P2: TV

Monday 20th September

Television Industries: Ownership & Regulation

L/O: to explore the ownership & regulation of BBC1 & ITV 

DO NOW

1. Britain only had three channels in 1964

2. BBC1, BBC2, ITV

3. Black and white, limited choice

4. Commercial TV has ads and it's aim is to make money, Publicly owned TV has no ads

5. Ofcom regulates TV

Ofcom

Ofcom regulates TV & radio broadcasting in the UK

Ofcom can fine broadcasters for breaching their Broadcasting Code

They carry out regular reviews to see that the terrestrial channels (BBC, ITV, C4 & C5) are fulfilling their particular PSB requirements

Public Service Broadcasting

In the UK the term "Public Service Broadcasting" refers to broadcasting which is intended for the public benefit rather than for purely commercial concerns.

In the UK, the BBC is the main PSB channel and has a strict remit to follow.

Other terrestrial channels have to follow a PSB remit but not as strictly as the BBC.

PSB & The BBC

Ofcom regulates the BBC externally.

Internally, the BBC is controlled by a board of 12-14 members.

The BBC is granted a license to broadcast by Royal Charter, this charter must be renewed every 11 years. This charter sets out the BBC's public purposes.

BBC's mission/Public Purposes

• "Inform, Educate and Entertain"
• To provide impartial news and information to help people understand and engage with the world around them
• To support learning for people of all ages
• To show the most creative, highest quality and distinctive output and services
• To reflect, represent and serve the diverse communities of all the United Kingdom's nations and regions and, in doing so, support the creative economy across the United Kingdom
• To reflect the United Kingdom, its culture and values to the world

The License Fee

• A TV license is £159
• A TV license is required if you watch iPlayer or watch live or recorded programs on any channel
• The TV license allows the BBC to remain independent from either commercial or political agendas

License Fee Argument

For

• The BBC can remain independent
• You only have to pay it once a year
• It allows the BBC to produce quality content

Against

• Even if you don't watch the BBC you have to pay the license fee if you own a TV
• Some people may be unable to afford a license fee and are criminally prosecuted and fined when they don't have much to begin with
• Doesn't match the way we consume TV now

Commercial Channels

High quality content - Blue Planet - BBC One

Innovative & challenging content - 

Stimulating knowledge and learning - The Chase - ITV1

Informing the public - BBC News - BBC One

Original, British-made - Doctor Who - BBC One 

Reflecting the UK's cultural identity - EastEnders - BBC One

Representing diversity and alternate viewpoints - It's A Sin - Channel 4

Distinctive programming - 

Monday 27th September

TV Audiences

L/O; To explore how audiences consume TV dramas and the appeals

Do now

1. Via advertisement revenue

2. Public service broadcasting principles of the BBC are to inform, educate and entertain.

3. Impartial

4. ITV, Channel 4, Channel 5

5. For: It allows high quality content to be produced. Against: It doesn't fit the way we consume media nowadays.

How can audiences access TV programmes today?

• Streaming
• Record programmes for later
• Watch it live
• BBC iPlayer/ITV Hub

Effects of Technology

The majority of audiences still watch live TV despite being able to watch time-shifted programmes or stream it. The PSB channels are still the most popular - 85% of people in the UK with a TV watch PSB channels.

One of the reasons for watching live TV is second screening: Screenings that encourage audiences to join discussions on various social media during a live TV show.

Another reason is audience interactivity: viewers are encouraged to vote to determine the outcome. This continued engagement increases their commitment to the programme and loyalty to the channel. 

The Active Audience & The Passive Audience

• This debates as to whether an audience is active or passive.
• A passive audience accepts and believes everything that a media text tells them. They are easily influenced and don't question any messages conveyed.
• An active audience interacts with a media text and makes its own decisions about whether to accept and believe everything. They question messages and may interpret meanings differently.

Why would audiences now be more active than in the 1960s?

• Much more channel competition (channel surfing)
• Different platforms available
• Second screening
• Interactivity possible
• Greater range of messages

Scheduling

• Scheduling is, therefore massively important to both BBC and ITV. Competitive scheduling can benefit the main channels as it creates publicity.
• For example, BBC1's Strictly Come Dancing results show was scheduled at the same time as the X Factor on ITV1.
• Peak viewing time is 6PM - 10:30PM
• Audience ratings are measured by the Broadcasters' Audience Research Board (BARB).

Top 10 Programmes From The Last Week

1. Vigil - BBC1 - 9,171,291 viewers

2. Silent Witness - BBC1 - 6,903,374 viewers

3. Silent Witness - BBC1 - 6,256,840 viewers

4. WTA Tennis - Channel 4 - 6,014,196 viewers

5. World Cup: Qualifiers - ITV1 - 5,859,758 viewers

6. Coronation Street - ITV1 - 5,781,665 viewers

7. Coronation Street - ITV1 - 5,781,362 viewers

8. Coronation Street - ITV1 - 5,712,465 viewers

9. Coronation Street - ITV1 - 5,584,697 viewers

10. Emmerdale - ITV1 - 4,932,055 viewers

Serial TV Drama

Definition: Serial TV Drama is defined as any TV drama that is organised into a series of episodes. Typically, a series contains between 3 and 12 episodes.

A serial has a continuing plot that unfolds in an episode-by-episode basis.

Serial TV Dramas typically follow main story arcs that span an entire season; they often contain complex narratives and key characters that evolve as the season continues.

