Postmodernism says that one person should not try to make another person believe what he believes, because it means nothing to say that one belief is right and the other is wrong.

To people on the far left, it’s their shadow religion—basically a healthy disregard for any value system that has exerted influence (and caused suffering) in the last few thousand years.

To the far right, it’s a rejection of all that is good in the world—like tradition, family, piety, and conservative (see Good) culture.

This transition from the modern epoch to the postmodern era can
be observed in the shift of society from the production of goods to information and services

In other words if there is no true meaning to life or clear path, then what is the point.

The post-modern reply to modernism consists of recognising that the past, since it cannot really be destroyed, because its destruction leads to silence, must be revisited but with irony, not innocently or history will only repeat itself.

Initial Idea –

For my radio show, covering a total of 30 minuets, my key topic will be focused on ideas surrounding postmodernism and especially how this ideology or movement is represented in the music industry. In order to analyse this ideas or support my/ guests opinions I am also going to include some theories learnt throughout the media course such as Baudrillard. In terms of a name for my show, I have decided to use ‘Theory Talks’ as I believe this gives a short but easy-to-interpret title that quickly and efficiently informs the audience. As well as this, the show focuses on different theories, ideas or movements, in this specific case being Post-modernism.

Songs

Little Dark Age – (MGMT) – 5:00

Судно – (Molchat Doma) – 2:21

And I’m trying to get up, I want to look it in the eyes, Look in its eyes and fall into tears, And never die, never die, Never die, never die, never die.

Feel Good Inc. – (Gorillaz) – 3:42

There is a light that never goes out – (Joy Division) – 4:02

15.05

Statement of intent

For my broadcast, as mentioned above, my primary theme will evolve around Postmodernism and how this is represented through music. In order to do this, I have decided to choose songs that may be considered more ‘indie’ as the genre is not controlled by an outside organization… Unlike mainstream artists who are most likely controlled by their record labels, they are dictated by these institutions to make music based on what is sellable/liked by majority of people. In this respect, the lyrics and overall meaning of the song is likely to have harsh, truthful facts relating to society, rather than being sugarcoated. I’m also going to name my show ‘Theory Talks’ which will be repeated in differing effect levels in my introduction using audition. For my broadcast I don’t plan on having a specific script, however, I will have a list of my songs, their timings and notes relating to them or key bullet points on what I want to discuss.

Time Schedule

Intro = 00:22

Opening = Introduce show, guest, talk about how the show will run and cover what postmodernism is = 5:00

Introduce and play first song = Little Dark Age – (MGMT) – 5:00 = Relate to postmodernism = Discuss = 10:00

Link in to second song – Viral on TikTok – Судно – (Molchat Doma) – 2:21 = 12:21 = discuss = 18:00

Open to third song = Feel Good Inc. – (Gorillaz) – 3:42 = 21:42 = discuss = 25:00

Last Song = There is a light that never goes out – (Joy Division) – 4:02 = Quick link then end show = 30:00

Songs In relation to Postmodernsim –

Little Dark Age – (MGMT) – 5:00 –

Apparently, we were more inspired to write pop music after evil took over the world.”

Van Wyngarden also explained, “We called it Little Dark Age because that’s hopeful. It’s a little dark age. And we ended the album with ‘Hand It Over’ because it envisions an end to all of this.”

He’s desribing a battle scene of the war between humans (or himself) with dark forces (depression, despair, weakness.. Etc).

Policemen swear to god
Love’s seeping from the guns

Probably tying in the rise of police brutality (though it’s always been there, now it’s just become more reported or obvious).

I grieve in stereo
The stereo sounds strange
I know that if you hide
It doesn’t go away

Might mean grieving while listening to news or current events, which seem to have nothing positive to say. You could ‘hide’ or just ignore all the depressing reports or current news, withdraw into yourself and remain oblivious, but it’s not gonna make the morbid events go away nor make it better.

In this respect, Postmodernism says that one person should not try to make another person believe what he believes, because it means nothing to say that one belief is right and the other is wrong. This song goes against common dominant ideologies presented by governments. Multiple realities and ideas.

Судно – (Molchat Doma) – 2:21

Life is hard and uncomfortable
But it’s comfortable to die

This song is by the Belarusian post-punk band from Minsk, formed in 2017.

Post-punk (originally called new musick) is a broad genre of rock music that emerged in the late 1970s as artists departed from the raw simplicity and traditionalism of punk rock, instead adopting a variety of avant-garde sensibilities and non-rock influences.

