potentially global reach.
The following are some generic points candidates might make – this list is not intended to be prescriptive.
TELEVISION:
Production – e.g. cameras, editing, use of graphics etc.
Marketing: e.g. use of internet, social media
Distribution: via internet, iplayer, on demand etc.
FILM:
Production e.g. camera, editing, cgi, green screen, etc.
Distribution/exhibition – viewing formats, on-line.
Marketing – use of social media, websites
MUSIC:
Production techniques.
Distribution.
Use of social media –twitter etc.
Marketing – via website, youtube,
Listening formats
B2. With reference to your three main texts, discuss the key features of their
distribution.
This question was not popular. It was disappointing to note that the majority of candidates
appeared not to understand ‘distribution’ (a key bullet point in the specification) or how the
texts they had studied had been distributed to audiences.
B2. How is your chosen industry regulated? Refer to your three main texts.
[30]
Below are some generic points candidates might make for each of the industries but,
overall, responses will be dependent on texts studied.
Discussion of regulation may include any or all of the following:
A knowledge of the regulatory framework for the chosen industry
Exemplification of the regulatory framework in relation to the three main texts
Discussion of texts may involve discussion of the detail and reasoning for the
regulation.
Some texts may be outside regulatory frameworks and some texts may have
worked within the regulatory framework.
Sophisticated Level 4 responses may well discuss how texts are affected by
needing to work within a regulatory framework.
The following are some generic points candidates might make – this list is not
intended to be prescriptive.
TELEVISION:
Channel policies
OFCOM
Broadcasting code
BBC Board
Legal responsibilities
Watershed issues
FILM:
BBFC classification
Different regulators in other countries
DVD certificates
MUSIC:
Largely self regulated
Legal constraints in areas of copyright, licensing, downloading
Parental advisory stickers
B3. Explore the different ways your three main texts attract their audiences.
This was another popular question and many candidates handled it well by discussing
marketing and content. Many, however, did not focus on the word attract and instead
discussed audience responses. Unfortunately, many attempted to link their answer to
inappropriate audience theories.
B3: Explore the different ways audiences interact with your three main texts. [30]
Weaker candidates may just describe the ways that audiences interact with their
main texts but higher grade candidates should be dealing with the explore part of the
question. In general terms audiences interact with texts by using them and by taking
advantage of other interactive opportunities. Audience responses could also be
considered part of audience interaction and so candidates using this approach need
to be marked on merit. Responses will be dependent on industry selected and
possible points may include references to the following. This is not an exhaustive
list.
TELEVISION:
Via the red button
Websites
Through twitter
Facebook and other social networking sites
Competitions, contestants,
Apps
Voting
Complaints
Letters
FILM:
Cinema experiences
Via website
Via fan sites
Social media e.g. facebook, twitter
3D
Apps
Complaints
MUSIC:
Via social media
Through fan sites
Through magazines
At live concerts
B3. To what extent do your three main texts appeal to different audiences? [30]
This question asks to what extent – this allows candidates to form their own opinions.
Discussion of how far texts appeal to different audiences may include any or all of the
following:
How some texts are constructed deliberately to appeal to different audiences.
A recognition that not all texts appeal to different audiences.
Better candidates will recognise that texts appealing to different audiences is
dependent on how they are constructed and is different from the way texts may
be interpreted differently by different audiences.
Sophisticated Level 4 candidates will be able to discuss confidently the degree to
which their texts are constructed to appeal to different audiences and are likely to
recognise the (commercial) significance of that.
The following are some generic points candidates might make in terms of appeals –
this list is not intended to be prescriptive.
TELEVISION:
Narrative content and enigmas
Genre
Scheduling
Characters, actors, performers
Tone, style, presentational techniques
Links to social media
FILM:
Narrative content
Genre
Distribution and marketing
Characters, actors,
Cinematography
Marketing
Production values
Viewing experience
MUSIC:
Genre and music style
Performance
Videos, artwork etc.
Publicity
Attitude
Exposure
Websites, twitter, social networking sites
B4. How global is the appeal of your three main texts?
The best candidates knew their texts well and could discuss where and how their texts had
global appeal through points such as distribution and marketing, content (genre, narrative
and themes), the use of stars and so on. It was perfectly feasible (and a few candidates did
this well) to argue that texts did not have global appeal because of their very British
nature/funding/distribution/scope etc. However, this question was misinterpreted by many
candidates. Many wrote about audience appeal and missed out the ‘global’ part of the
question altogether. Some linked their responses to theoretical frameworks such as Uses
and Gratifications but could offer no factual evidence to suggest their texts had global
appeal. A few misunderstood what was meant by global.
B4. ‘A global audience is important to media industries.’ Discuss this statement
with reference to your three main texts. [30]
This question invites a point of view response. Candidates may argue (accurately
and coherently) that, although global audiences are important to their industry (e.g.
film), their selected text is not intended for a global audience. Their discussion,
therefore, will need to be focussed on why the local/national audience is key to that
specific text. However, some understanding of the global nature of most media
industries should be apparent in the responses of mid and higher-grade candidates.