Sub-genres

Most popular:

• Crime drama - Line of Duty, Vigil
• Period drama - Downton Abbey, Peaky Blinders
• Teen drama - Riverdale, Runaways
• Medical drama - Casualty, ER
• Science-Fiction drama - Doctor Who, Firefly
• Fantasy drama - Merlin, His Dark Materials
• Political drama - House of Cards, Billions

Monday 4th October

The 1960s

L/O: Research the social, historical and political context of The Avengers

Do now

1. The terrestrial channels

2. Because there were fewer channels and there were no other options to consume TV than to watch it live

3. Active Audience

4. Because of Reality TV and social media they are often encouraged to interact with shows via online voting

5. The times shows are on

Life in the 60s

• A lot of the fashion changed in the 1960s
• The music was different in the 60s
• It was all about an individual identity in the 1960s
• It was very colourful in the 60s

Timeline from 1961-1965

1961

Betting shops and Bingo Halls are made legal in the UK

The Farthing and Black and White £5 Notes cease to be legal tender

Attempts at suicide are decriminalised

"Panda" crossings are introduced

The Beatles perform for the first time under the name "The Beatles" at The Cavern Club

Birth control pills were available on the NHS for the first time

1962

The Beatles play their first session at Abby Road Studios

The first James Bond film, Dr No, is released

The Beatles first single, Love Me Do, is released

Flavoured crisps are introduced

The Cuban Missile Crisis happened

1963

The Beatles release their debut album, "Please Please Me"

The Beatles reach No. 1 in the Charts for the first time

Harold Macmillan resigns as PM

US President John F Kennedy is assassinated

The first episode of the BBC's long running Sci-fi series Doctor Who is broadcast

The Beatles beat themselves out of No 1 in the charts with their second album, they proceed to beat themselves again with their own single.

Nuclear test ban treaty signed

1964

The Labour Party comes to power with Harold Wilson as PM

The Berlin Wall was built

£10 banknotes are issued for the first time since WWII

MPs vote for the abolition of the death penalty

The Beatles released a film

BBC Two begins broadcasting

Key Contextual Areas

Monday 18th October

The Avengers: The Town of No Return

L/O: to explore the narrative, characters and appeal of Series 4, Episode 1.

Do now

1. Spy thriller

2. ???

3. ???

4. ???

5. ???

The Narrative

Starts off with a man coming out of a bag in the sea before asking for directions from the Fisherman to Little Bazeley, then cuts to John Steed visiting Emma Peel. They engage in a fencing duel before he asks her to go to Little Bazeley with him. They then get on a train and meet Mr Smallwood, who is visiting his brother in Little Bazeley. They arrive at Little Bazeley and arrive at an inn, where they meet the landlord 'Piggy' Warren, the headmistress of the school Jill Matterson and the school inspector Mark Brandon. Mr Smallwood then leaves to visit his brother. When Mr Smallwood arrives at the Blacksmiths, his brother isn't there, so he goes to search for him. He visits the church before being chased by the Fisherman and killed by his dogs. Emma Peel enters the school and is told that the school is on holiday, which is suspicious as it is term time. John Steed is on the beach when Emma arrives to tell him what she has learned about the school. They then find Mr Smallwood's body, on him is a picture of Tom Smallwood. They visit the Blacksmiths and meet "Tom Smallwood", who looks nothing like he does in the picture, Tom says that his brother had to go home to London as it was urgent, they know this is a lie as he's dead. Emma then visits the Vicar to learn about the town but the Parish records have been purged. Meanwhile, John Steed discovers that 'Piggy' Warren was killed in action during the war, meaning that 'Piggy' Warren is an imposter. Emma is inspecting her classroom when she finds enough food to feed an army. The real Mark Brandon bursts through the door telling her to look at a picture while repeating the phrase 'Below', he then dies. Emma takes the picture and runs to the vicar, pointing out how all of the staff at the school look different in the picture. The Vicar then reveals he is an imposter and pulls a gun on her, capturing her. John goes to find Emma at the Inn and Warren says that she had to take the train home, which John knows is a lie so he attacks Warren. John then visits the blacksmith and fights the imposter of Tom Smallwood. He finds Emma tied up, upstairs. He frees her and they visit the school again, they discuss what Emma learned from Mark and realise that the imposters are attempting to invade the country, discovering that they are hunkered down in the bunkers below the airfield. They go down and fight the imposters/agents and win. They then leave.

The Characters

John Steed
Emma Peel
Mark Brandon the School Inspector

Jill Matterson the School Headmistress

Mr Smallwood

Tom Smallwood

'Piggy' Warren the Landlord

Vicar 

How is the context of the 60s reflected?

There were concerns about the Cold War and the possible invasion of Western Society by the Soviet Union, so the plot of this episode is reflective of concerns from the British people about being invaded by Russian spies.

Audience Appeal

There is Action and Mystery in the show, with an element of escapism. It was shown on a Saturday night at a time when there were only three channels, so it would be interesting to people who may not be interested on what is on on BBC1 or BBC2.

Monday 1st November 2021

The Avengers: The Town of No Return

L/O: to explore the narrative, characters and appeal of Series 4, Episode 1

• The narrative places key points of mystery throughout the story to create enigma codes, this would include events like the death of Mr Smallwood or the "children being on holiday".
• Mr Steed fits the typical male stereotype of a gentlemen spy, Mrs Peel fits the stereotype of a strong and independent woman, a stereotype that emerged during the 60s, though she still gets captured which reflects the old stereotypes of women. Rural characters seemed stupid as this was a stereotype during the 60s.
• The episode depicts a sleeper invasion of England by foreign agents, a genuine fear during the Cold War as agents were suspected to be in places of power in the government, this fits the social context of the time.
• The audience would be appealed due to the action and mystery in the show, a form of escapism at a time of unease in the events of the Cold War.

Uses and Gratification

Personal Identity:

The audience may identify with or look up to the upper-class role models, an example of this is that both Steed and Peel are polite throughout the episode, only fighting when absolutely necessary. The show may reinforce the audiences own values of patriotism and protecting the country, this would resonate with audience members who had lived through the second world war, older men who had fought during the second world war would especially resonate with the plot of this episode. Younger, male audience members could identify and look up to John Steed, as he is the 'English Gent' of the series, he is cool, calm and unruffled. Upon finishing a fight, he simply straightens his hat which reflects how gentlemen spies were often idolised during the 60s as they were serving their country. The younger, male audience members would aspire to be as cool as John Steed when they are older. He is cool, calm and collected and does not attempt to pick fights unless it is absolutely necessary. Younger, female audience members could look up to Emma Peel, who is a tough, intelligent and equal female hero. Emma is well educated and independent, which was a first for TV at the time, Emma reflects the newly emerging stereotype of women who are strong and independent while entering the more skilled workforce instead of just sitting at home looking after children. Emma reflects women who contribute to their household and society as a whole, a perfect role model for younger audience members at the time.