The difference is that musically postpunk goes beyond the simple musical format of punk ( easy chords, playing fast ). Its more creative and more experimental and that is why stylistically it is not easy to describe. Some seem to have been influenced by captain beefheart or metal machine music.

Therefore, similar to the first song this single targets postmodernism in relation to mental health and societies decline of such, with depression increasing and death being seen as ‘comfortable’.

Feel Good Inc. – (Gorillaz) – 3:42

This song is about the things people do in order to make themselves feel good. The song seems to focus on the darker side of pleasure like addictions and habits, but then the chorus comes in and it seems to say that you should stop thinking about what makes you feel good and try to love others to make them feel good. It’s saying that love is what makes the world go around, hence the windmill reference.

At the 2006 Grammy Awards, this won for Best Pop Collaboration With Vocals. 

• The song is a throwback to the days of answering machines when callers would wait for the beep and leave a message on a microcassette. After the line:
  
  And all I wanna hear is the message beep
  My dreams, they got her kissing, ’cause I don’t get sleep
  
  We hear a beep, followed by the first chorus (“Windmill, windmill for the land…”), which is distorted with tape hiss as if we are listening to the message.
• Reference to how times have changed, sound becomes clearer

The repetition of “Feel good” represents that 2-D is convincing himself that everything is OK (as if he is brainwashing himself to believe it). Stuart Harold “2-D” Pot is a fictional English musician and member of the British virtual band Gorillaz. He provides the lead vocals and plays the keyboard for the band.

This song can link in to postmodern society and an increased reliance on things such as drugs in order to feel okay or to escape reality.

Similarly, referring back to political stances,

I think this song is talking about revolution.

Feel Good Inc. could refer to a massive corporate entity, in which the people in charge only think about materialistic things, like having a million women, or being the ruler of everybody else. However, they are so caught up inside their own tower, that they are completely miserable despite all of the things they have. Ironically, these same people seem to enjoy talking about how much they are enjoying life in an attempt to make themselves appear all the more powerful and superior.

There is a light that never goes out – (Joy Division) – 4:02

Released in 1986, it shows how early post-modernism had developed since its start in the 50s/60s.

The light that never goes out is an extended metaphor for hope and eternal love. 

The light that never goes out is hope for eternal love. Here’s a Morrissey quote:

“When you’re a teenager and in your early twenties it seems desperately eternal and excruciatingly painful. Whereas as you grow older you realise that most things are excruciatingly painful and that is the human condition. Most of us continue to survive because we’re convinced that somewhere along the line, with grit and determination and perseverance, we will end up in some magical union with somebody. It’s a fallacy, of course, but it’s a form of religion. You have to believe. There is a light that never goes out and it’s called hope.”

Baudrillard = living in a simulation, links to how the light will never go out because of this simulation.

Jingle (Intro)

I used Audition in order to create my intro, allowing me to edit my audio clip into different pitches to create an echoing effect. This software also allowed me to edit separate audio layers, allowing some to be more subtle and quiet.

Topic – Postmodernism – What’s the point?

Show Name – Prozac Capital

Feature – Friends/ Teachers/ Guests view

Requirements – Songs, Short feature (3 mins), SD Card, Jingle, Guest.

Music Playlist –

Feel Good INC. – Gorillaz – 3:42

Sweet Escape – Gwen Stefani – 4:06

Modern Love – David Bowie- 4:48

She Said – The Jins – 2:59

Plastic Hearts – Miley Cyrus -3:25

Total =

Show Topics/ Discussion –

Ideas surrounding postmodernism and how if the society we are currently in isn’t real then what is?

Baudrillard – Simulacra/ hyperreality

Simulation – Conspiracy theory

Q – How valid are Baudrillard’s ideas of simulation and hyperreality to understanding the media? (Refer to Sims Freeplay and Teen Vogue).

Baudrillard –

Precession of simulacra = Society has become so obsessed and saturated with this ‘simulacra’ that all or any meaning has become meaningless. Simulacra is a representation of a thing that had/ has no origins or prefixed reality whereas a ‘simulation’ is a re-representation of one reality or, perhaps, an idealised reality.

The main argument being put forth by Baudrillard is that nothing in our culture is “real” in the true sense of the word. Everything that we consider real is simply a “simulacrum” which is basically just a representation or copy where the original no longer exists, like a statue of a person or picture.