Discussion of how far a global audience is important to media industries may include
any or all of the following:
Global audiences are likely to be important to media industries in order to ensure
the economic viability of media production
Recognition that media texts, whatever their audience appeal, depend on
generating profits.
Some texts are more obviously constructed to reach a global audience more than
others and thus demonstrate the industry’s need to reach a global audience.
Sophisticated Level 4 candidates may recognise that some industries reach
global audiences through horizontally integrated organisations rather than
through individual products (media texts).
2. Genre question - how to answer... TV Industry
KMKYPSB+BARB
Alan Partridge+Talkback
Comedy/Chatshow format - how has it subverted the genre?
Presenter - character
Iconography of genre - mise en scene, fountain, sweaters, monologue, band, guests.
Development into 'I'm AP', Internet, book, Steve Coogan legacy
Audience - B+K - P.Identity? Loyalty over several series - consistent,
BBC2 = A-C1?
Steve Coogan as a 'brand'.
DST:E4 - Audience?
Historical arrival of reality shows.
Betty TV - Reality/Documentary format.
Perou the judge
Task - several competitors - tested to the 'limit'
Escapist photography - camera work
Voyeuristic viewpoint of character clashes
Surveillance of lifetsyle in first part, task in second.
Similarity to The Apprentice/Big Brother
Audience: B+K - Surveillance, Escapism. C-E?
The Wire
Crime genre
Channel FX and HBO
Subverts the genre and stereotype
'Macho' males and high budgets and racial divides in criminality
Omar -
Kima Greggs -
Snoop -
As opposed to CSI in terms of Police budget, corruption and backstories
All levels of the community represented
Audience - Surveillance and P.Identity - genuine personal issues
Late night BBC2 means A-C1
3. Explore the impact of regulation on your three main texts. – Music Industry
Possible essay…
· Overview of Music industry
o How Music Industry is regulated - Unlike TV + Film No regulation bodies, little policy and what you can and cant say
o There is copyright Law and IP (intellectual property) – define – changes in recent years?
· Michael Jackson
Beatles Back catalogue – Paul McCartney – Purchase of ATV – Moral right debate? Impact on audience/ industry?
· Amy Winehouse
No No No! Amy winehouse musical gets cancelled – Jan, 30, 2013
The Amy Winehouse-centric musical will have to wait longer, as Denmark’s Royal Theater has canceled a planned production of Amy after a copyright agency withdrew the show's permission to use Winehouse’s music catalogue, reports The Associated Press.
Impact on audience/ industry?
· The UK Music industry generated around £3.5 billion GVA to the UK in 2012, with an export value of £1.4 billion and employing 101,000 people. British performers have been responsible for five of the best-selling albums globally over the last six years (Adele in 2012 and 2011, Susan Boyle in 2009, Coldplay in 2008 and Amy Winehouse in 2007), and for five of the top ten best-albums in 2012.
THIS IS VERY IMPORTANT!!!!!! ALL CAN LINK TO UNREGULATED/ ILLEGAL DOWNLOADING !!!! - Name some il/legal ones – Digital Millennium ACT – laws for downloading (see blog/ A2 handbook) – what is it? Why set up? Impact on the Industry? Change for the future – Creative Commons (Laurence Lissig)
· Lady Gaga - Chicago-based singer Rebecca Francescatti claims Gaga's song is similar to a song she recorded in 1999 called 'Juda.' – Copyright sub divided into 3 - which one is she being sued for.
· Conclusion
4. How do your chosen texts use genre conventions? - Fish Tank Only
‘Fish Tank’ is a critically successful, independent social realist film that follows clear genre conventions, but as with many other social realist films e.g. ‘Vera Drake’, ‘Happy Go Lucky’, develops the genre template to offer strong, pluralistic representations.
Traditionally original 1950s Social Realism has male authorship and male central protagonists in films like Room at the Top and ‘Saturday Night, Sunday Morning’ and in recent years ‘This is England’, ‘Looking For Eric’ and earlier in the 1990s ‘The Full Monty’.
In terms of form and style genre conventions are represented within the mise-en-scène – natural lighting, grainy resolution, symbolic weather, on location shooting and use of hand held camera all encode realism.
The central protagonist is frustrated, angry and alienated. Mia is a classic social realist protagonist who is aspiring for a better life – she sees herself in a spiral that she cannot escape from.
Set in in a working class, urban area it conforms to genre conventions although like some social realist films of recent years moves away from the northern stereotype.
The film is a gritty, raw interpretation of everyday life and may be labelled a ‘kitchen sink drama’ with a morality tale (common use of domestic locations).
Also, bleak, open-ended narrative outcomes anchor the genre conventions. As well as the visual iconography, ‘Fish Tank’ also explores key narrative themes in depth such as single parent families, social class, alienation and notions of difference.
Like many independent social realist film it received critical, not commercial success and had limited distribution as a result of its independent status. Low production values are common in these types of films as is a relatively unknown cast encoding realism; Michael Fassbender is well known for his film work – Prometheus 2012, X-Men;First-Class & 300, while Kierston Wareing is known for her television work.
5.
5.
