MIGRAIN: Final index

We have now completed our mammoth MIGRAIN Introduction to Media unit - a little later than planned for obvious reasons. You've covered a huge amount of work since September and now have a grounding in all the key concepts of A Level Media - well done! 

We now need to update our MIGRAIN blog index (we last updated this in December) with all the work we've done recently. As you know, it is important we are revising terminology and theory on an ongoing basis and making sure there are no gaps as the course continues. The vast majority of the course will be tested in an exam situation and there could easily be a question on a specific theory that we've covered in the last three half-terms. If you have missed any lessons or blog tasks this will significantly disadvantage you.

MIGRAIN Final index

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 trips. Your index should now include the following:

1) Introduction to Media: 10 questions
2) Media consumption audit
3) Semiotics blog tasks - English analysis and Icon, Index, Symbol
4) Language: Reading an image - advert analyses
5) Reception theory - advert analyses part 2
6) Genre: Factsheets and genre study questions
7) Narrative: Factsheet questions
8) Audience: classification - psychographics presentation notes
9) October assessment learner response
10) Audience theory 1 - Hypodermic needle/Two-step flow/U&G
11) Audience theory 2 - The effects debate - Bandura, Cohen 
12) Industries: Ownership and Control
13) Industries: Hesmondhalgh - The Cultural Industries

14) Industries: Public Service Broadcasting
15) Industries: Regulation
16) Representation: Introduction to Representation
17) Representation: Feminism - Everyday Sexism & Fourth Wave MM article 
18) Representation: Feminist theory
19) Representing ourselves: Identity in the online age - MM article & Factsheet
20) Ideology: BBC Question Time analysis and MM articles

You'll have done a lot of this index already - a quick time-saving tip is to copy the HTML from your original index blogpost and paste it in your new index blogpost. This will give you the first few links and you can add to it from there. If you simply add to your previous index, make sure you change the date to today (use the 'Schedule' tab on the right-hand menu to do this). 

Remember, this is your index, so the text should link to your corresponding blogpost so you can access your work on each key concept quickly and easily. This also means you if you have missed anything you can now catch up with the work/notes over half-term and won't underperform in future assessments due to gaps in your knowledge.

Due date: on Google Classroom along with any missing work the index has highlighted

TV: Capital case study

Our first television close-study product is BBC state-of-the-nation drama Capital. We need to know everything about the programme - from textual analysis of key scenes to how it was funded, distributed and promoted.

The key notes from the lesson are here: 

Novel adaptation

• Capital is a BBC TV drama series adapted from 2012 book by John Lanchester.
• The book was set in 2007-8 either side of the financial crisis but the TV drama updates it to 2015 and changes the location slightly (Clapham to Balham). 

Capital: a state-of-the-nation drama

• Capital is a ‘state-of-the-nation’ drama – designed to capture the issues facing the country at the time it is written and produced.
• In Capital, it focuses on the economy and the financial crash, immigration, London’s housing market and the incredible mix of people in a city of 8.5 million.

Reviews
Reviews of the Capital TV series drew attention to the state-of-the-nation aspect of the drama:

• Ben Lawrence in the Telegraph wrote: Capital shows “an eternal London, riven by inequality and quickened by diversity”.
• Ben Dowell in the Radio Times: “It shows Londoners trying to work out very real problems… there is a fierce intelligence at work here, a script which asks some very interesting and important questions but doesn’t force the answers down your throat.”

London 2009-15 

• Following the global financial crash in 2007-8, London was not expected to quickly recover economically. 
• However, house prices soared with some properties almost doubling in price in five years. By September 2015, the average London house price was £531,000.
• Traditionally working-class neighbourhoods in London suddenly had houses worth £1m+.

London: immigration

The Oxford University Migration Observatory published a report in 2011 regarding migration to London. Key quotes:

• “One in three London residents was born abroad, and a quarter of these migrants arrived since 2006. Nearly a half of the UK’s migrants live in London.”
• “London’s population is characterised by rapid flux. Area stability – the proportion of a neighbourhood’s population remaining in place over time – is far lower in London than the rest of the UK.”
• “Some of the most deprived migrants in the country reside in London, and some of the most privileged too… vulnerable migrants in London include asylum-seekers with subsistence-only support.”

