Target Grade- C 

Paper 2- D  

Question 2 needs working on. 

Theories of the regulation and control of media industries suggest that there is a conflict between protecting the public interest and the needs of media companies. 

How valid do you find this argument in explaining the regulation of the media? 

You should refer to both of your television Close Study Products in your answer: Lupin and the responder 

The French Regulatory Context and Lupin –  

France has a mix of public and commercial broadcasters, with state intervention regulating broadcast platforms to protect freedom of communication and maintain a cultural identity. This regulatory framework is like many other Western European countries, where public broadcasters must stick to regulations that ensure cultural representation, diversity, and fairness. However, the growing concentration of media power, particularly in the hands of a few large companies, has led to concerns over the impact of commercial interests on public service goals. This is especially pertinent in the case of Lupin. 

The rise of streaming services like Netflix has created a big challenge for regulators in France and other countries. While Netflix brings in a lot of money for producers and gives them access to a huge global audience, it also raises concerns about a few big companies having too much control over the media. There’s a worry that this dominance could hurt local production and reduce the variety of content available, especially in terms of cultural diversity. In response, French regulators (and other European regulators) have been discussing ways to put stricter rules on streaming platforms like Netflix. These rules might include things like requiring Netflix to invest more in local productions or meet specific content quotas. In the UK, organizations like Ofcom have started looking into how they can regulate global streaming services, but their power to do so is still limited. 

The BBC and the Protection of Public Interest The responder –

The BBC, as a public service broadcaster, has the responsibility to create content that benefits the public. It is regulated by Ofcom to make sure it meets certain standards, such as fairness, representing different cultures, and being socially responsible. The Responder is a good example of this, as it is a high-quality drama with a well-known cast, scheduled for a prime-time slot on Sunday evenings, a time usually reserved for serious, important shows. This timing and the show’s quality make it a valuable cultural product, showing that it’s worthy of public funding. The BBC’s goal is to provide content that speaks to the current state of the nation, addressing important issues like police corruption, drug crime, and sexual abuse, all of which aim to serve the public’s interests. 

The BBC aims to serve both its audience as consumers of entertainment and as citizens who need meaningful content. It focuses on providing shows that are relevant and make people think, rather than just trying to make money like private broadcasters. This is especially important in today’s media world, where commercial interests are becoming more dominant. The Responder, for example, deals with controversial issues that mainstream media might avoid because they could be seen as too risky or upsetting for advertisers or viewers. Because the BBC is a public service broadcaster, it has the freedom to tackle difficult topics without being pressured to make quick profits. 

In conclusion:

In the case of Lupin, there’s a conflict between showcasing French culture and appealing to a global audience through Netflix. On one hand, the producers of Lupin want to create a show that reflects French culture, history, and society. On the other hand, Netflix aims for high production values and genre appeal to attract viewers worldwide. This global approach can sometimes clash with local regulations, which require content to reflect and promote national culture. Additionally, because Netflix operates in many countries but isn’t tied to the same rules as traditional broadcasters, it complicates the role of national regulators who are used to controlling content for local audiences. 

In The Responder, the BBC faces a different kind of tension. As a public service broadcaster, the BBC has a responsibility to provide content that is diverse, impartial, and culturally responsible. At the same time, the BBC needs to compete in a media landscape that is increasingly dominated by streaming services. This competition means that the BBC must create content that appeals to audiences and stays relevant, but it must still follow strict content regulations, which can sometimes limit its ability to take creative risks or produce certain types of programming. 

Questions	What went well?	What could be improved?	What am I going to do to make the improvements?
1.	well detailed.	Add more theoretical language	Practice these terms.
2.	–	Understanding the question	Past papers with that include regulation and control
3.	Good understanding of the CSPs	Add more theorists	create links between social and cultural contexts with the theorists
4.	Good context added to both magazines and successfully answered question with detail.	Again, add more theorists	link theorists with the magazines.

Target Grade- C 

Paper 1- D (38 marks) I need 5 more marks to secure a C (42) 

Questions 4 & 7 need working on. 

