Answering question 4 A and 4B.
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This document provides instructions for answering two questions about comedy television programs. Question 4A asks the student to discuss in detail how and why one comedy program was scheduled on a particular channel or channels. The response must include paragraphs on the day and time of airing, references to the Public Broadcasting Act and OFCOM regulations, the channel's mission or aims, and its target audience. Examples from the program should also be discussed. Question 4B asks the student to discuss four different types of audience pleasures offered by two comedy programs they have studied. The response must include an example from each program that uses one pleasure well, an analysis of which program best delivers a specific pleasure and why, and a pleasure used well in one program but not the
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Public service broadcasters receive funding from TV license fees paid by citizens as well as public financing. Commercial broadcasters earn profits primarily through television advertisements. Subscription channels earn income by charging monthly or yearly fees for additional channels beyond a basic subscription.
The BBC and Channel 4 are examples of public service broadcasters in the UK, as they are funded by TV license fees. ITV and Channel 5 are commercial broadcasters that rely on advertising revenues. Sky and Virgin are subscription channels that require payment for expanded channel packages. Each type of broadcaster has different revenue models, with public broadcasters depending on license fees, commercial on advertising, and subscriptions relying on monthly subscriber payments.
Year10 17/4/08
The document provides instructions for AQA GCSE Media Studies coursework which includes four pieces, one of which is creating a media production. It discusses analyzing existing media texts like film trailers and creating original media texts like a film trailer. It provides guidance on writing evaluations of the analysis and created media text. It also outlines a unit on television that involves identifying TV genres, programs, channels, and target audiences. Students are tasked with devising a new TV channel by naming it, creating a tagline, and defining the target audience.
Textual analysis Channel 4
The document analyzes the Channel 4 website. It describes the key features of the site including navigation menus, a search bar, images of current shows, and a marquee of upcoming programs. It also notes some strengths such as consistency of branding and ways to attract audiences. However, it points out some weaknesses like the dull color scheme and lack of descriptions for shows.
The Commissioning Process
The commissioning process at Channel 4 and E4 begins with an idea that is developed into a text by a commissioning editor with an assigned budget. As publicly owned but commercially funded broadcasters, they do not receive public funding and rely on advertising revenue to finance new programming. The commissioning editor oversees the process of selecting ideas from producers through an application and interview system, with the goal of finding innovative content for their diverse audience. However, not all applicants are successful due to limited budgets and slots, and their ideas must fit the broadcaster's genres and ethos.
Lesson 2
Media industries carry out research for two main reasons - market research and production research. Market research helps understand the target audience and what programming they will engage with. Production research aids in developing appropriate content and determining feasibility. For their new drama "Halls", E4 should conduct focus groups and test screenings to understand the target youth audience. They should also research aspects of university life to ensure realistic content and consider production costs and casting to determine financial viability. Comprehensive research allows media companies to create engaging programming and make informed decisions.
The Commissioning Process
The document discusses the commissioning process at Channel 4 and E4. It begins by explaining that the commissioning editor sets the budget and production is created. It then provides details on Channel 4's portfolio including E4 and their roles in commissioning content from independent producers. The rest of the document outlines the application process, funding sources, drawbacks for applicants, and alternative distribution options like social media.
Unit 8 1c
Public service broadcasters receive funding from TV license fees paid by the public as well as government funds. Commercial broadcasters earn profits primarily from television advertisements. Subscription channels generate income from monthly or annual subscription fees paid by viewers to access additional channels. In the UK, the BBC and Channel 4 are examples of public service broadcasters, while ITV and Channel 5 are commercial broadcasters. Public service broadcasters rely on license fees, commercial broadcasters use advertising revenues, and subscription channels employ a subscription-based model of generating funds from viewers.
Exam information
The document provides instructions for an exam requiring students to study two British television comedies in order to explain how and why they were scheduled, their audience appeal, and do either a comparison or in-depth examination. Students must create case studies of two comedy programs of different types, audiences, channels, and appeals. They are advised to follow a 10-point plan to analyze episodes, channels, target audiences, scheduling, narrative and media pleasures, and comedy forms.