Capital: Case study blog tasks

Work through the following tasks to build a detailed case study for Capital. This will give you plenty of background information to use in an exam question. Remember, for this CSP the question could be on any of the key concepts: language, industries, audiences or representations.

Reviews and features

Read the following review and feature on Capital:

Guardian review by Sam Wollaston
London Evening Standard: five things you need to know about Capital

1) What positive points does the review pick out about Capital? What criticisms are made - either of the TV drama or the original novel?

2) What references can you find in the reviews and feature to the idea Capital is a 'state-of-the-nation' drama? How does it capture modern-day London?


Trailer analysis

Watch the trailer for Capital:



1) How does the drama use camerawork to capture London life?

2) How does the trailer use mise-en-scene to capture the family element of the drama?

3) How does the trailer introduce narrative strands suggesting tension or enigma in the 40-second running time?


Watch the Episode 1 preview for Capital:



1) What does this preview clip suggest about the potential sub-genres for Capital?

2) What elements of the clip might suggest this is a 'state-of-the-nation' drama?

3) Analyse the mise-en-scene in this clip. How does this provide realism and familiarity for audiences?

4) How is the audience positioned to respond to the different characters in this particular sequence?


Watch the Episode 2 preview for Capital:



1) How does this clip represent upper-middle-class family life?

2) What narrative strands are suggested in this sequence?

3) How is the audience positioned to respond to Roger Yount, the main character (banker and father to the two boys)?


Representations: close-textual analysis

Capital offers a range of fascinating representations - from London and asylum seekers to capitalism and inequality. You need to be able to confidently discuss these issues in the context of 2015 London - with reference to key scenes from episode 1. Representations include: London, family, gender, ethnicity, religion, immigration, asylum, inequality, wealth, capitalism, aging and more.

These notes from your feedback in the lesson analysing these clips will help with this element of the case study. You'll need your Greenford Google login to access the document.

1) Write an analysis of the representations in each of the key scenes from episode 1 we studied in the lesson:

Scene 1: opening sequence 00:30 – 4.49
Scene 2: work in the City 6.28 – 8.10
Scene 3: “Which of those isn’t absolutely essential?” 14.00 – 15.35
Scene 4: asylum 18.03 – 19.42 AND 31.10 – 32.40
Scene 5: “What use is 30 grand?” 36.40 – 39.00 
Scene 6: life at the corner shop 40.10 – 42.55

You can choose which aspects to focus on for each scene: e.g. London, family, gender, ethnicity, religion, immigration, asylum, inequality, wealth, aging etc. Feel free to use bullet points or notes for each scene.

2) How does Capital use stereotypes? Do the characters and issues represented in Capital reinforce or subvert the stereotypes we typically see in the media?


Industries and production context

Capital was produced by independent production company Kudos for the BBC. Look at the Kudos website and also read the Kudos Wikipedia page.

1) Who is the parent company for Kudos?

2) What was the breakthrough show for Kudos in 2002?

3) Watch the showreel on the Kudos website. What other TV dramas have Kudos produced? What awards have they won?

4) What audience pleasures does the showreel suggest Kudos productions offer? 


Marketing and promotion

Read the BBC Press Pack for Capital.

1) How does the programme information on page 3 make Capital sound interesting to audiences?

2) Why does the programme information mention the other shows that the director and producer have worked on?

3) Who commissioned Capital for BBC?

4) Read the interview with Toby Jones. What does he say about the character of Roger?

5) Read the interview with Adeel Akhtar (page 10). What does he suggest Capital says about the fictional Pepys Road and the sense of community (or lack of it) in London?

6) Read the interview with Shabana Azmi (page 12). What does she say about Asian representations in Britain? 

7) Read the interview with Peter Bowker (who adapted Capital - page 14). What are his favourite scenes in the drama and why?

8) Read the interview with Derek Wax, the Executive Producer for Kudos (page 16). Why did he produce Capital and what does it say about the way we live now?




DVD packaging

Look at the DVD packaging for Capital. There are many marketing techniques employed here.

1) How does the packaging use other critically acclaimed TV dramas to promote Capital?

2) What does the use of design and images suggest to the audience about the drama?

3) How are review quotes used on the cover and what do they suggest to the audience about sub-genre, narrative and audience pleasures?

4) What representation of London does the DVD packaging offer?



