SlideShare a Scribd company logo
1 of 37
Download to read offline
Industry
TV
The TV industry
• John Logie Baird’s first demonstrated the
ability to transmit moving silhouette images in
1925
• We now have fully integrated internet and
Web 2.0 features on gigantic plasma screens
the size of a whole wall
• Connected TV seems to be the future,
• HD and 3D is already established.
• The TV has always held pride of place in our
living rooms with furniture arranged to
accommodate its importance.
• B4 TV this was the same for the wireless.
• On November 2nd, 1936 the BBC began
broadcasting from Alexandra Palace and lays
claim to be the ‘birthplace of television’ while the
technology became popularised with audiences
in the United States at the 1939
• America at the forefront of the technology and
TV became more popular in American homes in
the 1950s than in UK homes as we saw cinema as
the primary audio visual culture.
• Television was and remains attractive for
advertisers who see the medium as an
exciting, lucrative and high production way of
reaching audiences.
TV in the UK
• BBC is a non commercial television channel and
was the first UK broadcaster in 1936, closing
during the war years but reopening in 1946
• Public Service Broadcasting - funded by the
licence fee
• 1955 - ITV the first commercial broadcaster
launched
• BBC2 launched in 1964
• Channel 4 in 1982 and Channel 5 as the final
analogue broadcaster launched in 1997 before
channel digitisation.
Ideology
• TV has provided clear divisions of social class
• the BBC more associated with middle class viewers
• ITV known for its popular culture, entertainment
output consumed by primarily working class audiences
• BBC2 offers more ‘high brow’ cultural output
• Channel 4’s original aim was to broadcast
challenging, minority interest programming
• Channel 4 today has become more mainstream after
broadcasting the first Big Brother in 2001 and
acquiring This Morning from ITV in 2001, rebranding
the programme as Richard and Judy.
• Channel 4 still offers a range of programming
and has extended channels: Film4, E4, More4
and 4Music
• As well as some innovative programming
appealing to 18-35, ABC1 target audiences it
also includes Shipwrecked, Embarrassing
Bodies and The Undateables which illustrates
Channel 4 embracing the
voyeuristic, exploitative explosion of Reality
TV programmes over the last 10-15 years.
Section B
• Explore the impact of digital technologies on
your selected industry.
TV and new technology
• TV dominates our culture
• It’s a source of information, entertainment, a social
activity, an asset and even a danger
• Marshall McLuhan looked at the ways in which
communication technologies developed in relation to
one another and our needs – The Tetrad (4 Q’s)
• What will it enhance?
• What will it impair?
• What will it recover/rejuvenate?
• What will it make obsolete?
Is TV obsolete?
• TV should have become obsolete because the
following have become affordable:
• Home PC’s
• Films and TV on demand
• Games machines
• Mobile phones
• Personal recording devices – Sky+
• The internet
Convergence
• In order to maximise profits media companies
will work together
• The ultimate ideal would be for the consumer
to use one technology for all their media
needs
• What we watch on TV is not always what is
aired – Sky+, computer games, DVD’s, internet
etc.
The future of TV
• How do we use TV?
• Structural users: to satisfy needs – Uses and
Gratifications theory. Audiences have a direct
relationship with programs
• Rational users: use TV as a regular social
ritual, how it fits into the home routine. The
relationship between viewer and programme is
indirect
• It is the rational user who has become significant
in broadcasting schedules and innovations like
the Wii.
The family & TV
• Due to the many different media available it was
thought that the family bond with TV would end
• Fragmentation – theory that multi channel TV
and all the possibilities for personalised viewing
would inevitably undermine the mass audience
• The extinction of PSB & high quality TV
• The end of the mass audience sharing significant
experiences ‘Live’
• The destruction of the family – each member
retreating to their own personal viewing space
Exam Question Section B
• Explore the impact of digital technologies on your
selected industry
• Answers:
• Explore the range of different ways of accessing TV
programmes
• TV’s are no longer only used to watch
programmes
• The concept of convergence and theories of
Fragmentation
• The impact on the mass audience and niche
marketing
X Factor
• Created to Entertain and amuse the national
demographic (MASS)
• A direct response to the theory of Fragmentation
• A reflection of the active audience and a
democratic society as we have the chance to vote
• Despite it being a search for talent there is always
1 act that is used for comedy to allow for variety
X Factor and the mass audience
• In 2009 X factor built an audience following over
12 weeks that peaked to 19 million viewers of the
live final.
• Different responses:
• Some though it had homely charm
• Others thought it was mass manipulation
• Either way it was nothing new – Search for a
Star, New Faces, Opportunity Knocks going back
as far as the 60’s
Interactivity
• This is the new key to success
• Not just phoning in but interacting with each
other
• The wii is an example of getting the family to
interact – this myth was presented in their
marketing which created desire/hope/fear
and guilt of this imaginary ideal
WWW.
• The X factor uses no end of ways to connect
with the audience:
• Sms
• Blogs
• Phone ins – The extra Factor
• Website
• The web was also a negative for the show
when an internet campaign made Rage
Against the Machine number 1 in 2009
X Factor
•
•
•
•
•
•
•
•
•

What do we know about X Factor
Genre
Narrative
Representation
Audience
Production
Marketing
Regulation
Distribution/Global implications
Genre and ideology
• X Factor is a reality TV programme
• It attempts to turn an ordinary person into a pop star through its talent
contest narrative.
• It reflects the ‘American Dream’ ideology in the way that it can turn
people’s lives from ‘rags to riches’.
• Genre conventions :
• ordinary people trying to make their lives better,
• high production values which includes viewing luxuries such as flashy
lights, extravagant camera angles (such as Birdseye), special effects, and
celebrities.
• The X Factor has influenced the typical representation of other talent
shows ever since, so this would include the Two Step Flow theory as the
X Factor has acted as an opinion leader, and has set down the modern
conventions for reality talent shows.
• How does The X Factor compare to BGT?
• TV scheduling was all about fixing
programmes around audiences routines
• trying to keep us fixed to a single channel by
offering a variety of genre texts at certain
times
• Now texts are commercially endorsed and
experienced ‘any time, any place, any where’
• Henry Jenkins calls it ‘trans-media storytelling’
Dr Who revival
• Perfect example of convergence – becoming a
franchise
• Accessible through genre repetition but now
• through the website
• Sticker books,
• action figures etc. etc. etc.
Torchwood
• Torchwood is a Science Fiction TV Drama
created by Dr Who Executive Producer Russell
T Davies.
• Torchwood is a sub genre of TV Drama
because it follows the conventions of many TV
Dramas but has tweaked the representations
to give it a Science Fiction feel.
• Davies wanted to develop an Americanised
drama like Buffy the Vampire Slayer and
Angel but with clear linking to Doctor Who
• Captain Jack Harkness appeared several times
in Doctor Who as a time traveller.
• ‘Torchwood’ is an anagram of Doctor Who.
• Both Torchwood and Doctor Who use CGI
special effects, elaborate built sets, on
location shooting, multiple camera
technology, ensemble cast and high
production value sound
The cast
• The cast are alien-hunters who are based at the Cardiff
branch of the Torchwood Institute
• the first three series were filmed by BBC Wales in and
around the Cardiff.
• some of the actors have South Wales accents
• they use iconic Cardiff locations like Tiger Bay.
• Initially broadcast on BBC3 but moved to BBC2 and
BBC1 because of the critical and commercial success it
received
• The BBC often use BBC3 to trial programmes because
of its less mainstream target audience and lower
audience figures.
Global impact
• The fourth series attracted American investment
through Starz who are a Premium Subscription
Channel.
• This co-production with BBC1 saw even higher
production values and the ability to sell what can
be a fast paced, action based series to American
audiences.
• Torchwood is much more ‘Americanised’ in its
content and attracts an older target audience as
well as existing fans of Doctor Who
Genre
• Torchwood also borrows codes and
conventions of Crime Drama and has an
investigative narrative.
• High production values are evident : CGI and
aerial shots
• intertextual references to CSI & Spooks in the
layout of their headquarters but also with the
continuous referencing of new technology.
Representation
• Female empowerment is represented
• However there is a male hierarchy
• 2 strong female characters would initially
suggest a more pluralistic (diverse)
representation but both are framed for the male
gaze and are seen to be more in touch with their
emotions.
• Examples? Gwen and The Chinese woman
• Men are more physically dominant and logical reflecting the
cultural stereotype
• like many action based TV Dramas the central protagonist is
a dominant male.
• The programme has a young male and female
aspirational, 16-35, urban and city living target audience
• Rather than the younger secondary target audience of
Doctor Who.
• In the opening sequences the team are seen to walk together
in slow motion anchoring their enigmatic status.
Audience Appeals
•
•
•
•
•
•
•
•
•
•
•

