Historical (and cultural) context question

THIS IS INTENDED TO TALK YOU THROUGH THE KIND OF THINGS YOU MIGHT WISH TO INCLUDE IN AN ESSAY ON HISTORY AND/OR CULTURE. YOU WOULD NEED TO THINK CAREFULLY ABOUT WHICH PARTS WORKED FOR WHICH, BUT REMEMBER THAT HISTORY SHAPES CULTURE.

 

TITLE: EXPLAIN HOW CULTURAL AND HISTORICAL CONTEXTS INFLUENCE INDIVIDUAL PRODUCERS WITHIN THE NEWSPAPER INDUSTRY.

REFER TO THE GUARDIAN AND THE DAILY MAIL TO SUPPORT YOUR ANSWER

NB: As you read through this essay, remember what you are meant to be looking for:

• Does it answer the question?
• Does it use specific and detailed evidence?
• Does it analyse the evidence?

THE BITS IN RED ARE INTENDED TO TALK YOU THROUGH THE THINKING PROCESS BEHIND THIS ESSAY.

So, in paragraph one, I am trying to show the examiner that I know about the history of the two newspapers.

Paragraph 1:

The Guardian and The Daily Mail’s relationships with their audiences are shaped by the historical context of their creation. The Guardian was founded in 1821 with the intention of promoting liberal values and holding government and powerful private interests to account. In 1872 CP Scott became the editor, pledging to uphold those values. In 1936, ownership was passed to the Scott Trust Ltd. whose trustees still protect the Guardian’s focus on journalistic integrity and speaking truth to power. The Daily Mail was founded in 1896, and by 1902 had the largest circulation of any newspaper in the world, likely because of its populist content, including an increasing focus on entertainment and a surprisingly progressive recognition of the potential market for female readers (it remains one of the only newspapers with a predominantly female readership). In 2024, The Guardian is still focused on journalistic integrity, while The Mail is intent on giving its audience what they want by appealing to their cultural values. <<<< Notice this last sentence (in bold). This is the core of my essay. I can defend it with evidence, but that doesn’t mean it is correct. You can adopt a different perspective if you think that the evidence points in a different direction. But whatever you choose, it needs to be consistent, even if you are reaching an ambiguous conclusion.

 

ANYWAY! By this point, I’m pretty sure that the examiner thinks I understand the founding and development of the papers (HISTORICAL CONTEXT), so now I need to focus on a culturally (and historically if possible) significant event to illustrate my understanding of how this is manifest today. It needs to come from evidence I have in my head. So, I could write about: 

• Brexit, 
• The Death of the Queen, 
• Attitudes to Immigration, 
• Second Lockdown,  
• BLM Rioting etc.

I’m going with Brexit as I can remember the evidence well and because it supports my argument.

 

Paragraph 2:

So how does this difference manifest in the 21st Century? One of the most historically significant events of the last 20 years was the Brexit vote. The Mail’s infamous ‘ENEMIES OF THE PEOPLE’ (November 4th 2016) cover, was stridently right-wing, but the cultural context is very significant. Without doubt, the headline is intentionally incendiary, but writer James Slack likely intended it to be supportive of the readership’s pro-Brexit stance. So, we could argue that the paper is simply living up to the historical basic for its news agenda, by offering its middle class English readers a populist reading of the events of the day. The Guardian’s cover of the same day was measured, presenting a factual account of the judicial ruling, as is their historical position. However, like the Daily Mail, the Guardian is aware (and likely supports) its culturally progressive, left wing readership, and so the cover featured a call out to Polly Toynbe’s op-ed about Brexit wreaking ‘havoc.’ The Guardian is not averse to presenting left wing views, but the paper acknowledges that this is Toynbe’s opinion, not that of The Guardian, thereby defending its cultural and political neutrality and its historical reputation for journalistic integrity.

 

The two parts I have highlighted are referencing the core of the essay. For the sake of timing (word count) I have not called back to the core in a concluding sentence. If you have time, you can do that. For example:

So, in relation to Brexit, the historical position of the two papers remains intact, with the Guardian retaining it journalistic integrity and the Mail appealing to its reader’s cultural values.

 

By this point I have written just over 300 words. If I have to stop here I should still get 7 marks, because I’ve answered the question, used evidence FROM BOTH PAPERS to support my response and I’ve analysed the significance of my evidence. But I want to shoot for 10/10 or thereabouts, which means I need a third paragraph. So, I can write about another one of my list of significant events or I can take the opportunity to include something about The Internet. As you will see, I chose the latter.