Explore the genre conventions in your three main texts - Film Industry
In terms of media, genre refers to the style or category of a media text. The texts that I have studied are Saturday Night and Sunday Morning and Fish Tank; I will explore the genre conventions of both these texts. (Need to give an overview of the film industry, and add in reference to genre conventions and why it is important! - link to audience and industry - pleasure for audience and good business for industry - Steve Neil is a good genre theorist to refer to)
The first text that I studied was Saturday Night and Sunday Morning. The genre of this film is Social Realist (which is also known as “kitchen sick dramas”). There are many major conventions of social realism films, one of which are the topics covered in the films. These topics are usually serious social issues and in reference to Saturday Night and Sunday Morning, these topics were taboo in the 60’s such as marital affairs and abortion. These serious topics can relate to Todorov’s theory of equilibrium. There is equilibrium with Arthur and Brenda’s affair staying secret, but when it is discovered the equilibrium is disrupted and only stabilised when Arthur decides to settle down with Doreen. When looking at which audience would be attracted or put off by this film, it can be said that white working class people would be able to relate to Arthur due to the nature of his work whereas white middle class people over the age of 30 would have a negotiated reading to this text due to the serious topics such as abortion that they wouldn’t approve of. Similarly Fish Tank is a social realist film that also covers serious topics such as underage drinking and underage sexual relations. When applying Todorov’s theory of equilibrium, it can be argued that there is a constant disruption of equilibrium due to Mia’s trouble life and family and this is reflected through the happenings in her life. Working class people would have a preferred reading to this due to being able to relate to some of the topics within this film and also teenagers around the ages of 13-19 who may take part in underage sexual relations and drinking and smoking.
Another major convention of social realist films is an urban setting. The use of urban settings creates the realism needed for social realist films and constructs cinema verite. Within Fish Tank, there is juxtaposition between rural settings and industrial settings. In addition, it’s set on a council estate in Essex. This is seen through a variety of establishing and long shots. This juxtaposition reflects that although they’re trying to move on from rural surroundings and they’re still bound to work in mundane and repetitive hobs such as in a factory. This sense of confinement is mirrored through the title of the film “Fish Tank”. The council estate reflects the poverty of the characters. Inside Mia’s home, the wallpaper in the living room is a picture of a paradise-like beach and on her bedroom door there are pictures of clouds. This illustrates the working class’ struggle to break away from their crippling lives. We can also see this through their constant watching of MTV and music videos. This wealth and power is what they aspire to. Saturday Night and Sunday Morning is set in Nottingham which and although there is a lack of rural settings, there are industrial settings just like in Fish Tank. This is a typical place for working class people to work in. The characters of Saturday Night Sunday Morning are often seen in pubs which reflected their proletariat status as working class people often have a lot of disposable income. Therefore they go to the pub to drink and indulge in immediate gratification rather than deferred gratification.
Social realist films typically have a low budget. This is seen through the lack of high key lighting and special effects. If this was used then the films would lose the realism that they need; therefore there is a lot of natural lighting used. In addition there is a lack of non-diegetic music as the presence of a soundtrack would disrupt the cinema verite. Due to the low budget, social realism films often have unknown actors. The only known actor in Fish Tank is Michael Fassbender and the protagonist was discovered when she was having an argument with her boyfriend at a train station. Although they could hire unknown actors due to low budget, it can also be said that having known characters would make the films seem less real.
(Need to address 'The Class')
(Needs Conclusion, summing up main points then refer back to the question...)
6. Explore the impact of digital technologies on your selected industry. – TV Industry
The impact of technology on the industry will differ depending on the industry selected. Higher grade answers are likely to be engaging with ‘explore’ rather than list connections between technologies and the selected industry. Points may include reference to:
the impact on the production of texts
the impact of convergence – the way the internet, satellite and mobile communications systems have affected production, distribution and audiences/users, particularly the potential for users to become ‘participative’ producers
the impact of convergence – the way the internet, satellite and mobile communications systems have affected production, distribution and audiences/users, particularly the potential for users to become ‘participative’ producers
Possible Essay….
Overview of TV industry, with reference to the importance of Digital technologies.
• The Wire – Subscription based TV channel competing with hundreads of free to access channels in US, therefore has to be of superior quality.
• Oligopolies… FX- Murdoch,-BskyB, HBO – Time Warner
• HBO pioneered the use of HDTV and the widescreen format, production and distribution deals leading to market presence, and the promotion of greater diversity on TV (discussing issues of class and race).
• As more television viewers choose to watch their favourite shows on "catch-up services" or by recording whole series in bulk, American online distributors are planning a revolution in the way we are presented with high-quality drama.
• these shows are affecting the way much of the public watches television – Audience effect – ‘Active’
• The Wire is ideal for repeated viewing because things are happening on multiple levels. Therefore, audiences are required to purchase the previous season on DVD (Box Sets). “Less is more. Explaining everything to the slowest or laziest member of the audience destroys verisimilitude and reveals the movie itself, rather than the reality that the movie is trying to convey” (Simon 2006). The Wire’s DVD Box Set attracted audiences via this media platform – more so than TV in terms of its UK audience.