Steve Neale’s summary of genre theory includes consideration of ideas such as sub-genre, hybridity and “genre as cultural category”. 

How valid are Neales ideas when analyzing media products? You should refer to the music video Close Study Product – Old town road. 

Sub-Genre- A subdivision of a genre of literature, music, film, online or other media. 

For this case, when analyzing Old Town Road by Lil Nas X, I can see how it fits into both country and rap sub-genres. The song itself is a blend of these two musical styles, combining the country twang of its instrumentation with rap-style rhythms and lyrics. The music video further emphasizes this sub-genre blend, showcasing both rural and urban imagery, bridging the gap between country culture and hip-hop. By mixing elements from both genres, Old Town Road appeals to fans of both country and rap music, illustrating how sub-genres can help attract and maintain diverse audiences. 

Hybridity – genres evolve and change over time, incorporating new elements and ideas. 

Old Town Road is an example of this as the song blends country and hip-hop, a mix that has not been widely seen in mainstream music before, making it a hybrid product. The music video visually reinforces this hybridity through its cross-genre aesthetics: cowboy hats, horses, and western landscapes merge with urban settings, neon lights, and streetwear. This hybrid nature challenges traditional genre boundaries and highlights the evolving nature of music genres in the digital age, where genres are increasingly fluid and interconnected. 

Genre as a cultural category – refers to how genres are not fixed but are shaped by cultural trends, societal expectations, and the time in which they are produced. 

Old Town Road was released during a time when genre blending was becoming more common, especially through platforms like TikTok, which allowed songs to gain popularity across multiple musical communities. The song’s success demonstrates how genre as a cultural category has evolved: what might have once been considered two distinct genres (country and rap) is now perceived as part of a more fluid, hybridized music culture. The music video also plays into this cultural shift, with its references to both contemporary youth culture (through rap elements) and traditional American themes (through country references), reflecting the intersection of various cultural identities. 

Neale’s ideas are valid when analyzing media products like Old Town Road. The song and its music video exemplify how genres are not fixed entities but can be shaped and capable of reflecting larger cultural movements. 

Key points:

• In November 2024, Australia announced a ban on social media for children under 16, sparking global discussion on similar regulations.
• Social media has been linked to mental health risks in teenagers, with coroners citing its negative effects in teen suicides and court cases highlighting its role in online radicalization.
• The US Surgeon General proposed warning labels for social media platforms, akin to those on tobacco products, due to their potential harm.
• In the UK, there is growing political and public pressure to curb the influence and power of social media platforms.
• France introduced legislation in 2023 requiring parental consent for social media access for children under 15.
• Livingstone and Lunt’s theories highlight two regulatory approaches: the “consumer-based model” prioritizing competition and profit and the “citizen-based approach” prioritizing societal and public service needs.
• They argue UK media policy has heavily leaned towards the consumer-based model over the past three decades, prioritizing commercial interests over public good.
• This shift explains growing concerns about safeguarding and regulating harmful online content.
• Livingstone and Lunt also point to challenges in regulating global social media platforms, whose companies and content transcend national borders.
• Public discourse around social media regulation has become widespread, involving academics, news outlets, documentaries, and social media itself.

2nd page of article:

• Calls for tighter regulation of social media and the internet have been ongoing for decades, with debates intensifying over time.
• In 2004, Sonia Livingstone advocated for a balanced approach, warning against moral panic and excessive restrictions on children’s internet use.
• Despite her caution, the UK press fueled moral panic with sensational headlines about the dangers of social media for children.
• By the 2015 UK election, all major political parties proposed restrictions on social media, with the Liberal Democrats advocating for a Digital Bill of Rights.
• Nick Clegg, former Liberal Democrat leader, later joined Facebook (Meta) as President of Global Affairs, where privacy ideals were less prioritized.
• The UK’s Online Safety Bill, signed into law in 2023, ended self-regulation by social media companies, placing them under Ofcom’s oversight and introducing new offences to protect vulnerable groups.
• Livingstone supported the Bill but emphasized the need to balance addressing harms with recognizing the benefits of online spaces for children.
• Her work highlights children’s rights to access and participate in online spaces, now partially enshrined in UN Human Rights law.
• Livingstone criticized Australia’s social media ban for children under 16 as overly simplistic and counterproductive to children’s rights.
• Together with Peter Lunt, she has consistently advocated for media literacy as a solution, empowering users to engage actively and responsibly with media rather than relying solely on restrictions.