 

Another culturally significant change in the 21st century has been the influence of the Internet. The cultural and historical context shapes the two paper’s reactions to these changing technological contexts. The Guardian online very closely resembles its print counterpart, using live updates, video content etc. to enhance its liberal messaging rather than allowing itself to become populist; moreover, its donation model seeks revenue without recourse to capitalist control. Its front screen even proclaims that it is seeking donations in order to avoid a “billionaire owner” and compromise its focus on journalistic rigour. Conversely, the content of the MailOnline is significantly different to its print counterpart. Some of its right-wing messaging is toned down and there is more attention paid to soft news and international news. But the influence of historical context is still on display. The MailOnline is aware that its readers are younger and that its circulation reaches a worldwide audience, hence their different cultural values. Evidence of this is visible in the way that it markets itself to Snapchat users; with more than 30 editors and a Snapchat subscriber count of around 15 million people it is clear that MailOnline understands that its youth audience is a vital demographic, while its print circulation makes no such attempt to capture younger readers.

As with the previous paragraph, I am letting the examiner do some of the work in connecting the core together for the sake of time/word count. However, if you are not comfortable with that - and there is a good reason not to be - you can give a minute to a final sentence.

 

As with Brexit, the historical position of the two papers remains intact with regard to the influence of the Internet; the Guardian retains its journalistic integrity and the Mail continues to focus on appealing to its readers’ cultural values.

Political Context - Newspapers

POLITICAL CONTEXT

Individual newspapers may be influenced by a variety of political contexts: from the political affiliation of individual publications, to the ideology of the target audience, to the influence of ownership. The Daily Mail’s messaging is right wing but seems to be most concerned with audience engagement. The Guardian is perceived as left wing but seems to be influenced more by journalistic integrity and an attempt to foster a reputation for political neutrality.

According to a 2017 YouGov poll, The Daily Mail is seen as the most right-wing of mainstream newspapers. However, it’s writers likely see its political messaging as providing a hegemonic preferred reading for the political values of its mainstream middle-class readership. Many publications took an oppositional reading of The Mail’s infamous ‘ENEMIES OF THE PEOPLE’ (November 4th 2016) cover, seeing it as stridently right wing, but the individual producers (writer James Slack and editor Paul Dacre) intended to be supportive of their readership’s pro-Brexit stance. The Guardian’s cover of the same day was more measured in its reporting, presenting a factual account of the judicial ruling. However, the cover did feature a call out to Polly Toynbe’s op-ed about Brexit wreaking ‘havoc.’ The Guardian is not averse to presenting left wing views, but the paper acknowledges that this is Toynbe’s opinion, not that of The Guardian, thereby defending its political neutrality and reputation for journalistic integrity.

Curran and Seaton would argue that ownership is the most significant factor influencing media industries. Rupert Murdoch, the billionaire owner of News Corps is infamous for his control of the political messaging of his publications; but what of The Guardian and The Mail? The Guardian is owned by The Scott Trust Ltd, a company created to ensure that The Guardian would have ‘No Billionaire Owner’ (a fact that they share on their homepage). They maintain that this gives them the freedom to prioritise journalistic integrity without the political influence of a powerful owner. Conversely, DMGT is owned by the 4th Viscount Rothermere, a billionaire owner. However, in a 2004 interview with the Independent, he asserted that he keeps his political opinions out of the ‘public arena’ in order to ensure that his editor (Paul Dacre) is not unduly influenced. Hesmondhalgh might suggest that Dacre's position is that of a symbol creator, given the freedom to excite audience engagement. This reinforces the Daily Mail’s core principle, to appeal to the ideology of its readers.

400 Words to here – Scoring 7 or 8.

While The Guardian remains somewhat politically neutral, both publications have strong ties to their support of Labour (The Guardian) and Conservatives (Daily Mail). However, this party-political context doesn’t override the core values of the papers. On January 5th 2021, the front cover of The Daily Mail selected an unflattering image of Boris Johnson, and complained about the loss of freedom for its middle class readers as Britain embarked on a second lockdown. Clearly, it was more committed to its support of the middle-class values of its reader than its party affiliation. Again, audience engagement seems to be the most significant of The Daily Mail’s values. On the same day, The Guardian was far more supportive of Johnson, presenting him as a patriot, weighed down by responsibility and honest about the difficulties ahead. Yet again, The Guardian seemed to prioritise political neutrality and journalistic integrity as its core value.

550 Words to here – Scoring 9 or 10.

ECONOMIC CONTEXT - LFTVD

https://www.slideshare.net/slideshow/economic-context-long-form-tv-drama-ppt/267458707

TASK 1: Mark the following paragraph.

1. ANSWER THE QUESTION [0,1,2,3,4,5]

Fluent, flowing and focused answer that repeats the language of the question.

2. ADDRESS CONTEXT [0,1,2,3,4,5]

Explicitly approaches the significance of context in a meaningful and perceptive way. 

3. APPLY THEORY [0,1,2,3,4,5]

Uses a wide range of theorists. Characterises them clearly and correctly. Applies them thoughtfully.

4. USE EXAMPLES [0,1,2,3,4,5]

Makes thorough and judicious use of examples, either from the episode or wider industrial context.

