We have completed our first major A Level Media unit: Film & TV Language. We now need to create a final index to ensure we haven't missed any vital notes or skills.
Keeping an index of all your work is extremely good practice from a revision perspective. Not only does this keep the concepts and media terminology fresh in your mind but it will also highlight if you've missed anything through absence or any other reason.
Your short editing videos should contain crucial techniques for narrative film and television. The ability to use cutting on action, shot-reverse shot and adhering to the 180 degree rule will be vital to your success in coursework later this year. Once we've screened the videos in class, you need to complete the following tasks on your blog:
Editing video feedback/learner response Create a new blogpost called 'Editing video feedback and learner response'. Make sure your video is on YouTube and embedded in this blogpost. 1) Type up your feedback/comments from your teacher. 2) Type up your feedback from fellow students. 3) Now reflect on your video. Did you meet the brief and successfully include the three key editing aspects we have learned? 4) What were the strengths and weaknesses of your final film? Write a detailed analysis picking out specific shots, edits and any other aspect of film language you think is relevant. 5) Learner response: what aspect of editing did you find most difficult? What have you learned from this process that will help you when you start the actual coursework later this year?
Complete this for homework if you don't get it done in the lesson - due date on Google Classroom.
As we reach the end of the Autumn term, you need to create a new MIGRAIN index and start revising for your January assessment.
The index, as you know, is a critical way of making sure you are keeping on top of the workload and not missing any topics or concepts. Your December index should have the following work in it:
Remember, your index needs to link to YOUR blogpost for each piece of work. If you've missed anything, catch up with it over Christmas and make sure the index is up-to-date before you come back in January.
January assessment details You will already have your exam timetable for the January assessments. This assessment will focus particularly on what you have studied in the second half of the Autumn term - so largely audience and industries. In addition, look over your learner response for the assessment in October. That feedback will be important in identifying how you can improve in the upcoming assessment.
Christmas homework: revise for January assessment Your Christmas homework is simple: revise everything you've learned so far in Media this year for your January assessment. In addition, there are plenty of resources out there to further help you prepare for your January assessment. For example, we strongly recommend you get hold of some of the books on our A Level Media reading list - including Media Magazine, Media Theory for A Level and the AQA textbooks which cover all the key concepts and some of the Close-Study Products. You will obviously be looking over your MIGRAIN index as outlined above. However, there is plenty more out there. Anything you read in our Media Magazine archive will help to give you a wider perspective on media debates and every issue has several articles which focus on interesting examples, theories and debates that will help you in a Media exam. You'll find our Media Magazine archive here.
Remember: these resources are all for you - the more you use them, the better you will do!
Like most industries, the media is regulated - overseen by government to make sure the market is fair and the content appropriate for the audience. Regulation is an important aspect of the industries key concept. How much influence should governments have over the ownership and consumption of media products? How powerful is the media? Key media theorists for this area are:
David Hesmondhalgh: the Cultural Industries
James Curran and Jean Seaton: Power Without Responsibility
Sonia Livingstone and Peter Lunt: Media Regulation
Two key terms for regulation:
Statutory regulation is when the regulator is backed by law (government legislation) and the regulator has real power. Example: Ofcom.
Voluntary regulation is when the industry regulates itself and governments are not involved. The newspaper and videogames industries are good examples.
Different media industries are regulated in different ways and by different organisations. For example:
Broadcasting (including the BBC): Ofcom
Newspapers: IPSO
Film: BBFC
Videogames: PEGI
Regulating the internet One of the major challenges facing governments and regulators is the fact so much of the cultural industries is now on the internet – and the internet is global. The global nature of the internet means it is difficult for one government to regulate – and tech giants like Google or Amazon are now more powerful than individual countries. This BBC Newsnight feature explores the challenge of regulating the internet: Online harms bill 2022
The 2022 Online Harms Bill attempts to bring some government regulation to the internet – but it has been a long process and has changed its focus several times (the bill has spanned four different Prime Ministers and seven culture secretaries).
