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Key improvement points:TV DRAMA:
Look f or KEY REPRESENTATIONS
TALK ABOUT ALLTECHNICALAREAS THROUGHOUT THE COURSE OF THEESSAY
Whe re p ossibl e, a s many a s you can f or a sing le key rep.
A prior knowl edge o f WAYS OF DESCRIBINGrep g rou ps will give you bette r range o f rep s. To look f or e.g uppe r m idd le c lass; Anglo-Caribb ean ; hete ros exua l; menta lly impa ired ; whee l-cha ir bou nd ; Live rpudd lian etc.
Look f or ste reo type s, a rchetype s, he ro es, ant i-he ro es, Alfa ma les, dam se ls in d istress , iconography, pa ro d ies, hy bri ds, stat us re lat ionsh ips / stat us
sign if ie rs , un iqu e cha racte r constru ct ionsAbov e a ll, look f or cont rasts WITHIN GROUPS as we ll as bet ween them.
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Key improvement points:INSTITUTIONS & AUDIENCES:
LOOSELY ATLEAST, FOLLOW THE STRUCURE OF addressing the key a rea o f the qu est ion f or each sect ion o f your essay:
1. PRODUCTION
2. DISTRIBUTION
3. MARKETING
4. EXHIBITION
5. EXCHANGE
TALK ABOUT CROSS MEDIA CONVERGENCE, SYNERGY & TECHNOLOGICALCONVERGENCEeven if they a re n o t d irect ly spec if ied in the qu est ion.
Trace the de ve lopment o f a spec if ic re lea se a ll the way th rou gh the 5 stage s. The m or erecent the bette r; mus t be 2005 onwards.
Talk abou t at lea st one ext ra company, t o ach ieve br eadth. (I ad vocate Un ive rsa l).
Talk abou t a ud ience ha bi ts, consu mpt ion t rend s, consu me r demand, a ud ience a s pro duct,content d riven techn olo gica l inn ovat ion.
The p robl em s faced h ow are they tac kled usi ng what strateg ies / techn olo gies.
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production processes -distributionstrategies - technologies - audiencereception and consumption - media
ownership
Tue 20th April
OWNERSHIP ISSUES
STRUCTURE
CONCENTRATION
CONSUMPTION TRENDS
ABSORPTION OF INDEPENDENTS
SETTING UP OF INDEPENDENT-STYLESUBSIDARIES
COPYRIGHT THEFT
INDEPENDENTS NEEDING TOCOMPROMISE
MERGERS
BENEFITS OF CONVERGENCE
DOWNSIDE OF CONVERGENCE
REGULATION / CENSORSHIP /CLASSIFICATION
CONSIDER AT EVERY LEVE L
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C ross media convergence / synergy
C ross media convergence / synergy:ISSUES
WITH WHOM HAVE YOUR CASE STUDY
COMPANIES COLLABORATED FORMUTUALPROFIT?
CONCENTRATION WHERESYNERGISTIC PRACTICES PRODUCESEPARATE PRODUCTS IN DISTINCTMEDIA, BUT THE OWNERSHIP CAN BE
TRACED BACK TO ONE BIG COMPANY
THE USE OF TV, RADIO, THE INTERNETPRINT & MOBILE COMMUNICATIONSDEVICES TO PROMOTE AND IN SOMECASES EXHIBIT THE SAME PRODUCT
HOW CONTENT / GENRE EVOLVESTHE PROS & CONS OF CMCONV. /
SYNERGY FOR INDEPENDENTS
C ONSIDER AT EVERY LEVE L
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TECHNOLOGIESRE C EN T TEC HNO LOGIES :
ISSUES
SOUND RECORDING (LOGIC / ANALOG TODIGITAL / DOLBY DIGITALEX etc. [QUICK GLANCE ATDOLBY DOC SHOW STUDENTS WHERE IT IS]
DIGITALINSTRUMENTS
TYPES OF FILM E.G. 16mm ; 35mm ; 70mm f ilm ; IMAX 4:3 f rame etc.
TYPES OF CAMERATYPES OF SOFTWARE
ADVERTISING TECHNOLOGIES (inc lud ing theinte rnet & inte lligent screen s)
HOW CONTENT / GENRE EVOLVES DOES IT
DRIVE TECHNOLOGY OR IS IT DRIVEN BY IT?
THE EMPOWERING OF INDEPENDENT MEDIAPRODUCERS
FORMATS / FORMAT WARS
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HARDWAREPRO LIFER ATION OF
H ARDW ARE : ISSUES
FORMATS / FORMAT WARS
IMPACT ON HOW THINGS ARE VIEWED/HEARD /PLAYED
WHAT PEOPLE ARE DOING WHILST VIEWING /LISTENING / PLAYING
DECLINE IN CD / DVD SALES (GET REAL,ACCURATE STATISTICS)
THE PLETHORA OF GAME FORMATS
WHAT IS THE SALES DISTRIBUTION IN PERCENTFORM BETWEEN DISCS / PC / VIRTUALPLAYERS?
2ND LIFE / VIRTUALREALITY / HOLOGRAPHYEXPERIENTALMEDIA
NOW THE LINES BECOME BLURRED: E.G.PETERJACKSON DIRECTIND A RIDE / THE SUCCESS OFGTA RADIO STATIONS Don
Tap sco tt
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TechnologicalC onvergence
Technological C onvergence:
ISSUES
COMING TOGETHER
IMPACT ON HOW THINGS ARE VIEWED/HEARD /PLAYED
EMPOWERMENT OF INDEPENDENT MEDIAPRODUCERS
BENEFITS TO MARKETING FOR INDEPENDENTS
BENEFITS TO MARKETING FOR MAJORS SATURATION etc.