5: ANALYSE EXAMPLES [0,1,2,3,4,5]

Takes the opportunity to analyse the significance of ALL examples, with reference to the question.

6: COMPARE [0,1,2,3,4,5]

Makes clear, perceptive and frequent comparisons between the texts. 

0 - Not at all  .  1 - Vaguely  .  2 - Limited  .  3 - Adequate  .  4 - Good  .  5 - Excellent

NB: To achieve a 5 in any area, use of terminology must also be excellent. 

TASK 2: After identifying the weakness of the paragraph, add additional sentences/make small changes  and then post your improved paragraph in the comments section below.

NB: PLEASE SHOW YOUR CHANGES IN BOLD.

Q. 2021: ‘Audiences and producers no longer find the concept of genre relevant to long form television drama.’ How far do you agree with this statement?

It is almost impossible to discuss the relevance of genre without considering economic contexts. ‘Stranger Things’ represents a flagship product for Netflix, and its release marked an important milestone in its progression as a company with the reputation for high quality entertainment, a core element of its brand identity. NEALE points out the importance of genre hybridity in the evolutions of genre. Part of the pleasure of ‘Stranger Things’ comes from the way that it skilfully moves between adventure, teen drama, Science Fiction, comedy, action and horror. The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on Rotten Tomatoes highlighting the blend of genres and the teasers and trailers emphasising the variety of generic influences. It is clear then that genre is extremely relevant to both audience and producers of LFTVDs. Furthermore, HESMONDALGH allows us to look at ways in which  ‘Stranger Things’ is designed to appeal to a broad audience. Producers used a range of strategies including the use of well-known actors such as Winona Ryder, the intertextual references to popular films and filmmakers (e.g. E.T.), 1980s nostalgia but also the use of a range of popular genres, thereby avoiding significant risk. Netflix also avoid risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies. Given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant.  

TASK 3: Now look carefully at this next paragraph. Using the mark scheme from above give a mark to the combination of both paragraphs.  

The economic context around D83 are significantly different to ‘Stranger Things.’ It is a co-production between AMC Networks' SundanceTV and RTL Television and accessed some of its funding via German Federal Film Fund (DFFF) and the Media Programme of the European Union. HESMONDALGH would likely see this joint production process as spreading the risk across a range of companies, but also mitigating the risk on some level by ensuring a U.S. audience for the series. Its use of a popular genre (spy thriller) also allowed producers to mitigate risk by ensuring an audience. This is clearly demonstrated by the intertextual relay in the marketing for the programme; trailers focused heavily on the espionage angle and even suggested that the show would be far more action packed than its first episode implies. Unlike ‘Stranger Things,’ there is no use of genre hybridity, but it does significantly subvert expectations by featuring a Communist protagonist in conflict with a NATO antagonist. It is likely that this subversions of the genre attracted backing from SundanceTV, given their reputation for quality, challenging programming. However, while it has gone on to achieve critical and financial success in Germany, its initial reception was frostier. **** HALL’s  encoding/decoding model draws attention to the importance of identifying the ways in which elements such as technical codes and genre conventions are used by producers to construct specific meanings and effects but also highlights the active ways in which audiences engage with these meanings and accept, reject or modify them. The lived experience of German audiences, especially those who lived through the historical period being portrayed in the series may have led them to adopt an oppositional reading of the text, rejecting its subversion of genre expectations. So, while LFTVDs do lend themselves to more nuanced exploration of contentions social, cultural and historical periods the lived experience of audiences may influence economic success. So, again, it would be wrong to suggest that genre is irrelevant here, indeed it may be seen as highly significant in understanding how LFTVD producers develop a relationship with their varied international audiences. 

SOCIAL AND HISTORICAL CONTEXT - LFTVD

 

https://www.slideshare.net/slideshow/social-and-historical-context-lftvdpptx-715c/267637586

TASK 1:

Mark the paragraph on Deutschland D83.

TASK 2: 

Rewrite the paragraph on Deutschland 83 so that it achieves a higher score.

1. ANSWER THE QUESTION [0,1,2,3,4,5]

Fluent, flowing and focused answer that repeats the language of the question.

2. ADDRESS CONTEXT [0,1,2,3,4,5]

Explicitly approaches the significance of context in a meaningful and perceptive way. 

3. APPLY THEORY [0,1,2,3,4,5]

Uses a wide range of theorists. Characterises them clearly and correctly. Applies them thoughtfully.

4. USE EXAMPLES [0,1,2,3,4,5]

Makes thorough and judicious use of examples, either from the episode or wider industrial context.

5: ANALYSE EXAMPLES [0,1,2,3,4,5]

Takes the opportunity to analyse the significance of ALL examples, with reference to the question.

6: COMPARE [0,1,2,3,4,5]

Makes clear, perceptive and frequent comparisons between the texts. 