Information:

The audience could gain information about the world of the upper-class, the way they speak and their mannerisms. The audience could gain information about the world of espionage, learning about how it works and the risks that agents take on a day-to-day basis, this is reflected by Emma's capture towards the climax of the episode and the reveal that every single one of the townspeople is a foreign spy. The audience could feel reassured about the protection of Britain, the program shows that Steed and Peel are both very capable of taking on multiple people on their own and winning, showing that Britain has capable agents in the event of an invasion of Britain.

Entertainment:

The audience could use the Avengers to escape from the monotony and boredom of their day to day lives. The escapist plots were often familiar but different, allowing themselves to follow a similar structure that they know the heroes will come out on top of, this is evident with the invasion plot, which depicts an invasion that Steed and Peel stop singlehandedly. They could enjoy the danger and thrill of the Avengers, getting lost in the characters and their struggles instead of the audience being forced to worry about their own, this is evident with the humour and sophistication of the program, as Steed and Peel constantly crack jokes while solving the mystery and then taking down the bad guys at the end of it all.

Social Interaction:

The audience would most likely only have one TV a household, so the family would sit down and watch it together. Because of the lack of channels, more often than not everyone would have watched the same thing, so it was a point of discussion among friends, co-workers and classmates. People would feel left out if they had not watched it. The audience could build a personal relationship with Steed and Peel, treating them as people to root for each week as their adventures continue. There is a sense of Britishness that the audience would gain from watching the program, reinforcing their identity and the identity of those around them. 

How does the Avengers appeal to audiences?

The Avengers appeals to the audience via its genre, its a spy series from which the audience would seek to gain information from the program regarding spies themselves and the protection of Britain. The audience would like to understand what spies do and why they do it, as during the 60s the cold war was at its peak, the audience would like to feel reassured that spies are protecting them and their country. The Avengers reassures them as Peel and Steed are capable, charming and funny, while their actions are in line with the audiences own impression of what a spy does. The Avengers also appeals to audiences via its Camerawork and Editing. An example would be Mrs Peel, the camera work portrays her as strong and attractive, meaning male audiences members like her and female audience members want to be her. 

Monday 8th November

Context - The Avengers: The Town of No Return

L/O: To analyse the influence of the social and historical contexts in Series 4, Episode 1.

• Cold War
• Threat of nuclear war
• Threat of foreign invasion
• Espionage

Intertextual References

Fifth Columnists were a group of people who secretly support the enemy and undermine a country from within.

Who were the fifth columnists in this episode?

The intruders impersonating stereotypical British people in a country village that is an illusion (i.e Blacksmith, Fisherman, Landlord etc). Same idea presented in World War II film like Went The Day Well?.

Influences from films/TV from 1965

• The Ipcress File: British agent similar to John Steed
• Thunderball: John Steed is like James Bond
• The Spy Who Came in from the Cold: About the Cold War and spies, similar to the topics covered in the Town of No Return
• The War Game: Fears of a nuclear attack on Britain plagued the 60s, similar to the plot of an enemy attack.
• It Happened Here: Occupation of Britain by Nazis is similar to the idea of British being replaced by intruders
• The Man from U.N.C.LE: The Avengers is a spy thriller, similarly to the Man from U.N.C.L.E

Opening Scene

• The imposter Mark Brandon emerges from the sea in a waterproof bag and gentleman's attire
• He walks up to the Fisherman and asks where Little Bazely is, the Fisherman does not react as if anything is suspicious and directs him to Little Bazely. 
• These events suggest that it is directly inspired by the Cold War and Espionage, while also clueing the audience in on the fact that something suspicious is occurring.

Reassuring the Audience

• Classroom Scene
• Characters and stereotypes - John and Emma are capable British agents that have uncovered the plot to invade England, reassuring the audiences that the intruders will be foiled. They are always cool and calm, even when they realise there could be hundreds of imposters underground, reassuring the audience that even hundreds of the country's enemies are no match for two of Britain's finest agents.
• Comedy - Steed walks across the children's desks, he then sits at a child's desk while Emma teaches him about the invasion. References a nursery rhyme to retain the lighthearted theme throughout the scene. The entire scene they are constantly going back and forth with jokes.
• Narrative - John Steed learns of the plot thanks to Emma Peel's discoveries, there are then further revelations made regarding the location of the remaining imposters. This reassures the audience as there are smart and capable agents who will protect the country like Steed and Peel.

References to WW2 - Steed walks around a deserted air field and he tips his hat as a salute to those who have fallen in World War II.

Humour - Inferred comedy like nursery rhymes and the angle that John and Emma are filmed in the classroom scene.

Melodrama - The moments in which there is either danger or things are uncovered by John and Emma.

Casting & Performance - Steed is an older man and as such is cooler and calmer than Peel, who does more of the fighting and is more feisty.

Commitment to duty - Both of our main characters drop everything they are doing to go to Little Bazely and investigate the issue.

Representation of the enemy - The enemies have larger numbers and get defeated easily by two people. Represented as incompetent.

Question

The social context of Espionage heavily influenced Television Programmes like the Avengers from 1965. This is shown within the opening scene of The Town of No Return, where a man emerges from the sea in a waterproof bag, he emerges from the bag within formal attire and asks for directions as if this were a normal occurrence. This immediately suggests themes of Espionage, as this man appears to be an imposter, along with his accomplice the Fisherman. This reflects the audiences concerns of Espionage within their own country, though it also reassures them with the upbeat music which juxtaposes the current situation.

Monday 22nd November

CONTEXT - The Avengers: The Town of No Return

L/O: to analyse representation and influence of social and cultural context in Series 4, Episode 1

How was the stereotypical English seaside town represented in Episode 1?