There is a lot of work here - easily 3-4 hours in total if you do this in the depth required for the top grades at A Level. However, you will have two weeks to work on this.

Due date: on Google Classroom.

MIGRAIN: Ideology

The media's role in setting and reinforcing the dominant values and ideologies within society is a vital aspect of A Level Media Studies. 

The key notes from today's lesson on ideology and binary opposition:

Ideology

What is an ideology?
An ideology is a world view, a system of values, attitudes and beliefs which an individual, group or society holds to be true or important; these are shared by a culture or society about how that society should function.

Dominant ideologies

Ideologies that are told to us repeatedly by important social institutions such as the government or media are called dominant ideologies.

Dominant ideologies are ideologies or beliefs that we live by in our day-to-day lives and often do not question – they have become 'natural, common sense' things to do. This effectively dissuades people from rebelling against these beliefs, and keeps a sense of stability in society.

Why is ideology important in Media Studies?

Media texts always reflect certain values or ideologies though sometimes we may not be aware of this. When studying a media text you may look for the dominant ideology present and question whose world view is represented and perhaps which groups have not been represented.

Levi-Strauss: Binary opposition

Claude Levi-Strauss (1908-2009) was a French philosopher and one of the most important cultural theorists of the 20th century. 

His theory of binary opposition is important for media students.

Levi-Strauss suggested everyone thinks of the world around them in terms of binary opposites such as up and down, life and death etc. and therefore every culture can be understood in these terms. 

Binary opposition in media

Binary opposition is used to create narrative and conflict in media. It is also used to simplify complex situations for easy consumption (e.g. TV news).

Along similar lines, if something is not easily reduced to binary opposites, it is far less likely to receive widespread media coverage.

Binary oppositions can be used to create stereotypes and promote certain ideologies or beliefs.

Blog tasks: Ideology

Part 1: BBC Question Time analysis

Watch this clip from BBC Question Time with Russell Brand and Nigel Farage. The BBC deliberately placed the two against each other and the episode resulted in far more people watching and tweeting than usual.

1) What examples of binary opposition can you suggest from watching this clip?

2) What ideologies are on display in this clip?

Embed the video into your blog (as above) and answer these two questions in full paragraphs.


Part 2: Media Magazine reading

Media Magazine issue 52 has two good articles on Ideology. You need to read those articles (our Media Magazine archive is here) and complete a few tasks linked to them. 

Page 34: The World Of Mockingjay: Ideology, Dystopia And Propaganda

1) Read the article and summarise it in one sentence.

2) What view of capitalist ideology is presented in the Hunger Games films?

3) What do the Hunger Games films suggest about the power of the media to shape and influence ideological beliefs?


Page 48: They Live - Understanding Ideology

1) Read the article and summarise it in one sentence.

2) What are the four accepted ideological beliefs in western societies highlighted by the article?

3) What does Gramsci's theory of hegemony suggest about power and ideology in society?

4) What does French theorist Louis Althusser suggest about ideology and consumerism?

5) Do YOU agree with the idea behind They Live - that we are unthinkingly controlled by the media which is run in the interests of the economic elite? These are the big questions of A Level Media!

Due date: on Google Classroom

MIGRAIN: Representing ourselves - identity in the online age

Our final topic in our introduction to representation is collective identity: the sense of belonging to a group and how this influences the way we represent ourselves.

This is something the media has a huge influence over - everything from advertising to social media profiles can affect our sense of identity and where we fit in. Indeed, the representations we see in the media can have a huge impact on how we fit into society and the world around us. We need to learn some key theories and also consider the impact of new and digital technology on issues of collective identity and representation.

Notes and key theories

Collective identity

Collective identity is the shared sense of belonging to a group. In Media Studies, we need to consider the influence media has over a person’s sense of identity.

This is closely linked to representation as the way groups are portrayed in the media can influence our sense of identity and belonging.

Collective identity: theories

Marxism and the Frankfurt School

Marxists believe identity is constructed through hegemony imposed by the ruling elite. A sense of individual identity is a myth that prevents people challenging powerful groups.

This links to the Frankfurt School, a group of influential Marxists who viewed media audiences as passive vessels. They believe the media is used to control and manipulate people.

Example: Apple branding

Apple’s early branding suggested individuality and creative freedom... But in fact it was always a massive profit-seeking corporation looking to sell as widely as possible.