• Online programme services such as Netflix – along with rival providers Facebook, Yahoo, Amazon, YouTube and Hulu – are moving to capitalise on the fact that the most popular shows being streamed on their sites are drama series. "Maybe we will start to premiere multiple episodes so you can do the binge-watching from day one," Ted Sarandos, head of content for Netflix, suggested. 60% of the filmed content viewed on these sites are television programming and that shows such as The Wire are top of the popularity poll. As a result, companies started to buy series directly from the producers and distributors who financed them: cutting out the TV networks and cable channels. EG. Netflix buys….THE WIRE
• Shooting The Wire - contrast to the rest of high-end episodic television – Although digital technology means Cameras getting smaller, TV’s getting bigger, better lighting and quality better (HD 16x9- widescreen) The reason the show has stayed 4x3 is because David Simon thinks that 4x3 feels more like real life and real television and not like a movie. The show's never been HD, even 4x3 HD and that (SD) is how it is on the DVDs. HBO utilizes state-of-the-art line doubling technology. It may still be standard definition, but line doubled it looks considerably better on a high definition set than it would on a standard definition set. Camera technique on The Wire favors an almost continual use of dolly shots and long lenses. "Longer lenses... for a voyeuristic view of the action." The fact that this seems so incompatible with the ‘non-beauty' approach to lighting provides yet another point of contrast.
Alan Partridge
• Distribution - Netflix,
NEW Alan Partridge's music taste may be "surprisingly great" according to Guardian critic Alexis Petridis. Now fans of Steve Coogan's character can hear how he'd sound introducing their own music collections on North Norfolk Digital. BBC Worldwide has launched an official Radio Alan iPhone and iPad app, which plays audio clips of Partridge's broadcasts in between songs from users' own iTunes libraries. The app offers individual soundbites for specific artists if it recognises them on the device – "Keep your clubs away from his young, it's Seal!" for example – with a built-in Partridge Playlist directing fans to other songs with specific introductions on Apple's iTunes store. BBC Worldwide and Coogan's production company Baby Cow worked with British developer Touch Fantastic on the app, with the clips taken from the Mid Morning Matters web series.
6. Extended
NEW Alan Partridge's music taste may be "surprisingly great" according to Guardian critic Alexis Petridis. Now fans of Steve Coogan's character can hear how he'd sound introducing their own music collections on North Norfolk Digital. BBC Worldwide has launched an official Radio Alan iPhone and iPad app, which plays audio clips of Partridge's broadcasts in between songs from users' own iTunes libraries. The app offers individual soundbites for specific artists if it recognises them on the device – "Keep your clubs away from his young, it's Seal!" for example – with a built-in Partridge Playlist directing fans to other songs with specific introductions on Apple's iTunes store. BBC Worldwide and Coogan's production company Baby Cow worked with British developer Touch Fantastic on the app, with the clips taken from the Mid Morning Matters web series.
6. Extended
B2. Explore the impact of Digital technologies on your three main texts. – TV Industry
Give overview of TV Industry. What is digital technology?
- The Wire
The American television industry has traditionally been a closed market dominated by a small number of national networks, making it quite difficult for innovative programming to find its way to the air. The 1980s and 1990s saw the rise of the multichannel era, with dozens of cable channels entering the marketplace and providing alternatives to traditional broadcast networks. Even though most of these channels were owned or purchased by the same corporate conglomerates that owned the networks, an effect of the multichannel era was to create alternative options for producers looking to place programs. Until the late 1990s, few cable programs directly matched the standard fictional fare of networks, with high-budget comedies and dramas clustered on networks while cable focused on cheaper non-fiction genres, like news, sports, how-to, and talk shows, alongside reruns and films. The lower production costs for programming meant that cable channels could turn a profit with lower ratings and less advertising revenue than networks, setting the standard that a cable “hit” had a far lower threshold of popularity than traditional television shows.
Home Box Office (HBO) premium channel, charging an additional subscription fee beyond the standard monthly cable or satellite bill; in exchange, HBO features no advertising (aside from its own internal promotions) and can include greater degrees of nudity, violence, and profanity than on network and basic cable programs. Note on BBC2 – (a home for less mainstream and more ambitious programming)
The Wire could have only emerged out of the world of premium cable (HBO – paid subscription), with its willingness for controversy, profanity, and a small but devoted audience. The show was also dependent on the particular context of television technology in the 2000s, making certain modes of viewership and fan engagement possible.
For HBO, the schedule has always been more flexible, as they regularly show the same program numerous times throughout the week; with the rise of digital cable, HBO multiplied into a number of sub-channels (like HBO2, HBO Comedy, and HBO Family), allowing a series to air dozens of times throughout the week and allow viewers to catch up at their convenience. The Wire also took advantage Video On Demand technology, with HBO making the later seasons available On Demand in advance of the regular schedule, as well as allowing viewers to binge of the archives of the show at their convenience.
The Wire‘s DVD sales certainly exceeded expectations given its overall low ratings on HBO. DVD viewing allows more flexible viewing, compiling a series aired over months or years into a more compressed timeframe, comparable to the collected publication of 19th century serial novels of Dickens or Tolstoy. DVD publishing also allows a series to be collected like literature and cinema, raising the cultural status of television programs.