Go to our Media Factsheet archive on the Media Shared drive and open Factsheet 128: Contemporary Media Regulation. Our Media Factsheet archive can be found at M:\Resources\A Level\Media Factsheets. You can find it online here - you'll need to log in using your Greenford Google login. Read the Factsheet and complete the following questions/tasks: 1) What is regulation and why do media industries need to be regulated? 2) What is OFCOM responsible for? 3) Look at the section on the OFCOM broadcasting code. Which do you think are the three most important sections of the broadcasting code and why? 4) Do you agree with OFCOM that Channel 4 was wrong to broadcast 'Wolverine' at 6.55pm on a Sunday evening? Why? 5) List five of the sections in the old Press Complaints Commission's Code of Practice. 6) Why was the Press Complaints Commission criticised? 7) What was the Leveson enquiry and why was it set up? 8) What was the PCC replaced with in 2014? 9) What is your opinion on press regulation? Is a free press an important part of living in a democracy or should newspapers face statutory regulation like TV and radio? 10) Why is the internet so difficult to regulate? Complete this for homework - due date on Google Classroom.
Broadcaster, Producer, Director and Columnist Jasmine Dotiwala is visiting Greenford to give a talk on Friday 16 December at 11am.
Jasmine grew up in this area before going on to work across a variety of media roles in a 25-year career. The Speakers for Schools website introduction for Jasmine says the following:
"Jasmine Dotiwala has over 25 years of experience as a Head of department, manager, broadcaster, producer, director and columnist at brands like Netflix UK, Media Trust, Channel 4 News, MTV and more. In 2020 she moved into a role working with the Netflix UK Editorial & Publishing team. She continues to support Media Trust programmes.
"As a multi-media reporter and producer as well as a reputed D&I specialist, Jasmine developed the industry lauded, ground-breaking Media Trust broadcast trainee programme London360, whose (over 400 to date) diverse alumni have since taken up senior positions all across TV broadcasters and the creative industries in the UK. As Head of Youth Media at Media Trust Jasmine oversaw media training programming from TV Production, to radio podcasting, to vlogging and more, with thousands of young people all across the UK Nations & Regions. She leaves a legacy of diverse talent across the creative industries."
This is a brilliant opportunity for Media students to hear from and question a key media personality - and also ask about diversity in the cultural industries. Think about David Hesmondhalgh's work in this area and what impact a lack of diversity in the media can have on society.
This Twitter thread from Jasmine is a brilliant example of what we can expect:
Think about what my industry was like before diversity was a focus. I grew up never seeing people of different races, genders & sexualities on TV. I never saw disabled people on TV & ads. Look what happens when we empower women to play football...Paralympic athletes....Pride..
We're encouraging all Post-16 Media students to attend the talk but if you have another lesson at that time you will need to discuss this with your teacher in advance to ensure they are happy for you to attend. You will also need to catch up with any missed work.
The British television and radio industries are largely driven by public service broadcasting. Indeed, the traditional TV channels still account for the majority of TV viewing in this country even in the age of Netflix. These channels are regulated by Ofcom and have to deliver a certain amount of specific content in order to fulfil the terms of their license. Public service broadcasting: notes Public service broadcasting refers to broadcasting intended for public benefit rather than to serve commercial interests. The media regulator Ofcom requires certain TV and radio broadcasters to fulfil certain requirements as part of their license to broadcast. All of the BBC's television and radio stations have a public service remit.
Here's a video outlining the beginning of public service broadcasting in the UK:
The history of the BBC The BBC was created in 1922 in response to new technology – the radio (or wireless as it was called then). The BBC was set up to “inform, educate and entertain” – which is still its mission statement to this day.
The BBC funding model: licence fee
All BBC content (and some of Channel 4’s funding) comes from the Licence Fee, which costs £159 a year.
You need a TV Licence to:
watch or record live TV programmes on any channel
download or watch any BBC programmes on iPlayer – live, catch up or on demand.
Some politicians want to scrap the licence fee and change the BBC’s funding model.
This robust discussion on Sky News outlines some of the debates regarding the BBC's funding model:
Channel 4 Channel 4 is an important part of UK public service broadcasting. Read full details of Channel 4's remit here - there is plenty of important information regarding the channel's commitment to public service broadcasting and its unique funding model.
"Channel 4 is a publicly-owned and commercially-funded UK public service broadcaster, with a statutory remit to deliver high-quality, innovative, alternative content that challenges the status quo.
Channel 4 reinvests all profits back into programmes, at zero cost to the taxpayer. A ‘Robin Hood’ model of cross-funding means programmes that make money pay for others that are part of the PSB remit but that are loss-making e.g. News and Current Affairs."