Post you new response in the comments section below...

LFTVD - INTRODUCTION AND CONCLUSIONS?

TASK: Write/Rewrite the following essay...

 'Producers of Long Form TV Drama, construct versions of reality that target the viewpoints and ideologies of their audiences." How far do you agree with this statement?

• consider the contexts in which long form television dramas are produced and consumed,
• explain how media contexts may have influenced representations in the set episodes of the two long form television dramas you have studied,
• refer to relevant academic theories,
• make judgements and reach conclusions about the reasons for the differences in representation between the two episodes.

Feel free to make it a collage of points lifted from the various PowerPoints, but make it fit your answer carefully. Also, if you are picking elements from elsewhere, make sure that you understand and can reproduce them.

Look carefully at the following introduction and conclusion:

• Think about whether you agree with them. 
• Consider how you might bend them to fit other essays about LFTVDs. 
• Consider how you might include or exclude elements to make your essay more manageable.
• Consider how you could use them to shape the essay you write.

Introduction

All successful Long Form T.V. drama, must, on some level, construct versions of reality that appeal to their audience. However, in the case of ‘Stranger Things’ and ‘D83’ we might ask whether the global impact of U.S. television on cultural hegemony is more significant than the need to appeal to national audiences. We might also wish to consider whether genre has a more significant effect on representation than an attempt to appeal to the target audience on the basis of ideology.

Conclusion

While it is clear that both TV shows construct versions of reality that appeal to the viewpoints of and ideologies of their audiences, we can see that both ‘Stranger Things’ and ‘Deutschland 83’ demonstrate U.S. cultural and economic dominance over the TV industry, with international audiences comfortable with accepting a  hyperreal diegesis built around U.S. TV and Film, and foreign language TV prioritising its  U.S. audience over its domestic audience. Furthermore, it seems more likely that appealing to a shared understanding of genre conventions may be more influential over representation, than a desire to appeal to the target audience at an ideological level.

CORE POINT 1:

U.S. LFTVDs want to reach an international audience, but hegemonic cultural dominance by U.S. Media means that they can do this by targeting the viewpoints and ideologies of their domestic audience, whereas foreign language LFTVDs may prioritise the U.S. market for financial reasons.

CORE POINT 2:

The decisions that producers make about representations of reality (from historical diegesis, to messages about gender) may be influenced by shared understanding of genre more than ideological reasons.

A VERY GOOD STUDENT RESPONSE

 'Producers of Long Form TV Drama, construct versions of reality that target the viewpoints and ideologies of their audiences." How far do you agree with this statement? 

All successful Long Form T.V. drama, must, on some level, construct versions of reality that appeal to their audience. However, in the case of ‘Stranger Things’ and ‘D83’ we might ask whether the global impact of U.S. television on cultural hegemony is more significant than the need to appeal to national audiences. We might also wish to consider whether genre has a more significant effect on representation than an attempt to appeal to the target audience on the basis of ideology. 

Firstly, when considering the economic contexts of long form TV dramas, theorists such as Hesmondhalgh may suggest that producers rely on repeated narratives, ‘star power’, and the use of franchises to avoid financial risks that may arise from deviating from the industry norm. To a certain degree, Stranger Things aligns with this, evidenced by Winona Ryder’s (an actress with a respected film repertoire) prevalence in the shows early marketing, and critics consistently referencing to the show’s similarities to other sci-fi/horror/coming of age films and television. However, Stranger Things doesn’t entirely rely on these industry conventions as Hesmondhalgh might suggest. As The Duffer Brothers are part of the writing, directing, and producing team on ‘Stranger Things’, the potential conflict that could occur between ‘symbol creators’ and producers is mostly eliminated, allowing them to have almost full creative autonomy. Therefore, they were able to construct their creative vision to its full potential, creating a genre hybrid, nostalgia-inducing, hyperreal fusion of a serial TV drama. The show itself was an example of textual poaching – as theorised by Jenkins – often intertextually referencing famous films from the 70s and 80s through music, mise en scene, and lighting e.g. the teen bikeriding scenes that are reminiscent of ET. The Duffer Brothers even incorporated Spielberg’s Leica Simmilux-C lens into the filming process to mimic his style. The Duffer Brothers have not created a version of reality that is ‘real’, they have purposefully constructed a microcosm of the historical ‘American Dream’ myth that is echoed throughout the history of film, far preceding Spielberg, as Baudrillard theorised is often depicted. They construct an a-political universe that seems to exist isolated from its historical context. Gerber’s theory may suggest that the Duffer Brothers intended the show to target the ‘mainstream’, politically moderate audience of Netflix viewers, who may not have any specific loyalties to certain ideologies. However, it could also be argued that they may be intending to create this version of reality to focus on the supernatural elements of the show, as they create and drive the plot. Todorov’s theory of narratology suggests that the elements that alter the story, and lead to ‘solution’ of narrative tumult construct the ‘transformative values’ or viewpoints and ideology of a text. In the case of Stranger Things, it is the values of camaraderie and loyalty that shape the meaning of the story, rather than socio-political statements. It is a simple narrative targeted at a near-universal audience, allowing commercial viability. 