Simulacra are copies that depict things that either had no original, or that no longer have an original. Simulation is the imitation of the operation of a real-world process or system over time.

Postmodernism –

Simulation –

Hyperreality – Baudrillard’s idea of hyperreality was heavily influenced by phenomenology, semiotics, and Marshall McLuhan. … Hyperreality is the inability of consciousness to distinguish reality from a simulation of reality, especially in technologically advanced societies.

Mcluhan –

In relation to Sims –

SIMS = SIMulation = intangible

In relation to Teen Vogue –

Overall impact of new media –

 Jürgen Habermas, Jean Baudrillard, Jean-Francois Lyotard, Fredric Jameson

• Establish your knowledge of Postmodernism / Baudrillard
• Establish your knowledge of ‘simulation’ and ‘hypperreality’
• Apply these concepts to 2 of your case studies
• Make some assertions about the impact of new media in terms of society and the individual
• Conclude

Context –

As with many other forms of media, Radio also uses set codes and conventions such as sound, dialogue, accents, dialects, silence and SFX, in order to create and construct a recognisable genre to the audience. (Steve Neale genre theory). In terms of genre, War of the Worlds can be particularly applied to the genre of sci-fi, especially due to the use of sound effects and diegetic sounds.

But can War of the Worlds be considered as an intertextual product? Or pastiches of other genres.

To an extent, War of the Worlds can be considered an intertextual product as it is a radio adaption of the novel by H.G.Wells. ‘Intertextual figures include: allusion, quotation, calque, plagiarism, translation, pastiche and parody. It is a literary device that creates an ‘interrelationship between texts’ and generates related understanding in separate works.‘ Therefore it is intertextual as it is an adaption of the original novel, using quotations from it which provide a form of anchorage. Though the piece could also be considered pastiche as for 1938 in terms of technology, it was a modern interpretation of an ‘old’ piece of media.

Consider how developing technologies affect media language: in 1938 radio was still a relatively new mass media

In 1938, radio was a fairly new mass media form, certain codes and conventions common amongst radio may not have been fully interpreted yet. Ultimately, radio was primarily used to share news to a broad audience over a short period of time, therefore suggesting that it’s uses were primarily for formal purposes i.e breaking news or events. In terms of War of the Worlds, and its historical context of production (1938, when European tensions were high – verge of WW2) many listeners would have interpreted the broadcast as a real event, causing much distress and anxiety – especially as many missed the previous disclaimer.

Media Representations –

• How does the use of media language construct the representation of the real? – Signifiers of real people and real conversations about true events and topics, as well as the use of sound effects and editing in conjunctions with diegetic sounds to suggest or create representations of real events as radio is purely audio rather than visual – imagination.
• Is this programme an early example of fake news? – Can be linked to fake news, however it’s primary purpose was not to broadcast a fake event in order to scare people due to the disclaimer and action taken in order to show how this was purely for entertainment purposes. Those this does show how much of an impact media and fake news from media can impact society.
• What signifiers of different groups and social classes are used?
• The representation of the alien invaders in sci-fi genre.
• As a broadcast in October 1938, can War of the Worlds be interpreted as representing particular political concerns to US – and international – society? In a way, the invasion by the aliens could be interpreted as enemy European forces attacking the US due to their alliances and opposition.

Media Institutions –

• War of the Worlds was broadcast by Columbia Broadcasting Company – an institution still in existence (in a very different form) today.
• Radio broadcasting was seen as direct competition to newspapers which had previously been the only way of receiving news.
• The broadcast is typical of the way institutions are always looking for new styles in order to attract audiences.
• Regulation – radio broadcasting was regulated by the Federal Communications Commission and it investigated the broadcast to see if it had broken any laws.
• The broadcast provides an excellent example to consider the effect of individual producers on media industries (known as ‘auteur theory’) as this is the work of Orson Welles.

