1. Who is the primary, secondary and tertiary audience for this product? The Primary audience is the viewers of the show that want to watch it for no reason other than enjoyment. The Secondary audience would be for the people that want to analyse it eg. Critics and students learning about it. The tertiary audience would be people that only watch it because they can relate to what’s happened or have a specific reason and then they don’t watch it again.
2. What audience theories can you apply to which help you to develop a better understanding of the potential target audience? It tries to reinforce certain aspects and ideologiea so that people know what’s good and what’s bad.
3. What organisations (rather than individuals) are involved in the production, distribution & exhibition of this product? An organisation that was involved in production was the ‘Danish national public service broadcaster DR’. It was distributed by the BBC4 on and exhibited on television and streaming sights.

No Offence

What needs to be studied? Key Questions and Issues
This product relates to the theoretical framework by providing a focus for the study of:
Media Language:
No Offence is a television series in which the codes and conventions of the police procedural crime drama are intertwined with aspects of social realism. Detailed analysis of this media form including the process through which media language develops as genre will provide students with an opportunity to understand and reflect on the dynamic nature of genre.
Analysis should include:
• Mise-en-scene analysis
• Semiotics: how images signify cultural meanings
Narrative
• Which narrative techniques are used to engage the audience in the opening episode of. (theory and theorist)
No Offence?
• How does the use of the narrative conventions of the crime drama – use of enigmas,
restricted narration etc. – position the audience?
• The ways in which the narrative structure of No Offence offers a range of gratification to the audience. such as enjoyment (self satisfaction Primary audieneces)
• Narratology including Todorov Genre
• Conventions of the TV drama series and the way in which this form is used to appeal to audiences.
• Definition of the series as a hybrid genre, belonging to the drama, social realism and crime genres
• Genre theory including Neale Media Representations
No Offence provides a wide range of representational areas to explore; gender, place, class, ethnicity, race etc.
• Negative and positive use – or subversion – of stereotypes, particularly around the representation of women and the police.
• No Offence is unusual in popular television series due to the dominance of female characters.
• Representation of place – Manchester – by implication the nation?

Media Industries
The central way into an institutional approach is to consider No Offence as a Channel 4 programme and to examine how it can be seen to fulfil the demands of its Public Service remit. No Offence can be studied in the context of Channel 4’s commitment to be innovative and distinctive.
• No Offence is an AbbottVision production, an independent company founded by the writer Paul Abbott who also wrote Shameless.
• No Offence was a critical and commercial success in the UK, it was also a ratings success in France where it was shown on the national broadcast channel, France2.
• Channel 4 uses series such as No Offence to add value to the channel through the availability of the ‘box set’ on All4.

Media Audiences
Issues of audience are also relevant throughout the other theoretical frameworks. In media language, the use of different formal structures to position the audience to receive and interpret meaning is central, while the study of representations has at its heart the reinforcement of social and cultural values for audiences. The study of institutions is also indivisibly linked to the need to define and attract specific audiences.
• The production, distribution and circulation of No Offence 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
• No Offence was broadcast on Channel 4, can still be accessed on All4, it was also broadcast in France.
• The way in which different audience interpretations reflect social, cultural and historical circumstances is evident in the analysis of No Offence which is explicitly linked to contemporary issues.
• Audience positioning through the construction of characters who are morally ambiguous.
• The advertising campaigns (trailers, websites at home and abroad) for the series demonstrate how media producers target, attract and potentially construct audiences.
• Cultivation theory including Gerbner

• Reception theory including Hall Social, political, economic and cultural contexts
No Offence deals with a range of social, cultural and political issues arising from contemporary contexts. The Manchester police force is used as a microcosm of society through which to
examine changing gender roles, the focus of the case which features children and adults with Down’s syndrome examines the position of people with disabilities in the wider society. Political
contexts are evident in the nature of the approach to police work which refers to a history of corruption and the role of police power in society. The economic context can be explored through
patterns of ownership and production and how the product is marketed nationally and globally.

The Killing

What needs to be studied? Key Questions and Issues
This product relates to the theoretical framework by providing a focus for the study of:
Media Language
The use of a noir visual style, conventions of the police procedural and multiple narrative strands.
The Killing provides a rich area of study for media language, which would form the foundation for work on the other theoretical frameworks.
Analysis should include:
• Mise en scene analysis
• Semiotics: how images signify cultural meanings Narrative
• How does the use of the narrative conventions of the crime drama – use of enigmas, binary oppositions, restricted and omniscient narration etc. – position the audience?
• A narrative approach to crime drama could include analyzing the appeals of the structure as reassuring and predictable – even when dealing with difficult subject matter.
• Focus on multiple plot lines related to the central crime.
• Narratology including Todorov Genre
• Conventions of the TV series (The Killing had three series which had links but were also stand-alone series) and the way in which this form is used to appeal to audiences; how it is distinct from, but related to series and serials.
• Definition of the series as belonging to the drama and crime genres
• Analysing the current popularity of the crime genre
• Genre theory including Neale

