Your learner response is as follows:
Create a new blog post called 'Film & TV assessment learner response' and complete the following tasks on your coursework blog:
1) Type up your feedback in full (you don't need to write the mark and grade if you want to keep this confidential).
WWW: Clear, concise writing with some good textual examples.
EBI: Refer to keywords from questions (e.g. pastiche)2) Read the whole mark scheme for this assessment carefully. Identify at least one potential point that you missed out on for each question in the assessment (even if you got full marks for the question).
1. A range of different genres are suggested on the poster – e.g. the background is almost
space (sci-fi); the silver symbol in the background alludes to comic books/Marvel universe; the woman on the left suggests martial arts or kung-fu movies – this is reinforced by the faint images in the background (man in mid-air kick on right-hand side); the helicopter in the top right hints at the war movie genre.
2. Social media was important in marketing the film – Chicken did not have a marketing budget beyond the creation of the trailer and poster so Facebook, Twitter and YouTube were vital in broadcasting and sharing trailers and information about the film.
3. how audiences interpret the media, including how they may interpret the same media in different ways.
3) The first question demanded a response using postmodern terminology. Write a definition here of the three main terms:
Bricolage: The juxtaposing of old and new texts, images, ideas and narratives to create new meanings.
Pastiche:This refers to media products that imitate the style of another text, artist or time period. Pastiche is an example of intertextuality and takes a positive view of the original source.
Intertextuality: The term Intertextuality refers to the process of creating references to any kind of media text via another media text
4) The second question was on the film industry. Write down two points from the mark scheme about Chicken's promotion and distribution that you didn't include in your answer.
1. Digital distribution in USA/Canada followed in January 2018 and the film is now available on
Amazon Prime in the UK. The distribution of Chicken was challenging but ultimately quite
effective for a niche micro-budget film.
2. Construction of the Chicken branding on the poster/DVD packaging etc. effective in
communicating the genre and key selling points of the film – arthouse, social realism,
beautiful cinematography, theme of nature etc.
5) Look over your mark, teacher comments and the mark scheme for Question 3 - the 25 mark essay question on your TV Close-Study Products. Write a complete essay plan for this question based on the suggested answers in the mark scheme. You can either use something similar to your actual answer or alternatively start from scratch. Make sure it is an extensive, detailed plan focused on the question (representations; social and cultural contexts of production) and offering specific references to Capital and Deutschland 83 for each section. Try and cover the two texts equally if you can and aim to plan around 5-6 paragraphs in total.
Introduction: the performances in Deutschland 83 and Capital are distinct despite the same manufacturing time-Capital is a country drama state, it must be realistic to the moment, but D83 is based on the 80s, so their performances should be suitable for that age and not 2015 but it's a position as a postmodern document strongly reflects the manufacturing time views.
Women's representations: Capital and Deutschland 83 both have ' old-fashioned ' women's representations: characters of Arabella, Quentina [ subversion ] and Martin's wife and mother in D83 Paragraph 2: Politics — D83 = pro-capitalist subtext, glamorization of the West and, though subversive to the time period, conforming to the hegemonic political ideologies of today.
Thursday 11 July 2019
BBC Radio 1 - Life Hacks
BBC Radio 1 - Life Hacks: Blog tasks
Analysis
Listen to the extracts from Life Hacks above and answer the following questions:
1) What do the titles The Surgery and Life Hacks suggest?
2) How are the programmes constructed to appeal to a youth audience?
3) What does the choice of presenters (Cel Spellman and Katie Thistleton) and Dr Modgil suggest about the BBC’s approach to diversity and representation?
4) Go to the Life Hacks iPlayer page and analyse the content. What does this suggest regarding the Life Hacks audience and what the BBC is hoping to achieve with the programme?
5) Go to the Life Hacks podcast episodes page. Listen to a few episodes of the podcast and explain how the topics may a) appeal to a youth audience and b) help fulfil the BBC's responsibilities as a public service broadcaster.
The BBC's responsibilities are to 'inform, educate and entertain'
Audience
1) What is the target audience for BBC Radio 1?
People aged under 29
People aged under 29
2) Who is the actual audience for BBC Radio 1?
30% of 35-44 year olds think it is aimed at them.
30% of 35-44 year olds think it is aimed at them.
3) What audience pleasures are offered by Life Hacks? Apply Blumler and Katz’s Uses and Gratifications theory.
- Personal identity: Diverse UK representations through presenters
- Personal relationships: Known presenters or guests
4) Read this Guardian review of Life Hacks. What points does the reviewer make about Life Hacks and the particular podcast episode they listened to?