Media Audiences –

• What techniques (ie Media Language) does the broadcast use to convince the audience that what they’re hearing is really happening? – the use of silence to cause fear of the unknown, the use of different presenters which all suggest the event is real, use of actors as citizens, diegetic sounds.
• Consider the way that external factors – global political context, gender, religion, education etc. – are likely to also affect audience response. Radio was used in order to share ‘serious’ or formal news to the population, especially in terms of politics and the recent rise in the fascist agenda, this broadcast would have scared many in this respect.
• The ways in which audiences interpret the same media product differently – at the time of broadcast and now (Reception theory including Hall ) At the time this form of media was new, now we are used to this form of media and its codes and conventions and what this may imply about the genre and purpose of a piece of media. – we are more likely now to have an oppositional reading as we know it isn’t real.
• Reception theory is a version of reader response literary theory that emphasizes each particular reader’s reception or interpretation in making meaning from a literary text. Reception theory is generally referred to as audience reception in the analysis of communications models.
• Cultivation theory including Gerbner – Due to the political climate many may have been reliant upon the radio for updates and news, therefore believing everything that is broadcasted to them, this broadcast would therefore also be interpreted as a true and real event.

Film: Chicken is an example of micro budget film making and raises issues around the role and future of national cinema as well as the viability of media products produced outside of the
mainstream for niche audiences.

‘Chicken’ was B Good Picture Company’s debut feature film. The critically acclaimed film had its theatrical release in 2016 in the UK during its award-winning festival tour.

The film went on to be selected by the curators of MUBI, and acquired by Film4. Its journey continued in September 2017 with its Blu-ray & DVD release in the UK courtesy of Network Releasing.

‘Chicken’ was released in the US exclusively on iTunes early 2018, and continues to maintain its 100% Fresh Rotten Tomatoes rating.

As well iTunes, it is now available in the US & UK on Amazon Prime

Starring –

scott chambers –

Fiona –

Production company	B Good Picture Company
Release date	27 June 2015 (Edinburgh)20 May 2016

Chicken received positive reviews and holds a 100% “Certified Fresh” rating on Rotten Tomatoes based on 12 critic reviews. Leslie Felperin of The Guardian gave the film 3/5 stars and said “first-time director Joe Stephenson elicits lively, empathic performances from his small cast.”

Accolades

• Grand Jury Award for Narrative Feature — Joe Stephenson (New Hampshire Film Festival 2015)^[2][9]
• Silver Griffoni Award for Best Film – Generation 18+ (2nd Prize) — Joe Stephenson & B Good Picture Company (Giffoni Film Festival 2016)^[9]
• Award for Best Film — Chicken (Cine A La Vista International Film Festival 2016)^[9]
• Scott Chamber’s performance as Richard got a Special Critic’s Circle mention (Dublin International Film Festival 2016)^[9]
• The film was shortlisted for Best Director (Joe Stephenson) and Best Newcomer (Scott Chambers) by the British Independent Film Awards.

B Good Pict6ure Production Company

Funding
In order to make Chicken, director Joe Stephenson raised £110,000. Key points:

• Raised entirely through investment by individuals (e.g. rich friends/contacts)
• No funding body (e.g. BFI Film Fund) was willing to fund Chicken
• Raises questions about whether film industry is accessible to lower-income filmmakers

Production
Key points for making Chicken:

• Adapted from a play by Freddie Machin that originally ran at Southwark Playhouse.
• Filmed in 19 days, almost all external locations so victim to rain, issues with lighting etc.
• Film produced and distributed by a new company set up by director Stephenson: B Good Picture Company.

Distribution Chicken’s distribution has been very difficult:

• No distribution deal secured in 2014
• Two-year festival circuit won awards and generated interest and critical acclaim for film
• UK cinema release followed in May 2016. Selected for film subscription service MUBI and acquired by Film4 for TV premiere in April 2017.
• UK DVD release distributed by Network Releasing. Digital distribution in USA/Canada – January 2018.

Promotion Alongside film festivals, new technology was vital to promoting Chicken to a wider audience: 

• Some traditional marketing: trailer, film poster with review quotes etc.
• Social media very important to market film – Facebook, Twitter, YouTube.
• Film available on-demand now; Stephenson hoping for deal with Netflix or Amazon Prime to bring in revenue and find wider audience.

Who was the film distributed by?

• B Good Picture Company – Joe Stephenson’s own film company.

How do indie films usually find a major distributor?

• By going to film festivals. Example: Tangerine went to Sundance Film Festical and was picked up by Magnolia Pictures

How did Joe Stephenson try to control the distribution Chicken?

• He used the power of New Digital Media (the internet) to keep control over his product through both marketing and distribution

How did Joe Stephenson use festivals to benefit Chicken? What was the result?

• He used festivals to bring his film to the attention of critics. He received glowing reviews from Mark Kermode, BBC and Variety). The film has a 100% rating on Rotten Tomatoes. Big critic endorsements means free advertising for the film.

How do big critic endorsements benefit a film?

