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Fragmentation

(copied from DrM post)

Fragmentary individuals.

The process of fragmentation is a key element of POSTMODERN CULTURE. The notion of separating, splitting up and dividing previously homogeneous groups such as, friends, the family, the neighbourhood, the local community, the town, the county, the country and importantly, is often linked to the process of fragmented identity construction.

Think about mobile telephony which is now able to construct multiple possibilities identities, at multiple moments in time and space. Think about the way we construct, our (multiple) digital identities, visable and varying across different digital platforms – work identity, social identity, family identity etc, which is most often not consistent with our analogue (human?) identity – look for example, at your profile pictures? This links to the work of David Gauntlet that we have looked at earlier in the course.

Fragmentary communities.

In 1959, Richard Hoggart (Uses of Literacy) noted the shift in modern societies particularly the impact on our ‘neighborhood lives’, which was ‘an extremely local life, in which everything is remarkably near‘ (1959:46). As John Urry comments, this was ‘life centred upon groups of known streets’ where there was ‘relatively little separation of production and consumption‘ (2014:76).

Urry goes on to note that the global population grew during the twentieth century from 2 to 6 billion, it’s now at 8 billion with some reports suggesting it will hit 9 million by 2037. This has given rise to mega-cities. Rather than forming mass centres of communal, shared living, such mega-cities often create more isoloation, more individualism, more fractured and alienated individuals struggling to survive and keep alive.

For many this is reflective of the new global economy (globalisation), which has created a high polarized class division between the rich / the really super rich and the poor / underclass (ie the really, really poor) made possible through the rapid increase of new forms of technological developments.

As such, another characteristic of POSTMODERN CULTURE is the emergence of FRAGMENTED COMMUNITIES. So if we are all so fragmented (communities and individuals) the only solution we have is OURSELVES . . . or INDIVIDUALISM.

Postmodernism

  1. Pastiche – an artistic work in a style that imitates that of another work, artist, or period.
  2. Parody – an imitation of the style of a particular writer, artist, or genre with deliberate exaggeration for comic effect
  3. Bricolage – construction or creation from a diverse range of available things.
  4. Intertextuality – can be a reference or parallel to another literary work, an extended discussion of a work, or the adoption of a style.
  5. Referential – the film talking about the film is REFERENTIAL (i.e., it refers to itself), for example when they are passionate and allegro tells (us?) what the function of this scene is. Also, at the end when each character analyses each character – motivation, script, narrative function etc
  6. Surface and style over substance and content.
  7. Metanarrative –
  8. Hyperreality – Baudrillard suggests we live in a world that is ‘real’ but not really ‘real’ we can see that in the film in that we are never quite sure what is the real world or the game world?
  9. Simulation (sometimes termed by Baudrillard as ‘Simulacrum’) – the inability of consciousness to distinguish reality from a simulation of reality.
  10. Consumerist Society – a society in which people often buy new goods, especially goods that they do not need, and in which a high value is placed on owning many things.
  11. Fragmentary Identities – multidisciplinary collaboration, involving visual communication, performative arts and fashion.
  12. Alienation – a withdrawing or separation of a person or a person’s affections from an object or position of former attachment.
  13. Implosion – a situation in which something fails suddenly and completely, or the fact of this happening
  14. cultural appropriation –
  15. Reflexivity= the fact of someone being able to examine their own feelings, reactions, and motives
  16. Deconstructive postmodernism

definition – the copying and reimagining of things. Idea of a parody or a pastiche.

Love Box in the living room is a pastiche of Adam Curtis’ work

It is also a parody…

Radio production nea+ – 100 years of the bbc

Theme:

Music through the decades on the BBC

How music has changed throughout the decades, and how the BBC has changed with it.

What is the future of the BBC. How do I think the BBC should change with the times – why the BBC is becoming less and less popular – mentioned Spotify.

