The two-step flow theory by Paul Lazerfeld is about the idea that media gets shared via opinion leader who is shown as common people who in actuality are more connected to the media who share their opinion on media to which the consumers (us) who are passive to media so we have a choice,

Paul Lazarfeld recognised that a simple, linear model may not be sufficiently complex to understanding the relationship between message sent > message received. As such, in 1948 he developed the Two Step Flow model of communication, which took account of the way in which mediated messages are not directly injected into the audience, but while also subject to noise, error, feedback etc, they are also filtered through opinion leaders, those who interpret media messages first and then relay them back to a bigger audience.

Research into this area began with Denis McQuail and Jay Blumler, who in 1969, looked to study the 1964 UK Election. In the early 1970’s they were joined by Elihu Katz, Joseph Brown, Michael Gurevitch and Hadassah Haas. 

In essence, they put forward research to show that individual audience members are more active than had previously been thought and were actually key to the processes of selection, interpretation and feedback. In essence, individuals sought particular pleasures, uses and gratifications from individual media texts, which can be categorised as:

steve neal : Genre

Neale states that the film and its genre is defined by two things: How much is conforms to its genre’s individual conventions and stereotypes.

Genre Theory is a collective term used to describe theoretical approaches that are concerned with how similar situations generate typified responses called genres, which serve as a platform for both creating an understanding based on shared expectations and also shaping the social context.

Genre is important for both consumers and media producers. Consumers can make choices about media texts they wish to consume and media producers can create a media text for a specific audience. Audiences will also expect certain audio codes such as tense, dramatic music.

The two-step flow theory by Paul Lazerfeld is about the idea that media gets shared via opinion leader who is shown as common people who in actuality are more connected to the media who share their opinion on media to which the consumers (us) whoo are passive to media so we have a choice,

Category	Familiarities from the CSP’s	Differences from your chosen CSP’s	Theory
Characters
Narrative
Themes
Representation
Technical Codes

Star Formatting	Capital-Toby Jones
Genre Formatting	Capital-Crime Drama
Independent stylizing
Re-make

Star formatting: this process is hard to make someone a star but when you do you guarantee customers of the loyal fans who are simply consuming for the star

Genre Formatting: This is when you try to get consumers by luring them in with a genre to categorize their media to which they could be interested in with the pre-promise of enjoyment

Independent Stylizing: This is when the media will try to make itself more independent to which consumers who don’t like mainstream media are more likely to the consumer under the pretense that it is alternative or niche when in reality it isn’t.

Re-make: This is when you re-make a typically old shown again which was popular to try to revitalize the said media to get the consumers who would want the nostalgia aspect of the remake

there is a conflict between creativity and commercial and commercial tends to overtakes the creative side

culture is controlled by social elites whats tends to learn towards their own agenda

culture works as a distraction from our working lives and is used to distract us from our exploitation

Commercial media: is an organism that makes products for profit- Capital produced from Kudos

Horizontal integration: ownership of subsidies that produce similar types of products

Vertical Integration: ownership of subsidiaries that enable a media producer to produce, promote and distribute products

media convergence: a term to describe the reduce in the number of media organisations that produce products- Kudos independent production company owned by endermol which is part of Murdoch empire

 Capital and Deutschland 8

Capital

Capital won the best TV movie/mini-series award at the 44th International Emmy Awards.^[10]

commissioned and originally broadcast by the BBC which gives the series brand identity internationally – particularly through its subsidiaries BBC America and BBC Worldwide

Kudos, the independent producer of the series, specializes in TV series which can be sold or remade for the US market, making it typical of contemporary media institutions that operate globally rather than nationally

Freemantle (international production and distribution company), Pivot TV (US), and BBC Worldwide all in deals to distribute the series globally

promoted in the UK as a ‘state of the nation’ event series

themes and setting are also constructed to appeal to an international audience: setting includes recognizable London iconography, familiar to an international audience from film and TV. Themes span the domestic and global – family melodrama, romance as well as reference to the economic crash, terrorism, and migration

the series combines the national style of social realism with the generic conventions of the crime drama and focus on a crime to be solved

multi-cultural, a multinational cast of characters addresses an international audience with diverse cultural experiences.

Deutschland

distributed by Freemantle, a British production and distribution company, subsidiary of RTL media, a global company which is designed to target an international audience 

it is a co-production of AMC Networks, SundanceTV (US) and RTL Television (German and American), positioning it to exploit the national and global market

AMC and RTL were able to develop the series in the context of new opportunities for distribution and exhibition – e.g. the Walter Presents platform in the UK, which is a subsidiary of C4, exploiting broadcast and digital opportunities

focuses on German – and European – history and politics

the cast of relative unknowns – even in the country of production – were still used to promote the series through the focus on young, visually appealing male and female leads

• themes and setting are constructed to appeal to an international audience through the familiar narrative tropes of an ‘innocent abroad’ and the “Romeo and Juliet” romance. The series is visually stylish using a familiar postmodern style which exploits the current popularity of retro styles in fashion and music

• exploitation of social media; part of the Sundance TV marketing strategy was the use of historical sliders, live-tweeting of the program by the actress who played the lead character, playlists of 1980s music linked to Spotify and through the Twitter account.

With reference to Witnesses (Les Temoins, France) and The Missing (UK).

 Witnesses (Les Temoins, France):

product of French public service broadcaster – France 2 –  associated with quality, serious drama in continental Europe

France 2 was able to develop the series in the context of new opportunities for distribution and exhibition – e.g. the Walter Presents platform in the UK which is a subsidiary of C4, exploiting broadcast and digital opportunities. Series distributed in US, Australia, Europe

style, content and characters of the series deliberately designed to replicate international success of Nordic Noir in order to target audiences beyond the national

The Missing contains a mix of French regional, local identity with more familiar genre conventions and characters

the series was marketed using familiar (to national audiences) actors but focused on the familiar iconography of the thriller and horror aspects abroad

the postmodern, hyperreal style is fashionable; internationally recognizable, and popular.

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