Opposition to public service broadcasting Many people in Britain see public service broadcasting as a good thing – but not rival commercial broadcasters. James Murdoch, son of Rupert, has criticised BBC news. He says that free news on the BBC made it “incredibly difficult” for private news organisations to ask people to pay for their news. Some politicians have argued that the BBC should not produce programmes such as Strictly Come Dancing so commercial broadcasters such as ITV or Sky can attract larger audiences in primetime.
Public service broadcasting: blog tasks Create a new blogpost called 'Public service broadcasting' and complete the following tasks: Ofcom review of PSB in Britain In 2020 Ofcom published its findings from a five year review of public service broadcasting in Britain. Read the introduction to their report - pages 3-7. You'll need your Greenford Google login to view the document. 1) Look at page 3. Why is it a critical time for public service broadcasting? 2) Read page 4. How has TV viewing changed in recent years?
3) Still on page 4, what aspects of PSB do audiences value and enjoy? 4) Look at pages 4-5. Find and note down the statistics in this section on how much TV audiences tend to watch and how they watch it. 5) Read the section on page 5 discussing the importance of PSB. Again, find the statistics and explain the value of public service broadcasting in Britain.
6) Look at the section on commercial challenges. How have revenues fallen for PSB channels?
7) Read page 6. What services increasingly play a role in our media lives in the digital age?
Goldsmiths report on Public Service TV Read this report from Goldsmiths University - A future for public service television: content and platforms in a digital world. 1) What does the report state has changed in the UK television market in the last 20 years? 2) Look at page 4. What are the principles that the report suggests need to be embedded in regulation of public service broadcasting in future? 3) What does the report say about the BBC? 4) According to the report, how should the BBC be funded in future? 5) What does the report say about Channel 4? 6) How should Channel 4 operate in future? 7) Look at page 10 - new kids on the block. What does the report say about new digital content providers and their link to public service broadcasting? Final questions - YOUR opinion on public service broadcasting 1) Should the BBC retain its position as the UK’s public service broadcaster? 2) Is there a role for the BBC in the 21st century digital world? 3) Should the BBC funding model (licence fee) change? How?
Complete for homework - due date on Google Classroom.
Editing is the last aspect of our Film & TV Language unit - but absolutely crucial to the way meanings are created and communicated to the audience.
Editing can completely change the audience’s understanding of narrative and character. Charlie Brooker deconstructed the editing in the reality TV genre:
Editing notes
Key terminology for editing:
Transitions
Continuity editing
Montage
Pace
Juxtaposition
Continuity editing
Most editing of narrative film is continuity editing. This is when shots are placed logically so that one event follows on from the next. We, as the audience, automatically try to make sense of one shot joining the next one. For example, if we see an exterior shot of a school and the following shot is a classroom, we assume that the classroom is inside the school building we saw in the previous shot. Transitions
A straight cut is the most common method and the audience are so accustomed to seeing these that we rarely notice them when they occur.
A fade out – the screen fades to black.
A dissolve - one image blurs into the next.
A wipe – one part of the screen wipes across the other.
A jump cut – an unexpected edit where the audience’s attention is forced to focus on something very suddenly.
Pace
The speed at which the film cuts from one shot to the next makes a huge difference to the experience for the audience. Generally, slow-paced cuts build tension while fast cuts suggest action and excitement.
Juxtaposition The word juxtaposition literally means ‘the act of placing together side by side’.
In film, two shots may be placed together to create meaning for the audience. E.g. A shot of the hero may be followed by a shot of his love interest to link these in the audience’s mind. This may also take the form of an eyeline match where a character looks in a certain direction and the next shot cuts to whatever they are looking at.
Montage
A montage sequence involves shots being placed next to each other that do not necessarily convey a linear narrative. Instead, the shots tend to convey a message, provide an overall impression or shorten a story that takes place over a much longer period time. For example, a sequence that included consecutive shots of a school building, classrooms, students playing football and teachers in the staffroom may be aiming to give an overall impression of school life.
Editing: blog task
There are some truly fantastic clips for the Editing part of the Film & TV Language unit.
Your final analytical blog task is to find a film or television clip on YouTube that you feel has been edited in a distinctive way and write a 750 word analysis of the clip.
Use as much media language as you can - and remember to highlight it. Try and use the key words we've learned for editing and any other aspects of film language you can apply. There is a wonderful example online of an editing analysis of The Godfather baptism scene (a clip which also appears as task 6 of the editing section in the Film and TV Language unit). This gives you an idea of how to write in-depth media analyses focusing on aspects of film language.