1950s –

Ray Charles – I’ve gotta woman

Released in 1954

The birth of soul – this album was innovative and influenced artists such as, Stevie Wonder, Aretha Franklin, Otis Reading, Marvin Gaye, Elvis Presley, Van Morrison, Billy Joel and millions more – a combination of jazz, rock n roll, and gospel, it was the first time the world had heard soul.

200,000 sales in the UK

One of the most regularly played songs on the BBC in the 50s

Kanye West‘s song “Gold Digger” contains samples of “I Got a Woman”; one particular line is repeated throughout the song in the background. An interpolation by Jamie Foxx, who portrayed Charles in the 2004 biopic Ray, of “I Got a Woman” serves as the introduction to “Gold Digger”.

My song of the decade

Other frequently played songs on the BBC in the 50s:

1957 – Jailhouse Rock by Elvis Presley

1958 – Johnny B. Goode by Chuck Berry

1960s –

The Beatles were the most-played band on the BBC through the 60s

My favourite Beatles songs –

Sexy Sadie

Happiness is a Warm Gun

Both songs on the White Album – which was released in 1968

Happiness is a warm Gun was banned by the BBC due to its sexually suggestive lyrics. The song is a double entendre with guns a metaphore for John Lennon’s sexual desire for Yoko Ono.

The last section of song is arguably the greatest minute in Rock history, with main vocal by John Lennon, and back vocals by Paul Mccartney and George Harrison

More BBC’s favourites from the 60s:

1961 – Stand By Me by Ben E King

1962 – Cry To Me by Solomon Burke

1963 – Be My Baby by Ronettes

1969 – Here Comes The Sun by Beatles

1970s –

Right Down the Line – Gerry Rafferty

“Right Down the Line” is an ode from Gerry Rafferty to Carla, his teenage love whom he also married in 1970, about a decade before this track’s dropping.

Right down the line went number 1 in the US in 1978 before falling into obscurity.

However, the song has made a comeback in 2022 ranking 16 in the rock charts after it featured in popular US teen drama show, Euphoria.

Talk about the effect that other forms of popular culture have on songs… same thing happened with Where is my mind.

More heavily played tracks on the BBC in the 70s:

1975 – Bohemian Rhapsody by Queen

1976 – Go Your Own Way by Fleetwood Mac

1977 – Dreams by Fleetwood Mac

1980s –

Where is my Mind- Pixies

went platinum in the UK with 600,000 sales

Released in 1987, was rarely played on the BBC around the release, but gained popularity in recent years due to its use in the last scene of Fight Club.

Its peak chart position came in 2022, as it ranked 17th in the indie charts.

Not played regularly on main shows such as Radio 1 or 2 but is featured heavily on BBC shows that play rock and indie music.

Wake Me Up Before You Go Go by Wham (1984) was the most frequently played track on the BBC in the 80s

1990s –

Smells Like Teen Spirit – Nirvana

In 1991 Nirvana released their second album, Nevermind. The album was a monumental success, going number 1 in the US and UK charts. Nevermind features a more polished, radio-friendly sound than the band’s prior work.

Written primarily by frontman Kurt Cobain, the album is noted for channelling a range of emotions, being noted as dark, humorous, and disturbing. Thematically, it includes anti-establishment views, anti-sexism, frustration, alienation and troubled love inspired by Cobain’s broken relationship with Tobi Vail.

Arguably, Nirvana are the single most influential band of the 21st century after The Beatles. Nevermind re-invigorated mainstream rock, and had a massive impact on style and music in the 90s. They are considered a cornerstone of the grunge era.

Their song, Smells Like Teen Spirit, was the most-played song of 1991 on the BBC.

Nirvana are still relevant even today, as their album, Nevermind, was the 4th most frequently purchased vinyl of 2021.

Other top-played songs on the BBC in the 90s:

1992 – Creep by Radiohead

1995 – Wonderwall by Oasis

1998 – Iris by Goo Goo Dolls

2000s –

2000s = Indie takeover in mainstream music

In 2001, The Strokes released their debut ‘Is This It’. The album was a huge success, going number 1 in the UK charts, and signified a new era of Indie Rock.