Illicit technologies also allow the program to spread beyond the limits of HBO subscribers. File sharing software like BitTorrent or illegal streaming sites are filled with illegally shared copies of HBO series, enabling the shows to be watched without cost via computers. The Wire has another robust realm of illicit distribution – pirate DVDs of the series circulate in the urban undergroud economy. Reportedly, watching the show via these pirate copies has made the series a favorite amongst the African-American urban underclass who are portrayed on-screen.
Digital technologies also helped create a dedicated fanbase around The Wire. While the show did not get the mainstream press coverage of The Sopranos or Deadwood, a number of dedicated fans used blogs to promote the show and convene fan discussions, such as blogger Jason Kottke and online magazine Slate. Additionally, television critics have moved into blogging, with group critic blogs like The House Next Door and individual critics like Alan Sepinwall and Tim Goodman emerging as important advocates for the series online. These distribution and consumption technologies have enabled The Wire reach a broader audience than HBO’s ratings might suggest.
Shifts in the television industry and technology since the 1990s have enabled the creative possibilities of television to expand in interesting new ways that would have been unthinkable in earlier eras. The Wire fits into many of these trends, while also establishing its own norms and style.
shows typically avoided complex plot structures that required viewers to watch every episode in sequence to follow the story.
In many ways, The Wire is part of this trend of narrative complexity. The show is highly serialized, with each episode serving as a chapter in a much larger volume (Give example). No episode stands alone, and it is virtually inconceivable to watch the series out-of-order with any coherence. The story being told is quite complex, portraying a wide array of characters and asking viewers to follow along with complicated procedures and systems without spelling it out for them. Plot lines dangle for years, reemerging without notice or explicit exposition. Certainly a show like The Wire depended on the trails blazed in the 1990s to allow for its mode of long-form storytelling.
Whether the show will prove to yield a new branch of possibilities for television creativity, or be remembered as a truly unique exception to the norms of the medium, there is no doubt that The Wire stands as an exceptional peak within the terrain of fictional television.
- DST – Dirty Sexy Things
Hand-Held Camera – to aid realism and common convention of reality TV, brought about by changes in technology – Camera’s getting smaller, lighter, fit small spaces- appeal to voyeuristic audiences
Betty TV - Production company Betty – which makes "modern and high-quality popular formats and factual television series", such as The Joy of Teen Sex and Freaky Eaters & DST
Whitey slams TV company, speaking out against the refusal to pay artists. An angry email from the electronic artist, who is 'sick to death' of the industry's 'culturally ingrained disdain', has gone viral the response suggests that the firm had asked the musician to provide a licence, and claimed that Betty had "no budget for music" – Link to independent to conglomerates – money to fund. Whitey's email, which laments the industry's "culturally ingrained disdain for the musician", has since gone viral, with thousands of shares and likes on Facebook and retweets on Twitter voicing a growing dissatisfaction among artists who feel abused by the television industry.
Can watch DST – 4OD/ E4 catch up – Allows audiences flexibility – more viewers, link to change Digital technologies – ‘event television’ – (watching as broadcast).
Nature of Catch up - stand alone episodes eg. We see in episode Jay gets drunk but missed intro where Jay talks about eating disorder but now we can catch up – link to B+K – audience personal relationships.
On E4 website – learn more about the characters – again Uses & Grats personal relationships – building fan base.
Social media - Water cooler television - generating excitement – Build fan base – global nature. Follow on Twitter – what are they doing now?
- Alan Partridge KMKY-
the BBC ident is foregrounded in the first frame, offering audiences ‘promises of pleasure’ in terms of production values – CGI and graphics – link to codes and conventions of chat shows
Star marketing – Alan Partridge as a brand – helped by Internet (BBC iplayer/ Netflix– ‘Hacked Off’ – spoof email, midmorning matters (web show) many more available on the net helps to introduce KMKY to a new younger audience as generally targeted at older audience – reference to elements of show? And for others to revisit
Extend – Comment on BBC remit to sponsor new talent but produced by conglomerate – Talkback, Freemantal, RTL, Bertlsemann media – issues? Ownership? Not made by BBC but choosen by BBC/ or helped Talkback as provent product with established audience determined by BARBS –(uses set top boxes in homes to measure audiences) and Success of ‘On the Hour’.
Conclusion – main points, Marshall McLuhan – Media is the message – TV.
7.
The film was the featured 'opening night' selection at the 46th New York Film Festival in 2008. The film appeared on many critics' top ten lists of the best films of 2008.
And generally you can talk about DVD/ watch online - Very important Marshall Mcluhan – ‘the global village’ – changes in technology allowing globalization.
8. How global are your texts? / Global appeal - TV Industry
7.
How global are your texts? / Global appeal - Film industry
SNSM –
consider extent - Somewhat…why non UK audience might like/ not like? - Social realist themes/ surveillance/ accent/ etc
Film industry at the time – not able to be as global as it is now…use of internet etc. – distribution - Bryanston films distributed several films made by Woodfall Film Productions – British distributor – lack of global?
Film regulations – restrict global – Hays code – would they have shown it widely at the time?