Channel Four
Channel 4 is a British public service television broadcaster that began operations in 1982. It does not produce its own programming but commissions it from over 300 independent production companies across the UK. In addition to its main channel, Channel 4 Group also operates several specialty channels like E4 and Film4. It has a large online and on demand presence through services like 4oD. Channel 4 aims to inspire and engage viewers through bold and innovative programming. It gathers data on viewers' behaviors and interests to inform future programming decisions.
Editing my campaign to mimic channel 4
Channel 4's mission is to bring niche and controversial subjects to mass audiences, as seen in shows like Benefits Street that sparked political debates. They aim to support lesser known stories and filmmakers. Channel 4 harnesses social media by uploading TV ads and full episodes to YouTube and Facebook to encourage discussion. The document suggests editing a campaign to mimic Channel 4 by creating sensationalism or controversy in promotional materials to encourage sharing, and setting up social media discussions to increase hype for a production.
Creative Media BTEC- "Unit 3- Initial Research & Proposal"
UNIT 3 was a research unit where we had to conduct Primary, Secondary & Initial Research, along with Research methods and Our final ideas.
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The Sherlock series draws attention to its constructed nature as a postmodern text through various techniques:
1) It is self-aware of being a narrative and acknowledges the intertextual references and knowledge of both the historical Sherlock Holmes stories as well as the TV series itself that the audience possesses.
2) Characters like Mrs. Hudson point out their own functions within the narrative and the constructed nature of their roles.
3) Scenes and dialogue directly reference and parody elements from the original Sherlock Holmes stories and previous episodes, blurring the lines between reality and fiction.
Post Modern Essays Top Level Responses
Postmodern media differs from other media in several key ways:
1) It opposes modernist ideas like objective truth and focuses instead on subjectivity and relativism.
2) It frequently references and comments on other media texts through techniques like parody and pastiche.
3) It lacks linear narratives and instead embraces fragmentation and irony.
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The Big Short is a 2015 film about the 2007-2008 financial crisis directed by Adam McKay. It uses unconventional techniques like celebrity cameos and breaking the fourth wall to explain complex financial instruments. The film follows three separate but interconnected stories of men who predicted the housing market collapse. It combines elements of drama, comedy, documentary, and music videos. The film challenges conventions by blurring the lines between hero and villain. It also represents bankers and banks critically but conventionally through their appearance and actions. It explores an unconventional postmodern representation of the audience by highlighting their initial lack of understanding of the financial concepts covered in the film.
Genre examples
This document provides exam resources and guidance for a media production question. It instructs students to write about one of their coursework productions in question 1(b), applying the concept of genre. It provides two examples of student answers that received 18/25 and 16/25 marks respectively to serve as models.
Representation examples
This document provides exam resources and examples for writing about one of your media coursework productions in response to Question 1(b). It lists representation as the topic for January 2010 and 2012, instructing students to analyze media representation in one of their coursework productions. For June 2013, it asks students to apply the concept of representation to one of their coursework productions.
Audience essay examples
This document provides an example response to a past exam question asking students to analyze one of their coursework productions in relation to the concept of audience. The response discusses the student's horror film coursework called "The Sleepover" and analyzes how they took audience into account when creating the film. The response demonstrates understanding of several audience theories (hypodermic needle, uses and gratifications, reception theory) and relates them to choices made in the filmmaking process, such as targeting a specific age range and incorporating feedback. Overall, the summary highlights the student's ability to apply media theories to their own creative work through relevant examples and explanations.
Question 1 b revision
This document provides guidance on concepts that could be discussed for a media production assignment, including audience, narrative, representation, genre, and media language. It gives examples of questions students may be asked to answer about how their media product engages with these concepts. For the concept of audience, it provides questions about defining the target audience, appealing to them, and gathering audience feedback.
