Background:

The episode begins with an introductory monologue based closely on the opening of the original novel, after which the program takes on the format of an evening of typical radio programming being periodically interrupted by news bulletins. It was a Halloween episode.

The first portion of the episode climaxes with another live report from the rooftop of a Manhattan radio station. The correspondent describes crowds fleeing clouds of poison smoke released by giant Martian “war machines” and “dropping like flies” as the gas approaches his location. Eventually he coughs and falls silent, and a lone ham radio operator asks, “Is there anyone on the air? Isn’t there… anyone?” with no response. The program takes its first break thirty minutes after Welles’s introduction. The second portion of the show shifts to a conventional radio drama format that follows a survivor (played by Welles) dealing with the aftermath of the invasion and the ongoing Martian occupation of Earth. The final segment lasts for about sixteen minutes, and like the original novel, concludes with the revelation that the Martians have been defeated by microbes rather than by humans. The broadcast ends with a brief “out of character” announcement by Welles in which he compares the show to “dressing up in a sheet and jumping out of a bush and saying ‘boo!'”

Introduction:

Orson Welles’ adaption of “The War of the Worlds” provides a terrific introduction to the debate surrounding the media’s ability to influence the audience and shape our behaviour and beliefs. Performed live in 1938, the radio drama depicted a Martian invasion of earth, but the broadcast allegedly provoked widespread panic because many listeners thought the attack was real.

Facts:

“The War of the Worlds” mixes science fiction tropes with the conventions of radio broadcasts to create a very entertaining narrative. Combining these two elements into a hybrid radio form was a great innovation, but it may have duped some listeners into believing the news bulletins and reports were a true account of the Martian conquest.

Although the story of interplanetary warfare is typical of the science fiction genre, it was presented within the format of normal evening of radio programming. There appears to be a routine report from the “Government Weather Bureau” about a “slight atmospheric disturbance” along the east coast of America. We are then “entertained by the music of Ramón Raquello and his orchestra” who are playing a tango from the Park Plaza Hotel. Even the “special bulletin from the Intercontinental Radio News”, which interrupts the music, met the expectations of the contemporary audience.

Since radio was a relatively new form of mass communication, it could also be argued that many listeners lacked the media literacy needed to understand “The War of the Worlds” was a pastiche of its codes and conventions. Although Welles argued his format “was not even new” and it might seem like an obvious trick to a modern audience, many of the listeners may not have realised the drama was just entertainment.

Historical Context

At the time the novel was written (1898) the British Empire was by far the most dominant colonial power on earth. So vast was the British Empire that at the end of the 19^th century the sun literally never set on it. London was (as it still is) the political capital of the United Kingdom and was the most populous city on earth throughout the last half of the 19^th century, becoming the first city to have more than 5 million inhabitants by the 1880’s.  It is therefore natural that London was chosen as the starting point for an imagined alien invasion. The power of the crown was diminishing as voter rolls increased and centralized parties strengthened. Legislation protecting workers reflected growing progressive views, and technological advances made travel and communication easier and more widespread than ever before. In a show of British achievement and industrial and scientific superiority, the Great Exhibition of 1851 showcased the technological advances of the day including the microscope, barometer, electric telegraphs, early forms of photography, and surgical instruments.

Hybrid Genre

Orson Welles was initially reluctant to adapt War of the Worlds, describing it as ‘boring’. He was persuaded by the prospect of using recent developments in radio news reporting to create a hybrid-form radio play designed to sound like a real breaking news story. The broadcast begins with a music performance that is increasingly interrupted by breaking news of Martians invading New Jersey.

Audiences

Cultivation theory – the media creates a ‘mean scary world’, audiences would already be afraid/aware of communism etc, many assumed the broadcast was a German invasion. The cultivation theory can also explain some of the hysteria. Gerbner’s research suggested heavy users of television become more susceptible / exposed to its messages, especially if the texts resonate with the viewer. One army veteran said the radio play “was too realistic for comfort” while another New York resident was “convinced it was the McCoy” when the “names and titles” of different officials, such as the Secretary of the Interior, were mentioned in the script. Perhaps it was this group of listeners who believed the broadcast was an accurate report of events that night because they were already familiar with the special bulletin format, which were known then as break-ins, and assumed the war in Europe had intensified.

