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.