Television production takes place within an economic context. Discuss the influence of economic factors on Life on Mars and The Bridge. [30]

Public service broadcasting (PBS) is where television is for the benefit of the public as the shows that are shown (like the news) are to help people be aware of what is going in in the world. An example of this is the British tv industry BBC as their focus is to inform, educate and entertain the audience that watched their channels. The BBC is an independent body which is held in the trust of the British people. As they are a public industry they do not have commercials in any of their channels as they do not sell advertising time. They are instead funded by a television licence fee which TV viewers are required to pay annually, including viewers who watch real-time streams or catch up services of the BBC's channels online or via mobile phone.
As TV drama is huge right now, PBS producers such as the BBC feel they have to ‘raise their game’ and have high budget, high quality dramas, which are expensive. Shows such as Sherlock, Peaky Blinders and Bodyguard feature well known casts, flashy visuals, special effects etc. The Night Manager (starring Tom Hiddlestone) cost £3million per episode, whereas usual TV dramas cost £700,000-£800,000 per episode. Selling these shows abroad becomes very important, as does spreading the costs and minimising the risks. International co-productions not only broaden the potential audience, but they also spread the risk and lessen the impact of big budget failures.
Denmark and Sweden have much smaller populations than the UK, so don’t make as much money from TV licences. Whilst SVT/DR do sell some of their shows abroad, in order to lessen risk they partnered up for Bron/Broen. Bron/Broen (The Bridge) is a Swedish/Danish co-production of Filmlance International (Sweden) and Nimbus Film (Denmark) and financed by SVT (Sveriges Television) and DR (Danmarks Radio), which are their country's national public broadcaster. They are also both funded by TV licence fee.

How has the newspaper industry maximised profits in response to technology change?


The first goal of a business id to make profit, and to do this businesses must adapt through the years to meet customer demands.
For decades, newspapers have dealt  with small adjustments, but they are now at a point where major changes need to take place in order to remain competitive. The decline of newspapers have been debated. as the industry has faced slumping ad sales, the loss of much classified advertising and precipitous drops in circulation. Since the beginning of the internet, newspapers have asked themselves if they could provide a healthy stream of revenue, and if so, how it would be possible. There was no way to predict how fast technology would grow in recent decades. Even newspapers today fail to allocate enough resources to technology, thinking it will not deliver worthwhile results even though newspapers with web sites now see an increase in revenue from advertising as long as they deliver to large audiences other businesses seek to target. To survive, newspapers are considering combining and other options, although the outcome of such partnerships has been criticised.
Despite these problems, newspaper companies with significant brand value and which have published their work online have had a significant rise in viewership. 

Tide Print Advert Analysis

layout and design

largest image placed left of centre - woman hugging tide box

overlaps other image to show importance

text and info surrounds it

'wordy' info in small text and to the side

text on top and bottom emphasises importance

images

the main image shows a 'modern' elite white woman hugging a Tide box, seeming very content

a secondary image is of two middle-class white women hanging their laundry talking about how good tide is

The advert is aimed at young/middle aged women who are middle class housewives.  The main image is of a woman hugging the Tide washing powder, which would be seen as excessive and exaggerating to an audience today, but appealing and ideal for an audience in the 1950s. This is mainly due to the glamorous aspect of the woman, with a costume that'd be trendy for the time, shaped after Hollywood movie stars, as fashion and celebrities like Elizabeth Taylor and Marilyn Monroe were on the rise. All the images revolve around the traditional, middle-class, white woman ideal who looks similar to celebrities and people of importance due to the uprise of television and celebrity magazines. This suggests to women that you can be glamorous and do the domestic chores in the house, making Tide's main image an aspiration for its audience.

This advert uses a number of exclamation points and capital letters along with the bright red colour of the lexis and tagline of "TIDE'S GOT WHAT WOMEN WANT". It is informal and catchy due to the alliteration employed, making it marketable. Tide uses women to sell the product by the glamorised image, which is condemned by Van Zoonen's feminist theory  as women are being objectified and mysogenized.