Even the two-step flow model of communication provides some insight into how the panic unfolded. For instance, a “throng of playgoers had rushed” from a “theatre” because “news” of the invasion had “spread” to the audience. The New York Times also reported how the “rumour” of war “spread through the district and many persons stood on street corners hoping for a sight of the ‘battle’ in the skies”. Therefore, not everyone who was terrorised by the radio play was actually listening to the broadcast. They heard the rumours from people they trusted in their social circle.

By incorporating these basic radio codes into the start of the script, it is clear the writers were trying to make the story sound plausible. According to Baudrillard’s simulation theory, this would be the first stage which is a “reflection of reality”.

Possible questions:

1. Explain how Orson Welles’ War of the Worlds broadcast used the codes and conventions of radio to convince the audience Martians were invading New York.
2. How do the cultural and historical circumstances affect the audience’s interpretation of media texts? Refer to the Close Study Product War of the Worlds in your answer.
3. Discuss how and why audiences might respond to and interpret media texts differently depending on the social context they are consumed. Refer to the Close Study Product War of the Worlds in your answer.
4. “There is no doubt the media has a profound influence on the audience’s thoughts and behaviour.” To what extent does your analysis of the Close Study Product War of the Worlds support this view?

RADIO CSP 1 – NEWSBEAT

Newsbeat is the BBC’s radio news programme broadcast on Radio 1. Newsbeat is produced by BBC News but differs from the BBC’s other news programmes in its remit to provide news tailored for a specifically younger audience of teenagers and early twentysomethings.

Extra Examples: Newsbeat is an example of a transitional media product which reflects changes in the contemporary media landscape. Newsbeat is both a traditional radio programme with regular, scheduled broadcast times, but it is also available online after broadcast.

Media Industries

The BBC is a Public Service Broadcaster, funded via the TV license fee. No advertisements. Focuses on informative and educate. Large Company. Also broadcast on BBC radio 1 extra, a digital radio channel reflecting popularity of converged / merged online technology. Aimed at a more urban black audience, reflecting BBC’s remit to provide content for a diverse audience. Reaching and connecting with anyone.

There might be a voice ident where the presenter mentions the name of the broadcast and the current time: “This is Newsbeat at 3.45pm”. The intro could be in the form of a bulletin – a list of the main stories which will be featured in the broadcast. / The Newsbeat producers responded to this challenge by serving content on their website, YouTube channel, Twitter account and Instagram profile. Taking a multi-platform approach ensures the product remains relevant to its audience.

Media Audiences

Stuart Hall argued producers encoded meaning and values into their texts which was then decoded by the audience, but our reactions are shaped by our individual frameworks of knowledge. / Newsbeat had to compete against traditional print media and the conventions of roll news channels, but mobile-first audiences are now learning about important events through what is trending on their social networks and notifications of breaking news flashing on their screens.

Possible Questions

1. Explain how historical contexts influence how audiences respond to media industries. You should refer to the close study Newsbeat to support your answer.
2. To what extent is the BBC regulated.

10 facts

1. John Reith was the BBC’s first general manager when it was set up as the British Broadcasting Company in 1922 and he was its first Director-General when it became a public corporation in 1927.
2. Broadcasting House was the BBC’s first purpose-built home for radio broadcasting.
3.  the largest broadcaster in the world by number of employees, employing over 22,000 staff in total, of whom approximately 19,000 are in public-sector broadcasting.
4. it is widely thought that the name “Newsbeat” was taken from the Radio Caroline news service of the same name, as was the concept of short bulletins on the half-hour.
5. Roisin Hastie Radio 1 Newsbeat interview (Breakfast newsreader)
6. Pria Rai (Afternoon newsreader and programme presenter)
7. Newsbeat is notable for the distinctive musical imaging it has used for most of its history. At first, this was a just jingle at the beginning of the bulletin, but in the late 1990s this expanded to music throughout.
8. The BBC was officially created on 18 October 1922.
9. Reith wrote in his diary on applying for the BBC job – “I know nothing whatsoever about broadcasting”, but then very few people did. It was so new and few guessed how it would evolve to become so compelling a part of everyone’s life.
10. This started in 1923, costing 10 shillings, then split 50/50 between the BBC and the Government.
11. Radio coverage was patchy in the UK, securing 94% reach across the UK.
12. Women over 21 got the vote in 1928, and the BBC created The Week in Parliament, to help women navigate their early understanding of the world of politics.