Media Representations
The Killing provides a range of representational areas to explore, including gender roles, family
structures and the political class. It can be argued that these are innovative representations which have been influential in the development of the genre. Part of The Killing’s original appeal was in its representation of Danish culture to a UK audience.
• Representation of gender: The woman as police detective, representation of marriage, gender stereotypes etc.
• Feminist debates – Violence and the representation of gender. This could include the controversy around using violent crime against women as popular entertainment
• Representation of national identity – Denmark including issues of multiculturalism.
• Analysis of how the representations convey values, attitudes and beliefs about the world
• Theories of representation including Hall
• Feminist theories including bell hooks and Van Zoonen

Media Industries
The Killing was the catalyst for the wider distribution of foreign language crime programming on UK television, its unexpected success influencing BBC4’s scheduling but also that of other UK
channels. The Killing was produced the Danish national public service broadcaster DR, providing the opportunity to study PSB in a different national context.
• The regulatory framework of contemporary media, with the focus on PSB
• The Killing provides a case study for the specialised nature of media production,
distribution and circulation within a transnational and global context.
• The Killing personifies a successful transnational, contemporary media product with long duration (it was broadcast in the UK nearly five years after its success in Denmark) has been shown in its original form across Europe and remade by Turkish and US TV (AMC)
• Cultural industries including Hesmondhalgh

Media Audiences
Issues of audience are also relevant throughout the other theoretical frameworks. In media language, the use of different formal structures to position the audience to receive and interpret meaning is central, while the study of representations has at its heart the reinforcement of social and cultural values for audiences. The study of institutions is also indivisibly linked to the need to define and attract specific audiences.
• The production, distribution and circulation of the Killing 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.
• The way in which different audience interpretations reflect social, cultural and historical circumstances is evident in the analysis of the series which are explicitly linked to
contemporary issues – often related to gender and feminist issues
• New types of characters to construct alignment for the audience/audience positioning.
• The advertising campaigns (trailers, websites at home and abroad) for the series
demonstrate how media producers target, attract and potentially construct audiences.
• Audience behaviour in response to the series – the interest in Scandinavian culture and lifestyle.
• Cultivation theory including Gerbner
• Reception theory including Hall

Social, political, economic and cultural contexts

The Killing is part of cultural phenomenon of the early twenty-first century which for the first time saw TV series not in the English language become part of mainstream UK broadcasting. That these series were dominated by the crime genre was part of a wider cultural phenomenon which saw the crime genre become the key form for exploring social contexts – particularly changing
gender roles. The Killing was also a key factor in the surge in interest in Scandinavian culture in the UK. The Killing also uses the crime genre to explore contemporary political contexts of multiculturalism and debate the effects of immigration. The economic context can be explored through patterns of ownership and production and how the product is marketed nationally and globally

Curran and Seaton links 

1. Radical free press- links to The killing as there is a female detective which supports feminism which is a radical ideology.  
2. Public service broadcsting- The killing is on DR, public serice broadcatser  

Commercial Media  

PSB-Public service broadcasting 

The killing- produced the Danish national public service broadcaster DR 

No Offence-Chanel 4 

Horizontal integration 

The Killing- DR, produced by BBC 

No Offence-  

Vertical integration 

The Killing- 

No Offence- AbbottVision an independent company

Hesmondhaughl	Case Studies:
Genre-Based formatting “Genre based media allows audiences to identify potential rewards”	Both shows “no offence” and “the killing” are crime based Thrillers, which will attract a primary audience of those who watch these genre type of shows for enjoyment.
Television “hybridisation of television and internet to produce on-demand services”	The killing was produced by DR and broadcast on the BBC and can also be found on prime. No Offence was produced by Channel 4 (terestrial and online distribution)

what is the difference between a consumer based media regulation and a citizen based regulation system?

Consumer based media regulation is the idea that audiences choose what media they want to watch and see, the media producers have the freedom to create products that those audiences choose to consume.

Citizen based media regulation is the term that the media released provides information to its citizens as it is significant in shaping society. Made to educate its audiences.

What impact did the 2003 communications Act have on media regulation?

Significantly diluted the public service requirements of television broadcasting. This resulted in independent television companies were freed up to produce content that was more commercially viable. But lacked civic-minded republicanism that had been in previous frameworks. Created OFCOM.

Livingstone and Lunt – “Little equivalent activity or accountability was forthcoming regarding actions to further citizens interest.”

What is the drawback of a self regulated system?

Consumer based regulation

• System that prioritizes what people want.
• Individual needs
• More mainstream, less variety.