If you're not sure what clip to pick, you will find plenty of lists online if you search for 'great film editing sequences' or similar. One example that comes up when you do this is the shootout scene from Michael Mann's Heat (3mins - 6mins particularly, but it's all brilliant):
Complete this for homework - due date on Google Classroom.
One of the most important aspects of the Industries key concept is how the cultural industries are structured and the influence they have in society. Academic and media theorist David Hesmondhalgh has written extensively about the Cultural Industries and A Level Media students need to develop an understanding of his work. Cultural Industries: notes Hesmondhalgh discusses the way the cultural industries operate and explores their effect on audiences: “Of one thing there can be no doubt: the media do have influence.” He points out that societies with profitable cultural industries (e.g. USA, UK) tend to be dominated by large companies, have minimal government regulation and significant inequality between rich and poor. Do cultural industries reinforce these conditions?
The cultural industries: a risky business Hesmondhalgh acknowledges that media companies are operating a risky business. There is no guarantee a creative product will be a success. They offset this risk both creatively and through business structure. In terms of media products, they use stars, sequels and well-known genres. In terms of business, they use vertical integration and diversification to spread their risk and maximise profit.
Commodification
Hesmondhalgh discusses commodification in the cultural industries (turning everything into something that can be bought or sold).
He suggests this creates problems on both the consumption and production side. For the production side, he points to certain areas of the cultural industries where people are not fairly rewarded.
Hesmondhalgh: diversity in the media
Hesmondhalgh has explored whether the cultural industries truly reflect the diversity of people and society.
Hesmondhalgh references Mosco (1996): “There is a difference between multiplicity – a large number of voices – and diversity – whether or not these voices are actually offering different things from each other.”
Despite their size, are the cultural industries dominated by a narrow range of values and ideologies?
Cultural Industries: blog task Go to our Media Factsheet archive and open Factsheet 168: David Hesmondhalgh’s ‘The Cultural Industries’. Our Media Factsheet archive is on the Media Shared drive: M:\Resources\A Level\Media Factsheets or you can access it online here using your Greenford Google login. Read the Factsheet and complete the following questions/tasks: 1) What does the term 'Cultural Industries' actually refer to? 2) What does Hesmondhalgh identify regarding the societies in which the cultural industries are highly profitable? 3) Why do some media products offer ideologies that challenge capitalism or inequalities in society? 4) Look at page 2 of the factsheet. What are the problems that Hesmondhalgh identifies with regards to the cultural industries? 5) Why are so many cultural industries a 'risky business' for the companies involved? 6) What is your opinion on the creativity v commerce debate? Should the media be all about profit or are media products a form of artistic expression that play an important role in society? 7) How do cultural industry companies minimise their risks and maximise their profits? (Clue: your work on Industries - Ownership and control will help here) 8) Do you agree that the way the cultural industries operate reflects the inequalities and injustices of wider society? Should the content creators, the creative minds behind media products, be better rewarded for their work? 9) Listen and read the transcript to the opening 9 minutes of the Freakonomics podcast - No Hollywood Ending for the Visual-Effects Industry. Why has the visual effects industry suffered despite the huge budgets for most Hollywood movies? 10) What is commodification? 11) Do you agree with the argument that while there are a huge number of media texts created, they fail to reflect the diversity of people or opinion in wider society? 12) How does Hesmondhalgh suggest the cultural industries have changed? Identify the three most significant developments and explain why you think they are the most important. Complete for homework - due date on Google Classroom.
Industries is a major key concept in A Level Media and covers a wide variety of different aspects. You'll need to study the following topics for a full introduction to this concept:
The companies or organisations behind the media – owners, publishers, developers, channels, distributors, film studios etc.
How new and digital technology has changed media industries.
The regulation and control of media in the UK.
The role of public service broadcasting and not-for-profit media.
Who has the power in the media: audiences or institutions?
Industries: Ownership and control notes
In our first lesson on media industries, we learned the following terminology: Conglomerate ownership A conglomerate is a large company composed of a number of smaller companies (subsidiaries). A media conglomerate, or media group, is a company that owns numerous companies involved in creating mass media products such as print, television, radio, movies or online. Examples include Comcast, 21st Century Fox or Disney.
Vertical integration
Vertical integration is when a media company owns a range of businesses in the same chain of production and distribution.
For example, a company might own the film studio that makes a film, the distributors that sell it to cinemas and then the movie channel that premieres it on TV.