WEB 2.0 SOCIALMEDIA ENGAGEMENT /AUDIENCE CREATIVITY DAVID GAUNTLETT MAKINGCONNECTIONS (2010) AUDIENCE HAPPINESS
2ND LIFE / VIRTUALREALITY /
HOLOGRAPHY
EXCHANGE pros & cons f or INSTITUTIONS &AUDIENCES David
Gaunt lett
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success of previous titles
star persona
*stage of development of the genre (Christian Metz 1974) - WEB 2.0 / CINEMA 2.0? -Don Tapscott / David Gauntlett
*ways of advertising: ABOVE THE LINE; BELOW THE LINE; THROUGH THE LINE *CROSS MEDIA CONVERGENT ADVERTISING (linked to ownership; esp. for majors whoown stakes in other platforms e.g. news corp. owning sky, the sun & the times as well as 20th C. Fox / film 4 / channel 4 etc.)
*types of audience research (surveys and genre / audience theory etc.)
* The problems posed by regulation (BBFC FOR FILMS & GAMES / PARENT
ADVISORY STICKERS FOR MUSIC) getting a 15 cert. is preferable to an 18 because it expands target audience.
*money issues including the recession linked to audience habits
*Technological convergence including mobile web 2.0 technologies and the links toadvertising
*How warnings about copyright theft are included in advertising (e.g. love film / hate piracy)
*Audience habits / consumption trends change & durability (what changes? What stays the same?
C ONSUMP TION TRENDS
INDEPENDEN TS NEEDING TO C OMPROMISE
C ONVERGEN C E pros & cons
[ FINDSPECIFIC EXAMPLESOF EACH]*
TARGE TING
AUDIEN C ES :
ISSUES
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OWN EXPERIENCE
Ow n Ex periences / Consumption:
ISSUES
USES AND GRATIFICATIONS
app ly to se lf / f riend s
CD / DVD PURCHASING ow n expe rience / ma rkettrend s
EXPERIENCES OF DOWNLOADING musi c / f ilms /game s
EXPERIENCES OF EXCHANGE
EXPERIENCES OF BLANKET, VIRAL, ABOVE & BELOWTHELINE ADVERTISING etc.
EXPERIENCES OF SATURATED ADVERTISING etc.
WEB 2.0 SOCIALMEDIA ENGAGEMENT /AUDIENCE CREATIVITY DAVID GAUNTLETT MAKINGCONNECTIONS (2010) AUDIENCE HAPPINESS
EXPERIENCES OF EXCHANGE
MICHAEL WESCH
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theories and theorists- P art 1Peop le o ften a sk how much the or y is expected in theexam ; do student s need t o quo te the ori es and thename s o f crit ics/the oris ts? The an sw e r is yes, you areexpected t o know so me RELEVANT theor y and t o beable t o app ly it t o examp les, pa rt icularly to acce ss theh ighe r ma rks . You are a lso expected t o be a ble t o acc ur ate ly cite the name s o f crit ics/ resea rche rs andthe oris ts and t o set ou t the ir posi t ion- bu t you ce rta in ly don't ha ve t o ag ree with them! In fact, the reare m or e ma rks f or pe op le who can a rgue effect ive lywith so me one e lse' s idea s.
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Pro fessor Son ia Living stone is Head o f Med ia andComm un icat ions at the Lond on Sch ool o f Econom ics. Her resea rch on te levisio n a ud ience s and m or e recent ly onch ildren' s us e o f the inte rnet woul d be ve ry us ef ul f or bo thMed ia in the on line age and R egulation as top ics f or theexam.
David Ga unt lett
http:// www .the or y.or g.uk /da vid/
The ori es and the oris ts
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David Ga unt lett
http:// www .the or y.or g.uk /da vid/
The ori es and the oris ts
In 2007, Ga unt lett p ublis hed on line the a rt icle Med ia St ud ies 2.0, a rguing that we need t o recogn ise the chang ing med ia
land scape in wh ich the categ ori es of 'a ud ience s ' and'p ro duce rs ' blur togethe r. He a rgues that the re is a sh ift f ro ma ' sit-back-and -be -told c ul tur e' t o a 'ma king -and -doingcul tur e'. H is vide o is essent ia l viewing!
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The ori es and the oris ts
H enry Jenkins
Jenkins has w ritten about fan cultures for many years and the w ays inw hich fans re- w rite media te x ts for their o w n purposes. In his recentbook Convergence culture he looks at ho w the convergence of differentmedia forms should be understood less in terms of technology and morein terms of w hat people are doing w ith them.
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The ori es and the oris ts
Michae l We schWe sch is assis tant p ro fessor o f cul tur a l anth ro polo gy at Kan sas State Un ive rsi ty.
We sch is inte rested in digita l ethn ography , whe re he stud ies the effect o f ne w med ia on h uman inte ract ion. He c reated a shor t vide o , "We b 2.0 ... The Mach ineis Us/ ing Us." and p u t it on you tub e in ea rly 2007. H is late r vide os , madecollabor at ive ly with h is student s are a ll rea lly inte rest ing ref lect ions on h ow pe op le us e the web .
Michae l We schhttp://med iatedc ul tur es.net/a bou t.htm
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The ori es and the oris ts
Ma rt in Barke r
Any study of Med ia reg ulat ion or fan s ou ght t o ta ke acc ou nt of the work of Ma rt in Ba rke r, curr ent ly at A be rystwyth Un ive rsi ty.He ha s wri tten and re sea rched exten sive ly on com ics, f ilms andthe ir aud ience s, a s we ll as mor a l pan ics abou t the med ia, su chas the V ide o na st ies 'sca re' of the m id 1980 s and the Ch ilds p lay3 pan ic of the m id 1990 s.