Citizen based regulation

• Social needs over individual wants
• understanding the wants/needs of individuals but putting the ‘more important’ information first.

2003 Communications act

• Allowed consumer based regulation to dominate the media landscape
• superseded the Telecommunications Act 1984
• Created Ofcom
• independent television companies were freed up to produce content that was more commercially viable.
• lacks the civic minded republicanism that had been fostered within previous regulatory frameworks.

Self Regulation

• Allows for wider variety in the media landscape
• Freedom to say and do whatever you want
• newspapers and advertisers are self regulated
• ‘Get away with anything’

How do you regulate media on a global scale

• Large world wide united nations regulation organisation?
• Loop hole is to create media in an area with loose regulation and broadcast it to the UK, USE, etc.

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

Consumer based- People have wants and needs, should we have a system which give people what people want in terms of their needs.

Citizen- People have their social needs instead of personal needs.

What impact did the 2003 communications act have on media regulation?

• Created Ofcom- As a result independent television production companies were freed up to produce content that was more commercially viable.
• It was made a criminal offence if someone made something offensive.

What is the drawback of a self related system?

• Because most media organisations self regulate themselves and do it all themselves.

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

Consumer-orientated regulation is designed to encourage media plurality and to ensure that a diversity of broadcasters operate within the media landscape. It is a regulatory system in which choices regarding content are largely devolved to audiences and where media makers are given as much freedom as possible to make the media that audiences want to consume.

Citizen based regulatory systems outline a civic role for the media and encourage media makers to produce content that contributes to the social and cultural health of the societies in which they operate.

What impact did the 2003 Communications Act have on media regulation?

The 2003 Communications Act was designed by the British Labour government in order to create modern Regulatory System’s within the UK and help the television industry become competitive with the globalized media landscape. This means that independent television production companies were freed up in order to create content that was more commercially viable, resulting in a more Consumer based regulatory system.

What is the drawback of a self-regulated system?

If Media companies do their own self-regulation than it may be easy for them to act within their own interests which is not always within the public’s interest.

What is the difference between consumer-orientated regulation and citizen-based regulation?

Consumer-orientated regulation is initially designed to encourage media plurality and to ensure that a diversity of broadcasters operate within the media landscape.

Livingstone and Lunt argue that citizen-based regulation provides a content focused framework that directs media makers to “contribute to the enrichment of cultural and social life and the potential for self-development of individuals, groups and communities”.

In other words…citizen-based regulation takes everyone into account.

What impact did the 2003 Communications Act have on media regulation?

Communications Act designed by Labour government in order to modernise the UK’s regulatory systems and help UK TV industry to become more competitive in globalised media landscape of late 20th century. The Communications Act significantly diluted public service requirements of TV broadcasting. Independent TV production companies were freed up to produce content that was more commercially viable. This resulted in production of programming lacking civic-minded republicanism that had been fostered within previous regulatory frameworks.

What is the drawback of a self-regulatory system?

Most media organisations construct their own self-regulations which isn’t beneficial and doesn’t help to resolve issues (possibly put forward by members of the public) regarding their media.

Hesmondhalgh	Case Studies
maximizing costs and minimizing risks – horizontal and vertical integration	Capital -> produced by KUDOS which is a part of news corp, horizontally integrated through partnering with BBC for broadcasting and production
Serialization	Companies are likely to continue serials if they are successful as it minimizes risks of losing out on profits. For example Deutschland 83 has 3 seasons and one sequel from 2018 ‘Deutschland 86’
Star Formatting	The use of popular stars in order to lure in a certain audience that possibly enjoys seeing that particular star. Capital uses a famous actor called Toby Jones, who is likely to reel in a certain audience to the show

Star formatting – foregrounding of star power in order to gain an audience – Sarah Lund (The Killing)

Genre formatting – genre is the category of a certain type of media (film, book, etc..), the format is how the genre is structured – crime, mystery, thriller, drama (The Killing)

Steralisation – includes a prequel/sequel – No Offence has 3 seasons and The Killing has 4

Multi-sector integration – vertical & horizontal integration – The Killing was originally shown on DR (a Danish broadcasting corporation) but is now available on Amazon Prime and BBC (and was shown on Netflix)

Theory	Quote	Killing / No offence
The media is a high risk business	“the cultural industries constitute a particularly risky business”	cultural references, ie locations filmed in, native language/actors
Media businesses rely on changing audiences consumption	“audience tastes continuously adapt making it difficult to produce material that guarantees satisfaction”	The Killing was originally an American Tv show, DR (Dutch) and ZDF Enterprises (German) made their own version
Remakes	“the media industry further reduces risk by recycling archived material that has enjoyed successes”	^
The media is resilient on marketing functions	“controlling messages delivered by reviewers or publicity partners of other companies is very difficult”

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.