On the other hand, one could look at the advert as a less condescending but rather helpful one. Postwar American wealth meant money was actually available to buy products and Tide washing powder could have helped many women, hence the positive facial expression and the hugging.

KEY TEXT : Extended writing exam question

KEY TEXT : Extended writing exam question

1.      

      Compare the representations of gender and ethnicity  in this music video  and the video for Dizzee Rascal’s Dream.

In your answer, you must consider: 

·         How representations of gender and ethnicity are constructed through selection and combination of elements of media language 

·         The similarities and differences in the representations of gender and ethnicity

·         How far the representations relate to relevant contexts.

You should refer to Levi-Strauss ( binary oppositions), Barthes ( semiotics), Gauntlett
( identity theory ) and Gilroy ( postcolonialism ) in your answer as well as any other relevant theory 

                                                                                                                              [30]

Beyoncé 

I thought Beyonce’s video was very pro-female, pro-gay, and I wanted to stand up and wave my little girl power/feminist flag.
I like the idea of the setting in the middle of nowhere/everywhere, with women of different backgrounds (whites and other nationalities of color were represented here, not just black), wearing different colors, dancing together in their high heels. Yes, these women are objectifying themselves to a certain extent by wearing revealing clothing, but I felt that Beyonce and the rest of them women were taking control of their sexuality as a way to navigate themselves through the world.
As much as I enjoyed this video, Critically, though, that asks the question: yes these women are beautiful, in unison, wearing their high-heeled boots and embracing who they are, but is this the only way for women in the 21st century to navigate themselves through the world? While I think this is representative of some women, it doesn’t represent all women. Not at all of us can look like Beyonce.
One more thing, I like how this idea of “Girl Power” videos changed from that pink/bubbly girl group stuff of the 90s/00s, to how it’s taken on a more masculine, aggressive aesthetic.

Dizzee Rascal

theories of ethnicities and postcolonial theory - Gilroy
The construction the white matriarchal children's TV presenter and the young black male 'rascal' is interesting to explore in ration to postcolonial theory, especially in the social and historical context of the 1950s and increasing ethnic diversity in Britain. The narrative embeds positive messages and values, constructing a representation of a successful rapper and subverting negative stereotypes of ethnicity. However, the female can be seen in control, especially ad Dizzee Rascal is diminutive.
Dizzee Rascal is constructed as a rebellious young black male through the dress codes of red tracksuit with a 'hoodie' top and trainers. he appears to be a stereotypical defiant youth who challenges authority at the beginning of the video, reinforced by the lyrics "reckless with no shame".
As the narrative progresses, a more positive representation of Dizzee is constructed as he describes his strong sense of purpose, hard work and achievement. following Dizzee's transformation, the youths also partake in the change towards the normalisation by having a more creative and less destructive behaviour establishing him as a role-model. this positive representation of a young black rapper challenges many negative stereotypes of this social group.

Brexit: live feed

Brexit: Theresa May says McDonnell wants to overturn will of British people – as it happened

• The Bank of England published its Brexit impact assessments. It found that in the event of a disorderly no deal Brexit, growth could fall by 8%, with the pound plummeting by 25%, while inflation surges.

• The shadow cabinet is split on whether Labour should back a second referendum, and there were a number apparently contradictory calls throughout the day.

• In an interview with the BBC’s Laura Kuenssberg, the shadow chancellor John McDonnell suggested that Labour would “inevitably” back a second referendum in the event of the prime minister’s Brexit deal being defeated in the Commons, so long as the party is unable to force a general election.

• However, he later told ITV that Labour’s position on a people’s vote hasn’t changed, and that if it does eventually support another referendum it would be because the government has forced it. 