Other things -
Critical success – helps to market the film to help global - Saturday Night and Sunday Morning (1960) is the 'new wave' film which has most preserved its reputation with modern critics. Added to critical support at the time and its massive - and unexpected - box office success, it has some claim to be the most significant of the films of this period. The film was a popular success and earned over half a million pounds in profit.
Albert Finney's performance is a defining one in British film culture (surveillance for audiences). His swagger dominates the film and, for all Arthur's self-regard, he takes us with him every step of the way.
Popular culture references
Referenced in other medias especially music – The film is the origin for the title of the debut album of indie rock band Arctic Monkeys, Whatever People Say I Am, That's What I'm Not. Through them they have global appeal so audience can revisit online/ DVD
Awards BAFTA Awards 1961
Won
BAFTA Film Award Best British Actress - Rachel Roberts
Best British Film - Karel Reisz
Most Promising Newcomer to Leading Film Roles - Albert Finney
Mar del Plata Film Festival 1961 - Argentina
Won
Best Actor - Albert Finney
Best Film - Karel Reisz
FIPRESCI Prize Karel Reisz
National Board of Review, USA 1961
Won
NBR Award - Top Foreign Films
Best Actor - Albert Finney
Fish tank
Similar as above
Critical reception The film currently holds a 90% "certified fresh" rating on Rotten Tomatoes based on 132 reviews.[9] The New Yorker's David Denby writes, "Fish Tank may begin as a patch of lower-class chaos, but it turns into a commanding, emotionally satisfying movie, comparable to such youth-in-trouble classics as The 400 Blows".[10]
Box office Fish Tank was released domestically on 11 September 2009 taking £103,180 on its first weekend[11] and a total of £332,488. As of 15 June 2010, the film earned $374,675 in the United States and $1,612,034 elsewhere, bringing the worldwide total to $1,986,709.
Distributed by IFC Films is an American film distribution company based in New York, an offshoot of IFC owned by AMC Networks. It distributes independent films and documentaries under the IFC Films, Sundance Selects and IFC Midnight brands. It operates the IFC Center.
The class
Distributed by Sony Pictures Classics is an art-house, "independent" film division of Sony Pictures Entertainment – vertical integration of Sony part of the big 3- allow global
The film received the Palme d'Or at the 2008 Cannes Film Festival,[3] making it the first French film to do so since 1987 – create global interest
Appeal in relatable theme of school – global
Appeal to French audience and through post colonialism French speaking countries?
Language/ social realist – not so much appeal outside art house culture
The film has received critical acclaim, achieving a 97% rating at Rotten Tomatoes. Metacritic lists Entre les murs with a rating of 92, making it one of the best reviewed films of the year according to the website.
And generally you can talk about DVD/ watch online - Very important Marshall Mcluhan – ‘the global village’ – changes in technology allowing globalization.
8. How global are your texts? / Global appeal - TV Industry
The wire - channel FX markets wire to UK, Fox Rupert Murdock, media conglomerate – ease of global
Issues – global issues – messages
Worldwide success – critical acclaim – quotes
Box sets, DVD, Internet allowing global
DST –
Focus of modelling industry – global interest – shoots in Iceland, Paris
Reality TV now draws in biggest audience worldwide – dumbed down audience? Hot and Cold media
E4/ 4od – watch online allow global
Twitter – follow the contestants
Alan P KMKY –
Abba - The key cultural touchstone to understanding Alan Partridge. – Theme tune
Well known in UK – does it translate well abroad? will Partridge be too British, or, perhaps, too absurd—for American audiences to appreciate. Or is there now more of a shared sense of humor on both sides of the Atlantic? -
Film global – Alpha Papa – Alan as a brand
Steve Coogan thinks the arrival of the new film in the U.S. could possibly lead to Partridge developing into a big phenomenon in America. He says: “I think potentially it could. British characters have done well before. John Cleese of Fawlty Towers was well-liked in America. Monty Python against all the odds managed to find an audience in America, almost specifically because of its peculiar Britishness.”
Top Gear very global – awareness of issues of racism? Political interest of him in his representation of issues
"I am delighted to announce that after years as a regional broadcaster on North Norfolk Digital my groundbreaking radio segment, Mid Morning Matters, will now be accessible to a potential audience of billions via the World Wide Web (www). (Developments in technology in Industry) – This is the same with the programme KMKY on Netflix/ online
BBC – ‘worldwide prestige’ – logo, Iannucci says…
Star marketing – Alan Partridge as a brand – helped by Internet (BBC iplayer/ Netflix– ‘Hacked Off’ – spoof email, midmorning matters (web show) many more available on the net helps to introduce KMKY to a new younger audience as generally targeted at older audience – reference to elements of show? And for others to revisit
9. Importance of the internet to your chosen texts - TV industry
Overview industry and effect of Internet -
the impact of convergence – the way the internet, has affected production, distribution and audiences/users, particularly the potential for users to become ‘participative’ producers
The Wire -Important as unconventionality of wire (eg. mainly black cast)– the need for a wider audience easier online – Marshall McLuhan – global village
As more television viewers choose to watch their favourite shows on "catch-up services" or by recording whole series in bulk, American online distributors are planning a revolution in the way we are presented with high-quality drama. These shows are affecting the way much of the public watches television – Audience effect
The Wire is ideal for repeated viewing because things are happening on multiple levels. Therefore, students are required to purchase the first season on DVD/ online (link to illegal downloading – debate)
American online programme services such as Netflix – along with rival providers Facebook, Yahoo, Amazon, YouTube and Hulu – are moving to capitalise on the fact that the most popular shows being streamed on their sites are drama series.