Historical context – How media products reflect or react to the time period it was set in or is referring to.

Economic context – How media products reflect or react to the business which the producers operate, or the financial constraints a media product may have been impacted by.

Cultural context – How media products reflect or react to the beliefs and meanings of groups or individuals. Also can be reflective of the time the cultural product was, helping understand the beliefs of society at that time.

Social context – How media products reflect or react to the social circumstances they and the rest of society operate in, and how the product portrays the social changes or inequalities.

Capitalism – A country’s economics and political system are controlled by private owners rather than by the state. (Economic context)

Populism – an approach that tries to address the ordinary people who feel like their concerns are disregarded by elite groups. (Social context)

Consumerism – The protection and promotion of the interests of consumers (Social & Economic context)

Globalisation – The process of businesses extending internationally, beginning to operate on a much larger scale (Cultural & Economic context)

Patriarchy – System where men hold the majority of the political, social and economic powers compared to women (Cultural & Social context)

Feminism – advocating for women’s rights and equality between men and women regarding all areas of life. (Historical, Cultural and Social context)

Individualism – A social theory favouring the freedom of choice for an individual compared to the state control. (Social context)

Self-managerialism – An approach of self discipline that requires people to manage themselves. (Cultural context)

Neoliberalism – a model of free market capitalism, favouring the reduction of deregulation, government spending, privatisation and globalisation. (Social context)

Imperialism – Extending a country’s power through colonization, military force, or other means, such as media production. (Historical & Social context)

Lupin

• Lupin novels date back as far as 1905’s ‘Arsène Lupin: The Gentleman Burglar’
• Series version is not a direct adaptation, and instead uses the books as inspiration, whilst making clear the novels exist in the fictional world of the show.
• Crisp visual style and slick editing reminiscent of Sherlock TV series (perhaps minimizes risk and maximises profit as audiences who enjoyed Sherlock are more likely to watch a similar series like Lupin)
• Tackles social issues such as race and class inequality.
• Combination of Assane’s race, gender and class that keeps him at the bottom of hierarchy – Ties to the idea of ‘intersectionality’ that bell hooks suggested was when people were oppressed on multiple levels.
• A character from Senegal (which was colonised by the French for centuries) stealing artwork from the Louvre, which was likely to have been stolen in the first place to get there, acts as a form of ‘poetic justice’
• Racist questions/dialogue is used to poke fun at people who actually believe in myths such as people of colour not being able to swim
• The need to check the wikipedia page of Paul Sernine connotes the lack of trust given to a Black Man, reinforcing the prejudice that Assane suffers.

Livingstone + Lunt Regulation

• Australia banning social media for under 16s
• Doctors claiming social media use prompts a “profound risk of harm” to teen mental health
• ‘consumer based’ model of regulation – foregrounds the interests of audiences and producers through policies which promote competition, variety and opportunities for profit
• ‘citizen based’ approach – puts societal, democratic and public-service needs ahead of those of the individual and the media
• Difficulty in regulating globalised media products, especially social media in which users across the world produce the content, and therefore make the owners less accountable for harmful content.
• Moral panics surrounding the online targeting of children by paedophiles, Facebook being a toxic addiction, social media prompting anorexia, online casinos encouraging underage gambling etc.
• In 2015 UK General Election, all parties promised social media restrictions
• Bill in place to try and get social media apps/sites regulated by Ofcom (which Sonia Livingstone acted as a consultant on).