narrative predictability - Three act structure
Act One ‘the problem’, settings, location and characters
Act Two narrative chain of cause and effect (development)
Act Three resolution - the problem is always resolved or at least understood
by the team.
Science Fiction, popular with mass audiences who enjoy the idea of the
unknown, futuristic technology and life on other planets.
Narrative enigmas ensure the audience questions: who, what, why and
when
narrative action codes borrowing from the action genre.
multi stranded narrative - each character having their own storyline, helps
audience identification with a character
exaggerated hyper real representations,
familiar running time (60 minutes),
deliberate use of binary oppositions to construct meaning and a reputation
for quality and pedigree like Lost, Lie to Me, and 24.
• the BBC ident is foregrounded in the first
frame, offering audiences ‘promises of pleasure’
in terms of production values
• well researched script
• star marketing – John Barrowman
• Torchwood is pure escapist entertainment
• an older target audience will enjoy more graphic
violence than in Doctor Who and will appreciate
the production values.
• Intertextual references to Dr Who
• Cultural Capitol of Cpt. Jack (prior knowledge of
Dancing on Ice etc.)
• Captain Jack–is a former con man which
allows audiences to understand him as an anti
hero
• scheduled post watershed gives the
production team some flexibility in developing
challenging narratives.
• John Barrowman appeals to British and
American audiences as a result of his dual
nationality
• narrative themes of sexuality - Diversity
• It has its own spin offs including Torchwood
Declassified
• online interactivity - an elaborate interactive
website with links to alternative sites.
• Torchwood Magazine and mini episodes on
mobile phones,
• an alternative reality game show (via the
website),
• podcast commentaries, interactive
adventures, video blogs and other interactive
online games.
• Convergence very much apparent in Torchwood
with particularly younger audiences invited to
interact with the programme on a number of
digital platforms.
Torchwood Series 3 Children of Earth
• It was shown on prime time BBC 1 for 5
consecutive nights
• This was attempting the 24 series model
where events occur in real time but going for
5 days
• Usually texts like Silent Witness only go for
two consecutive nights
Peep Show
• Is very unique – despite receiving critical
acclaim has always had quite low rating
figures
• By the 6th series ratings rose which could
partly be to do with aiming at an earlier 10pm
slot – DVD sales have always been good
• The stylistic creation of storytelling through
constant POV is both its success and down fall
in finding a wider audience
Todorov
• Argued that “a world without a theory of
genre was unthinkable since genre integrates
the reader into the world of the characters
and prepares us for a certain kind of reading’
• In other words genre reduces the complexities
of texts and makes them accessible to us.
• Peep Show hardly has a genre identity but it’s
style and character identities help it to be
received.
Q. How do your chosen texts use
genre conventions?
• Or How do your chosen texts use narrative
conventions?
• Consider which texts you would use for either
of these questions – is TV the best industry
here?

More Related Content

What's hot

G322 film industry revision
G322 film industry revisionG322 film industry revision
G322 film industry revisionMrSouthworth
 
Institutional research
Institutional researchInstitutional research
Institutional researchsaskiaella17
 
Luther - MS4 WJEC Media Case Study- Industry and Audience
Luther - MS4 WJEC Media Case Study- Industry and AudienceLuther - MS4 WJEC Media Case Study- Industry and Audience
Luther - MS4 WJEC Media Case Study- Industry and AudienceElle Sullivan
 
Bluestone 42 booklet
Bluestone 42 bookletBluestone 42 booklet
Bluestone 42 bookletJDunn43
 
G322 film industry revision
G322 film industry revisionG322 film industry revision
G322 film industry revisionroedogg71
 
The Inbetweeners
The InbetweenersThe Inbetweeners
The Inbetweenersjwright61
 
Reality TV Marketing Opportunities for the Marine Industry: How to Harness Au...
Reality TV Marketing Opportunities for the Marine Industry: How to Harness Au...Reality TV Marketing Opportunities for the Marine Industry: How to Harness Au...
Reality TV Marketing Opportunities for the Marine Industry: How to Harness Au...Julie Perry
 
Online film & tv
Online film & tvOnline film & tv
Online film & tvGDBrew
 
Film4 revision
Film4 revisionFilm4 revision
Film4 revisionksomel
 

What's hot (15)

G322 film industry revision
G322 film industry revisionG322 film industry revision
G322 film industry revision
 
Institutional research
Institutional researchInstitutional research
Institutional research
 
Film case studies
Film case studiesFilm case studies
Film case studies
 
101 ch12
101 ch12101 ch12
101 ch12
 
G322 case study working title Case Stu
G322 case study   working title Case StuG322 case study   working title Case Stu
G322 case study working title Case Stu
 
Luther - MS4 WJEC Media Case Study- Industry and Audience
Luther - MS4 WJEC Media Case Study- Industry and AudienceLuther - MS4 WJEC Media Case Study- Industry and Audience
Luther - MS4 WJEC Media Case Study- Industry and Audience
 
Bluestone 42 booklet
Bluestone 42 bookletBluestone 42 booklet
Bluestone 42 booklet
 
Current issues
Current issuesCurrent issues
Current issues
 
G322 film industry revision
G322 film industry revisionG322 film industry revision
G322 film industry revision
 
The Inbetweeners
The InbetweenersThe Inbetweeners
The Inbetweeners
 
Reality TV Marketing Opportunities for the Marine Industry: How to Harness Au...
Reality TV Marketing Opportunities for the Marine Industry: How to Harness Au...Reality TV Marketing Opportunities for the Marine Industry: How to Harness Au...
Reality TV Marketing Opportunities for the Marine Industry: How to Harness Au...
 