• Free Advertisement

How does Chicken subvert the traditional film business structure?

• The distribution company, especially when we think about independent films, is usually a separate entity from the production company and exhibition company. In Chicken’s case, Joe Stephenson was the director of the film (production) and owned the distribution company: B Good Pictures.

In the UK, what streaming services was Chicken made available on?

•  BFI player (which tells the audience that is is a product with artistic merit).
• – Others include big services such as iTunes and Amazon Instant Video.
• – As well as curated services such as Film Doo and Volta, which serve an audience who want to watch international, independent films. These are niche services which reach a niche target audience.

How does Chicken avoid traditional distribution chains?

• The film is available through streaming services, as well as being available on DVD and Bluray through Amazon.

How were FilmFour involved in the film?

• Helped to finance the film and so had exclusive screening rights. The film was shown on TV on the 5th April 2017.

How did B Good use a range of strategies to tackle the limited budget for distribution?

• The aim was to build a buzz through putting the film in front of tastemakers (critics, tastemakers and the like – Ian McKellen gives a glowing review and is coincidentally in B Good’s next film) and using the internet (streaming services) to slash the cost of distribution and exhibition.

How did Chicken use YouTube?

• Official trailer available on YouTube, as well as being embedded in Chicken’s own website. This helps to promote the film virally, encouraging a broader audience as YouTube is accessible globally. Comments and likes help to produce a buzz as well as building a community aroud the film and providing it with free advertisement (positive comments and likes.)

What type of filmmaking is chicken an example of?

• Independent filmmaking – a film that has no financial support from a major studio or lacking in a major distribution deal. Such films, once financed – usually on a limited budget – seek deals with small arthouse cinemas or franchised cinema chains.

Use of conventional film marketing – Trailers, teaser posters, theatrical posters, billboards, magazine features.

What style of film is this?

Social realism. Films in this style are concerned with representing the lives of ordinary people. In doing so, such films construct a narrative enabling the audience to engage with pressing social issues which, in the case of Chicken, is disability.