The next step on that evolutionary chain was the Arctic Monkeys, who (and this is no exaggeration) took over the world in 2006, with their debut album ‘Whatever People Say I am that’s what I’m not’.

The album was voted the 5th best UK album of all time by NME, and the band who were just 17, at the time of release became national stars.

Here’s my two favourite tracks from the album…

I Bet That You Look Good on the Dancefloor – Arctic Monkeys

Mardy Bum – Arctic Monkeys

I bet that you look good on the dancefloor was the most frequently played song on the BBC in 2005.

Oher frequently played tracks by the BBC include:

2003 – Mr Brightside by The Killers

2006 – Naïve by The Kooks

2007 – Fluorescent Adolescent by Arctic Monkeys

2010 – 2022 –

Staying with the Arctic Monkeys, their rise to international success came in 2013, with AM.

Compared to their first album, AM is a very different, as they transitioned from a very raw, indie sound to a more clean, smoothly produced rock sound. AM’s bass guitar is noticeably a lot lower, and so is Alex Turner’s voice, as he croons songs. The album is also a slower pace, which appealed more to American listeners.

This song, Number one party anthem, is a great example of why this album is so successful.

Number 1 party anthem – Arctic Monkeys

touch back on BBC –

how music has changed over the years – the different audiences they are trying to appeal to.

Most played artist of the 2010s was Drake – shows how the BBC are attempting to appeal to young audiences.

finish with

Brazil – Declan McKenna

compare ‘newsbeat’ and ‘war of the worlds’

Comparative Table

THEMENEWSBEATWAR OF THE WORLDS
OWNERSHIPBBC – PSB, government, director general in charge – 1st one – Lord Baron Reath, trans-national, multi-media company, not a monopoly – more of an oligopoly, concentration of ownership. BBC has a slightly left- leaning ideology.CBS – private company, conglomerate, cross-media conglomerate, trans-national? example of concentration of ownership – just a few companies own everything – oligopoly? cartel? Vertical integration
HABERMASTransformation of the public sphere – BBC intention is to inform, educate, and entertain. BBC is public + non-profit, all money is put back into shows. This supports Habermas’ theory that the BBC is paternalistic, providing what you need rather than what you want. Commerical profit is a poor ethos – not in the spirit of Habermas’. There is an idea that private organisations do not care about viewers, and instead only care about profit.
CHOMSKYChomsky talks about how adults are more impressionable to believing falsities, whereas young people are more aware of the truth. Some people can’t distinguish truth from fiction – universal grammar
REGULATIONOfcom, BBC charter governed by parliament. New technologies mean BBC is faced with more competitionFederal communications department, not necessarily in the public interest
AUDIENCE (ACTIVE / PASSIVE)active
(Audience participation – online accessibility)
passive (Audience were passive in the way they received the information)
AUDIENCE (LAZARSFELD – two-step flow theory)Getting popular guests on the show who bring in viewersOrson Welles – opinion leaders
AUDIENCE (HALL) Stuart Hall – theory of preferred reading.
suggested that media texts contain a variety of messages that are encoded (made/inserted) by producers and then decoded (understood) by audiences.
Encoded message – of the broadcast being a joke, was not taken on, and instead, peoplemtook it seriously.
NEW TECHNOLOGY
CROSS MEDIA CONVERGENCE
?
?

War of the worlds – essay

Lasswell – Hypodermic needle theory –

In this model, the media is seen as powerful and able to inject ideas into an audience who are seen as weak and passive.

The hypodermic needle was proposed by Harold Lasswell in the 1920s. It explains how the audience is directly affected by what they view and hear. It is said to affect the audience/viewer immediately or in the near future. 
It suggests that a media text can ‘inject’ or ‘fire’ ideas, values and attitudes into a passive audience, who might then act upon them. This theory suggests that the audience is powerless to resist the impact of the message which, in some cases, could be dangerous. 