5) Read this NME feature on Radio 1 listener figures. What are the key statistics to take from this article regarding the decline in Radio 1 audience ratings?
Radio 1 has lost 200,000 weekly listeners since May, when they attracted 9.4 million listeners a week. The 9.2 million listeners that Radio 1 now pulls in each week is officially the second-lowest ever recorded ratings for the BBC station, and is close to equalling the lowest weekly rating of 9.1 million, which was posted in May 2017.
Radio 1 has lost 200,000 weekly listeners since May, when they attracted 9.4 million listeners a week. The 9.2 million listeners that Radio 1 now pulls in each week is officially the second-lowest ever recorded ratings for the BBC station, and is close to equalling the lowest weekly rating of 9.1 million, which was posted in May 2017.
Industries
1) How does Life Hacks meet the BBC mission statement to Educate, Inform and Entertain?
2) Read the first five pages of this Ofcom document laying out its regulation of the BBC. Pick out three key points in the summary section.
The BBC is the UK’s most widely-used media organisation, providing programming on television and radio and content online. The public has exceptionally high expectations of the BBC, shaped by its role as a publicly-funded broadcaster with a remit to inform, educate and entertain the public, and to support the creative economy across the UK.
The BBC’s provision of accurate and impartial news, current affairs and factual content plays a key role in helping ensure that UK citizens are well informed and able to participate actively in the world around them. The BBC is the most-used source of news in the UK. Audiences recognise it as a trusted brand providing reliable, high-quality information. Overall, respondents to our consultation agreed with the importance of safeguarding the provision and prominence of news, current affairs and information across the BBC’s services. Some argued that the BBC should have a greater focus on international content beyond news coverage.
We have set four objectives for the BBC in relation to the diversity aspect of this public purpose. Among these is an objective for the BBC to reflect the diversity of the UK’s different communities appropriately in its output and services. This should include age, disability, gender reassignment, race, religion and belief, sex, sexual orientation and socioeconomic background. It must also accurately represent and authentically portray the diverse communities of the whole of the UK. We recognise the widely-expressed view that the BBC should do more to improve how people are reflected on-screen and on-air
The BBC is the UK’s most widely-used media organisation, providing programming on television and radio and content online. The public has exceptionally high expectations of the BBC, shaped by its role as a publicly-funded broadcaster with a remit to inform, educate and entertain the public, and to support the creative economy across the UK.
The BBC’s provision of accurate and impartial news, current affairs and factual content plays a key role in helping ensure that UK citizens are well informed and able to participate actively in the world around them. The BBC is the most-used source of news in the UK. Audiences recognise it as a trusted brand providing reliable, high-quality information. Overall, respondents to our consultation agreed with the importance of safeguarding the provision and prominence of news, current affairs and information across the BBC’s services. Some argued that the BBC should have a greater focus on international content beyond news coverage.
We have set four objectives for the BBC in relation to the diversity aspect of this public purpose. Among these is an objective for the BBC to reflect the diversity of the UK’s different communities appropriately in its output and services. This should include age, disability, gender reassignment, race, religion and belief, sex, sexual orientation and socioeconomic background. It must also accurately represent and authentically portray the diverse communities of the whole of the UK. We recognise the widely-expressed view that the BBC should do more to improve how people are reflected on-screen and on-air
3) Now read what the license framework will seek to do (letters a-h). Which of these points relate to BBC Radio 1 and Life Hacks?
A) Strengthen news and current affairs rules.
B) Increase requirements around programmes for children
C) Secure a more distinctive BBC
D) Support social action campaigns on BBC radio.
E) Safeguard vulnerable genres such as arts, music and religious programmes.
F) Support a wide range of valued genres.
G) Support regional and national audiences, and creative economies across the UK.
H) Require the BBC to reflect the full diversity of the UK population.
A) Strengthen news and current affairs rules.
B) Increase requirements around programmes for children
C) Secure a more distinctive BBC
D) Support social action campaigns on BBC radio.
E) Safeguard vulnerable genres such as arts, music and religious programmes.
F) Support a wide range of valued genres.
G) Support regional and national audiences, and creative economies across the UK.
H) Require the BBC to reflect the full diversity of the UK population.
4) What do you think are the three most important aspects in the a-h list? Why?
- The BBC's main purpose is to inform, educate and entertain the public, in addition to supportying the creative economy of the UK as a whole.
5) Read point 1.9: What do Ofcom plan to review in terms of diversity and audience?
Read this Guardian interview with BBC 1 Controller Ben Cooper.
6) What is Ben Cooper trying to do with Radio 1?