Justification

Radio xtra is a digital radio channel reflecting popularity of converged / merged online technology that reflects BBC’s remit to provide content for a more wider and diverse audience, so that they can satisfy their audience by not targeting a preferred section of the popularity.

Qualitative data analysis

1. The acting was very realistic
2. Noam Chomsky links with press as all languages hold similar structures which highlights the insights into inequality and power.
3. Lazarfeld links with press as ideas flow from mass media to opinion leaders. Making decisions.
4. Flowed quite well and talks about the difficulties on propaganda when someone else takes your story.
5. Characters were on point and they fit the theme very well.

Broadcasting – It is communicating with many audiences

Narrowcasting – It is communicating with small audiences (niche)

What is the ethos of the BBC?

They are their to inform and to entertain.

what is the distinction of populism and Paternalism?

Populism is what the audience want and Paternalism is what the government want.

Populism is good in the way they offer pleasure but can be presented to be in the negative side as they won’t stop and could lead to regulation.

Paternalism is good to allow audiences to stop asking for what makes the enjoy and allows them only certain amount of freedom and it intends to promote their own good, however many people can go against it and the will of a person so it represents the behaviours of others of society.

BBC charter, BBC ethos, Lord Reith

The start of BBC Television 14:00 – 16:00 Grace Wyndham-Goldie changing nature of modern communication, essentially by transforming time and space. 100 years ago people would be surprised to hear other people in another space and many people believe it can be like a miracle as they don’t have what we have nowadays. Habermas talks about transforming the world and transforming the sphere.

Fear of new technology – People have a fear that they don’t know if it is good or not.

 acting like ‘social cement’ – as it connected us all together.

Habermas – Transformation of the Public Sphere

the transformation of time and space, the central place that the BBC plays in our everyday lives, the link between individuals and celebrities, royalty, politicians etc, the connection towards major events – Cup Finals, Coronations, abdications, funerals, economic unrest etc, the way in which BBC acts as ‘social cement’

Broadcasting and the theory of public service

Air waves is a resource that did not obey national boundaries. The state then was obliged to take control of the right to broadcast in all societies.

Accountability and broadcasting

The governors have remained relatively powerless, and do not see their job as one of representing external interests and views.

Independent professionals or men with an interest?

Broadcasting is a process which cannot be entirely understood from its products. The and Annan Report claimed that ‘good broadcasting would reflect the competing demands of a society which was increasingly multi-racial and pluralist’. In turn, this variety could be secured only by giving the talented broadcasters greater freedom of expression. Freedom of expression gives special rights and duties to the media. The media inform society on matters of public interest and create an important platform for public debate

Hearst – Hearst is a leading global, diversified information, services and media company with operations in 40 countries. A major provider of software-as-a-service solutions for managing maintenance of jets and helicopters; ownership in cable television networks such as A&E, HISTORY, Lifetime and ESPN; 33 television stations; 24 daily and 52 weekly newspapers; digital services businesses; and nearly 260 magazines around the world.

We are committed to fairly and fully reflecting diversity everywhere Hearst operates, fostering equity and respect and continuously expanding our efforts. Reporting on important issues and elevating diverse voices moves us forward.

Hearst, is an American multinational mass media and business information conglomerate based in Hearst Tower in Midtown Manhattan, New York City.

Monthly reach of Men’s Health magazine in the united kingdom from April 2019 to March 2020, by demographic group

Adults 15+	1,816
Men	708
Women	365
Adults 15-34	519
Adults 35+	554
Households with children	391

The Big Dangers of ‘Bigorexia’

Muscle dysmorphia a psychological disorder marked by an obsessive desire for a jacked physique is on the rise.