Pub scene

Camerawork

Close up shot of the Fisherman who was suspicious in the opening scene

Establishing shot of the village

Long shot of the villagers staring at the characters, creates a sense of distrust for the outsiders

Mise-en-scene

Some of the men in the pub have guns

Editing

Sound

Non-diagetic sound is sinister music as the scene begins

Diagetic sound is silence, upon Steed asking where he can get service, a man simply rings the bell, no dialogue occurs which shows distrust and creates tension

Dialogue explains that country folk distrust outsiders, which reflects the stereotypical English seaside town as it is stereotypical for local people to distrust outsiders.

Dialogue is very odd and standoffish which represents the distrust

1960s Values and Attitudes

• Female roles and inequality
• Class Structure
• Changing views on sexuality
• British manners/traditions
• Attitudes to outsiders/foreigners
• Patriarchal society stereotypical ideas of rural life

Gender

EP Anti-Stereotype

• She defeats everyone on her side of the bunker single handedly
• She is the one who solves the invasion plot and explains it to Steed

EP Reactionary Stereotype

• She is captured by the imposters and tied up

Practise Question

In The Avengers, camerawork is used throughout the extract to show the attitudes and values of the 1960s in regards to how rural villages were seen. One example of this is during the pub scene, during which a long shot is used upon Peel, Steed and Mr Smallwood entering the pub. The shot shows the locals staring at Peel, Steed and Mr Smallwood, who are considered outsiders. This reflects the more traditional attitudes that were directed at outsiders, with the framing of the group placing them between the stares of the locals. This creates a claustrophobic atmosphere which raises the tension and makes the locals seem hostile and unwelcoming, the camerawork used in this scene reflects common attitudes that people had regarding those from rural backgrounds in the 1960s.

Mise-en-scene is used in the pub scene to show the attitudes and values of the 1960s in the form of fear of outsiders. The pub is very reflective of the stereotypical English pub, it has props like a dart board while the pub itself is built using wood and stone. The landlord of the pub, Piggy Warren, is very cheery which is a complete juxtaposition to the locals, who lack expression and have extremely straight faces, which creates unease. This juxtaposed nature of the pub reflects attitudes that those in the 1960s may have regarding rural people, as they would have seen them as hostile. It also reflects attitudes that audiences themselves may have regarding outsiders, as during the height of the cold war they would be extremely suspicious of outsiders who may want to harm their country.

Sound is used throughout the pub scene to show the attitudes and values of the 1960s in the form of how rural areas and the people within them were seen. The non-diagetic music establishing the village just before the pub scene is very eery, which helps to reflect that rural villages were seen as creepy and people from them were seen as hostile. The dialogue between Emma Peel and the school inspector helps to further illustrate the attitudes that audiences may have held regarding those from rural backgrounds, the school inspector's words are spoken with a sinister voice and he repeats phrases in a passive aggressive manner. This interaction makes the people in the village seem like they have an ulterior motive, and he speaks more aggressively to Peel as she has said she will be staying for more than a few days. It further reflects the common attitudes towards those from the countryside that were held in the 1960s.

The episode reflects the attitudes and values of the 1960s in the form of age.

Monday 29th November 2021

Television in the 2010s

L/O: research the 2010s (UK) in terms of social, cultural and political climate of the decade; research TV usage in 2015

Social

Cultural

Social Media - A relatively new medium in 2015, was often associated with addicted youths

iPhone - Smart phones were starting to become more accessible in 2015, with the iPhone being the most popular

Drug culture -

Knife crime - Fears of knife crime had been seeded by stabbings carried out by youths throughout the country

Rap music - A popular new genre of music based around self expression, was associated with the youth

Videogame violence/obsession - There was a new console generation in 2013 which would've restarted discussions around videogame violence, a notable release in this era was Grand Theft Auto V, part of a series that was renowned for it's graphic violence. The Grand Theft Auto series had been a part of discussions regarding videogame violence since the 1990s, so a new release on new hardware would've sparked discussion and fears surrounding videogame violence.

Streaming - As more people had access to the internet, a new market for television was born. Streaming was more convenient than traditional mediums, as it allowed the viewer to watch as much as they wanted at any time. Netflix was a prime player in streamings early days, with record breaking shows like Breaking Bad and their own original works like Orange Is The New Black dominating youth culture in the 2010s.

 

Political

Afghanistan War - During 2015, the war had died down but there were still instances of attacks, for example on the 22nd June 2015 there was an attack on the national assembly in Kabul.

Syrian War - The US had started to intervene in 2015

ISIS - A terrorist organisation dedicated to global domination, was an extreme threat in 2015. One example of this was the attack in Paris, where two islamist extremists stormed the offices of a satirical magazine and murdered 11 people with assault rifles. Shortly after the release of Cuffs, a series of coordinated attacks in Paris would kill 130 people

Terror attacks in the UK - There had been multiple terrorist attacks in the UK, a few carried out by Islamist extremists, which only amplified fears that had been seeded since the 9/11 attacks in 2001.

Korean Nuclear capability - North Korea had been testing nuclear weapons in the previous years, so fears around a possible second cold war were high.

Brexit - A promised referendum regarding the UKs place in the EU was to occur in 2016.

Financial crash of 2008 - The economy crashed in 2008, the fallout of which was still felt in 2015.

Monday 6th December 2021

Television Industry: 2010s

L/O: to explore the TV Industry in the 2010s and the effect on TV shows and audiences

How many channels are there available to watch FOR FREE on UK TV? 80

What different ways are there to watch TV now? Streaming, live, on demand

What would make you want to watch a new TV series? An intriguing marketing campaign, the show is part of a genre that interests me, interesting characters, reviews.

What different methods do producers use to keep audiences interested in a show? Creating compelling enigma codes in the first few episodes, creating compelling characters with good arcs.

Trailer

Representation of police life

Showed exciting things like drug searches, police getting punched, car chases etc

Police uniforms immediately visible

Someone was filming the police which shows that this show is about more modern policing and the lack of respect that is shown for the forces

Voice of authority is a male, white, older and middle class man which reinforces a stereotype that has been around for generations.

Public mocks the police

Shows the consequences of policework through the danger that police can endure.