A field in england case study
A field in england case studyA field in england case study
A field in england case study
 
Online film & tv
Online film & tvOnline film & tv
Online film & tv
 
Film4 revision
Film4 revisionFilm4 revision
Film4 revision
 
G322 Section B Shifty Case Study
G322 Section B Shifty Case StudyG322 Section B Shifty Case Study
G322 Section B Shifty Case Study
 

Viewers also liked

A2 Media Studies Revision Pack
A2 Media Studies Revision PackA2 Media Studies Revision Pack
A2 Media Studies Revision PackAndy Wallis
 
A2 Media Studies Booklet 2015
A2 Media Studies Booklet 2015A2 Media Studies Booklet 2015
A2 Media Studies Booklet 2015Kate McCabe
 
X Factor for Media
X Factor for MediaX Factor for Media
X Factor for MediaAmiii264
 
A2 Media - MS4 past questions
A2 Media - MS4 past questionsA2 Media - MS4 past questions
A2 Media - MS4 past questionsElle Sullivan
 
An analysis of the ‘fish tank’
An analysis of the ‘fish tank’An analysis of the ‘fish tank’
An analysis of the ‘fish tank’Georgia Grant
 
Social Media Today - Week 11 - Video Games and Social Media - Kyle Moody
Social Media Today - Week 11 - Video Games and Social Media - Kyle MoodySocial Media Today - Week 11 - Video Games and Social Media - Kyle Moody
Social Media Today - Week 11 - Video Games and Social Media - Kyle MoodyKyle Moody
 
British Tv Drama
British Tv DramaBritish Tv Drama
British Tv Dramanoblere
 
This is England booklet
This is England bookletThis is England booklet
This is England bookletJDunn43
 
This is england revision
This is england revisionThis is england revision
This is england revisionsmagdeburg
 
A2 media studies Audience theories
A2 media studies Audience theoriesA2 media studies Audience theories
A2 media studies Audience theoriesCurrtizz
 
The use of Crossmedia in X Factor (Denmark 2011)
The use of Crossmedia in X Factor (Denmark 2011)The use of Crossmedia in X Factor (Denmark 2011)
The use of Crossmedia in X Factor (Denmark 2011)zabaki
 
Target audience and genre research
Target audience and genre researchTarget audience and genre research
Target audience and genre researchwillsharp9795
 
Lost, How does it attract its audience?
Lost, How does it attract its audience?Lost, How does it attract its audience?
Lost, How does it attract its audience?christimothy12
 
Skyfall Lesson 3 - representation
Skyfall Lesson 3 - representationSkyfall Lesson 3 - representation
Skyfall Lesson 3 - representationElle Sullivan
 
Mark Scheme - Media Studies AS Level
Mark Scheme - Media Studies AS LevelMark Scheme - Media Studies AS Level
Mark Scheme - Media Studies AS LevelElle Sullivan
 
This Is England
This Is EnglandThis Is England
This Is EnglandM Taylor
 
Wk 7 – The invention of television
Wk 7 – The invention of televisionWk 7 – The invention of television
Wk 7 – The invention of televisionCarolina Matos
 
Synopsis research
Synopsis research Synopsis research
Synopsis research morgz11
 

Viewers also liked (20)

A2 Media Studies Revision Pack
A2 Media Studies Revision PackA2 Media Studies Revision Pack
A2 Media Studies Revision Pack
 
A2 Media Studies Booklet 2015
A2 Media Studies Booklet 2015A2 Media Studies Booklet 2015
A2 Media Studies Booklet 2015
 
X Factor for Media
X Factor for MediaX Factor for Media
X Factor for Media
 
A2 Media - MS4 past questions
A2 Media - MS4 past questionsA2 Media - MS4 past questions
A2 Media - MS4 past questions
 
A2 media exam
A2 media examA2 media exam
A2 media exam
 
An analysis of the ‘fish tank’
An analysis of the ‘fish tank’An analysis of the ‘fish tank’
An analysis of the ‘fish tank’
 
Social Media Today - Week 11 - Video Games and Social Media - Kyle Moody
Social Media Today - Week 11 - Video Games and Social Media - Kyle MoodySocial Media Today - Week 11 - Video Games and Social Media - Kyle Moody
Social Media Today - Week 11 - Video Games and Social Media - Kyle Moody
 
British Tv Drama
British Tv DramaBritish Tv Drama
British Tv Drama
 
This is England booklet
This is England bookletThis is England booklet
This is England booklet
 
Audience
AudienceAudience
Audience
 
This is england revision
This is england revisionThis is england revision
This is england revision
 
A2 media studies Audience theories
A2 media studies Audience theoriesA2 media studies Audience theories
A2 media studies Audience theories
 
The use of Crossmedia in X Factor (Denmark 2011)
The use of Crossmedia in X Factor (Denmark 2011)The use of Crossmedia in X Factor (Denmark 2011)
The use of Crossmedia in X Factor (Denmark 2011)
 
Target audience and genre research
Target audience and genre researchTarget audience and genre research
Target audience and genre research
 
Lost, How does it attract its audience?
Lost, How does it attract its audience?Lost, How does it attract its audience?
Lost, How does it attract its audience?
 
Skyfall Lesson 3 - representation
Skyfall Lesson 3 - representationSkyfall Lesson 3 - representation
Skyfall Lesson 3 - representation
 
Mark Scheme - Media Studies AS Level
Mark Scheme - Media Studies AS LevelMark Scheme - Media Studies AS Level
Mark Scheme - Media Studies AS Level
 
This Is England
This Is EnglandThis Is England
This Is England
 
Wk 7 – The invention of television
Wk 7 – The invention of televisionWk 7 – The invention of television
Wk 7 – The invention of television
 
Synopsis research
Synopsis research Synopsis research
Synopsis research
 

Similar to A2 Media Studies, MS4 exam prep tv

Media and the public Sphere
Media and the public Sphere Media and the public Sphere
Media and the public Sphere DawitDibekulu
 
Crime documentary and institution
Crime documentary and institutionCrime documentary and institution
Crime documentary and institutionAubert Cavallo
 
Humans industry
Humans industryHumans industry
Humans industryMsJMcLeod
 
Part 4 media and the public sphere
Part 4 media and the public spherePart 4 media and the public sphere
Part 4 media and the public spheremsmashaelaltamami
 
Part 4 media and the public sphere
Part 4 media and the public spherePart 4 media and the public sphere
Part 4 media and the public spherenmbinq
 
Mass Media and Society Chapter 9: Television
Mass Media and Society Chapter 9: TelevisionMass Media and Society Chapter 9: Television
Mass Media and Society Chapter 9: Televisionczavisca
 
Who would be the audience for your media
Who would be the audience for your mediaWho would be the audience for your media
Who would be the audience for your mediakranns
 
Tv industry intro 1
Tv industry intro 1Tv industry intro 1
Tv industry intro 1KStockwell
 
Evaluation Question 4
Evaluation Question 4Evaluation Question 4
Evaluation Question 4JackWoods
 
A Field in England (Ben Wheatley)
A Field in England (Ben Wheatley)A Field in England (Ben Wheatley)
A Field in England (Ben Wheatley)HeworthMedia1
 
Avengers social contexts
Avengers social contextsAvengers social contexts
Avengers social contextsMrs Downie
 
Avengers social contexts
Avengers social contextsAvengers social contexts
Avengers social contextsMrs Downie
 
WCC COMM 101 CHAPTER #8 TELEVISION
WCC COMM 101 CHAPTER #8 TELEVISIONWCC COMM 101 CHAPTER #8 TELEVISION
WCC COMM 101 CHAPTER #8 TELEVISIONprofluther
 