"Maybe we will start to premiere multiple episodes so you can do the binge-watching from day one," Ted Sarandos, head of content for Netflix, suggested.
60% of the filmed content viewed on these sites are television programming and that shows such as The Wire are top of the popularity poll.
As a result, companies started to buy series directly from the producers and distributors who financed them: cutting out the TV networks and cable channels.
EG. Amazon buys the wire
DST –
E4/ 4od – watch online allow global – to reach the youth audiences targeted – they are more internet savvy. – importance of
On E4 website – learn more about the characters – again Uses & Grats personal relationships – building fan base.
Social media - Water cooler television - generating excitement – Build fan base – global nature. Follow the contestants – personal relationship Follow on Twitter – what are they doing now?
Change in viewing habits - now can watch whenever online - issues of regulation - young children can access - moral panics of them watching show like this - beauty myth, sexualiation of children debate?
Alan partridge -
iplayer/ Netflix
hacked off – email – marketing of characters’ persona – leading to brand awareness. Same for multitude of Alan stuff online. - global
Conclusion – main points, Marshall McLuhan – Media is the message – TV.
10. Importance of the internet to your chosen texts - Film Industry
10. Importance of the internet to your chosen texts - Film Industry
Not big budget Hollywood films (expand on Hollywood v. British film industry) and social realist generally lower budgets, so by using the internet use more innovative marketing and cheaper than traditional marketing. Internet mostly promotional tool for films but can watch online too.
SNSM – not as important – when released no internet traditional marketing. But considered most important film of the time (A classic!!!) – Marxist – new audiences can watch online.
Fish tank –targeted a primary audience of ABC1 middle class, male and female, 35-55, individualists and aspirers, educated with significant cultural capital and knowledge of the genre, those interested in British Film. Artificial eye used Marketing schemes such as ‘viral marketing’- Innovative social media in promotion of the film to target new social realist audience – locals identify locations, new youth audience not typical of British social realist fans.
Website - reviews, interviews and trailers –reviews and online sources were the top features in how people discovered the film ‘Fish Tank’.
Fish Tank is on Netflix
Online trailers/ promotion/
The class –
Good reviews online – leading more audiences to the film
Online trailers/ promotion - youtube
It is not without intent that one of the bright Internet-savvy kids in the film brings up the subject of Plato’s Republic into discussion, but then the intelligent viewer is forced to recall that teaching for Aristotle’s own students centuries ago was democratic and peripatetic. Begaudeau the teacher is flummoxed and that’s precisely what Cantet the director of the film stresses to the viewer—the very quality (and process) of imparting knowledge today is dissected.
11. Marketing strategies - TV industry (brief notes)
11. Marketing strategies - TV industry (brief notes)
The Wire– advert with idris on Sky for Sky on demand – “the daddy of them all’
HBO’s Character-Driven Marketing Wire
HBO has seen above-average interaction on their social networks by sharing content that stokes the repetition of memorable quotes and spurs the adoration of the fan base for each individual character, rather than simply promoting the show at large
celebrating the birthdays of their shows’ star actors. This tactic is essentially a free version of NATIVE ADVERTISING; amongst all the birthday Facebook posts for your friends, there is a birthday post for your favorite television character.
The wire website – interviews, join facebook/ twitter, newsletters, forums
Posters/ trailers - traditional
scheduling and channel - BBC2 innovative / poor time slot adding to cult hit (few in the know!)
Merchandise - Monopoly board, t shirts
Link to many many many Wire events - http://www.borderline-productions.com/TheWireHBO/events.html
The Wire was based on the lives of real gangsters. The Avon Barksdale Story (A Book) is the first to chronicle the actual lives of these real people. Barksdale’s real name, Nathan Avon Barksdale, and his nickname, “Bodie,” were both used in the series as composite characters.
Alan P –
Alan Partridge - Tie and Blazer Badge (official BBC merchandise)
Website
Hacked off
Film
Mash ups – user generated content
DST –
Rimmel Make up – sponsors
E4/ C4 – cross promotion of programmes - horizontal integration
Website – Interviews with cast - elements of hyperrealism
Official twitter
12. Audience questions appeal/ attract/ respond - TV industry
Dirty sexy things - Brandon
12. Audience questions appeal/ attract/ respond - TV industry
Audience Answer - KMKY
The humour isn’t obvious; to the casual observer it might seem that a talk show has gone badly wrong, or a presenter has lost control. But the studio audience’s laughter suggests that the mistakes are intentional, that the time-honoured conventions of the archetypal ‘chat show’ are being parodied and mocked by Steve Coogan.