Gentlewoman

• Over 60 pages of advertising before reaching the contents page
• Never deviated from one cover star
• Target reader median age is 32
• “magazine equivalent of an art gallery”
• ‘Gentlewoman Club’ hold events at art shows – where they sell copies of the magazine in the gift shops

Analysing Netflix’s Lupin:

Quotes from the article:

‘social issues like race are foregrounded very early on, with the visual language of the series bringing it to our attention within the first two minutes.’

‘Looking at this symbolically, seeing a character from Senegal, (a country colonised by the French for centuries), stealing an artefact from the Louvre is a delightful inversion and an elegant piece of poetic justice.’

‘highlights the disparity between those working minimum wage jobs and the opulence of the Louvre, France’s premiere museum. The fact that they are watched over by predominantly white male security guards doesn’t help either.’

‘the combination of Assane’s race, class and gender that keeps him firmly at the bottom of the hierarchy. This a good example of ‘intersectionality’, which is the idea that overlapping prejudices may create barriers to a person being accepted in certain spaces.’

‘What would possess someone to ask something as nakedly racist as this question? For a moment, let put aside the massive power differentials of class and age that are clearly on display here.’

Livingstone + Lunt and the social media ban:

Quotes from the article:

‘doctors claiming social media use presents ‘a profound risk of harm’ to teenagers’ mental health, coroners’ reports increasingly citing ‘the negative effects of online content’ as a factor in teen suicides’ 

‘the ‘consumer-based’ model, which foregrounds the interests of audiences and producers through policies which promote competition, variety and opportunities for profit, and the ‘citizen-based approach’, which puts societal, democratic and public-service needs ahead of those of the individual and the media’

‘In 2004 Livingstone herself wrote in The Guardian of the need for a balanced approach ‘steering a course between the twin risks of exposing children to danger or harm’

‘end social media companies’ culture of self-regulation by placing them under government regulator Ofcom’s oversight’

‘Livingstone was part of the consultation process for the Bill and welcomed it ‘for ending society’s misplaced hope that platforms will self- regulate adequately’’ 

 

Historical:

What it means or refers to:

How media products reflect historical issues and events, e.g. through the specific era or time period in which a product is set or an era, time period or historical event that the product refers to.

Examples you must find in your products:

How media products studied are influenced by historical
contexts through intertextual references.
How media products studied can act as a means of
reflecting historical issues and events.

Economic:

What it means or refers to:

The business and financial system in which media producers operate.

How media products reflect their economic context through production, financial and technological opportunities and constraints. This may include the impact of production budgets on media products, differences between production budgets for different producers, and sources of funding.

Examples you must find in your products:

How media products reflect their economic contexts
through production, financial and technological opportunities
and constraints.
How media products differ in institutional backgrounds and
use of media language to reach different audiences.

Cultural:

What it means or refers to:

The beliefs, meanings and practices that guide the shared
behavior of individuals of a group of people within the same society. This includes the attitudes, values, habits, customs and traditions.
It also includes the cultural products created by that society at
any given time. These will reflect the time in which they are
produced and help understanding of the ways in which they were made and the values and beliefs that were in place at the time of production.

Examples you must find in your products:

How media products studied are influenced by cultural
contexts through intertextual references.
How media products studied can act as a means of
reflecting cultural issues and events.
How media products can reflect and construct cultural
attitudes towards wider issues and beliefs.

Social:

What it means or refers to:

The relationship between media producers and the society within which they operate, including the social make-up of producers and audiences.
The way in which media products reflect and construct social
attitudes, and portray social changes, conflicts, anxieties and
inequalities including the influence of changes in gender roles, of gender, racial and ethnic inequalities, and social attitudes to
sexualities.

Examples you must find in your products:

How media products studied are influenced by social
contexts through intertextual references.
How media products studied can act as a means of
reflecting social issues and events

Viewpoints and Ideologies:

Capitalism – An economic and political system in which a
country’s trade and industry are controlled by private owners for profit, rather than by the state.