Lasswell’s hypodermic model fits well in the case of Orson Welles’s ‘War of the World’, where listeners were passive, and accepted the information given to them despite the lack of evidence.

  • The War of the Worlds” was a Halloween episode of the radio series The Mercury Theatre on the Air directed and narrated by Orson Welles as an adaptation of H. G. Well’s novel The War of the Worlds (1898). It was performed and broadcast live at 8 pm ET on October 30, 1938, over the CBS Radio Network. The episode is famous for inciting panic by convincing some members of the listening audience that a Martian invasion was taking place, though the scale of panic is disputed, as the program had relatively few listeners.
  • 12 million people listening was reported. More likely that just 50,000 people were listening.

Newsbeat

How does Newsbeat appeal to a young / younger audience?

  • I want to argue that BBC Newsbeat is attempting to stay relevant through appealing to younger audiences. This can be seen through a number of things; young presenters, active social media presence, and focus on stories that interest / affect young people.
  • Statistics suggest that they are failing to do so.

Media Industries

BBC is a PSB. focus is on informing and educating.

BBC is a large company with over 22000 staff, offices.

Newsbeat is the BBC’s radio news programme broadcast on Radio 1, 1Xtra and Asian Network. 

The fifteen-minute Newsbeat programme is broadcast at 12:45 and 17:45 during the week on Radio 1

Newsbeat is a multi-platform media project. It can be accessed on their website, on twitter, and on Instagram.

BBC newsbeat – very active on social media – twitter and Instagram

Media Audiences

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.

There was 9 million listeners in the first week of 2022 – shows how they reach a wide audience.

Even though their target audience is young, their average listener is 30 years old.

Newsbeat is broadcast on BBC Radio 1, targeting 15–30-year-olds who enjoy chart-based music

Majority of newsbeat hosts are in their 20s

Deliver news in fairly simple terms – easy to understand

Focus on celebrity content

Many news stories on things that affect young people:

for instance, on results day, they always run a story on the results

Plus, although the BBC is neutral, newsbeat covers things that might interest more left-leaning individuals, for instance, LGBT community.

Newsbeat bulletins are short – 2-3 minutes – assumption is that young people dont have the attention span for anything longer.

What makes quality television

Press

  1. good, convincing acting
  2. consistent, well-thought through themes which carry social meaning
  3. fairly interesting plot
  4. realistic, well-written characters
  5. made with a large target audience in mind – has elements of drama, romance, comedy

difference between broadcasting and narrow casting

broadcasting = communicating with a variety of people

narrow casting = small / niche audience

What is the ethos of the BBC

‘to inform, entertain, and educate’

Populism and Paternilism

Populism = appeals to ‘the people’ – what the people want. Example: Twitter, YouTube

Paternalism = people with authority restrict freedom on others with rules regulations and set plans. Example: the BBC

Notes on video

‘Amazing thing about television, it transforms time and space. Allows you to experience things that are going on at a physical distance’. fear of new technology

BBC acting like a social cement

The Pips – BBC

1924 – BBC transformed time and space by introducing idea of universal time through the ‘pips’.

Notes on Seaton

British broadcasting was started as a public service, and this proved as creative commercially as it was innovative creatively.

Broadcasting in Britain – monopoly or duopoly – always depends on the assumption of commitment to an unrivalled good.

PSB prepared to lead public onion rather than defending it.

Ownership effects – Curran & Seaton

we’re engines for social and political change

different types of integration restrict competitors

Profit driven motives take precedent

csp – magazine: Oh Comely

facts:

  • left-wing ideology
  • emphasis on inclusivity – representing femininity, multiple cultures
  • owned by Iceberg press – small company
  • focus on creativity and quirkiness
  • about accepting and celebrating your differences to others – rather than attempting to change them
  • minimalist style
  • launched in 2010
  • last issue – September 2021
  • bi-monthly British magazine
  • editor – Lisa Sykes
  • average age of readers – 27 years old
  • selling to higher social class – magazine costs £5

WHO

Iceberg press

SAYS WHAT

Oh Comely constructs a representation of femininity with its focus on creativity and quirkiness. The focus is on women as artists, entrepreneurs, athletes and musicians and female empowerment is a major theme. The absence of men as part of the representation of masculinity in Oh Comely magazine.