Representation of personal dramas

More diverse representations of sexuality

Editing

Fast paced editing which reveals lots of action

Edit shows a portrait of each character with a diversity within the police force, portraying a homosexual man and a black man.

Sound

Non diegetic voice over gives the audience more information, exciting music immediately suggests what type of show it is, diegetic sound of sirens.

Mise-en-scene

Police uniforms that stand out and show that the show is about police

Shows a hen-do which juxtaposes the statement he makes during a voiceover, describing policework as "Life and Death situations".

Camerawork

Midshot of male characters, one black and one white which shows the diversity in the show.

Scheduling and Cuffs 

Cuffs was broadcast at 8pm on a weekday during October 2015

Pre-watershed, targeted an audience of 16-65

Offered a range of characters and storylines to target as many demographics as possible

Everyday relatable storylines with characters and issues to fit the Modern post 2010 populist series format.

Storylines were covered superficially and lacked the depth of darker post-watershed shows like Luther and Sherlock.

What production values would you expect from the BBC?

Higher quality shows that are funded by the TV license

Representing as many members of the British public as possible

Providing entertainment for the British public

Providing an insight into whatever topic the show covers (Cuffs: Police Work)

Passive Vs Active Audience

Q1. Explain the difference (passive and active) and give examples

A1. Passive audience is an audience that does not question what it is shown and does not actively challenge a media text. Active audience is an audience that questions what is shown and actively challenges or engages with a media text.

Q2. Explain how the audiences for The Avengers and Cuffs would have been very different and why

A2. The Avengers would have had a slightly younger family audience, while the family would also definitely be in the same room as most households only had 1 TV. Cuffs on the other hand may be watched by family members in separate rooms or at separate times through On Demand. 

Q3. Why did the produces of Cuffs use the following to target a mainstream family audience:

• Comedy elements
• A range of multicultural characters
• Authentic locations
• Exciting police procedural scenes

A3. Comedy elements - Appeal to the broad family audience as people enjoy comedy.

A range of multicultural characters - National program which has representations of the nation in it's characters

Authentic locations - National program, locations would be recognised by the audience.

Exciting police procedural scenes - Appeals to the audience who may want to learn about what the police do and the struggles they face, while also maintaining action and tension. One example of this is a police chase right at the beginning of the trailer. This is typical of a police procedural which allows the programme to appeal to both interested audiences and audiences that already enjoy the police genre.

Monday 13th December

Police Generic Conventions

L/O: To explore the conventions of Police drama. To analyse TV Drama using the theoretical framework. 

Police Drama Trailer - Line Of Duty

• Sound - Gunshots, sirens
• Editing - Fast paced editing, never lingering on one shot for too long
• Mise-en-scene - Police cars, guns, uniforms
• Camerawork - Longer shots for action scenes, close ups for more emotional moments and dialogue
• Representations of men and women - Both are represented as equal

Life on Mars - Contemporary

• Sound - Sirens, screeching brakes, non-diegetic sad music. Diegetic playing of Life on Mars, which is the name of the show. 
• Editing - Fast paced transitions in action scenes.
• Mise-en-scene - Cassette recorder, office and interview room which tells the audience that they are now in a police station. Main character pulls evidence out of his folder.
• Camerawork - Close ups and shakey cameras in the chase scene. Shot pans to a lower angle to show the victims shirt. Close up shots to show emotion.
• Representations of men and women - Male is the dominant gender, female is present
• Narrative - Investigating a crime, personal lives are a focus as well. Police vs a person with Schizophrenia, the police have demonised his schizophrenia.

Life on Mars - 1970s

• Sound - Non-diegetic playing of the same song before the accident. No sirens as they have not been invented yet.
• Editing - Not as fast paced as the contemporary time period
• Mise-en-scene - The uniform is similar but different, Sam Tyler is holding his warrant card and badge. People are smoking in the office, which is a stark difference to what would happen in modern day, and it's mentioned that it's ok to drink in the office.
• Camerawork - The camera work is steady with varying midshots and establishing shots to show Sam Tyler's confusion and set the time period, using low shots to show how little he knows.
• Representations of men and women - No women in the police force, a sexist comment is made by a member of the police force.

The extract uses Media Language such as mise-en-scene to portray the stark contrast between mid-2000s and 1970s police generic conventions. The office portrayed in the mid 2000s is quite clean, with a much whiter building to show that it is more modern with better technology, and represents more serious attitudes to policing in the mid-2000s. The audience understand from this that their police force is responsible, thoughtful and work extremely hard, as is reflected from a more hygienic and almost futuristic office.  In comparison, the police office portrayed in the 1970s has a grey and brown colour palette, with characters smoking in the office, while some also saying that it's alright to be under the influence of alcohol during work hours. The darker colour palette helps to differentiate the 1970s from the 2000s, creating an almost alien environment for the audience. By using mise-en-scene in this way, the audience understand that the police within the 1970s had an extreme lack of professionalism and did not care about the public that they are supposed to protect. Therefore mise-en-scene is a key element of the contrast that is shown between mid-2000s and 1970s police generic conventions.

Both time periods represent women as inferior in the police force, though both time periods show very different levels of representation within their police generic conventions. In the mid-2000s period, the female officer is portrayed as in the background and not important, and while she may be emotionally important to the protagonists character, she ultimately does very little before she is taken by the killer. The female officer is always in the background, for example in one of the opening scenes, she stands still and does nothing while the main character chases the suspect, while in another scene she sits in the interview room while the main character interviews the subject. This tells the audience that while women are in the police force, they don't do as much as male officers, which reflects the imperfections of policing attitudes at the time. However, in the 1970s period, there are no female officers in sight, with the male officers making sexual comments about them to the main character, which represents the sexist attitudes of the 1970s and shows the audience the heavily patriarchal society of the period. From this the audience understands that the 1970s police force was highly inappropriate, treating female officers as nothing more than sexual objects. Both periods use police generic conventions of their time to represent the largely minor role that women were perceived to play in the police force. However, the 2000s is shown to have made more progress than the 1970s, while also showing how far female representation in the force has to go.