On Friday, the BBC announced that Cooper would be getting a new boss, and a controversial one at that. From the end of this month James Purnell, the BBC’s director of strategy and education, will be taking responsibility for radio as part of a new, expanded division.
7) How does he argue that Radio 1 is doing better with younger audiences than the statistics suggest?
For one, Rajar, the official body in charge of measuring radio audiences, only publishes figures on audience survey respondents aged 15 and over, which he feels is unfair. “You have a target age of 15 to 29, but nothing is measured for under-15s but everything is to death beyond the 29 target, which means, using averages, you are going to get skewed much older,” he says. “I think it is an old-fashioned metric for an old radio industry. You have the maths against you.”
8) Why does he suggest Radio 1 is distinctive from commercial radio?
Cooper talks innovation but Radio 1’s rivals, and a report submitted to the culture secretary that informed this year’s charter review white paper, accuse the station of not being distinctive enough. He bristles at the suggestion. “Are we distinctive from commercial radio? Yes we are,” he says. “We will play something like 4,000 different tracks a month, commercial radio plays about 400. We need to play hit music to get audiences in to expose them to new music. I think we need to look at the fact that we are no longer competing just purely with Rajars against Capital and Kiss.
9) Why is Radio 1 increasingly focusing on YouTube views and digital platforms?
6) What is Ben Cooper trying to do with Radio 1?
On Friday, the BBC announced that Cooper would be getting a new boss, and a controversial one at that. From the end of this month James Purnell, the BBC’s director of strategy and education, will be taking responsibility for radio as part of a new, expanded division.
7) How does he argue that Radio 1 is doing better with younger audiences than the statistics suggest?
For one, Rajar, the official body in charge of measuring radio audiences, only publishes figures on audience survey respondents aged 15 and over, which he feels is unfair. “You have a target age of 15 to 29, but nothing is measured for under-15s but everything is to death beyond the 29 target, which means, using averages, you are going to get skewed much older,” he says. “I think it is an old-fashioned metric for an old radio industry. You have the maths against you.”
8) Why does he suggest Radio 1 is distinctive from commercial radio?
Cooper talks innovation but Radio 1’s rivals, and a report submitted to the culture secretary that informed this year’s charter review white paper, accuse the station of not being distinctive enough. He bristles at the suggestion. “Are we distinctive from commercial radio? Yes we are,” he says. “We will play something like 4,000 different tracks a month, commercial radio plays about 400. We need to play hit music to get audiences in to expose them to new music. I think we need to look at the fact that we are no longer competing just purely with Rajars against Capital and Kiss.
9) Why is Radio 1 increasingly focusing on YouTube views and digital platforms?
Youtube allows the branch of the BBC Radio to the younger crowd to attempt to get more opinions from the radio. Podcasts are also a nice way to attract spectators as they are popular with younger audiences.
10) In your opinion, should the BBC’s remit include targeting young audiences via Radio 1 or should this content be left to commercial broadcasters? Explain your answer.
War of the Worlds: Blog tasks
War of the Worlds: Blog tasks
Media Factsheet
Go to our Media Factsheet archive on the Media Shared drive and open Factsheet #176: CSP Radio - War of the Worlds. Our Media Factsheet archive is on the Media Shared drive: M:\Resources\A Level\Media Factsheets - you'll need to save the factsheet to USB or email it to yourself in order to complete this at home. Read the factsheet and answer the following questions:
1) What is the history and narrative behind War of the Worlds?
War of the Worlds was a science fiction novel written by H.G Wells and was later taken by Orson Welles as a radio play in 1938
2) When was it first broadcast and what is the popular myth regarding the reaction from the audience?
It was first broadcasted in 1918
3) How did the New York Times report the reaction the next day?
The New York Times reported the reaction as a widespread panic and caused public fear.
4) How did author Brad Schwartz describe the the broadcast and its reaction?
'Decades ahead of its time' and the reaction as 'history's first viral-media phenomenon'
5) Why did Orson Welles use hybrid genres and pastiche and what effect might it have had on the audience?
By mixing a realistic sounding broadcast with a fictional alien invasion in grovers mill, Orson Welles used hybrid genres, New jersey to adapt the novel to a radio show featuring flashes as news was disclosed to build a realistic feeling for the story being told.
6) How did world events in 1938 affect the way audiences interpreted the show?
There was a threat for Germany.
7) Which company broadcast War of the Worlds in 1938?
CBS
8) Why might the newspaper industry have deliberately exaggerated the response to the broadcast?
9) Does War of the Worlds provide evidence to support the Frankfurt School's Hypodermic Needle theory?
‘Hypodermic Needle Theory’. This states that audiences consume and respond to media texts in an unquestioning way, believing what they read, see or hear.