Category	Familiarities between Capital and D83	Differences between Capital and D83	Theory
Characters		In Capital there is a focus on the stories of characters from multiple different cultures. However, in D83 the main character, Martin Rauch is central to the development of the story.
Narrative	Dramatic Irony – In Capital most of the audience will be aware of the context of production and how this was based during the time of the economic crash, which is signified through Rogers disappointing bonus. Similarly, In D83, many will know about the civil war, the outcome and the impact this had on Germany. Both period dramas.	Enigmas: Episode 1 we do not know the identity of the postcard sender. The use of music also adds an air of tension to otherwise ordinary scenes in the opening episode causing the viewer to suspect multiple characters.	Todorov – Equilibrium Episode 1: Martin’s equilibrium quickly established. Job, ideology, family and girlfriend. Disruption: State kidnapping. Recognition: Learning to spy. Attempt to repair: Stealing the documents. New equilibrium: Martin’s ongoing status as a spy.
Themes	Period dramas use the past as a form of escapism. Part of the pleasure is knowing how events fit into history (a form of dramatic irony – the audience know elements of the future).	Capital is a miniseries – Mini-series are usually an event. They have higher production values and higher artistic values. They are usually shown at a prime-time when broadcast and usually have trailers and advertising to build up anticipation. Dominant Ideology: The series does not seem to actively target capitalism despite the fact that it is set just before a huge financial crash.	Neale and Genre – The difference comes in the form of hybridizing the genre. This is due to the way the show is adapted from John Lanchester’s novel. The show promises guaranteed meanings and pleasures as a crime drama, as social realism and as a form of satire. The mini-series adaptation of a well-known novel is a way the BBC often offsets cost of production.
Representation	Both represent the socio-economic and political climate of different cultures as well as in different times (1980s VS early 2000s)	Capital – Capital provides a wide range of representational areas to explore; the family, place, nation, class, ethnicity, race and issues. This fits with the promise hinted at through the choice street name. Pepys Road is a reference to Samuel Pepys the Restoration diarist. The novel aims to be a distillation of London at a crucial point in history. Negative and positive use – or subversion – of stereotypes The Kamals are a demonstration of stereotype theory. Using Dyer we can see that they have been stereotyped by bot the novel writer (Lanchester) and Peter Bowker who wrote the series (Dyer: those with power stereotype those without). You can also see how Medhurst’ theory (stereotypes are a handy initial shorthand for producers and audiences) applies here. The Kamals are initially presented as a sterotypical corner-shop owning Pakistani family. As Episode 1 continues the family begin to take on more layers and more nuance. The family are also an example of Perkins’ theory that stereotypes are based on some form of truth. Yes there are a large number of Pakistani family run corner shops. Yes there are identity tensions in the British-Pakistani community. D83 –	The narrative of Deutschland 83 can be defined as postmodern in its self-reflexive style Everything is artificial in media. Even the narrative. East Germany: Retro. “Ostalgie” East German nostalgia. West Germany: Katja Valaskivi – ‘Cool Nation’ branding; a branding that has understood how the national is also foreign and exotic. Martin is faced with the German “economic miracle” in the supermarket scene.
Technical Codes (LANGUAGE OF MOVING IMAGE (music, setting, props, lighting, use of camera, editing etc))	The production, distribution and exhibition of Capital and D83 shows how audiences can be reached, both on a national and global scale, through different media technologies and platforms, moving from the national to transnational through broadcast and digital technologies.	Walter Luzzolino. Italian T.V. producer who works for Channel 4. Created the “Walter Presents” Video On Demand Service for Channel 4. Aims to bring the best of world T.V. To a U.K. audience. Deutschland 83 was the first show (2016).	Hesmondhalgh’s major points that link to Capital: Media industries are powerful factors in our lives but usually need to be recognised as profit making businesses. Kudos is a private company which works for a PSB to provide content which can be sold in a global market. Often media products seem to be artistic, anti-establishment or rebellious but this is part of the industries competing with each other for the audience’s attention (Often part of the strategy is defining themselves as cultural, and artistic and the audience expects non-conformity from the arts). Capital needs to appear artistic and anti-establishment to justify the BBC’s existence using a hypotheticated tax. The quality of the artistic product offers a socialized artistic experience where all payers of the license fee gain access to high quality cultural product no matter where geographically or financially. D83 – Hesmondhalgh! RTL is using AMC, and the Sundance reputation and reach, to access the US market. Increased potential profit. The use of genre and serialisation helps to sell the product and maintain audience. Reduces risk. Use of 80s set period drama taps into fashionable time period (music and style) and popular format. Helps to sell to international market. Reduces risk. Risk is spread by multi-national production and broadcast. The narrative twist (hero as Stasi spy) helps to sell the product as artistic and non-conformist. Reduces risk.

1. Read the Hesmondhalgh H/O
2. Fill in the table on Hesmondhalgh
3. Read the Livingstone and Lunt H/O (think about the 3 questions)

1. Hesmondhalgh
2. Livingstone-and-Lunt

Q: What is the difference between a consumer based media regulation system and a citizen based regulation system?

Consumer oriented regulation encourages media plurality and diversity. It is designed to offer a broad range of content, ideas, opinions and icons to its audiences. On the other hand, a citizen based regulation system focuses on the continuity of accuracy and that programmes deal with issues in a fair and objective manner. Civic-minded media providers also ensure not only to entertain their audiences but also to inform and educate them.

Consumer based – content produced FOR the audiences. Media makers are given a lot of freedom to make media that audiences want to consume.

Citizen-based regulation – where media producers make content that contributes to social and cultural health of the societies in which they operate.

What impact according to Livingston and Lunt did the 2003 Communications Act have on media regulation –

• Promoted independent television production by requiring the BBC and Channel 4 to commission more content from smaller production companies.
• Although this led to the production of content and media that was more commercially viable, it also resulted in the production of programming that lacks civic-minded interest or republicanism.
• Communications Act introduced OFCOM, OFCOM tried to ensure that independent media organisations didn’t dominate (good). e.g Capital was produced by the BBC and Kudos. However, Kudos is owned by Endemol and another large conglomerate. In reality Kudos isn’t a small company and is part of a larger structure.

Q. What is the drawback of a self-regulated system?

It doesn’t work.

Less government control means that media organisations are mostly free to create their own ‘codes of conduct’ which can vary drastically. Self-regulation is reliable as companies are unlikely to ‘own-up’ to something that may be deemed offensive by some. Neo-liberalist culture.

Q. How do you regulate media content and organisations on a global scale?

You don’t.

One way to regulate media is to regulate technology alongside media as technology currently cannot be regulated.