Moreover, economic contexts can also shape the construction of reality and subsequent presentation of ideology in relation to audience tastes. For example, in the espionage-thriller, ‘Deutschland 83’, setting, music and mise en scene is utilised as a mode of signification to construct a diegesis that feels historically accurate. The programme had a small budget in comparison to Stranger Things – a total of 8 million euros for the first series – but still managed to amass global success and recognition, including winning the ‘International’ Emmy award in 2016. Theorists such as Gauntlett may suggest that people may seek media to shape their personal identity. In the case of D83, viewers would be seeking sophisticated, complex narratives and may have a personal interest in historical or espionage dramas. The producers of 83 have constructed ambiguity within their plot to attract an audience that seeks nuance and multiple viewpoints (the equally critical and sympathetic portrayals of both the East and West); its critical acclaim only helping to draw in a wider audience. However, this is not D83’s target audience. D83 is a German-language drama and had its launch in Germany. Yet, its initial release was not met positively by German audiences, with producer Joerg Winger believing audiences disliked the overly stylized look of the programme, though he protests they were aiming to encapsulate ‘psychological realism’ rather than ‘historical detail’. This messaging was received by international audiences (Hall’s theory would consider this the accepted ‘preferred’ reading), supported by the creation of (UK) Channel 4’s new foreign language sub-division of their VOD service, dubbed ‘Walter Presents’ where D83 was one of the first features. Overall, it seems that producers also construct versions of reality that may subvert the ideology and viewpoints of their target audience to reach a wider viewer-base, or even to implement viewpoint diversity to challenge increasing homogenisation of media messaging. 

On the other hand, social and historical contexts also seem to have impacted how producers construct versions of reality. In the first season of Stranger Things, the town of Hawkins, Indiana exists in small-town America in the 1980s, where there were still – to a certain extent – social restrictions for groups such as women. For example, the character of Mrs Wheeler is simply represented as a stay-at-home wife and mother, only shown in the first episode from the confides of her own home, assisting her family in their day-to-day lives. She is given a passive role in a patriarchal society. However, her daughter Nancy subverts this traditional representation, presented as an intelligent, motivated student, intent on reaching academic excellence. Throughout the first episode, we see her determination to study for a chemistry examination despite continual distractions from her boyfriend Steve. The producers of Stranger Things seem to have created Nancy’s character to subvert negative, stereotypical, aged stereotypes of women, adhering to the critiques pioneered by media theorists such as Laura Mulvey and Liesbet Van Zoonen who resent men and women being presented far differently in the media. Nancy actively shapes and progresses the plot of Stranger Things (helping defeat the government and monster antagonists later in the season), countering typical representations and appealing to the modern, progressive viewpoints and ideology of the youthful target audience of Stranger Things. Though it is difficult for us to say whether this is a realistic representation of 1980s American teenagers, the construction of reality is appealing to – and gratifies – its audience nonetheless. 

Furthermore, the social and historical contexts that exist in D83 have impacted the versions of reality constructed by the producers, though there are a varying number of ways we could interpret this. Firstly, West Germany is depicted as a traditional, patriarchal society – evidenced by the structure of the Edel family, with the father overseeing family events and determining his daughter’s education- reflecting the context of the 1980s. Yet, there is also the depiction of Lenora, a woman in power in a male-dominated field, portrayed as ruthless and influential. The creators of D83 have created a representation that would appeal to modern audiences due to its (somewhat) feminist ideological implications, possibly subverting Liesbet Van Zoonen’s ideas that women were, and are often, depicted as overly passive in media texts. However, it must also be acknowledged that this could also simply be a generic trope and, as Neale suggests, could be repeated characterisation to reflect the spy genre (e.g. ‘M’ of the Bond franchise) rather than the producers intentionally subverting historical contexts and media traditions. Additionally, we can also apply Todorov’s theory once again, to understand that a text needs to undergo a ‘transformation’ in order to shift from one equilibrium to the next, and demonstrate the text’s narrative values. Yet, in D83 these values seem to be fairly ambiguous. In episode 1, Martin continuously faces new disruptions, such as his kidnapping and coercion into espionage, yet they are resolved messily. Martin realises he must remain in West Germany to ensure his mother’s surgery, but he is aware that in the process he partakes in an activity (the HVA agency) which is not fully morally sound e.g. the murder of ‘Moritz’ so Martin can steal his identity. The audience may not fully agree with Martin’s actions, but are led to hold him in a somewhat sympathetic view despite his questionable actions. The producers of D83, Joerg and Anna Winger, seem to have intentionally created a nuanced perspective (supported by their German and American heritage) in their construction of reality to invite audiences to question their own viewpoints and ideologies. Interestingly, this appealed to their international audience much more than their targeted, German one. German audiences initially rejected the show for its tired and outdated marketing, over- stylised look, and sympathetic representation of East German spies. This may suggest that the Winger’s constructed this version of reality for its ‘new’ appeal to the wider world, than simply just Germany, where it is likely this concept has already been explored due to it being their own national history; international audiences are far less likely to have been exposed to these perspectives, making its ‘unique’ factor very marketable (evidenced by its feature on US subscription service Sundance TV).   