Getting to grips with the industry
Getting to grips with the industryGetting to grips with the industry
Getting to grips with the industryHajar Rabhi Filali
 
WCC-COMM 101-Chapter #8 TV (fall '22) LUTHER
WCC-COMM 101-Chapter #8 TV (fall '22) LUTHERWCC-COMM 101-Chapter #8 TV (fall '22) LUTHER
WCC-COMM 101-Chapter #8 TV (fall '22) LUTHERprofluther
 

Similar to A2 Media Studies, MS4 exam prep tv (20)

Media and the public Sphere
Media and the public Sphere Media and the public Sphere
Media and the public Sphere
 
Crime documentary and institution
Crime documentary and institutionCrime documentary and institution
Crime documentary and institution
 
Humans industry
Humans industryHumans industry
Humans industry
 
Part 4 media and the public sphere
Part 4 media and the public spherePart 4 media and the public sphere
Part 4 media and the public sphere
 
Part 4 media and the public sphere
Part 4 media and the public spherePart 4 media and the public sphere
Part 4 media and the public sphere
 
Institution
InstitutionInstitution
Institution
 
Mass Media and Society Chapter 9: Television
Mass Media and Society Chapter 9: TelevisionMass Media and Society Chapter 9: Television
Mass Media and Society Chapter 9: Television
 
Who would be the audience for your media
Who would be the audience for your mediaWho would be the audience for your media
Who would be the audience for your media
 
101 ch11
101 ch11101 ch11
101 ch11
 
Tv industry intro 1
Tv industry intro 1Tv industry intro 1
Tv industry intro 1
 
Evaluation Question 4
Evaluation Question 4Evaluation Question 4
Evaluation Question 4
 
A Field in England (Ben Wheatley)
A Field in England (Ben Wheatley)A Field in England (Ben Wheatley)
A Field in England (Ben Wheatley)
 
Radio 1 breakfast show lesson 1
Radio 1 breakfast show lesson 1Radio 1 breakfast show lesson 1
Radio 1 breakfast show lesson 1
 
Avengers social contexts
Avengers social contextsAvengers social contexts
Avengers social contexts
 
Avengers social contexts
Avengers social contextsAvengers social contexts
Avengers social contexts
 
Mass media: TELEVISION
Mass media: TELEVISIONMass media: TELEVISION
Mass media: TELEVISION
 
WCC COMM 101 CHAPTER #8 TELEVISION
WCC COMM 101 CHAPTER #8 TELEVISIONWCC COMM 101 CHAPTER #8 TELEVISION
WCC COMM 101 CHAPTER #8 TELEVISION
 
Getting to grips with the industry
Getting to grips with the industryGetting to grips with the industry
Getting to grips with the industry
 
Chapter 9
Chapter 9Chapter 9
Chapter 9
 
WCC-COMM 101-Chapter #8 TV (fall '22) LUTHER
WCC-COMM 101-Chapter #8 TV (fall '22) LUTHERWCC-COMM 101-Chapter #8 TV (fall '22) LUTHER
WCC-COMM 101-Chapter #8 TV (fall '22) LUTHER
 

More from Elle Sullivan

MS4 - Paddington - Genre, Narrative and Representation
MS4 - Paddington - Genre, Narrative and RepresentationMS4 - Paddington - Genre, Narrative and Representation
MS4 - Paddington - Genre, Narrative and RepresentationElle Sullivan
 
Lesson 10 - TV comedy mindmap Q4a & 4b
Lesson 10 - TV comedy mindmap Q4a & 4bLesson 10 - TV comedy mindmap Q4a & 4b
Lesson 10 - TV comedy mindmap Q4a & 4bElle Sullivan
 
Lesson 9 - TV Comedy Q4b mark scheme
Lesson 9 - TV Comedy Q4b mark schemeLesson 9 - TV Comedy Q4b mark scheme
Lesson 9 - TV Comedy Q4b mark schemeElle Sullivan
 
Lesson 8 - TV Comedy Q4a mark scheme
Lesson 8 - TV Comedy Q4a mark schemeLesson 8 - TV Comedy Q4a mark scheme
Lesson 8 - TV Comedy Q4a mark schemeElle Sullivan
 
Lesson 7 - TV Comedy - Question 4b case study
Lesson 7 - TV Comedy - Question 4b case studyLesson 7 - TV Comedy - Question 4b case study
Lesson 7 - TV Comedy - Question 4b case studyElle Sullivan
 
Lesson 6 - TV Comedy audience pleasures
Lesson 6 - TV Comedy  audience pleasuresLesson 6 - TV Comedy  audience pleasures
Lesson 6 - TV Comedy audience pleasuresElle Sullivan
 
Lesson 4 - TV Comedy audience
Lesson 4 - TV Comedy  audienceLesson 4 - TV Comedy  audience
Lesson 4 - TV Comedy audienceElle Sullivan
 
Lesson 3 - TV Comedy - Channels and scheduling
Lesson 3 - TV Comedy - Channels and schedulingLesson 3 - TV Comedy - Channels and scheduling
Lesson 3 - TV Comedy - Channels and schedulingElle Sullivan
 
Lesson 1 - TV Comedy idents
Lesson 1 - TV Comedy identsLesson 1 - TV Comedy idents
Lesson 1 - TV Comedy identsElle Sullivan
 
Lesson 2 - TV Comedy PSB
Lesson 2 - TV Comedy  PSBLesson 2 - TV Comedy  PSB
Lesson 2 - TV Comedy PSBElle Sullivan
 
Lesson 12 - Question 3 exam practice
Lesson 12 - Question 3 exam practiceLesson 12 - Question 3 exam practice
Lesson 12 - Question 3 exam practiceElle Sullivan
 
Lesson 11 - Action Adventure ethnicity and buddy movies
Lesson 11  - Action Adventure ethnicity and buddy moviesLesson 11  - Action Adventure ethnicity and buddy movies
Lesson 11 - Action Adventure ethnicity and buddy moviesElle Sullivan
 
Lesson 10 - Female representation in Action Adventure films
Lesson 10 - Female representation in Action Adventure filmsLesson 10 - Female representation in Action Adventure films
Lesson 10 - Female representation in Action Adventure filmsElle Sullivan
 
Lesson 9 0 Action Adventure Representation
Lesson 9 0 Action Adventure RepresentationLesson 9 0 Action Adventure Representation
Lesson 9 0 Action Adventure RepresentationElle Sullivan
 
Lesson 8 - Action Adventure archetypes
Lesson 8 - Action Adventure  archetypesLesson 8 - Action Adventure  archetypes
Lesson 8 - Action Adventure archetypesElle Sullivan
 
Lesson 7 - Action Adventure jeopardy analysis
Lesson 7 - Action Adventure  jeopardy analysisLesson 7 - Action Adventure  jeopardy analysis
Lesson 7 - Action Adventure jeopardy analysisElle Sullivan
 
Lesson 6 - Action Adventure jeopardy and suspense
Lesson 6 - Action Adventure jeopardy and suspenseLesson 6 - Action Adventure jeopardy and suspense
Lesson 6 - Action Adventure jeopardy and suspenseElle Sullivan
 
Lesson 3 - Action Adventure Sub genres
Lesson 3 - Action Adventure Sub genresLesson 3 - Action Adventure Sub genres
Lesson 3 - Action Adventure Sub genresElle Sullivan
 