Monday 10th January 2022

The Avengers: Extract Analysis

L/O: to explore elements of media language and practice how to analyse an extract

Camerawork

Look out for:

• Shot types - long, mid, medium close up, extreme close up, close up, and establishing
• Camera angles - low angle, high angle, canted angle (slanted), aerial shots or point-of-view shots
• Camera movements - tracking (follows the subject), steadicam (smooth shot), crane shots (shot taken on a moving crane) or hand-held camera

During the fight scene, a handheld camera is used, the way it shakes reflects the fact the fight is frantic and uncontrollable. The camera tracks the characters as they fight, with mid and close up shots are used to show how intense and almost claustrophobic the fight is, with all focus given to the upper levels of characters bodies and their faces. As the fight ends, the camera returns to a tripod, with the camera tilting from body to body before panning to John's face. This reflects the return to calm, as the camera movements are now steady, while the connotations of the mid shot have now changed to be more calm and playful as John smiles. 

Monday 17th January 2022

Cuffs: Series 1, Episode 1

L/O: to analyse narratives and characters constructed in an opening episode

Characters

• PC Jake Vickers - Young, Gay, Inexperienced, Treated Differently because he is the Chief's son
• PC Ryan Draper - Older, Family, Experienced, Confident
• DS Jo Moffat - 
• Chief Superintendent Robert Vickers - Superior, Distant from on the ground policing
• DC Carl Hawkins -
• DI Felix Kane -
• PC Donna Prager -
• PC Lino Moretti - 

Storylines

• 
  

Setting

Set in Brighton

Overall tone/appeal

The Hero - Ryan Draper - He does his job and he takes pride in it, he also takes the role of a leader and always calls the shots. He teaches Jake how to do his.

The Villain - Chief Vickers - He acts very disconnected from the force, he also guns for Draper at the end of the episode even though he just did his job.

The Donor - Prager - 

The Helper - Jake Vickers - While inexperienced he does always try to help, even if his help
ends up having a negative effect.

The Princess - Arresting the criminal - Ryan's constant goal is keeping the law enforced, so arresting criminals is something he works towards. 

The Princess' Father - Police officer in charge at the station

The Dispatcher - Moffat - She researches suspects and tries to figure out their locations as best she can, providing them to people like Ryan and Jake.

The False Hero - Jake Vickers - He acts like he knows what he's doing when he doesn't, while Draper acts like a Hero accordingly and teaches Jake how to do his job.

Monday 24th January

Cuffs: Series 1, Episode 1

L/O: To annotate the narratives and characters constructed in the opening episode

Ryan Draper - Brave (e.g: Running around the back of the house full of criminals by himself)

Jake Vickers - Nervous (e.g: When attacking the racist he was nervous and he shook for a while afterwards)

Jo Moffat - Leader (e.g: When she led the raid on the house with Hawkins and Vickers)

Robert Vickers - Disconnected (e.g: Has a go at Ryan after the suicide of Nathan even though Ryan did nothing wrong)

Carl Hawkins - Reckless (e.g: During the raid on the house he goes straight in for a fist fight even though there's a chance he might not win)

Felix Kane - Secretive (e.g: He doesn't go home to his family after work, instead going to a brothel)

Donna Prager - Fearless (e.g: She chases a shoplifter with no fear even though she's under pressure)

Lino Moretti - Cheerful (e.g: He has a joke with Prager during the processing of some petty criminals)

Personal Identity

Jake is out of his depth in his new job and trying to prove himself to Ryan (Older audiences may empathise with this as they will remember feeling that way when they were younger)

There is a wide range of characters (Audiences will find someone they relate to within the show)

The police are disrespected often even though they are just trying to do their jobs (Audiences may empathise with this as the police often do not deserve the disrespect they receive)

Jake is a young gay man, but his sexuality doesn't define him (LGBT audiences will appreciate this, as gay characters are often played for laughs or the fact that they are gay acts as a check on a checklist for the programme)

Ryan is a representative of a single Dad, scolding his son for not being in school and brushing his daughters hair during the episode (Rare representation which may make those who are represented enjoy the show more)

Information

Provides information on social issues such as racism (Stabbing in the shop, the racism that is directed towards Ryan towards the end of the episode. While racism has decreased, it may show the audience that racism still exists and is still an important issue.)

Provides information the treatment of the police (Shows the disrespect that the police suffer on a daily basis, Ryan being punched in the face for doing his job and then being called useless by a member of the public. Police disrespect becoming more and more common, shows audience the effect it has on the police)

Provides information about the work the police do (Shows the variety of work they do - Welfare checks, chasing criminals, arresting them and processing them at the station, etc. Allows the audience to better understand the work the police does outside of dealing with more serious criminals.)

Entertainment

The raid on the house was exciting as it had a lot of tension, with characters fighting and the suspect escaping. It was tense at multiple points, one example being the part where Jake freezes up, another being when Ryan is cornered by the racist. The feelings of the audience at this point can turn to a mix of excitement and dread as the scene unfolds, eventually resulting in the culmination where Jake punches the racist. This provides entertainment for the audience, as it allows them to watch a dangerous situation from the comfort of their own home with none of the dangers that come with being in that situation which provides escapism from possibly mundane lives.

Social Interaction

The downtime between action scenes can act as an opportunity for the audience to feel like a part of the team, the team's banter and discussions surrounding their personal lives making the audience feel like a colleague of the protagonists. Discussions with other audience members about part of the show might be instigated by enigma codes like the criminals who stole the safe from the shop during the first episode who were not caught.

Monday 31st January

Cuffs and Social Contexts

L/O: to analyse representation and influence of social and cultural context in Cuffs

DS Jo Moffat

She has important status as a Detective, although it could be argued that this is undermined by her affair with her boss, Chief Superintendent Vickers. She is represented as weak when she hesitates about leading the press conference on the racist attack, but as strong during the police raid. Her status and power in the police reflect the number of women in positions of authority in 2015. 