This ironic look at the conventions we have become used to – the gleaming presenter who’s always happy, informed and witty – suggest a level of comedy beyond the obvious; requiring an understanding of the existing chat-show sub-genre and all its conventions. For this reason it could be claimed the audience is somewhat sophisticated, perhaps aware of a time (70s, 80s) when such shows were common, and presenters such as David Coleman and latterly, Richard Madely (Richard and Judy - ITV/ Channel 4) made the odd mistake, which might be quickly and hurriedly hidden.
Steve Coogan has recognised the comic aspect of these moments of awkwardness; when there is a juxtaposition between what is required of the chat show format, and what actually occurs due to lack of preparation, bad luck or – more importantly – a certain human aspect to the character of Alan Partridge. It is this human aspect that allows the audience to identify and empathise with his character.
In the act of deriding the chat show conventions, it could be argued that he is also attacking the Saturday night, working class diet of falsified entertainment, removing the mask and providing a Post-Modern view of the workings of the TV light entertainment industry. Does this mean he is mocking those of us who enjoy and buy into the idea of the light entertainer? Or has the audience as a whole become more sophisticated?
The references to Abba, the age of Partridge, the unfashionable sweaters all point to a mid thirties audience at the time of production (early nineties); but the audience have remained loyal throughout the three further series, and remain constant through his character’s gradual decline from TV, to local radio, to North Norfolk internet radio spot – not far from the very place Alan Partridge started – On The Hour.
The Wire - B1. Explore the different ways in which audiences and/or users respond to your chosen text
Audiences can respond in many different ways to a text and as quoted by Stewart Hall’s encoding and decoding theory, all texts are ‘Polysemic’, meaning they have many meanings; this can applied to my Television texts.
The Wire is a stereotypical police drama set in Baltimore, which follows the story of detective Jimmy McNultys case to find the murder of Snotboogie, which is of course D’angelo Barksdale, a local drug dealer and convict. Episode one offers a meta-narrative within it as it does not focus on the hero or anti-hero, making it a diverse multi layered narrative making the reader active. The narrative links in with Barthe’s theory of Erotics of textual criticism and can be seen to be a text that is hard for audiences to watch passively as it focuses on a community of characters who’s narratives are intertwined, showing a multi-perspective narrative. This allows the viewer to respond in many ways as it shows the point of view of many characters.
According to Stewart Hall’s encoding and decoding theory the preferred response of the audience is that they enjoy the program and understand its situation, the negotiated response would be that they would not particularly enjoy the text however they would understand most aspects and also the oppositional reading would be the idea that the audience would not like or understand the text at all. Nevertheless, HBO or Home box office has a reputation for producing high quality TV, mainly drama and experimental TV which allows for the culturally elite and intellectuals to be engaged. Therefore, due to it targeting the ABC1 audience that audience may respond to the text in a much more acceptable and welcoming way than a lower class uneducated audience as the narrative structure may be too complex for them. This can however then lead to the uses and gratifications theory, which was created by Blumber and Katz as it could be read by an audience and they may respond to it in the terms of it being diversion and escapism as a way of seeing it as being a world better than their own which would not apply due to the fact it is in a run down part of Baltimore where it overall represents and gives the audience the interpretations that the USA is corrupt. However, users/audiences may respond via social interactions as it allows them to engage in a conversation for example “did you see the wire last night?” and also could allow them to respond in the terms that it gives a new way of presenting or viewing the world e.g. ruins the American dream and makes America seem like a bad place. The audience may respond to this text in a way of which they find it unacceptable and offensive due to negative representations of America and Abusive language, however OFCOM would reject these complaints as they say offense is permissible to a certain extent and it must be ‘justified by the context’ which it is as it’s modern day America and is exhibited at 12 so is shown where it lessens offense.
‘The Wire’ itself is a crime genre set in Baltimore USA where the majority of its inhabitants are working/lower class black drug dealers in their teens or at school. I found ‘The Wire’ particularly difficult to watch due to me relating to no personal identity within the programme. I took a very oppositional reading and found myself watching passively as an 18-year-old English white student rather than a white middle-aged male which is ‘The Wire’s’ target demographic. ‘The Wire’ has now become a cult programme with box sets now available in stores such as HMV after being shown late into the night on BBC 2. The programme has developed a large cult following through ‘word of mouth’ and critical acclaim via its appeal and constant referencing by TV presenter Charlie Brooker on ‘Screenwipe’ and The Guardian.
Clearly hitting a more highbrow audience has led to many awards for its challenging narratives and non-stereotypical character constructions. Indeed many of the characters overturn familiar crime conventions by using non-actors who have really experienced the situations that the programme depicts. Its writers too have generally experienced these real-life situations which make the events much more authentic. In the episode that I watched (Season 4 Ep 1) very little actually happened, the dominant criminal character Omar, in the pre-credit sequence, was seen in bed with another male (a clear indication of challenging stereotypes in this genre). He left his house wearing pyjamas and went to local store to get breakfast cereal, therefore creating an enigma. The expectation was that he would encounter trouble or violence, a typical convention of the genre, but this didn’t occur. My response was disappointment, but the target audience would have appreciated this break with convention as more active viewers.
Dirty sexy things - Brandon
13. Attract audience, genre conventions, marketing strategies - Notes
No comments:
Post a Comment