Lesson 2 - Action adventure films intro
Lesson 2 -  Action adventure films introLesson 2 -  Action adventure films intro
Lesson 2 - Action adventure films introElle Sullivan
 
Lesson 1 Action Adventure Films - Exam requirements
Lesson 1   Action Adventure Films - Exam requirementsLesson 1   Action Adventure Films - Exam requirements
Lesson 1 Action Adventure Films - Exam requirementsElle Sullivan
 

More from Elle Sullivan (20)

MS4 - Paddington - Genre, Narrative and Representation
MS4 - Paddington - Genre, Narrative and RepresentationMS4 - Paddington - Genre, Narrative and Representation
MS4 - Paddington - Genre, Narrative and Representation
 
Lesson 10 - TV comedy mindmap Q4a & 4b
Lesson 10 - TV comedy mindmap Q4a & 4bLesson 10 - TV comedy mindmap Q4a & 4b
Lesson 10 - TV comedy mindmap Q4a & 4b
 
Lesson 9 - TV Comedy Q4b mark scheme
Lesson 9 - TV Comedy Q4b mark schemeLesson 9 - TV Comedy Q4b mark scheme
Lesson 9 - TV Comedy Q4b mark scheme
 
Lesson 8 - TV Comedy Q4a mark scheme
Lesson 8 - TV Comedy Q4a mark schemeLesson 8 - TV Comedy Q4a mark scheme
Lesson 8 - TV Comedy Q4a mark scheme
 
Lesson 7 - TV Comedy - Question 4b case study
Lesson 7 - TV Comedy - Question 4b case studyLesson 7 - TV Comedy - Question 4b case study
Lesson 7 - TV Comedy - Question 4b case study
 
Lesson 6 - TV Comedy audience pleasures
Lesson 6 - TV Comedy  audience pleasuresLesson 6 - TV Comedy  audience pleasures
Lesson 6 - TV Comedy audience pleasures
 
Lesson 4 - TV Comedy audience
Lesson 4 - TV Comedy  audienceLesson 4 - TV Comedy  audience
Lesson 4 - TV Comedy audience
 
Lesson 3 - TV Comedy - Channels and scheduling
Lesson 3 - TV Comedy - Channels and schedulingLesson 3 - TV Comedy - Channels and scheduling
Lesson 3 - TV Comedy - Channels and scheduling
 
Lesson 1 - TV Comedy idents
Lesson 1 - TV Comedy identsLesson 1 - TV Comedy idents
Lesson 1 - TV Comedy idents
 
Lesson 2 - TV Comedy PSB
Lesson 2 - TV Comedy  PSBLesson 2 - TV Comedy  PSB
Lesson 2 - TV Comedy PSB
 
Lesson 12 - Question 3 exam practice
Lesson 12 - Question 3 exam practiceLesson 12 - Question 3 exam practice
Lesson 12 - Question 3 exam practice
 
Lesson 11 - Action Adventure ethnicity and buddy movies
Lesson 11  - Action Adventure ethnicity and buddy moviesLesson 11  - Action Adventure ethnicity and buddy movies
Lesson 11 - Action Adventure ethnicity and buddy movies
 
Lesson 10 - Female representation in Action Adventure films
Lesson 10 - Female representation in Action Adventure filmsLesson 10 - Female representation in Action Adventure films
Lesson 10 - Female representation in Action Adventure films
 
Lesson 9 0 Action Adventure Representation
Lesson 9 0 Action Adventure RepresentationLesson 9 0 Action Adventure Representation
Lesson 9 0 Action Adventure Representation
 
Lesson 8 - Action Adventure archetypes
Lesson 8 - Action Adventure  archetypesLesson 8 - Action Adventure  archetypes
Lesson 8 - Action Adventure archetypes
 
Lesson 7 - Action Adventure jeopardy analysis
Lesson 7 - Action Adventure  jeopardy analysisLesson 7 - Action Adventure  jeopardy analysis
Lesson 7 - Action Adventure jeopardy analysis
 
Lesson 6 - Action Adventure jeopardy and suspense
Lesson 6 - Action Adventure jeopardy and suspenseLesson 6 - Action Adventure jeopardy and suspense
Lesson 6 - Action Adventure jeopardy and suspense
 
Lesson 3 - Action Adventure Sub genres
Lesson 3 - Action Adventure Sub genresLesson 3 - Action Adventure Sub genres
Lesson 3 - Action Adventure Sub genres
 
Lesson 2 - Action adventure films intro
Lesson 2 -  Action adventure films introLesson 2 -  Action adventure films intro
Lesson 2 - Action adventure films intro
 
Lesson 1 Action Adventure Films - Exam requirements
Lesson 1   Action Adventure Films - Exam requirementsLesson 1   Action Adventure Films - Exam requirements
Lesson 1 Action Adventure Films - Exam requirements
 

Recently uploaded

3.14.24 The Selma March and the Voting Rights Act.pptx
3.14.24 The Selma March and the Voting Rights Act.pptx3.14.24 The Selma March and the Voting Rights Act.pptx
3.14.24 The Selma March and the Voting Rights Act.pptxmary850239
 
Auchitya Theory by Kshemendra Indian Poetics
Auchitya Theory by Kshemendra Indian PoeticsAuchitya Theory by Kshemendra Indian Poetics
Auchitya Theory by Kshemendra Indian PoeticsDhatriParmar
 
Arti Languages Pre Seed Send Ahead Pitchdeck 2024.pdf
Arti Languages Pre Seed Send Ahead Pitchdeck 2024.pdfArti Languages Pre Seed Send Ahead Pitchdeck 2024.pdf
Arti Languages Pre Seed Send Ahead Pitchdeck 2024.pdfwill854175
 
BÀI TẬP BỔ TRỢ TIẾNG ANH 11 THEO ĐƠN VỊ BÀI HỌC - CẢ NĂM - CÓ FILE NGHE (FRIE...
BÀI TẬP BỔ TRỢ TIẾNG ANH 11 THEO ĐƠN VỊ BÀI HỌC - CẢ NĂM - CÓ FILE NGHE (FRIE...BÀI TẬP BỔ TRỢ TIẾNG ANH 11 THEO ĐƠN VỊ BÀI HỌC - CẢ NĂM - CÓ FILE NGHE (FRIE...
BÀI TẬP BỔ TRỢ TIẾNG ANH 11 THEO ĐƠN VỊ BÀI HỌC - CẢ NĂM - CÓ FILE NGHE (FRIE...Nguyen Thanh Tu Collection
 
Pharmacology chapter No 7 full notes.pdf
Pharmacology chapter No 7 full notes.pdfPharmacology chapter No 7 full notes.pdf
Pharmacology chapter No 7 full notes.pdfSumit Tiwari
 
UNIT I Design Thinking and Explore.pptx
UNIT I  Design Thinking and Explore.pptxUNIT I  Design Thinking and Explore.pptx
UNIT I Design Thinking and Explore.pptxGOWSIKRAJA PALANISAMY
 
Alamkara theory by Bhamaha Indian Poetics (1).pptx
Alamkara theory by Bhamaha Indian Poetics (1).pptxAlamkara theory by Bhamaha Indian Poetics (1).pptx
Alamkara theory by Bhamaha Indian Poetics (1).pptxDhatriParmar
 
ICS2208 Lecture4 Intelligent Interface Agents.pdf
ICS2208 Lecture4 Intelligent Interface Agents.pdfICS2208 Lecture4 Intelligent Interface Agents.pdf
ICS2208 Lecture4 Intelligent Interface Agents.pdfVanessa Camilleri
 