Later, iPhone adverts subtly suggested a certain lifestyle that has become synonymous with Apple products. Everything suggests creative possibility and individual opportunity but Marxists would argue this merely hides the fact we are being manipulated by a faceless corporation into handing Apple huge amounts of money (why is an iPhone so much more expensive than an Android phone for example?) 

What is the representation of an iPhone user presented in the iPhone 6s 'Onions' advert?

Daniel Chandler: CAGE

Daniel Chandler suggested the acronym CAGE, stating our identity is constructed through class, age, gender and ethnicity. 

Does this still apply in the 21st century? Do we construct our own identities along these lines? Is representation in the media still dominated by these classifications? Think about your own presence on social media.

Stuart Hall: media construction

Stuart Hall suggests the media actively constructs our society rather than reflecting it back. 

Our identity is part of this and therefore any sense of individuality we may feel is actually constructed through the media we engage with.

Constructing our own identities

New technology has changed the way we see ourselves and others. Through social media we can construct representations of ourselves.

Example: Instagram/Snapchat

• How did you choose your profile pic?
• What does your profile say?
• Who do you follow?
• How much do you consider what others will think of you when posting/liking/sharing?

Does social media have a positive influence over our identity? Or is it corrosive? Simon Sinek's interview on the millennial generation went viral when it was first released and is worth watching again for the section on social media, technology and how it influences our sense of identity:

Shared identity online

New technology has created the opportunity for people to form groups online that represent their shared identity. 

Think about the work we have done recently on feminism and online activism - blogs, forums, social media accounts and whole campaigns and movements (#everydaysexism) have given audiences a new sense of collective identity. In America and increasingly worldwide, the #blacklivesmatter movement is doing this with racism and police brutality.

Social media can empower individuals and create a strong sense of belonging – media theorist Sherry Turkle famously described the internet as a place to be "alone together".

Collective identity in the 21st Century

So, collective identity doesn’t just refer to representations in mainstream media.

It also refers to self-constructed identity by users of social media and communities formed online of shared identity (e.g. Feminism).

Collective identity and representing ourselves: blog tasks

Task 1: Media Magazine article

Read the Media Magazine article on collective identity: Self-image and the Media (MM41 - page 6). Our Media Magazine archive is here.

Complete the following tasks on your blog:

1) Read the article and summarise each section in one sentence, starting with the section 'Who are you?'

2) List three brands you are happy to be associated with and explain how they reflect your sense of identity.

3) Do you agree with the view that modern media is all about 'style over substance'? What does this expression mean?

4) Explain Baudrillard's theory of 'media saturation' in one paragraph. You may need to research it online to find out more.

5) Is your presence on social media an accurate reflection of who you are? Have you ever added or removed a picture from a social media site purely because of what it says about the type of person you are?

6) What is your opinion on 'data mining'? Are you happy for companies to sell you products based on your social media presence and online search terms? Is this an invasion of privacy?


Task 2: Media Magazine cartoon

Now read the cartoon in MM62 (p36) that summarises David Gauntlett’s theories of identity. Write five simple bullet points summarising what you have learned from the cartoon about Gauntlett's theories of identity.

Task 3: Representation & Identity: Factsheet blog task

Finally, use our brilliant Media Factsheet archive on the M: drive Media Shared (M:\Resources\A Level\Media Factsheets) to find Media Factsheet #72 on Collective Identity. The Factsheet archive is available online here - you'll need your Greenford Google login to access. Read the whole of Factsheet and answer the following questions to complete our introductory work on collective identity:

1) What is collective identity? Write your own definition in as close to 50 words as possible.

2) Complete the task on the factsheet (page 1) - write a list of as many things as you can think of that represent Britain. What do they have in common? Have you represented the whole of Britain or just one aspect/viewpoint?

3) How does James May's Top Toys offer a nostalgic representation of Britain?

4) How has new technology changed collective identity?

5) What phrase does David Gauntlett (2008) use to describe this new focus on identity? 

6) How does the Shaun of the Dead Facebook group provide an example of Henry Jenkins' theory of interpretive communities online?

Due date: on Google Classroom

MIGRAIN: Feminist theory

We've explored a current media debate in questioning whether we are in a post-feminist state and now need to add feminist theory to the argument.