Vertical integration allows companies to reduce costs and increase profits – but it is not always successful if the parent company lacks expertise in certain areas.
Horizontal integration
Horizontal integration is when a media company owns a range of different media companies that are largely unrelated e.g. magazines, radio stations and television.
Horizontal integration helps media institutions reach a wider audience.
Convergence & synergy
Convergence (sometimes called technological convergence) refers to the way we can now consume a range of media on one device.
Similarly, synergy is the process through which a series of media products derived from the same text or institution is promoted in and through each other.
Look for links or consistent branding across different media platforms and products. E.g. Warner Brothers and Harry Potter – films, merchandise, stage plays, theme parks, videogames etc.
Diversification Diversification is when a media company branches out into a different area of the industry. For example, many media companies have had to diversify to internet-driven distribution (e.g. streaming) as a result of new and digital media. In the music industry, major labels such as Warner Music have had to embrace streaming in order to reverse years of declining revenue.
Cross-media regulation When two companies wish to merge or diversify (e.g. vertical or horizontal integration) it needs to be cleared by a regulatory body to prevent any one company becoming too powerful in a given market. In the UK, this is decided by the Competition and Markets Authority (CMA). Currently, the CMA is deciding whether to allow Rupert Murdoch to complete an £11.7bn takeover of Sky by 21st Century Fox.
Industries: Ownership and control blog task
Create a new blogpost called 'Industries: Ownership and control' and complete the following tasks:
Media conglomerate research
1) Type up your research notes from the lesson - what did you find out about your allocated media conglomerate? Selection of companies: Alphabet, The Walt Disney Company, Comcast, 21st Century Fox, Meta, Viacom, News Corp, Time Warner. If you were absent or didn't have time in the lesson to make these notes, research any one of the companies above and find examples of all the terminology outlined in the notes at the start of this blogpost.
2) Do you agree that governments should prevent media conglomerates from becoming too dominant? Write an argument that looks at both sides of this debate.
Media Magazine reading and questions Media Magazine 52 has a good feature on the changing relationship between audiences and institutions in the digital age. Go to our Media Magazine archive, click on MM52 and scroll to page 9 to read the article 'Two Key Concepts: The Relationship Between Audience and Institution'.
1) Briefly describe the production, promotion and distribution process for media companies.
2) What are the different funding models for media institutions?
3) The article gives a lot of examples of major media brands and companies. Choose three examples from the article and summarise what the writer is saying about each of them.
4) What examples are provided of the new business models media companies have had to adopt due to changes in technology and distribution?
5) Re-read the section on 'The Future'. What examples are discussed of technology companies becoming major media institutions?
6) Do you agree with the view that traditional media institutions are struggling to survive?
7) How might diversification or vertical integration help companies to survive and thrive in a rapidly changing media landscape?
8) How do YOU see the relationship between audience and institution in the future? Will audiences gain increasing power or will the major global media conglomerates maintain their control?
Complete these blog tasks for homework: due date on Google Classroom.
Your final Film & TV Language practical task is an editing video that introduces the basics of narrative filmmaking.
This is another great opportunity to develop our filming and editing skills prior to starting our coursework later in the year. Editing video: Continuity task Your Editing video involves filming and editing a character opening a door, crossing a room and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of dialogue. This task should demonstrate match on action, shot/reverse shot and the 180-degree rule.
Key skills The following clips and links should help you with the key skills you need to demonstrate in your preliminary exercise. Match on action Match on action (or cutting on action) is an editing technique for continuity editing in which one shot cuts to another shot showing the same action of the subject in the first shot. This creates the impression of continuity - the action creates a 'visual bridge' which is easy for the audience to follow.
Look at this YouTube clip that explains match on action in a clear, simple way with an example:
Shot/reverse shot Shot/reverse shot uses over-the-shoulder shots to show a conversation between two characters. Look at this example from the Hunger Games movie - specifically between 0.50 and 1.30.
With shot/reverse shot, you need to observe the 180 degree rule. 180 degree rule The 180-degree rule of shooting and editing keeps the camera on one side of the action. This keeps characters grounded compositionally on a particular side of the screen or frame, and keeps them looking at one another when only one character is seen onscreen at a time. It is referred to as a rule because the camera, when shooting two actors, must not cross over the axis of action; if it does, it risks giving the impression that the actors' positions in the scene have been reversed. [source: Columbia Film Language Glossary]
In other words, draw an imaginary line between the two characters facing each other and then make sure the camera never crosses that line during the filming of that scene. This video is a brilliant explanation of the rule:
Task list: planning Decide who you will work with. Remember, the filming can be in pairs/groups but you MUST edit individually.