Hesmondhalgh	Capital	Deutschland 83
Changing audience consumption patterns	The representation of multiple identities, cultures and people of different socio-economic statuses will allow for a broad demographic composed of multiple different people to relate or be interested/ attracted to the show. The show incorporates features of multiple genres such as crime, mystery but also contains some elements of humour.	(It is a co-production of AMC Networks’ SundanceTV and RTL Television by the production company, UFA Fiction, with international distribution by RTL Group’s FremantleMedia International and North American distribution by Kino Lorber). As the show was originally aired in America, the audience consumption pattern may be diverted to more foreign produced or related shows.
Multi-Sector Integration	Kudos Film & Television Company. Kudos was  Formed in 1992, since 2007 it has been part of the Shine Group. In 2007 it also set up the film unit, Kudos Pictures. In 2011, the Shine Group was 100% acquired by News Corporation[1] and was part of the 50-50 joint-venture Endemol Shine Group. On 3 July 2020, France-based Banijay Group bought the studio through former’s acquisition of Endemol Shine Group. It has produced television series for the BBC, ITV, Channel 4, Sky, Amazon and Netflix	UFA Fiction was created through the merger of the UFA subsidiaries teamWorx, Phoenix Film and UFA Fernsehproduktion in the context of a restructuring of UFA and the strategic goal to bundle all companies under one brand in the future. AMC Networks Inc. is an American entertainment company headquartered, Deutschland 83 is a co-production of AMC Networks’ SundanceTV and RTL Television. AMC operates the cable channels AMC (its eponymous brand), IFC, We TV, BBC America (through a joint venture with BBC Studios), and SundanceTV; the art house movie theater IFC Center in New York City; the independent film companies IFC Films and RLJE Films; and premium streaming services Sundance Now and Shudder. In addition, the company operates AMC Networks International, its global division.
Star formatting	Toby Jones is a fairly well know British actor, appearing in productions such as Captin America, Harry Potter and the Hunger Games. Therefore, with him as one of the main characters in Capital, with an already developed following and reputation, many would be attracted to watch the show initially because he is in it.	Jonas Nay ([ˈjoːnas naɪ], born 20 September 1990) is a German actor and musician known for starring as Martin Rauch in Deutschland 83, the first German-language TV series shown on American television, and its sequels, Deutschland 86 and Deutschland 89. As this show first aired in America, many viewers many have been persuaded to watch some of the other shows or films the actor has appeared in.
Genre based formatting	Labelled as – Crime Drama and Social Realism	Labelled as – Drama, Romance, Thriller
Serialisation	Capital is a three-part British television adaptation of John Lanchester’s novel Capital.  Those who were fans of the original novel means that the show already has some form of audience, even prior to its production and release on the adaption.	The Sequals to Deutschland 83 are Deutschland 86 and 89, via these latter productions, an audience has already been created therefore, limiting advertisement costs whilst increasing profits through consumers.
Independent Stylising	For Capital, however, there is a less noticeable aesthetic due to broad range of characters. However, one common theme aside from the postcards, would be the cinematography and how the camera or audience is positioned multiple times behind characters, appearing to follow them, linking to the people or person who keeps sending the postcards	Deliberately shoes multiple non-stream aesthetics as the show is based in the 80s. There are two key aesthetic used to distinguish between the capitalist West, and Socialist East. Positive representation of German culture despite prejudices that may have been held due to WW2.
Internationalisation	Endemol Shine Group B.V. is a production and distribution company. The show was originally commissioned for the BBC however, it is now available to purchase and watch globally on sites such as Acorn TV via Amazon Prime TV.	This show was originally screen in America by the production company UFA fiction. The show was later distributed by the companies FremantleMedia International Kino Lorber In Germany, Deutschland 83 began to air after the U.S. run on RTL 26 November 2015.[77] There, the series lost viewers over the course of its run; the series finale had 1.72 million viewers, or approximately half of the series premiere’s viewers. As a result, German newspaper Bild called the show “the flop of the year”.[65] It premiered in Ireland on 29 November 2015, on RTÉ2.[78] All episodes were added to Australian streaming service Stan in December 2015.[79] On 14 January 2016, the series was made available for streaming in The Netherlands via Videoland.[80] It premiered on Channel 4 in the United Kingdom on 3 January 2016, with the final two episodes shown back-to-back on 14 February. It has since become the most popular foreign-language drama in the history of British television with an audience of 2.5 million viewers as of January 2016.[81] The series was aired for Iran, Afghanistan and Tajikistan by BBC Persian in October 2017.