Awards Presentation 2024 - March 12 2024
Awards Presentation 2024 - March 12 2024Awards Presentation 2024 - March 12 2024
Awards Presentation 2024 - March 12 2024bsellato
 
AUDIENCE THEORY - PARTICIPATORY - JENKINS.pptx
AUDIENCE THEORY - PARTICIPATORY - JENKINS.pptxAUDIENCE THEORY - PARTICIPATORY - JENKINS.pptx
AUDIENCE THEORY - PARTICIPATORY - JENKINS.pptxiammrhaywood
 
How to Customise Quotation's Appearance Using PDF Quote Builder in Odoo 17
How to Customise Quotation's Appearance Using PDF Quote Builder in Odoo 17How to Customise Quotation's Appearance Using PDF Quote Builder in Odoo 17
How to Customise Quotation's Appearance Using PDF Quote Builder in Odoo 17Celine George
 
Dhavni Theory by Anandvardhana Indian Poetics
Dhavni Theory by Anandvardhana Indian PoeticsDhavni Theory by Anandvardhana Indian Poetics
Dhavni Theory by Anandvardhana Indian PoeticsDhatriParmar
 
PHARMACOGNOSY CHAPTER NO 5 CARMINATIVES AND G.pdf
PHARMACOGNOSY CHAPTER NO 5 CARMINATIVES AND G.pdfPHARMACOGNOSY CHAPTER NO 5 CARMINATIVES AND G.pdf
PHARMACOGNOSY CHAPTER NO 5 CARMINATIVES AND G.pdfSumit Tiwari
 
2024.03.16 How to write better quality materials for your learners ELTABB San...
2024.03.16 How to write better quality materials for your learners ELTABB San...2024.03.16 How to write better quality materials for your learners ELTABB San...
2024.03.16 How to write better quality materials for your learners ELTABB San...Sandy Millin
 
BBA 205 BE UNIT 2 economic systems prof dr kanchan.pptx
BBA 205 BE UNIT 2 economic systems prof dr kanchan.pptxBBA 205 BE UNIT 2 economic systems prof dr kanchan.pptx
BBA 205 BE UNIT 2 economic systems prof dr kanchan.pptxProf. Kanchan Kumari
 
30-de-thi-vao-lop-10-mon-tieng-anh-co-dap-an.doc
30-de-thi-vao-lop-10-mon-tieng-anh-co-dap-an.doc30-de-thi-vao-lop-10-mon-tieng-anh-co-dap-an.doc
30-de-thi-vao-lop-10-mon-tieng-anh-co-dap-an.docdieu18
 
25 CHUYÊN ĐỀ ÔN THI TỐT NGHIỆP THPT 2023 – BÀI TẬP PHÁT TRIỂN TỪ ĐỀ MINH HỌA...
25 CHUYÊN ĐỀ ÔN THI TỐT NGHIỆP THPT 2023 – BÀI TẬP PHÁT TRIỂN TỪ ĐỀ MINH HỌA...25 CHUYÊN ĐỀ ÔN THI TỐT NGHIỆP THPT 2023 – BÀI TẬP PHÁT TRIỂN TỪ ĐỀ MINH HỌA...
25 CHUYÊN ĐỀ ÔN THI TỐT NGHIỆP THPT 2023 – BÀI TẬP PHÁT TRIỂN TỪ ĐỀ MINH HỌA...Nguyen Thanh Tu Collection
 
3.14.24 Gender Discrimination and Gender Inequity.pptx
3.14.24 Gender Discrimination and Gender Inequity.pptx3.14.24 Gender Discrimination and Gender Inequity.pptx
3.14.24 Gender Discrimination and Gender Inequity.pptxmary850239
 
BBA 205 BUSINESS ENVIRONMENT UNIT I.pptx
BBA 205 BUSINESS ENVIRONMENT UNIT I.pptxBBA 205 BUSINESS ENVIRONMENT UNIT I.pptx
BBA 205 BUSINESS ENVIRONMENT UNIT I.pptxProf. Kanchan Kumari
 
LEAD6001 - Introduction to Advanced Stud
LEAD6001 - Introduction to Advanced StudLEAD6001 - Introduction to Advanced Stud
LEAD6001 - Introduction to Advanced StudDr. Bruce A. Johnson
 

Recently uploaded (20)

3.14.24 The Selma March and the Voting Rights Act.pptx
3.14.24 The Selma March and the Voting Rights Act.pptx3.14.24 The Selma March and the Voting Rights Act.pptx
3.14.24 The Selma March and the Voting Rights Act.pptx
 
Auchitya Theory by Kshemendra Indian Poetics
Auchitya Theory by Kshemendra Indian PoeticsAuchitya Theory by Kshemendra Indian Poetics
Auchitya Theory by Kshemendra Indian Poetics
 
Arti Languages Pre Seed Send Ahead Pitchdeck 2024.pdf
Arti Languages Pre Seed Send Ahead Pitchdeck 2024.pdfArti Languages Pre Seed Send Ahead Pitchdeck 2024.pdf
Arti Languages Pre Seed Send Ahead Pitchdeck 2024.pdf
 
BÀI TẬP BỔ TRỢ TIẾNG ANH 11 THEO ĐƠN VỊ BÀI HỌC - CẢ NĂM - CÓ FILE NGHE (FRIE...
BÀI TẬP BỔ TRỢ TIẾNG ANH 11 THEO ĐƠN VỊ BÀI HỌC - CẢ NĂM - CÓ FILE NGHE (FRIE...BÀI TẬP BỔ TRỢ TIẾNG ANH 11 THEO ĐƠN VỊ BÀI HỌC - CẢ NĂM - CÓ FILE NGHE (FRIE...
BÀI TẬP BỔ TRỢ TIẾNG ANH 11 THEO ĐƠN VỊ BÀI HỌC - CẢ NĂM - CÓ FILE NGHE (FRIE...
 
Pharmacology chapter No 7 full notes.pdf
Pharmacology chapter No 7 full notes.pdfPharmacology chapter No 7 full notes.pdf
Pharmacology chapter No 7 full notes.pdf
 
UNIT I Design Thinking and Explore.pptx
UNIT I  Design Thinking and Explore.pptxUNIT I  Design Thinking and Explore.pptx
UNIT I Design Thinking and Explore.pptx
 
Alamkara theory by Bhamaha Indian Poetics (1).pptx
Alamkara theory by Bhamaha Indian Poetics (1).pptxAlamkara theory by Bhamaha Indian Poetics (1).pptx
Alamkara theory by Bhamaha Indian Poetics (1).pptx
 
ICS2208 Lecture4 Intelligent Interface Agents.pdf
ICS2208 Lecture4 Intelligent Interface Agents.pdfICS2208 Lecture4 Intelligent Interface Agents.pdf
ICS2208 Lecture4 Intelligent Interface Agents.pdf
 
Awards Presentation 2024 - March 12 2024
Awards Presentation 2024 - March 12 2024Awards Presentation 2024 - March 12 2024
Awards Presentation 2024 - March 12 2024
 
AUDIENCE THEORY - PARTICIPATORY - JENKINS.pptx
AUDIENCE THEORY - PARTICIPATORY - JENKINS.pptxAUDIENCE THEORY - PARTICIPATORY - JENKINS.pptx
AUDIENCE THEORY - PARTICIPATORY - JENKINS.pptx
 