While it is clear that both TV shows construct versions of reality that appeal to the viewpoints of and ideologies of their audiences, we can see that both ‘Stranger Things’ and ‘Deutschland 83’ demonstrate U.S. cultural and economic dominance over the TV industry, with international audiences comfortable with accepting a  hyperreal diegesis built around U.S. TV and Film, and foreign language TV prioritising its  U.S. audience over its domestic audience. Furthermore, it seems more likely that appealing to a shared understanding of genre conventions may be more influential over representation, than a desire to appeal to the target audience at an ideological level.

BRIEF 4: MUSIC VIDEO + LIGHTING + BEHIND THE SCENES

This is a fairly complicated brief, so read it carefully.

IMPORTANT: For this task you may work in groups of three or four, but each person will need to produce their own version of the brief. So, you may choose to produce four different and distinct pieces, or you may share some footage across groups. However, you MUST ALL produce separate edits of BOTH pieces.

Brief: You work for an independent video production company. You have been tasked with producing an extract from a new music video (Piece 1) for an artist aged between 16 and 18. There is no restriction on genre, but the production company have insisted that the video must be set in a UK school. In addition, you must also produce a 'behind the scenes' documentary (Piece 2) of the video shoot. 

Step 1: Even if you intend to shoot on your own camera or school camera, find a FREE app that allows you to control the exposure triangle when shooting video on your mobile phone.     

                  -    Aperture    -    Shutter Speed    -    ISO    -

NB: The task will need at least two cameras (or phones) working together. 

Step 2: Produce an extract from a music video (30 - 60 seconds). You will need to include:

• A performance element (Lip Syncing) shot from at least two different angles or shot lengths. 
• A narrative element (Lip Syncing optional). 
• At least one of the performance shots must use a single, controlled, light source (Ledzilla or Light Panel) and no other.
• At least two different social groups.

I'm going to post a few interesting Youtube videos about using a single light in your production. If you find any of your own, please post a link in the comments section below.

7 CINEMATIC Lighting Setups with ONE BUDGET Light!

8 CINEMATIC Looks With ONLY 1 light

CINEMATIC LIGHTING IN 5 MINUTES! [Using One Cheap Light]

Step 3: Produce a 'making of' video about the production of the music video (60 - 180 seconds). You will need to include:

• Director's commentary.
• Behind the scenes footage. 
• Reference to the technical resources that you used in the production.

NB: You may include MORE ELEMENTS than is stipulated in the brief but the music video extract should not exceed 60 seconds. 

Step 4: Present these elements on your blog in a post entitled:

BRIEF 4: MUSIC VIDEO +  LIGHTING +  BEHIND THE SCENES

DEADLINE: 20th December 2024

 

APPLYING HALL'S THEORIES ON REPRESENTATION

Scroll to the bottom for the tasks:

Question

Analyse the representations in Source A and Source B. 

Apply Hall's theories about representation in your answer.

Points from Hall (NOT ALL WILL BE APPLICABLE):

• Hall points out that there is no 'true' meaning, but that a representation can generate many meanings.
• Hall theorises that meaning is constituted by what is present, what is absent and what is different. 
• Hall implicates the audience in creating meaning. 
• Hall explains that power (hegemony) tries to 'fix' a preferred meaning through stereotyping.

1. Who is the target audience for these two publication?

The Guardian is a left wing/liberal publication, with an affluent, educated readership that favours progressive and internationalist socio-political messaging.

The Daily Express is a centre right/conservative publication, with an older readership that favours more nationalist and exclusionary socio-political messaging.

2. What is the messaging in each piece? (What meaning are they trying to convey to their audience?)

The Guardian is attempting to construct a representation of the migrants which positions the reader to see them as refugees, predominantly women and children, and of the UK government as neglectful in their responsibility to help them.

The Daily Express is attempting to construct a representation of the migrants as predominantly male. It also attempts to construct representations of the French authorities as uncaring and derelict in their duty, of people traffickers as murderous and of Boris Johnson as heroic in his fight against these forces.

3. Who or what is present?  4. Who or what is absent? 5. What is different to our expectations?

Guardian Image:

Present:  

The image is dominated by a woman who is burdened by a child in one arm and dragging a child with her other hand. There is a clear expression of distress and discomfort shown by the facial expression of the

woman carrying the child. This creates an emotional connection to the refugees.