This can relate to: BBC

Populism – A political approach that strives too appeal to ordinary people who feel that their concerns are
disregarded by established elite groups.

This can relate to: The Voice

Consumerism – The promotion of the interests of consumers and the preoccupation of society with the acquisition of
consumer goods.

This can relate to:

Globalisation – The processes by which businesses or other
organisations develop international influence or start operating on an international scale.

This can relate to: GQ

Patriarchy – A system of society or government in which men
hold the power and positions of social, political and economic privilege in comparison to women.

This can relate to: Score

Feminism – The advocacy of women’s rights on the grounds of
the equality between men and women across all
aspects of life.

This can relate to: The Gentlewoman

Individualism – A social theory favouring freedom of action for
individuals over collective or state control.

This can relate to: The Voice

Self-managerialism – Approaches of self discipline that require us to manage ourselves, in particular our health and physical appearance, in a disciplined way.

This can relate to: The male gaze

Neoliberalism – Neoliberalism is a model of free market capitalism that favors greatly reduced government spending,
deregulation, globalisation, free trade, and privatisation.

This can relate to: Blinded by the Light

Imperialism – Extending a country’s power and influence
through colonization, use of military force, or other means such as through media production.

This can relate to: The Daily Mail

Question 2:

In order to get a hight band I need to have:

• Excellent understanding of the theoretical framework of

media demonstrated through critical engagement with the

nuanced aspects of the theories and argument.

• Excellent, detailed and accurate application of knowledge

and understanding to evaluate theories of regulation.

• Evaluation is insightful, thorough and critically informed.

• Judgements and conclusions regarding the validity of

theories of regulation are perceptive and fully supported

with detailed reference to specific aspects of the set

television products.

• Consistent, highly appropriate use of subject-specific

terminology throughout.

What I did:

• Basic understanding of the theoretical framework of media

demonstrated through engagement with more

straightforward aspects of the theories and argument; this is

likely to be limited.

• Basic application of knowledge and understanding to

evaluate theories of regulation; there is likely to be a lack of

clarity or relevance.

• There may be a tendency to simply describe features of the

set products rather than evaluate the theories.

• Judgements and conclusions are not developed and only

partially supported by reference to the set television

products.

• Occasional appropriate use of subject-specific terminology

throughout.

Question 3:

In order to get a higher band I need to have:

• Excellent analysis of the products that is detailed and

critically engages with the nuanced aspects of the

relationship between social and cultural contexts, media

producers, representations and audiences.

• Excellent and judicious application of knowledge and

understanding of the theoretical framework to analyse the

video games.

• Excellent, astute judgements and conclusions that are

consistently well supported by relevant and detailed

analysis of specific aspects of the products and precise

links to the specified contexts.

• Consistently appropriate and effective use of subject-

specific terminology throughout.

What I did:

• Satisfactory analysis of the products that is generally sound

and engages with the straightforward aspects of the

influence of the relationship between social and cultural

contexts, media producers, representations and audiences.

• Some satisfactory application of knowledge and

understanding of the theoretical framework to analyse the

video games.

• Satisfactory judgements and conclusions that are

reasonable and supported by some analysis of relevant

aspects of the products and with some links to the specified

contexts.

• Occasional appropriate use of subject-specific terminology.

Questions	What went well?	What could be improved?	What I am going to do to make the improvements
1	Application of theoretical frameworks to the unseen.	Use of subject specific terminology throughout.	Make flashcards on my terminology and go through.
2	Basic application of knowledge to evaluate theories of regulation.	Relevance to the question.	Ask how to deconstruct the question properly in order to apply the content necessary.
3	Satisfactory analysis of the products that engages with the straightforward aspects of the influence of the relationship between social and cultural contexts.	Again the relevance of the information to the question.	Ask how to deconstruct the question properly in order to apply the content necessary.
4	Good, accurate knowledge of the extent to which magazines survive through targeting specialised audiences.	Apply more theorists to further prove my point.	Revise my theorists is order to understand them in more depth