How to Customise Quotation's Appearance Using PDF Quote Builder in Odoo 17
How to Customise Quotation's Appearance Using PDF Quote Builder in Odoo 17How to Customise Quotation's Appearance Using PDF Quote Builder in Odoo 17
How to Customise Quotation's Appearance Using PDF Quote Builder in Odoo 17
 
Dhavni Theory by Anandvardhana Indian Poetics
Dhavni Theory by Anandvardhana Indian PoeticsDhavni Theory by Anandvardhana Indian Poetics
Dhavni Theory by Anandvardhana Indian Poetics
 
PHARMACOGNOSY CHAPTER NO 5 CARMINATIVES AND G.pdf
PHARMACOGNOSY CHAPTER NO 5 CARMINATIVES AND G.pdfPHARMACOGNOSY CHAPTER NO 5 CARMINATIVES AND G.pdf
PHARMACOGNOSY CHAPTER NO 5 CARMINATIVES AND G.pdf
 
2024.03.16 How to write better quality materials for your learners ELTABB San...
2024.03.16 How to write better quality materials for your learners ELTABB San...2024.03.16 How to write better quality materials for your learners ELTABB San...
2024.03.16 How to write better quality materials for your learners ELTABB San...
 
BBA 205 BE UNIT 2 economic systems prof dr kanchan.pptx
BBA 205 BE UNIT 2 economic systems prof dr kanchan.pptxBBA 205 BE UNIT 2 economic systems prof dr kanchan.pptx
BBA 205 BE UNIT 2 economic systems prof dr kanchan.pptx
 
30-de-thi-vao-lop-10-mon-tieng-anh-co-dap-an.doc
30-de-thi-vao-lop-10-mon-tieng-anh-co-dap-an.doc30-de-thi-vao-lop-10-mon-tieng-anh-co-dap-an.doc
30-de-thi-vao-lop-10-mon-tieng-anh-co-dap-an.doc
 
25 CHUYÊN ĐỀ ÔN THI TỐT NGHIỆP THPT 2023 – BÀI TẬP PHÁT TRIỂN TỪ ĐỀ MINH HỌA...
25 CHUYÊN ĐỀ ÔN THI TỐT NGHIỆP THPT 2023 – BÀI TẬP PHÁT TRIỂN TỪ ĐỀ MINH HỌA...25 CHUYÊN ĐỀ ÔN THI TỐT NGHIỆP THPT 2023 – BÀI TẬP PHÁT TRIỂN TỪ ĐỀ MINH HỌA...
25 CHUYÊN ĐỀ ÔN THI TỐT NGHIỆP THPT 2023 – BÀI TẬP PHÁT TRIỂN TỪ ĐỀ MINH HỌA...
 
3.14.24 Gender Discrimination and Gender Inequity.pptx
3.14.24 Gender Discrimination and Gender Inequity.pptx3.14.24 Gender Discrimination and Gender Inequity.pptx
3.14.24 Gender Discrimination and Gender Inequity.pptx
 
BBA 205 BUSINESS ENVIRONMENT UNIT I.pptx
BBA 205 BUSINESS ENVIRONMENT UNIT I.pptxBBA 205 BUSINESS ENVIRONMENT UNIT I.pptx
BBA 205 BUSINESS ENVIRONMENT UNIT I.pptx
 
LEAD6001 - Introduction to Advanced Stud
LEAD6001 - Introduction to Advanced StudLEAD6001 - Introduction to Advanced Stud
LEAD6001 - Introduction to Advanced Stud
 