Absent:

The faces of the coastguard/UK authorities cannot be seen. Also absent are the men that must also be crossing.

Different:

The reader may expect a more negative picture of immigrants, but the messaging of them being refugees is emphasised by focusing on women and children rather than the majority view of them being 'fighting aged' men. This is different to what the government and other news sources have described the refugees in small boat crossings as and challenges the narrative that the Conservative government have created. 

Daily Express Image:

Present:  

The picture includes a police truck in the background and in the foreground it shows a group of men carrying the boat to the shoreline. They have selected an image with lots of men carrying a boat to the sea most of them have life jackets that could be uses to make the danger they are in appear lesser than it is and make it seem almost like a military operation to create the fear in the readers of the ‘invasion.’ The French authorities watching on is one of their main points as they take the position (Try - construct the messaging that) the French are to blame for the crossings.

Absent:

The French police may be present in their truck, but they are not shown as being active or interacting with the migrants. This paints a picture (Try - constructs a representation or reinforces a stereotype) of the French police as bad or not doing their job diligently. The rough sea is absent, which further takes away from the idea that the migrants are facing danger.

Different:

The representation within the image is largely stereotypical, though they may be surprised by how organised the migrants seem to be, or by how derelict the French authorities are in their duties.

6. What stereotypes are being constructed? 7. What is the 'preferred meaning' that 'Power' is trying to fix?

The Guardian image is constructing a representation of refugees as helpless and downtrodden. They would argue that this is a response to the institutional power of the Conservative government that is trying to fix or naturalise a stereotype of refugees as being like an invading force. The Daily Express image is precisely the opposite; it is attempting the naturalise the stereotype of a well organised, able bodied group of men, which reinforces the 'preferred meaning' constructed in support of the Conservative government, while simultaneously naturalising anti-French sentiment.

 

SOURCE A: The Guardian - November 25th 2021

SOURCE B: The Daily Express - November 25th 2021

Task 1: Write an opening paragraph in which you summarise the content of Hall's theories on representation. POST IN THE COMMENTS SECTION BELOW

Task 2: Write a paragraph applying Hall's theory on representation to Source A (The Guardian Cover).  POST IN THE COMMENTS SECTION BELOW

MARK SCHEME

1. Answer the question [0,1,2]​     

2. Correctly characterise the theory [0,1,2]​ 

3. Use specific and detailed examples [0,1,2]​      

4. Apply the theory to the examples [0,1,2]​

5. Use Media Studies terminology [0,1,2]

Task 3: Write a paragraph applying Hall's theory on representation to Source B (The Daily Express Cover).  POST IN THE COMMENTS SECTION BELOW

TECHNICAL RESEARCH TASK: Lighting and Exposure

Over the next few weeks, we will be starting to look at manipulating light to create meaningful effects in your work. With that in mind, the following research task is in three parts:

Part 1: 

Using YouTube / Vimeo / Any other online sources, look for tutorials on:

i)  The Exposure Triad/Triangle.  

ii) Lighting Techniques, including:

• Studio Lighting
• Natural Lighting
• Lighting with a single portable light source (LED light panel or Ledzilla). 

Part 2:

When you find one that you find interesting, post the link in the comments section below and include:

i) A quick summary of the content.

ii) A review of why you found it interesting or informative.

NB: Ideally, you should look for a tutorial that you would like to try out yourself.

Part 3:

Look through at least three tutorials posted by other people and leave a comment on their review. 

DEADLINE: THIS IS AN ONGOING TASK, ANY TIME YOU FIND A TUTORIAL ABOUT LIGHTING, ADD A LINK BELOW.

BRIEF THREE: Fashion and Beauty Ad

You will be working in threes on the following task:

You work for an independent marketing firm. You have been approached by a foreign pharmaceutical company (NTL) which is looking to launch a new fragrance for their home market. They have tasked you with identifying a leading product and brand in the EU because they are looking to replicate their marketing campaign. There are three phases to the brief:

Phase one: Choose a product and advert you wish to replicate. You will need to present this to your client and using media language to clearly identify the codes and conventions of the advert.

NB: Try to use terminology that demonstrates your knowledge of theory.

e.g. Sign, Signifier, Signified, Myth, Ideology, Connotation, Denotation

Phase two: Recreate the main image from the print advert as accurately as possible. You must use your photography skills to try and 'carbon copy' the image.

Phase three: Using Photoshop, recreate a full print advert of the original advert and, using the same codes and conventions, ONE new advert for your new fragrance. 

Phase four: Present your final pieces to the board, explaining the process you went through and how you have applied the AIDA principles to your final design. 

SNOW WHITE - Research and presentation task

Over the next two weeks, you will be working in groups of 2 or 3 to produce a presentation about Snow White. 