1) Discuss what your preliminary exercise will involve – make notes on location, sequence of events, who will act etc.
2) Write a short script for the preliminary exercise. Remember, scripts outline movement and shots as well as dialogue. The BBC Writer's Room is a brilliant resource for tips and examples of TV scriptwriting. Here's a genuine TV script example from Luther to check you are formatting your script correctly.
3) Write a shot list of every possible shot (and a few extra) you will need for this preliminary exercise. An example shot list is here.
Upload your completed planning to your blog then you can start shooting and editing your film. Using your phone is fine for this project but remember to set up the phone in landscape (sideways) to ensure an appropriate widescreen shot. Deadline: on Google Classroom
Your one-minute cinematography videos are a great way to make sure we have learned our camera shots, angles and movement. Once we've screened the videos in class, you need to complete the following tasks on your blog:
Cinematography video feedback/learner response Create a new blogpost called 'Cinematography video feedback and learner response'. Make sure your video is on YouTube and embedded in this blogpost. 1) Type up your feedback/comments from your teacher. 2) Type up your feedback from fellow students. 3) Now reflect on your work and write your own summary of the comments and feedback you have received. Write three WWWs and three EBIs. 4) Learner response: think about what you learned about cinematography making the video and also watching others. What will you do differently when you start the coursework in the summer? What tips or tricks have you learned from others that you can use next time? Are there any specific aspects of camerawork that you need to revise or practice?
Complete this for homework if you don't get it done in the lesson - due date on Google Classroom.
Forming opinions on the effect the media has on audiences is a crucial aspect of A Level Media Studies. There are a range of theories we need to learn to help develop our understanding and opinions of this topic. Audience theory 2: notes Bandura: Social learning theory Albert Bandura’s social learning theory came from an influential psychology study involving a bobo doll and children’s behaviour after observing violent acts. Social learning theory suggests people learn from one another, via observation, imitation, and modeling.
Stanley Cohen: moral panic Moral Panic occurs when someone or something is defined by the media as a threat to society. The term was created by Stanley Cohen. Cohen suggested in his 1972 book ‘Folk Devils and Moral Panics’ that a moral panic occurs when a “condition, episode, person or group of people emerges to become defined as a threat to societal values and interests”. Cohen suggested the media plays an important role in creating moral panic, even if just through news reports.
Cohen defined his five stages of moral panic as: 1) Something or someone is defined as a threat to values or interests 2) This threat is depicted in an easily recognisable form by the media 3) There is a rapid build-up of public concern 4) There is a response from authorities or opinion makers 5) The panic recedes or results in social changes
Technopanic: the modern moral panic A technopanic is simply a moral panic that focuses on something linked to new technology.
George Gerbner: Cultivation theory George Gerbner researched whether watching television influences the audience's ideas and perception of everyday life. Cultivation theories suggest that TV viewing can have long-term, gradual but significant effects on the audience’s attitudes and beliefs (rather than behaviour).
Gerbner’s Cultivation theory states that high frequency viewers of television are more susceptible to media messages and the belief that they are real and valid. Heavy viewers are exposed to more violence and therefore are affected by the Mean World Syndrome, the belief that the world is a far worse and dangerous place than it actually is.