CHANNEL

print through lifestyle magazine

TO WHOM

affluent young women

WITH WHAT EFFECT

10,000 average buys per issue

(3,000 paid subscriptions)

Two step flow of communication

Oh Comely’s decision to represent lesser-known individuals means that the two step flow of communication is not as evident. With fans of Oh Comely having to actively seek the magazine out rather than buying because their favourite actor is featured.

Semiotics

Representation – diverse. Features various genders, races, sexualities, and skills.

front cover

Icon 

Indexical link 

Narrative –

Print Language –

Stuart Hall –

Men’s Health essay plan

Semiotics:

Dominant signfier – Vin Diesal

Dominant ideology – body image

Selective Representation – big, dominant, muscular (predominantly) white men

Iconic sign: The bold text tells you what you can find inside this magazine issue. It all relates to losing weight fast

Icon – picture of Vin Diesel

indexical signs: sweat = worked out

symbolic sign: The magazine’s colour theme is mostly blue which is seen as a stereotypical colour for men, influencing them to buy the magazine. Big bold texts all about losing weight “demolishing junk food cravings” and “Blast body fat”. The dominant signifier, Vin Diesel, is positioned in the middle showing off his muscles.

By choosing to represent big, dominant, muscular (predominantly) white men, Men’s Health has a reactionary representation. It adheres to the male gaze, and stereotypes people have. Vin Diesel is a pretty good representation of what society thinks men should look like… not what men actually look like. additionally, Vin Diesal’s ‘cool man’ persona (calm, in control, cool, strong) also plays into stereotypes of the way that men should act.

Use of capital letters – exclamation points – colours – dialogue “true grit” – all appeal to men

The use of the traditional boy colour, blue, further reinforces this.

Lasswell’s model applied to Men’s Health:

sender: Men’s Health is one of the largest health magazines on the market – directed at men – made by men for men

says what: wants to push healthy eating and gym workouts. It is aimed at men who want to gain muscle and lose fat.

what channel: through print – and also through the website (online)

to whom: Educated men with families, who spend big on travel, style, sports/gym, personal grooming, and live an active + adventurous life.

what effect: 9m print audience. 16.5 mill social followers.

89,000 average buys per issue

(66,000 paid subscriptions)

Two-step flow of communication

Vin Diesel is an opinion leader, who people actively follow. People will be more likely to buy certain products etc. if they know that an opinion leader such as Vin Diesel supports it.

Uses and Gratifications

Self-esteem – page 13 is aimed at improving readers’ self-esteem through getting back in shape and improving fashion style.

Men’s health is owned by Hearst (founded in 1887) who owns 40 different companies, making them a conglomerate.

Stuart hall

– Hall provides a framework for decoding messages:

1: Accept the dominant message

2: negotiate the dominant message

3: reject the dominant message

George Gerbner’s Cultivation Theory states that people who consume media often are more susceptible to the messages in said media

Two-step flow of communication

Vin Diesel is an opinion leader, who people actively follow. People will be more likely to buy certain products etc. if they know that an opinion leader such as Vin Diesel supports it.

Uses and Gratifications

Self-esteem – page 13 is aimed at improving readers’ self-esteem through getting back in shape and improving fashion style.