As ever, the most important thing here is to develop your own opinion on these debates and, crucially, be able to support it with evidence. This evidence may be examples from the media or reference to feminist theories. There are four main gender theorists in the A Level Media subject content. 

Feminist theory: introductory notes

We will return to all of these theories as we study the Close Study Products across the rest of the course but this will provide a good introduction to the named theorists in A Level Media.

Judith Butler: gender as performance

Butler’s hugely influential work ‘Gender Trouble’ argues that gender is culturally and socially constructed – not ‘natural’. 

She believes we are conditioned to adhere to social norms – both in terms of gender roles and heterosexuality.

Butler believes gender roles are ‘a performance’, a pattern of repeated acts or rituals such as putting on make-up or dressing a certain way.

Butler and the media

If gender is a ‘performance’ rather than biological, we then need to think about what is influencing that ‘performance’.

And that’s where the media comes in. How might the media influence our behaviour in terms of gender roles?


Liesbet van Zoonen: Feminist Media Studies

Like Butler, van Zoonen believes culture – the media – plays a crucial role in establishing gender roles and the dominance of patriarchal ideologies.

Patriarchy: a system that believes in male dominance in the family or society.

She also builds on Mulvey’s idea of the ‘male gaze’ by arguing that the media presents the female body as ‘spectacle’ – sexualised for the benefit of male audiences.

Media teacher and textbook writer Mark Dixon has highlighted five aspects to van Zoonen's theory.  van Zoonen argues that women are typically:

• Objectified – in media products aimed at both men and women.
• Restricted to secondary roles.
• Constructed to present women as passive.
• Framed differently – camerawork and mise-en-scene emphasise appearance or sexuality.
• Presented to reinforce western beauty ideals (e.g. young, slim, white etc.)

David Gauntlett - gender theory

David Gauntlett wrote extensively on gender representation and the importance of role models in the media in the late 1990s.

He believes the explosion in media consumption in the 1980s and 90s gave audiences a chance to actively construct their identities and possibly move away from traditional stereotypes.

However, he still acknowledged Butler and van Zoonen: “Although the popular remix of feminism is accepted by young women, it remains the case that most women and men remain somewhat constricted within particular gender roles.”

Gauntlett and masculinity

Gauntlett looked at men’s lifestyle magazines and found a new, quite different representation of masculinity (reflecting similar changes in women’s magazines as third-wave feminism took hold in the 90s). 

Importantly, he disagrees that masculinity is in crisis – a popular view in the media in recent years. 

bell hooks: intersectionality

bell hooks is a radical feminist who argues that the experience of black women is almost entirely ignored by media and culture. 

Unlike some 1990s third-wave feminists who celebrated female sexuality as empowering, bell hooks sees feminism as a struggle to end patriarchal oppression - a serious political commitment rather than a fashionable lifestyle choice: “Feminism is a movement to end sexism, sexist exploitation and oppression.”

She also argued that gender oppression could not be discussed without also considering race or sexuality – she called this the intersectionality of points of oppression.

Feminist theory: blog tasks

Create a blogpost called 'Feminist theory - blog tasks' and complete the following tasks on your blog:

Media Magazine reading - two articles on feminism and theory

Read Playing With The Past: Post-feminism and the Media (MM40, page 64 - our Media Magazine archive is here). This is a great example of sophisticated media analysis and an indication of the level we want to be writing at by the end of the two-year course.

1) What examples are provided from the two texts of the 'male gaze' (Mulvey)?

2) Do texts such as these show there is no longer a need for feminism or are they simply sexism in a different form?

3) Choose three words/phrases from the glossary of the article and write their definitions on your blog.

Now read The Theory Drop: Gender Performativity (MM69, page 25) and answer the following questions.

1) How does the writer suggest gender performativity is established from a young age?

2) What does the phrase 'non-binary' refer to and how does it link to Butler's theory?

3) How and why does the media help reinforce gender stereotypes? The writer provides several examples in the final section of the article.


Music video analysis

Finally, write up our analysis of the two music videos we studied in class. This is your opportunity to develop your own opinions on these crucial media debates.

Watch the Beyonce video for ‘Why Don’t You Love Me?’ again: 

1) How might this video contribute to Butler’s idea that gender roles are a ‘performance’?

2) What might van Zoonen suggest regarding the representation of women in this video?