Create a new blogpost called 'Audience theory 2 - blog tasks' and work through the following tasks: Theory questions and your opinion 1) Social learning theory has been criticised for simplifying the causes of violence in society. Do you think the media is responsible for anti-social behaviour and violence? 2) How is social learning theory relevant in the digital age? Are young people now learning behaviour from social media and the internet? Give examples. 3) Research three examples of moral panic from the last 50 years. To what extent was the media responsible for these moral panics? Was the concern in society justified? How have things changed as a result of these moral panics? 4) Read this introduction to an academic paper on technopanics. What examples are given of technopanics that create fear in society? If the link is blocked in school, you can access the text here. 5) Do you think the internet should be regulated? Should the government try and control what we can access online? 6) Apply Gerbner's cultivation theory to new and digital media. Is the internet creating a fearful population? Are we becoming desensitised to online threats, trolling and abuse? Is heavy internet use something we should be worried about in society? Write a paragraph discussing these ideas. The effects debate: Media Factsheet Complete the following tasks using Media Factsheet 030 - The Effects Debate available on the Media Shared drive. You'll find it in our Media Factsheet archive: M:\Resources\A Level\Media Factsheets. You can also access it via your school Google login here. Read Media Factsheet 030 - Media and Audiences -The Effects Debate and answer the following questions: 1) Complete the questions in the first activity box (beginning with 'Do you play violent games? Are you violent in real life?') 2) What are the four categories for different effects theories? 3) What are the examples provided for the hypodermic needle theory - where media texts have been blamed for certain events? 4) What was the 1999 Columbine massacre? You may need to research this online in addition to the information on the factsheet. 5) What are the reasons listed on the factsheet to possibly explain the Columbine High School massacre? 6) How does the factsheet describe Gerbner's Cultivation theory? 7) What does the factsheet suggest about action films and the values and ideologies that are reinforced with regards to violence? 8) What criticisms of direct effect theories are suggested in the factsheet? 9) Why might the 1970s sitcom Love Thy Neighbour be considered so controversial today? What does this tell us about Reception theory and how audiences create meanings? 10) What examples are provided for Hall's theory of preferred, negotiated and oppositional readings? Finish for homework if you don't complete it in the lesson: due date on Google Classroom.
To develop our study of audience, we need to explore the effects that media products have on us and apply a range of theories to help us do this. Does consuming media make us violent? Anti-social? More aggressive? Or has digital technology and social media actually contributed to the lowest drug, alcohol and teenage pregnancy statistics for many years? In addition, we also need to explore what audiences enjoy about the media and ask how active or passive audiences are. Audience theory: notes The hypodermic needle model
This is a crude theory from the 1920s that suggests the media injects information into the audience like a hypodermic needle and therefore can have a dangerous effect on us.
The two-step flow model
The two-step flow model was developed in the 1940s because the hypodermic needle theory was considered too simplistic, assuming the audience consumed media without thinking.
The two-step flow model instead suggests the audience are influenced by ‘opinion leaders’ in the media who mediate how the audience react to media texts. The theory suggests the media is not all-powerful and that social factors are important.
Blumler & Katz: Uses and Gratifications theory
Researchers Blumler and Katz reignited audience theory in 1974 by stating that media audiences are active and make conscious choices about the way they consume media. They suggested there are four main uses or gratifications (pleasures) that audiences get from the media.
Diversion: escape from everyday problems and routine - entertainment.
Personal Relationships: using the media for emotional and other interaction (e.g. developing affection for characters in TV)
Personal Identity: finding ourselves reflected in texts or learning behaviour and values from the media. Reality TV or documentary (Educating Yorkshire) are good examples.
Surveillance: Information useful for living (e.g. Weather, traffic news, holiday bargains etc.) Rokeach and DeFleur: Dependency theory
Rokeach and DeFleur took Uses and Gratifications one step further in 1976 in suggesting that people have become dependent on the media. With Dependency theory, they suggest that people rely on the media for information determining their decisions. This means the media can create many different feelings such as fear, anxiety, and happiness.
Audience theory 1: blog tasks
Hypodermic needle model
1) Read this Mail Online article about the effects of videogames. How does this article link to the hypodermic needle model? 2) How does coverage of the Talk Talk hacking case (see Daily Mail front page below) link to the hypodermic needle model? Why might someone criticise this front page?
3) What do you think of the hypodermic needle theory? Do audiences believe everything they see in the media?
Two-step flow model
1) Summarise the two-step flow model. What is an opinion leader?
3) In your opinion, is the two-step flow theory still relevant today?
Uses and Gratifications theory
1) For each of the four categories, write about one media text (e.g. film, TV programme, newspaper etc.) that fits that particular audience use or pleasure. Make sure you explain WHY it fits the category and use images or clips to illustrate your points. The first one is done for you.
Diversion: Film - Blinded By The Light. Entertaining and offering escapism for fans of Bruce Springsteen or anyone that enjoys coming of age films or culture-clash comedies.
Personal Relationships:
Personal Identity:
Surveillance:
Dependency theory 1) Do you agree that audiences have become dependent on the media? What evidence or examples can you provide to support your view? 2) How has the growth of new and digital technology in the last 15 years changed people's dependency on the media? Is this a new problem? 3) Reflecting on your own media use, how does your media consumption impact on your emotions? Does the media have an overall positive or negative impact on your health and wellbeing? Why? Remember, anything you don't complete in the lessons you need to finish for homework - due date on Google Classroom.