Essay draft

Men’s Health does not challenge the social and cultural contexts in which it was created. Instead, it takes a reactionary stance. This is telling when you look at the dominant signifier on the front page, Vin Diesel, who is standing in a dominant stance, which emphasises his size and muscle. Through choosing Vin Diesel as the face of their magazine, Men’s Health is subtly suggesting to its audience that he is the standard for what a man should look like and that all men should strive to be as strong, dominant, and muscular as him. The use of photoshop and Vin’s oiled-up muscles further accentuates this unrealistic body standard which is being set for men. One way they have altered the image is by clearly increasing the contrast, in an effort to further define his already-defined muscles. This is similar to the Score advert which also features this idea of a ‘perfect man’ who men strive to be like. This is a very common theme in media, which consistently uses ‘cool men’ such as James Bond, Don Draper, and Ryan Gosling as the standard for masculinity. These men are usually strong, confident, desirable, promiscuous, and cold, they never show their true emotions, and always act in a composed manner. These men usually tend to appeal more to the male gaze than the female gaze, as men are conditioned to believe that this is how they should look and act. Vin Diesel is another example of a ‘cool man’ with his large muscles and laid-back masculine persona. David Gauntlett refers to this as constructed identity. There are other examples of the ‘cool man’ on other pages of the magazine. For instance, on page 2-3 of the magazine, there is a double-page spread of an advert where a ‘cool man’ stands with a girl on his arm. His shirt is ripped to show off his muscles, and he is extremely tall, masculine, and handsome. Later in the magazine, Vin Diesel is shown in the editor’s letter, with the text “Diesel’s slant is one to aspire to” which again tells audiences that they should be like him. George Gerbner’s Cultivation Theory states that people who consume media often are more susceptible to the messages in said media, so Men’s Health showing Vin Diesel multiple times throughout the magazine and stating that he is “one to aspire to” sends the message to audiences that Vin Diesel is the standard for all men. The reason why Men’s Health seems to focus more on appealing to the male gaze rather than the female gaze is that the large majority of their audience are men, and more specifically, educated men with families, who spend big on travel, style, sports, and personal grooming. `These men also tend to live an active, adventurous life, with the majority playing sports. Further proof that the magazine is aimed at men, is the lack of sexualisation of Vin Diesel on the front cover. This is a common theme for all Men’s Health adverts, which put an emphasis on the men’s muscles rather than their sexual regions, with just 40% doing this. Compare this to Women’s Health, where 90% of front covers have an emphasis on their sexual regions. This suggests that both Men’s and Women’s Health have been created to adhere to the Male Gaze.

CSP 11 & 12 – Magazine

Research –

men and women’s health magazine – both play appeal to the male gaze. With men’s health magazine being marketed towards men and women’s magazine being marketed towards women who want to achieve the male gaze. The women are far mor sexualised than the men, with 90% of women’s health magazine front covers featuring sexualised women, and just 40% of men’s health magazine featuring sexualised men.

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Semiotics

Representation – straight ‘alpha male’ men – reactionary – reinforces the idea that men need to be powerful and strong – “get back in shape special”

Use of capital letters – exclamation points – colours – dialogue “true grit” – all appeal to men

Actor Vin Diesel (dominant signifier) – appeals more to men than women

“Best fitness classes for men” – target audience is undoubtedly men

Icon – picture of Vin Diesal

Indexical link – sweat = worked out

Genre – Steve Neale states that genres all contain instances of repetition and difference, difference is essential to the to the economy of the genre. Neale states that the film and it’s genre is defined by two things: How much is conforms to its genre’s individual conventions and stereotypes.

I’d argue that the genre of this magazine is lifestyle / fitness aimed at men

Narrative

Print Language

‘The School of Life’ video ‘How to be a man’ presents the ‘cool’ man and the ‘warm’ man, this links to Gauntlets notion that identity is fluid and negotiated. We can see examples of both the cool man, and the warm man, in Men’s health, for instance, on the front cover of the magazine, Vin Diesel is an example of the ‘cool’ man. He is confident, strong, and powerful which are all qualities of the cool man. His pose is strong and wise, which connotes masculinity.

Stuart Hall

Through using Vin Diesel as the face of Men’s Health, there is an encoded message that men should look powerful and dominant like Vin Diesel. There is a suggestion that if you (as a man) are not muscular and strong, then you are not a real man.