PC Donna Prager

• Strong
• Experienced
• Equal to male partner
• Confident
• Respected

PC Jake Vickers

• Naive
• Inexperienced
• Weak - Overconfident
• Dedicated

Chief Superintendent Vickers

A more traditional representation of masculinity, as the dominant, controlling male whose job it is to keep his team of detectives and officers in line. Represented as authoritative and patriarchal in both his work and personal life. Not positively represented for these qualities, speech over action reflects his lack of place and understanding of the modern world - policing and patriarchal society - reflects an older generation.

PC Lino Moretti

• Comical character
• Eating - is a focus - as joke
• Dedicated
• Experienced
• Respected

Ryan Draper & Masculinity

Traditionally Masculine Qualities

1. He has power, he's respected by his peers and trusted to mentor Jake
2. He is determined and focused during the car chase
3. He responds with courage and determination in the raid on the house
4. He bravely confronts the criminals

Traditionally Feminine Qualities

1. He is gentle with members of the public
2. He is emotional when he gets angry with Jake
3. He is a caring single parent, taking on a maternal role with his kids - brushing his daughters hair etc

Masculinity

Robert Vickers - Authoritative, Patriarchal - Stereotypical

Jake Vickers - Strong, Confident, Emotional - Anti-stereotypical

Lino Moretti - Comical, Confrontational - Stereotypical

Carl Hawkins - Aggressive, Confrontational - Stereotypical

Felix Kane - Calm, Sensitive - Anti-stereotypical

Ryan Draper - Determined and focused, Emotional and Caring - Anti-stereotypical

How does Episode 1 of Cuffs show a change in the social and cultural context of British society in relation to gender?

In Cuffs, we see that representations of gender are shown through the male characters. One example is Ryan Draper, who is shown as a complex mix of stereotypical and anti-stereotypical masculinity. An example of his stereotypical masculinity is the power he holds as the leader on the frontline of police work, he is shown to be calling all of the shots during the raid on the house, running around the back of the house while the rest of the team raids it from the front. However, an example of his anti-stereotypical masculinity is towards the end of the episode, where he is shown as a caring single parent in his home, brushing his daughters hair which is a stereotypical feminine action. 

Monday 7th February

Cuffs and Social Contexts

L/O: to analyse representation and influence of social and cultural context

Q1. Jake Vickers' takes centre stage as a young homosexual man and acts as one of the protagonists, there is a lawyer who also shows interest in Jake.

Q2. Stereotypically, gay men are presented in the media as camp and a comedic device, however Jake's character is treated as a person first which is a massive step forward for progress and challenges the idea of sexuality getting in the way of such an important job as policework.

Q1. The Equality Act of 2010 made it illegal to discriminate against people because of their religion, ethnicity, sexuality etc.

Q2. Ryan is a respected member of the Police Force, regardless of his ethnicity.

Q3. There is a stabbing within the episode that is completely motivated by racism.

Q4. The racist group is represented as living in an unclean home, the racist is often shown with a miserable face which helps to make the audience dislike him.

Q5. The young man who was stabbed was constantly mentioned and made to be sympathised with, which helps to reflect the societal attitude in 2015 that racism is wrong. 

Q1. Jake, one of youngest members of the force, is seen to be showing interest with one of the young lawyers, though Draper describes them as "the enemy". Robert Vickers, one of the oldest members of the force is shown to be having an extramarital affair with Jo, however he seems to regret it.

Q2. Younger generation spend the aftermath of their shift exercising and training.

Q3. Jake is shown as extremely inexperienced, has an older mentor in Ryan to help him on his first day.

Q1. The people who try to frame Jake for sexually assaulting them before spitting on him, shows the disrespect towards the police that is shown by the British public.

Q2. Dedication to duty (e.g. Stopping lunch immediately upon a call to action)

How does Episode 1 of Cuffs show a change in the social and cultural context of British society

One way Cuffs shows a change in the social and cultural context of Britain is through the changing attitudes towards the police. This shown throughout multiple scenes, though one of note is after the petty theft occurs. The criminals openly try and get Jake in trouble by pulling his arm towards them to make it so he has "assaulted" them, upon being cuffed, one of them spits on Jake. Showing the open disrespect that the public shows towards the police and reflects the changing social context of Britain. 

Another way Cuffs shows a change in the social and cultural context of Britain is the shifting ideas of masculinity. Ryan Draper is shown to be an emotional but stern single father, a very anti-stereotypical representation of masculinity, as single fathers are not very often represented within the media. He is shown in a maternal role at the end of the episode when he brushes his daughter's hair, which shows the shift in what masculinity is in our culture.

Another way in which Cuffs shows a change in the social and cultural context of British society is changing attitudes regarding age. One example of this is the shifting attitudes that older people have to sexuality. Stereotypically, older people are less accepting of homosexuality. Robert Vickers is an anti-stereotype, as he actively loves and cares about his son and is trying to kickstart his career, which is fairly anti-stereotypical for his generation who were less accepting of different sexualities. Older characters are also shown to have more complex personal lives than the younger generation, with Felix Kane going to a brothel rather than returning home to his family. This shows the changing attitudes towards age within British society.

Another way in which Cuffs shows a change in the social and cultural context in Britain is the changing attitudes regarding sexuality. One example of this is the solicitor, who is hinted to be gay at the end of the episode when he gives Jake his number. However, this does not hold him back from his job, as he is shown to be a powerful person who puts his clients above the police force. A perfect example of this is the interview scene, in which he refuses to advise his client to allow his son to speak to Jo, even when she begs him for help. This shows that he is a powerful man who will not back down for the police while also showing that his sexuality does not hold him back. Jake is another example of someone who is not defined by their sexuality, as the episode progresses he becomes more experienced with police work, and although he makes mistakes they are never pinned on his sexuality.

Monday 14th February

Cuffs and Social Contexts

L/O: to analyse representation and influence of social and cultural contexts

How does Episode 1 of Cuffs show a change in the social and cultural context of British society in relation to Gender?

One way in which Cuffs shows a change in the social and cultural context of British society in relation to gender is the stronger roles that have been allocated to women in recent years. One example of this is the scene in which Donna Prager chases the petty thieves. She is treated as an equal to her male peers and in the case of Lino outperforms them. She does not act cowardly in the face of adversity, instead acting courageous and she runs as fast as she can until she runs out of breath. This stronger role allocated to Prager reflects the change in views of women within the social and cultural context of British society.