You will be assigned one of the questions below and you will research the topic, prepare a resource for the class, write the essay and present them all to the class. In all cases, you will need to refer closely to the original 1938 version of Snow White in your answer. 

QUESTIONS: 

If possible, reference the theorists from Media Ownership (Industries) and/or Audiences. As a reminder this would be:

Curran and Seaton, Livingstone and Lunt, Hesmondhalgh (industries)

Bandura, Gerbner, Hall, Jenkins, Shirky (audiences) 

1. Discuss differences in production, distribution and promotion between Snow White 1937 and Shang-Chi 2021. What do these differences tell us about the way media audiences have changed? 

2. How has the marketing and promotion of films changed over the years? Refer to both Snow White 1937 and Shang-Chi 2021 in your answer.

3. How do film companies use social media and online platforms to promote, distribute and show (exhibit) their films?

4. Show how the film industry ensures that mainstream films reach the widest possible audiences.

5. How are changing attitudes to race and gender reflected in the two films you have studied. Use clear examples from both Snow White and Shang-Chi in your answer.

6. How has the Disney corporation evolved since their early success with Snow White in 1937 to its recent acquisition of other brands such as Marvel?

.

AS YOU PREPARE, REMEMBER: Your presentations / essays need to contain thoughtful and thorough analysis of the question. You need to use specific and detailed information (keep a record of all research). If you learn a new piece of terminology, you will need a slide to explain the meaning. 

NB: YOU HAVE TWO WEEKS TO PREPARE. YOU WILL BE PRESENTING IN THE LAST WEEKS OF TERM.

13A

1. Larisa

2. Scarlet

3. Katlin and Finlay

4. Luke and Ed

5. Mary and Bessie

6.Aleksandra and Annabella

13B

1. 

2. Tilly, Lydia, Janki

3. Alyssa, Shira, Meredith 

4. 

5. Monty, Zackery, Isabella

6.Maddie and Willow

BRIEF TWO: CODES AND CONVENTIONS RESEARCH + USING FOUND IMAGES

You work for an independent media production company. You have been given the task of creating a mockup version of the front cover of a new newspaper called Guardian Youth. This paper will be aimed at 16 to 25 year olds, who share similar social and political biases to the current readership of The Guardian newspaper. 

STEP ONE

Find (AT LEAST) six front covers of The Guardian from 2024.

Guardian-7.jpg (1609×2048) (tomorrowspapers.co.uk)

Use the link to navigate to different dates by changing the 03 (Month) or the 7 (Day).

STEP TWO

Create a PowerPoint in which you present an analysis of the conventions of the cover of the newspaper. 

You should include analysis of:

• The Masthead.
• The use of images (Think about what is in the image and the intended effect)
• Captions (Text that is beneath or inlaid into the image)
• The Header and Footer 
• The layout of the page.
• The content of lead article (splash)
• The content of the off lead (secondary article)
• The language used in headlines (is it sensationalist/subtle)
• Pull Quotes
• Teasers 
• PLUS - Anything else that you notice.

In addition, consider: 

• The ideological messaging.

STEP THREE

Once you have a clear sense of the conventions of  The Guardian, create a cover that develops and adapts these conventions to appeal to your target audience. 

NB: Your finished product should be recognisable as a Guardian product, but should clearly appeal to the new target audience.

STEP FOUR

Add your production to your PowerPoint and evaluate how you developed and adapted the conventions of The Guardian. Post the task to your Practice Tasks section of your blog using the title: PRACTIC BRIEF TWO: CODES AND CONVENTIONS RESEARCH + USING FOUND IMAGES

NB: This is a mockup task, so you may use found images. 

MARKSCHEME FOR LIVE MARKING

	L1	L2	L3	L4	L5
Research is thorough and well presented
Clear understanding of the conventions of the original text
Clear understanding of the needs of the target audience
Representations are appropriate to the genre and the audience
Clearly follows the details of the set brief
L1: Minimal, L2: Limited, L3: Adequate, L4: Good, L5: Excellent	1	2	3	4	5

BRIEF ONE: PHOTOGRAPHY 101

The purpose of this brief is to get you to think carefully about lighting and focus and to work out what is possible with the equipment you have available.

STEP ONE

Search online for THREE examples of EACH of the following:

• High Key Lighting
• Over Exposed Lighting
• Low Key Lighting
• Shallow Focus
• Deep Focus
• Monochrome
• Back lighting
• Chiaroscuro

STEP TWO

Using your phone (or any other camera if you have one) replicate ONE of each type. The main challenge here is to try and replicate the image as accurately as possible. 

STEP THREE

Create a post in the Practice Briefs section of your blog called PRACTICE BRIEF ONE: PHOTOGRAPHY 101. Display your inspiration and your own work in a way that makes it clear what you are presenting (I won't give you any more instructions than that).

DEADLINE TBA