3) What are YOUR views on this debate – does Beyonce empower women or reinforce the traditional ‘male gaze’ and oppression of women? 

Watch Will Jay's video for ‘Gangsta’ again:



1) How does the video suggest representations of masculinity have changed in recent years?

2) What does David Gauntlett suggest about representations of men in the media over the last 20 years?

3) What is YOUR view on the representation of men and masculinity? Are young men still under pressure from the media to act or behave in a certain way?

Complete for homework if you don't finish this during the lessons - due date on Google Classroom.

TV: Introduction to TV Drama

Our TV Drama CSPs are BBC 'state of the nation' drama Capital and critically acclaimed German cold war spy thriller Deutschland 83. 

We need to make sure we are experts in television drama for this major section of Media Paper 2 - conventions, media language, notable successes and historical context.

TV Drama: key notes

Television drama is a hugely popular genre and a staple across schedules and streaming services. ‘Binge-watching’ is a relatively recent phenomenon while other dramas have built hugely loyal fanbases (e.g. Doctor Who, Game of Thrones).

There are many sub-genres and hybrid genres in TV drama from the costume drama to the hospital drama. 

Setting

TV dramas tend to take place in recognisable settings with regular locations that characters can inhabit.

Most dramas are defined by their location and the iconography (mise-en-scene) is vital for communicating the sub-genre and narrative expectations to the audience.

Even science-fiction family dramas such as Doctor Who feature regular settings such as the Tardis.


Character

Most TV dramas have a large ensemble cast – a range of characters. These characters are often stereotypical – communicating a lot to the audience quickly.

Often recognisable and relatable – giving audiences the pleasure of identification and an ongoing ‘relationship’: we keep watching to find out what happens to them. 

Characters often reflect the sub-genre (think police, hospital or period costume drama stock characters).


Narrative 

Most TV dramas have multi-strand narratives telling a range of interconnected storylines. An overall narrative arc often goes over the whole season or series. Others feature episodic narratives with storylines resolved in one episode. Flashbacks can also feature.

Many TV dramas now employ a ‘cold opening’ – the opening scene taking place before credits/titles – designed to create enigma and draw the audience in. Ultimately, it is the sub-genre of the TV drama that will help set narrative expectations for the audience.

Note: If you missed the initial lesson on TV Drama, we analysed a series of TV drama opening scenes to explore how the setting, character and narrative is established using technical codes (e.g. camerawork/editing/mise-en-scene) and audio codes (dialogue/voiceover/diegetic and non-diegetic sound). One of the opening sequences is (currently) available on YouTube:

Introduction to TV Drama: Blog tasks

Use our Media Factsheet archive on the M: drive Media Shared (M:\Resources\A Level\Media Factsheets) or on Google Drive here (you'll need your Greenford Google login) to find Media Factsheet #164 on Television Serial Drama. 

Read the whole of Factsheet and answer the following questions to show your comprehensive knowledge of the television drama genre:

1) What is serial television drama? Write your own definition.

2) List five of the TV dramas discussed in the history of the genre on page 1 of the factsheet. How has the genre evolved over time?

3) List the sub-genres of TV drama featured in the factsheet. Come up with your own example of an existing TV dramas to fit each category.

4) Why is setting so important for TV drama?

5) How do TV dramas typically use character? What audience pleasures can be linked to character in TV drama? (Hint: Uses & Gratifications theory!)

6) What is a multi-strand narrative? Give an example of a TV drama that features a multi-strand narrative.

7) What is a cold opening?

8) How can Todorov's theory of equilibrium be applied to TV drama serials?

9) What is the typical form for TV dramas and how are the programmes typically distributed to an audience?

10) How have subscription channels (such as HBO) and streaming services (such as Netflix and Amazon Prime) changed the form and content of TV dramas?

11) Choose a TV drama and do your own analysis of it using the SETTING / CHARACTERS / NARRATIVE / FORM headings as featured on page 3 of the factsheet.

12) How might the TV drama genre evolve in future?


A/A* extension task: TV Drama v Film

Building on question 12 above, read this fascinating extended article comparing TV drama to film. It will also help to bridge the gap between our work on the film industry and our new topic of TV drama. Where do you stand on the debate? Is TV drama the key medium of storytelling or will cinema always be king?

Complete for homework - due date on Google Classroom.