Another way in which Cuffs shows a change in social and cultural context regarding gender is the change in attitude towards masculinity, showing different roles in a more positive light. One example of this is Ryan Draper, who is shown to take on a more maternal role towards his children as he is a single parent. This is an anti-stereotypical representation of a single parent, as more often than not they are shown as female rather than male. However, Ryan is still a stern parent, as he sees his son skipping school while he is on patrol and immediately stops the car to discipline him by shouting at him to return to school. This shows that the idea of masculinity has become more complex within British society as social and cultural attitudes have changed. 

Cuffs breaks down the traditional ideals of masculine and feminine qualities, reflecting the more complex spectrum of masculinity and femininity that has become standard within British society. Felix Kane is a perfect example of this, as his character is shown to possess traditionally feminine qualities, with him saving the little girl from her father by being calm and collected throughout the process. By saving her through more traditionally feminine qualities, it breaks down the idea that brute force is the only way for the police to save people while also portraying feminine qualities in a more positive light. Jo Moffatt possesses a more traditionally masculine role even though she is female, she is the one who acts as a leader within the raid scene, while also doing more traditionally masculine actions such as fighting. This contrast shows that ideas of masculinity and femininity have changed within the contemporary years of Cuffs' release, and that British attitudes towards gender have shifted heavily.  

Monday 7th March 2022

DO NOW: Cuffs

Gender - Men portrayed with both traditionally masculine and feminine qualities, women treated as equal to men.

Age - Older generation are more experienced but some of the older generation seem out of touch. Younger generation are fit and healthy, seen training.

Sexuality - 

Ethnicity - Does not ignore racism but portrays it as a serious issue, ethnic minorities represented very positively.

Attitudes towards the police - Public disrespect/do not trust the police, police officers are spat on, punched and insulted

In Cuffs we see that representations of gender are shown through the male characters as non-traditional. One example of this is the character of Ryan Draper, he is shown to be an emotional, single father who is passionate about his job and holds his family's best interests highly. Ryan finds his son skipping school while on patrol and immediately gets out of the car to discipline him. He is also shown brushing his daughter's hair towards the end of the episode.

 

Analysing an Extract

L/O: to analyse the use of media language in a TV Drama extract

Sound has been used to create meaning through the use of theme music, this is done through the mysterious and serious tone of the music. This creates meaning as it establishes the tone of the show, which is a lighthearted spy thriller.

Pub Scene

Expressions - Villagers have cold expressions vs Steed. Peel and Smallwoods more upbeat expressions

Low key lighting - Reflects the storm, the downwards mood and tension

Setting - It's empty, showing a lack of friendship and community

Pub - Very traditional

Monday 21st March

Mock Exam DIRT

Show - Represent, Express, Exhibit, Indicate, Portray

TV Drama

Q1 Target - More detail of how mise en scene creates connotations

Q2 Target - Another example from the extract to create suspense and a conclusion on the judgement of creating suspense 

Q3 AO21a Target - Include direct reference to contexts at the time, explained in detail to your examples

Q3 AO21b Target - Ensure each analysis point refers back to your initial statement to reinforce your judgement

Q5 Target - Explain Knowledge of the context that is relevant in more detail and the influence on the media product. Cover the context issues.

Music Industry

Q5 AO21a Target - Links to the contexts of the music and audience

Q5 AO21b Target - Make a clear judgement at the beginning and end

EXAM PREP: REVISION

L/O: To revise the exam format and possible questions

Qs 1-3

Extract on Avengers

Approx a min a mark

Further two questions on TV Industry, Audiences and Contexts

Question One

Analyse extract using one area of Media Language and giving at least TWO examples:
Sound, Editing, Camerawork, Mise-en-scene

5 marks, 5 mins

Question One Practise

Scene: Mrs Peel confronts the vicar.

Q: How has sound been used to create meaning? [5]

Diegetic Dialogue is used to reveal plot, background exposition creates meaning, creates enigma codes. Diegetic church choir music connotes a place of safety due to number of people, acts as juxtaposition to the the tense scene, scene later revealing that the church choir is a recording, removing safety net, upping tension. 

Question Two

Question Two may ask you to analyse the extract using Media Language and representation and make a judgement. 10 marks. 

Could be asked:
How particular viewpoints have been shown?
How certain groups have been represented?
How the audience have been positioned?
How certain values have been constructed?

Need to:
Give THREE examples from the extract, precise details.

Analyse and explain how each example creates meaning or effects.
Use accurate terminology. 

Make a JUDGMENT at the end of your analysis. I.E These examples clearly prove that the scene [QUESTION]

Question Three

15 marks. Knowledge of TV and the extract.

Could be asked:

How particular viewpoints have been shown.

How certain ideas or values have been represented.

How the audience have been positioned. 

How the context has effected the meaning. 

Need to: 
Give THREE specific examples from the extract, giving precise details.

Analyse and explain how each example creates meaning or effects.

Make a judgement and come to a conclusion.

Use accurate terminology.

Example question: How far does the extract challenge traditional representations of women to appeal to a 1960s audience. 

Question Four

TV industry and audiences in general. 
EITHER PROGRAMME

5 marks

Could be asked: 
Scheduling
Regulation
PSB
Technology
Audience appeals

Need to: 
Explain ideas in full

Give specific examples

Use appropriate media terminology for media language element

Question Five

Social, political or historical context of either programme

10 marks

Could be asked:
Influence of social context

Influence of political context

Differences between 1965 and 2015

Effects of context on programming

Need to: 
Explain ideas in full

Give specific examples

Mention specific events and dates

Link to context

Example question: Explain how social contexts influence television programmes. Refer to Cuffs to support your answer.

Social values of 2015:
Gender Equality
Class structure disappearing

Acceptance of a range of sexualities

Negative attitudes to foreigners/outsiders (Challenged in Cuffs)
Patriarchy less evident
Multicultural society - Equality Act 2010

Changing attitudes towards the police