Essay plan for 1 b
This document outlines an essay plan discussing an important concept, its impact, and relevant theorists. It includes discussing three examples of how the concept was used and its effects, as well as one example of how the concept was challenged.
Research and planning exemplars
This document contains examiner comments on student responses to a question about how their media production work was informed by research into real media texts and how their ability to use such research developed over time.
The examiner notes that higher scoring responses were able to provide specific examples of how research influenced creative decisions, critically reflect on the research process, and discuss progression from earlier work. Weaker responses lacked applied examples or evaluation. The examiner advises focusing responses and being clear about research outcomes rather than just listing sources. Higher scores required synthesis of examples, critical reflection, and awareness of development. Research can inform work in various ways beyond just genres, such as technical or institutional aspects.
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The episode confuses boundaries between reality and fiction by having the main characters transported from their fictional supernatural TV show into the "real world" of the TV show's production. This postmodern narrative technique blurs the lines between the constructed nature of the media text and reality. The characters struggle to understand what is real as they interact with actors playing themselves and the director. The episode also comments on celebrity culture and fans' obsession with social media through its portrayal of the characters uncomfortable with their celebrity lifestyle.
Essay plan fotc
Flight of the Conchords can be defined as a postmodern text based on several criteria. The TV show incorporates elements of postmodern theory as described by Strinati, such as blurring genre boundaries and playing with audience expectations. However, it also employs traditional media concepts at times. Overall, while Flight of the Conchords displays some postmodern features, it cannot be purely defined as postmodern and still incorporates traditional elements of narrative and representation. The show challenges rigid definitions of postmodernism.
Post modern concepts
This document discusses key concepts in traditional media and how postmodern texts challenge those concepts in three main ways. It outlines how postmodern media draws attention to its construction, challenges genre conventions through hybridity and subversion, and subverts audience expectations of representation, ideology and narrative through new stereotypes, ideas, and non-linear or open-ended structures. The postmodern audience is also described as diverse, fragmented, and active rather than passive.
Section A audience
The document discusses several theories of media audiences, including reception theory which states that audiences interpret media texts in different ways based on their own experiences and perspectives, rather than just accepting the producer's intended meaning. It also examines the hypodermic needle theory, which suggests audiences passively accept messages from media, and uses and gratifications theory, which proposes that audiences actively engage with media to fulfill various needs and desires.
Audience theory
This document summarizes several theories about media audiences:
- Cultivation theory suggests that repeated exposure to similar media representations can shape people's views of the world.
- Reception theory examines how audiences can interpret media messages in preferred, negotiated, or oppositional ways.
- Participatory culture theory describes how audiences actively engage with media texts by creating and sharing their own works.
- More recent theories argue that digital technologies have transformed passive audiences into active producers who can respond to and create their own media content.
Media language
This document discusses film techniques including camerawork, editing, mise en scene, and sound. It provides a specific example of each technique and explains how they relate to meaning and audience response. In a concise manner, the document outlines key cinematic elements.
Media language section a
The document discusses various concepts relating to how meaning is created through media language. It defines key terms like denotation and connotation, and how they relate to encoding and decoding meaning. Elements of media language that create meaning are explained, such as mise-en-scene, camerawork, editing, and sound. The importance of understanding how these micro-level techniques construct intended meanings and can allow for alternative readings is highlighted. Analyzing one's own media products in terms of the specific examples of how these elements create key meanings and audiences' potential alternative interpretations is presented as a task for revising one's work.
Using conventions
This document provides guidance on answering exam questions about using conventions from real media texts in your own work. It emphasizes showing how your understanding of conventions has developed over time through various projects. It recommends discussing both technical conventions as well as symbolic conventions related to narrative, representation, themes and messages. Students are advised to structure their answer with an introduction about the projects, paragraphs discussing skills and examples from early and later projects, and a conclusion. The document also contains advice on analyzing other students' work and planning essay answers.
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