A2 Media Studies, MS4 exam prep tv

  • 2. The TV industry • John Logie Baird’s first demonstrated the ability to transmit moving silhouette images in 1925 • We now have fully integrated internet and Web 2.0 features on gigantic plasma screens the size of a whole wall • Connected TV seems to be the future, • HD and 3D is already established.
  • 3. • The TV has always held pride of place in our living rooms with furniture arranged to accommodate its importance. • B4 TV this was the same for the wireless.
  • 4. • On November 2nd, 1936 the BBC began broadcasting from Alexandra Palace and lays claim to be the ‘birthplace of television’ while the technology became popularised with audiences in the United States at the 1939 • America at the forefront of the technology and TV became more popular in American homes in the 1950s than in UK homes as we saw cinema as the primary audio visual culture. • Television was and remains attractive for advertisers who see the medium as an exciting, lucrative and high production way of reaching audiences.
  • 5. TV in the UK • BBC is a non commercial television channel and was the first UK broadcaster in 1936, closing during the war years but reopening in 1946 • Public Service Broadcasting - funded by the licence fee • 1955 - ITV the first commercial broadcaster launched • BBC2 launched in 1964 • Channel 4 in 1982 and Channel 5 as the final analogue broadcaster launched in 1997 before channel digitisation.
  • 6. Ideology • TV has provided clear divisions of social class • the BBC more associated with middle class viewers • ITV known for its popular culture, entertainment output consumed by primarily working class audiences • BBC2 offers more ‘high brow’ cultural output • Channel 4’s original aim was to broadcast challenging, minority interest programming • Channel 4 today has become more mainstream after broadcasting the first Big Brother in 2001 and acquiring This Morning from ITV in 2001, rebranding the programme as Richard and Judy.
  • 7. • Channel 4 still offers a range of programming and has extended channels: Film4, E4, More4 and 4Music • As well as some innovative programming appealing to 18-35, ABC1 target audiences it also includes Shipwrecked, Embarrassing Bodies and The Undateables which illustrates Channel 4 embracing the voyeuristic, exploitative explosion of Reality TV programmes over the last 10-15 years.
  • 8. Section B • Explore the impact of digital technologies on your selected industry.
  • 9. TV and new technology • TV dominates our culture • It’s a source of information, entertainment, a social activity, an asset and even a danger • Marshall McLuhan looked at the ways in which communication technologies developed in relation to one another and our needs – The Tetrad (4 Q’s) • What will it enhance? • What will it impair? • What will it recover/rejuvenate? • What will it make obsolete?
  • 10. Is TV obsolete? • TV should have become obsolete because the following have become affordable: • Home PC’s • Films and TV on demand • Games machines • Mobile phones • Personal recording devices – Sky+ • The internet
  • 11. Convergence • In order to maximise profits media companies will work together • The ultimate ideal would be for the consumer to use one technology for all their media needs • What we watch on TV is not always what is aired – Sky+, computer games, DVD’s, internet etc.
  • 12. The future of TV • How do we use TV? • Structural users: to satisfy needs – Uses and Gratifications theory. Audiences have a direct relationship with programs • Rational users: use TV as a regular social ritual, how it fits into the home routine. The relationship between viewer and programme is indirect • It is the rational user who has become significant in broadcasting schedules and innovations like the Wii.
  • 13. The family & TV • Due to the many different media available it was thought that the family bond with TV would end • Fragmentation – theory that multi channel TV and all the possibilities for personalised viewing would inevitably undermine the mass audience • The extinction of PSB & high quality TV • The end of the mass audience sharing significant experiences ‘Live’ • The destruction of the family – each member retreating to their own personal viewing space
  • 14. Exam Question Section B • Explore the impact of digital technologies on your selected industry • Answers: • Explore the range of different ways of accessing TV programmes • TV’s are no longer only used to watch programmes • The concept of convergence and theories of Fragmentation • The impact on the mass audience and niche marketing
  • 15. X Factor • Created to Entertain and amuse the national demographic (MASS) • A direct response to the theory of Fragmentation • A reflection of the active audience and a democratic society as we have the chance to vote • Despite it being a search for talent there is always 1 act that is used for comedy to allow for variety
  • 16. X Factor and the mass audience • In 2009 X factor built an audience following over 12 weeks that peaked to 19 million viewers of the live final. • Different responses: • Some though it had homely charm • Others thought it was mass manipulation • Either way it was nothing new – Search for a Star, New Faces, Opportunity Knocks going back as far as the 60’s
  • 17. Interactivity • This is the new key to success • Not just phoning in but interacting with each other • The wii is an example of getting the family to interact – this myth was presented in their marketing which created desire/hope/fear and guilt of this imaginary ideal
  • 18. WWW. • The X factor uses no end of ways to connect with the audience: • Sms • Blogs • Phone ins – The extra Factor • Website • The web was also a negative for the show when an internet campaign made Rage Against the Machine number 1 in 2009
  • 19. X Factor • • • • • • • • • What do we know about X Factor Genre Narrative Representation Audience Production Marketing Regulation Distribution/Global implications
  • 20. Genre and ideology • X Factor is a reality TV programme • It attempts to turn an ordinary person into a pop star through its talent contest narrative. • It reflects the ‘American Dream’ ideology in the way that it can turn people’s lives from ‘rags to riches’. • Genre conventions : • ordinary people trying to make their lives better, • high production values which includes viewing luxuries such as flashy lights, extravagant camera angles (such as Birdseye), special effects, and celebrities. • The X Factor has influenced the typical representation of other talent shows ever since, so this would include the Two Step Flow theory as the X Factor has acted as an opinion leader, and has set down the modern conventions for reality talent shows. • How does The X Factor compare to BGT?
  • 21. • TV scheduling was all about fixing programmes around audiences routines • trying to keep us fixed to a single channel by offering a variety of genre texts at certain times • Now texts are commercially endorsed and experienced ‘any time, any place, any where’ • Henry Jenkins calls it ‘trans-media storytelling’
  • 22. Dr Who revival • Perfect example of convergence – becoming a franchise • Accessible through genre repetition but now • through the website • Sticker books, • action figures etc. etc. etc.
  • 23. Torchwood • Torchwood is a Science Fiction TV Drama created by Dr Who Executive Producer Russell T Davies. • Torchwood is a sub genre of TV Drama because it follows the conventions of many TV Dramas but has tweaked the representations to give it a Science Fiction feel.
  • 24. • Davies wanted to develop an Americanised drama like Buffy the Vampire Slayer and Angel but with clear linking to Doctor Who • Captain Jack Harkness appeared several times in Doctor Who as a time traveller. • ‘Torchwood’ is an anagram of Doctor Who. • Both Torchwood and Doctor Who use CGI special effects, elaborate built sets, on location shooting, multiple camera technology, ensemble cast and high production value sound
  • 25. The cast • The cast are alien-hunters who are based at the Cardiff branch of the Torchwood Institute • the first three series were filmed by BBC Wales in and around the Cardiff. • some of the actors have South Wales accents • they use iconic Cardiff locations like Tiger Bay. • Initially broadcast on BBC3 but moved to BBC2 and BBC1 because of the critical and commercial success it received • The BBC often use BBC3 to trial programmes because of its less mainstream target audience and lower audience figures.
  • 26. Global impact • The fourth series attracted American investment through Starz who are a Premium Subscription Channel. • This co-production with BBC1 saw even higher production values and the ability to sell what can be a fast paced, action based series to American audiences. • Torchwood is much more ‘Americanised’ in its content and attracts an older target audience as well as existing fans of Doctor Who
  • 27. Genre • Torchwood also borrows codes and conventions of Crime Drama and has an investigative narrative. • High production values are evident : CGI and aerial shots • intertextual references to CSI & Spooks in the layout of their headquarters but also with the continuous referencing of new technology.
  • 28. Representation • Female empowerment is represented • However there is a male hierarchy • 2 strong female characters would initially suggest a more pluralistic (diverse) representation but both are framed for the male gaze and are seen to be more in touch with their emotions. • Examples? Gwen and The Chinese woman
  • 29. • Men are more physically dominant and logical reflecting the cultural stereotype • like many action based TV Dramas the central protagonist is a dominant male. • The programme has a young male and female aspirational, 16-35, urban and city living target audience • Rather than the younger secondary target audience of Doctor Who. • In the opening sequences the team are seen to walk together in slow motion anchoring their enigmatic status.
  • 30. Audience Appeals • • • • • • • • • • • narrative predictability - Three act structure Act One ‘the problem’, settings, location and characters Act Two narrative chain of cause and effect (development) Act Three resolution - the problem is always resolved or at least understood by the team. Science Fiction, popular with mass audiences who enjoy the idea of the unknown, futuristic technology and life on other planets. Narrative enigmas ensure the audience questions: who, what, why and when narrative action codes borrowing from the action genre. multi stranded narrative - each character having their own storyline, helps audience identification with a character exaggerated hyper real representations, familiar running time (60 minutes), deliberate use of binary oppositions to construct meaning and a reputation for quality and pedigree like Lost, Lie to Me, and 24.
  • 31. • the BBC ident is foregrounded in the first frame, offering audiences ‘promises of pleasure’ in terms of production values • well researched script • star marketing – John Barrowman • Torchwood is pure escapist entertainment • an older target audience will enjoy more graphic violence than in Doctor Who and will appreciate the production values. • Intertextual references to Dr Who • Cultural Capitol of Cpt. Jack (prior knowledge of Dancing on Ice etc.)
  • 32. • Captain Jack–is a former con man which allows audiences to understand him as an anti hero • scheduled post watershed gives the production team some flexibility in developing challenging narratives. • John Barrowman appeals to British and American audiences as a result of his dual nationality
  • 33. • narrative themes of sexuality - Diversity • It has its own spin offs including Torchwood Declassified • online interactivity - an elaborate interactive website with links to alternative sites. • Torchwood Magazine and mini episodes on mobile phones, • an alternative reality game show (via the website), • podcast commentaries, interactive adventures, video blogs and other interactive online games. • Convergence very much apparent in Torchwood with particularly younger audiences invited to interact with the programme on a number of digital platforms.
  • 34. Torchwood Series 3 Children of Earth • It was shown on prime time BBC 1 for 5 consecutive nights • This was attempting the 24 series model where events occur in real time but going for 5 days • Usually texts like Silent Witness only go for two consecutive nights
  • 35. Peep Show • Is very unique – despite receiving critical acclaim has always had quite low rating figures • By the 6th series ratings rose which could partly be to do with aiming at an earlier 10pm slot – DVD sales have always been good • The stylistic creation of storytelling through constant POV is both its success and down fall in finding a wider audience
  • 36. Todorov • Argued that “a world without a theory of genre was unthinkable since genre integrates the reader into the world of the characters and prepares us for a certain kind of reading’ • In other words genre reduces the complexities of texts and makes them accessible to us. • Peep Show hardly has a genre identity but it’s style and character identities help it to be received.
  • 37. Q. How do your chosen texts use genre conventions? • Or How do your chosen texts use narrative conventions? • Consider which texts you would use for either of these questions – is TV the best industry here?