10) How might Gerbner's cultivation theory be applied to the broadcast?
Gerbner's cultivation theory Could provide a more precise explanation of the viewers behavior in reaction to radio broadcasting as it highlights the long-term impacts of media texts on audiences.
11) Applying Hall's Reception Theory, what could be the preferred and oppositional readings of the original broadcast?
Halls Reception theory is Considering how the War of the Worlds crowd interpreted the text (as either reality or fiction) is helpful. He claims that there may be distinct methods for viewers to read a media text. The audience's dominant or preferred reading is the one meant by the text's creator.
12) Do media products still retain the ability to fool audiences as it is suggested War of the Worlds did in 1938? Has the digital media landscape changed this?
New media has also enabled an increased capacity to fool audiences as ' false news ' has emerged and media has been able to boost ' clickbait ' style headlines to trick audiences fundamentally unless they read more on the subject.
Analysis and opinion
Go to our Media Factsheet archive on the Media Shared drive and open Factsheet #176: CSP Radio - War of the Worlds. Our Media Factsheet archive is on the Media Shared drive: M:\Resources\A Level\Media Factsheets - you'll need to save the factsheet to USB or email it to yourself in order to complete this at home. Read the factsheet and answer the following questions:
1) What is the history and narrative behind War of the Worlds?
War of the Worlds was a science fiction novel written by H.G Wells and was later taken by Orson Welles as a radio play in 1938
2) When was it first broadcast and what is the popular myth regarding the reaction from the audience?
It was first broadcasted in 1918
3) How did the New York Times report the reaction the next day?
The New York Times reported the reaction as a widespread panic and caused public fear.
4) How did author Brad Schwartz describe the the broadcast and its reaction?
'Decades ahead of its time' and the reaction as 'history's first viral-media phenomenon'
5) Why did Orson Welles use hybrid genres and pastiche and what effect might it have had on the audience?
By mixing a realistic sounding broadcast with a fictional alien invasion in grovers mill, Orson Welles used hybrid genres, New jersey to adapt the novel to a radio show featuring flashes as news was disclosed to build a realistic feeling for the story being told.
6) How did world events in 1938 affect the way audiences interpreted the show?
There was a threat for Germany.
7) Which company broadcast War of the Worlds in 1938?
CBS
8) Why might the newspaper industry have deliberately exaggerated the response to the broadcast?
- Radio was new and was seen as a threat to print news so newspapers tried to get rid of radio news.
9) Does War of the Worlds provide evidence to support the Frankfurt School's Hypodermic Needle theory?
‘Hypodermic Needle Theory’. This states that audiences consume and respond to media texts in an unquestioning way, believing what they read, see or hear.
10) How might Gerbner's cultivation theory be applied to the broadcast?
Gerbner's cultivation theory Could provide a more precise explanation of the viewers behavior in reaction to radio broadcasting as it highlights the long-term impacts of media texts on audiences.
11) Applying Hall's Reception Theory, what could be the preferred and oppositional readings of the original broadcast?
Halls Reception theory is Considering how the War of the Worlds crowd interpreted the text (as either reality or fiction) is helpful. He claims that there may be distinct methods for viewers to read a media text. The audience's dominant or preferred reading is the one meant by the text's creator.
12) Do media products still retain the ability to fool audiences as it is suggested War of the Worlds did in 1938? Has the digital media landscape changed this?
New media has also enabled an increased capacity to fool audiences as ' false news ' has emerged and media has been able to boost ' clickbait ' style headlines to trick audiences fundamentally unless they read more on the subject.
Analysis and opinion
1) Why do you think the 1938 broadcast of War of the Worlds has become such a significant moment in media history?
2) War of the Worlds feels like a 1938 version of 'fake news'. But which is the greater example of fake news - Orson Welles's use of radio conventions to create realism or the newspapers exaggerating the audience reaction to discredit radio?
3) Do you agree with the Frankfurt School's Hypodermic Needle theory? If not, was there a point in history audiences were more susceptible to believing anything they saw or heard in the media?
4) Has the digital media age made the Hypodermic Needle model more or less relevant? Why?
I mainly agree with Gerbner's cultivation theory as I think that ongoing media exposure to someone has a gradual but substantial impact on the opinions and beliefs of the audience, most frequently seen with ' mean world syndrome, ' with ongoing adverse world representation leading individuals to think that the world is a worse place than it actually is.
5) Do you agree with George Gerbner's Cultivation theory - that suggests exposure to the media has a gradual but significant effect on audience's views and beliefs? Give examples to support your argument.
6) Is Gerbner's Cultivation theory more or less valid today than it would have been in 1938? Why?
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