Media Language 

Index – An index is a sign that indicates something through a direct relationship, often through cause and effect or physical connection. 

Anchorage – refers to the use of text (words) or other elements to guide the interpretation of an image or visual element. It helps “anchor” the meaning of the image, ensuring that the audience understands it in a specific way – introduced by Roland Barthes 

Paradigm – refers to a set of related signs, choices, or elements that are interchangeable and can be used to create meaning within a specific context 

Syntagm – refers to the arrangement or combination of elements in a specific sequence or order within a media text 

Diegesis – These are parts of the story or world that the characters are aware of and can interact with 

Equilibrium – refers to the state of balance or order in a narrative before any conflict or disruption occurs –  Todorov’s Theory 

Media Representation 

Hegemony – hegemony refers to the dominance or control of a particular group, ideology, or perspective in society 

Intersectionality – refers to the concept of how different aspects of a person’s identity such as race, gender, class, sexuality, ability, age, and other social categories interact to create unique experiences of privilege, oppression, or discrimination. 

Cultural imperialism – the concept in which dominant cultures, Western countries, impose their values, beliefs, media, and cultural products on other, often less powerful cultures. 

Marginalization – the process by which certain groups, individuals, or voices are pushed to the edges of media representations 

Diaspora – The term is often used in media studies to analyze how the communities, maintain and adapt their cultural identity and practices while living outside their homeland. 

Media Industries 

Media concentration – refers to the process by which a small number of large companies or corporations come to own and control a significant portion of the media industry 

Transnational culture – It is the blending of cultures, ideas, and practices across different countries and regions, facilitated by globalization and the media. 

Regulation – refers to the rules, laws, and guidelines that govern how media organizations and content are produced, distributed, and consumed. 

Convergence – the process by which different forms of media come together allowing content, platforms, and audiences to interact across multiple channels. 

Commodification – This concept is commonly discussed in relation to media products and cultural content, highlighting how things such as culture, emotions, and identities are transformed into products that can be marketed and consumed. 

Media Audience 

Hypodermic needle theory – a model of media influence that suggests media messages are directly injected into the audience, leading to a passive and immediate effect on their attitudes and behavior. 

Moral panic – refers to a situation where a particular issue, group or event is portrayed by the media as a significant threat to societal values and norms 

Cumulation –  This theory suggests that long-term exposure to media, through repetition or continued presence in the media, can shape individuals’ beliefs, attitudes, and behaviors over time. 

Enculturation – it’s how people are socialized into their own culture by absorbing the cultural messages around them, including those delivered through the media. 

Bardic function – the idea that media, particularly storytelling and narrative forms, can serve a cultural and social function by shaping and preserving societal values, beliefs, and identities. 

Prosumer – refers to a person who both produces and consumes media content. 

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. 

Wednesday 12th – Theory Grid

MEDIA LANGUAGE Bathes-Semiotics Todorov-Narratology Bauldriard-Post modernism Neale-Genre	MEDIA REPRESENTATION Gauntlet-Identity Butler-Gender Performativity Hooks-Intersexuality Hall-Representation Van Zoonen-Feminist Gilroy-Ethnicity & Post colonial
MEDIA AUDIENCES Gerbner-Cultivation theory Hall-Reception Bandura-Media Effects Shirky-End of Audience Jenkins-Fandom	MEDIA INDUSTRIES Hesmondhalgh-Cultural Industries Curran and Seaton-Power & Media Livingstone and Lunt-Regulation

Stephen Neale’s theory is that not all genres are the same, e.g comedy, they all have differences. Genres draw on an identical repertoire of elements. The main tensions in genre are between repetition and sameness vs variation and change.

One of his concepts is repetition and difference.

	IN LESSON	OUT OF LESSON
wed	Make plan and finish statement of intent	complete SOI
thur
fri	submit 1st draft SOI
sat
sun
mon
tue
wed
thur
fri	Submit production 1 (all products in appropriate media form)

	MON	TUE	WED	THU	FRI	SAT	SUN
WEEK 1	Feedback			Dr M away	Inset
WEEK 2
WEEK 3
WEEK 4	Sports day		Dr M away	Dr M away	Dr M away
WEEK 5
WEEK 6
WEEK 7	Print all work out				Final submission

For my media product I will be doing brief three where I will be producing three posters and three 45-60 second tik Toks representing my new rom com movie. There will be three characters in this movie, 2 girls and 1 boy. I want the tik Toks to represent young love and what effect it can have on someone; these clips will include a beginning and a climax. The clips will all end in a cliffhanger, making the audience want to watch on more. I have chosen to do this idea as i am personally interested in romance movies. Media language focusses on how signs are organized in a product. I am producing film posters and tik-tok videos, so to ensure that my products look professional I am going to include a clear and identifiable film movie title, supported by an image of the actors in my film. This will follow the convention of film posters. Similarly, in the videos for tik-tok I will include a cliff hanger to entice my audience into watching the film. My movie has particular characters and themes in it, to appeal to my particular audience. My movie features two girls which are girly girls meeting the stereotypes of girls. Similarly, the boy featured is going to be presented as masculine and sporty. I want to make my film familiar to a specific audience so that more people will watch if they are familiar. My intended audience will be 16+ which will mainly target teens and adults. I have chosen to do a romance/rom com, this film will target teens as many teens are in a developmental stage where they are exploring their own emotions and relationships. My film will make a “safe space” for the teenager audience for them to experience intense emotions and navigate the complexities of love and affection. My film will also target an adult audience as the poster will feature a sense of love and comfort by two teenagers, as adults may want to relive the exciting sense of young love. I will make sure that both of my products maintain the same look, design and style. For instance, both products will have the same actors, the same color scheme and title and logo. Semiotics is the study of signs and I think it is important to make sure that the signs and symbols are similar and consistent, In my media studies course I have looked at C. S. Pierce who suggested that there are three categories of sign, and as there are signs in my poster I will use his ideas in my productions. For example, I will use iconic signs such as a bold photograph to intrigue the audience and catch their attention, and indexical signs such as a light and pastel color theme to show this movie is not harsh and is chill and calm and symbolic signs such as the font used for the title of my movie, it is smooth and not harp to represent this movie will be relaxing, but then i have used some sharp font to represent a turn taking moment.