• Theresa May then accused McDonnell of wanting to overturn the will of the British people at a press conference near Glasgow, while urging MPs of all parties to consider the “significant responsibility” of deciding whether to support her Brexit deal in the Commons early next month

His comments about the second referendum today show that what the Labour Party want to do is frustrate Brexit. They want to overturn the will of the British people. Parliament overwhelmingly gave the British people a vote. They voted to Leave. I think it’s a matter of trust in politicians that they actually deliver on Brexit for the British people.

• Earlier in the day, Jeremy Corbyn’s spokesman poured cold water on the idea that Labour could “seize upon” a second referendum, following John McDonnell’s comments at a Guardian Live event last night. Senior Labour sources also reportedly insisted that McDonnell’s words to Kuenssberg did not represent what he or the party thinks.

• Corbyn put May under some pressure at PMQs although it was one of her better recent outings. The Labour leader was particularly effective when he quoted what she said about Blair being obliged to publish the Iraq legal advice to highlight the hypocrisy of the government’s current position on publishing the legal advice it has received regarding Brexit.

• “So why won’t she practise what she preached on Brexit?”asked Corbyn. “This is the most shambolic government in living memory.” May said the advice any client receives from a lawyer is privileged and that the government will publish a summary. Corbyn said MPs should see the advice, warts and all; and that 20 ministers have resigned. The speaker John Bercow later told ministers they could be held in contempt if they refuse to publish the Brexit legal advice in full.

• The SNP accused May of having her “head in sand” after refusing to agree with Hammond about Brexit making the UK poorer.

• The government’s official analysis of the impact of Brexit, the PM’s proposed plan, forecasted that the economy will be between 1 and 2% smaller after 15 years than it would be if the UK stayed in the EU.

• A former civil servant who now heads the UK Trade Policy Project said the government’s economic analysis was “fraudulent”

• The chancellor Philip Hammond conceded that there will be an economic cost to leaving the European Union, even under May’s plan – which aims to minimise the damage. In October 2016, he told the Conservative party conference: “It is clear to me that the British people did not vote on June 23 to become poorer.”

Daily Mirror front cover analysis

Masthead: Daily Mirror

Plug: 7 killed in speeding tramp crash

Headline: it's president trump...

Sub-Headings: ----

Splash(Headline): what have they done?

Strapline: how trump triumphed... and what it means for you and the world

Jump Line: ---

Central Image: crying statue of liberty

the cover persuades the audience to buy the newspaper and follow the main story by using an eye-catching central image as the main feature and interesting, drawing headings that make the audience curious and intrigued.

it also uses news agenda such as the unexpectedness of the image and story to draw the audience in. it uses personalisation as it expresses the presidency of Trump as a negative thing, linking to its left wing audience. it talks about America as it is considered an elite nation and it has a high threshold in the American legacy. it also uses the proximity of it to draw in the shock of the audience.

the daily mirror is tabloid, meaning it is a newspaper having pages half the size of those of the average broadsheet, typically popular in style and dominated by sensational stories.
It is owned by parent company Reach plc.
the Daily Mail is seen as Britain’s most right-wing newspaper. Britain’s most read newspaper is described by 44% of Brits as “very right-wing”, far ahead of any other paper. In total, 81% considered the paper to be right-wing to one degree or another.

cross platform advertising

Cross-platform advertising is the use of two or more media platforms such as TV ads, billboards a megazines to promote something (a product, person, even, etc.)

An example of this is when an artist comes out with a new single and promotes it on their social media (Twitter, Instagram, etc.) as well as doing an interview on TV where they are asked about it and is advertised by the program or host(s).

This can also be done on more than two platforms. Products are commonly advertised on numerous media platforms such as magazines, social media and billboards as well as television ads.

Cross-platform advertising is used by companies to broaden their customer volume by reaching more people over a span of platforms, each costumised to appeal the most to different groups of people.

This may be not always work depending on what is being advertised and where. For example, advertising an over 50’s event on social media like twitter or instagram might not be as effective as advertising it on newspapers or television. This is because the majority of the customers this even is aimed at do not use social media as much or at all. This means that the advertising platform needs to be customer oriented and specialised to a certain segment of the population.