Social media is exacerbating the problem, but it may also offer new solutions. Picture of Clean eating challenge for weight loss.

Relates to Steve Neal as they have talked about the subject to reflect on world effects and the needs of audience.

Semiotics: how images signify cultural meanings

The front magazine page suggest that the anchorage which is the picture of the male figure is linked with the header as it means ‘MENS HEALTH’ a way to which help the male audience to tag along and read more on how to look like the front male figure on the page.

The media naturalises ideas through repetition as there are many phrases that have similar meaning suggesting it has one overall meaning to portray.

Character oppositions can be found in real life world products as we can see in the magazine that it deploys the male audience to want to be like them and make them want to change to be more masculine.

It creates compelling narratives as as the audience are more likely to engage with a media product if they are presented with the promise of a narrative clash.

Steve Neal says that audience targeting that genres create an appeal for specific audience segments for example to attract the male audience they want something to be portrayed to make them seem powerful and strong to make all of their masculine traits come out.

Barthes says that imagery does not construct meaning by itself, it works alongside text-based components. Headers and taglines give meaning to photos while photos themselves provide an accompanying visual explanation for news copy.

You can apply David Gauntlet’s work into the men’s magazine as men are expected to assume stereotypically masculine identities to gain the role of the primary earner.

The school of life video how to be a man presents the cool man and the warm man. This links to Gauntlet’s notion that identity is fluid and negotiated. Although this is not a theory we can see examples of the cool man and the warm man is men’s health.

For instance on page 8-9 it links to Gauntlet’s work as a huge diversity of identities is portrayed. Men are assumed to have masculine identities to portray the role of the primary earn.

Lasswell’s model

The sender is Hearst communication. The CEO is Steven Swartz

The message is to go out into psychological terms and make sure that social control is better in health.

To whom – Active people who are willing to listen. People who are willing and encouraged to do stuff, you can talk about people who have a stable relationship.

Channel – Print through lifestyle magazine, also online on their website.

With what effect – How much paper can they sell, they attract audiences to sell more. To promote it as well

Lazarfeld relates to Men’s health as we can see that Vin diesel (Male figure) in the picture is the dominant signifier making him the opinion leader making the audience want to passively seek out how to become like him although you could argue it can be active as the public is seeking out information to gain the knowledge on how to be like him. However, the concept has been a subject of growing criticism, leading to a decline in the popularity and attraction of the original concept which is taking away the idea of men’s health.

Uses and gratification can be seen to link with Men’s health in page 7 as that the idea of media audiences are active rather than passive, meaning they do not only receive information, but also unconsciously attempt to make sense of the message in their own context. This is because it is showing us a picture of cars where it is making the influencer want to have a motive to consume it. Their are many audience’s that may need new cars so therefore it is a good opportunity for the product to be sold. This could be seen as a sense of escapism as they may want to participate in the role of buying the product to make it enjoyable for them.

On page 48-49 we can link this to men’s health as it is suggesting that there is a various of ways that decoding can be interpreted as we can see a picture of a man in some sort of abandoned studio trying to reflect on how men could be like him all muscular and not fear anything. Stuart Hall suggest that media is represented through codes and be can be seen through imagery. Transcoding can refer to representation strategies that contest stereotypical assumptions.

Press – Episode 3

Truth, Regulation, Accountability

The abuse of power (Habermas, The Transformation of the public sphere) – using the media to hold people to account e.g. Prince Andrew, The press in the first episode

The complicit links between those in power at the expense of those who are subservient (Chomsky, The manufacture of consent) – Consent is manufactured and it is all about truth, where no media is reliable as we don’t know if they are telling the truth or not, involves the 5 filters

Rules and regulation – You need this to keep it place

The substantiation of truth and reality (Baudrillard) – how can we prove the truth? What is truth based on – morality, ethics, religion, science, empirical evidence? – You can use evidence however, if you don’t have evidence then how can we believe it e.g. Press meeting

The rise of new technologies which impact and disrupt all of the above