I suggest you take a photo (of yourself or of your friend) and use some photo manipulation software to create a ‘games style’ character(s) that you can use in your magazine (either front cover – a striking image would work well) and/or in your other pages. The images below were processed in an AI editing software and are the sort of thing I am suggesting. Or, look at the photoshop tutorials below and have a go to see what effects you can take. Obviously you need original images to start off with.
revisit planning document test my photos with peers and teacher
research real mag ads for gaming buy copy of gamin gmag
Fri
recap photoshop
Submit 1st draft SoI
Sat
Finish my 1st ad
Sun
NOTHING
NOTHING
Mon
get feedback from class and MM FOR 1ST AD
Tues
Ms Magowan SoI lesson
Complete 2nd ad
Wed
Thur
Fri
Complete 3rd Ad
Submit Production 1 (all products in appropriate media form)
I am producing 2 media products for set brief 6. This is because I am very interested in news and current affairs and I am hoping to become a journalist when I leave school. I wanted to take up this brief because I found the theory of the liberal free press both very interesting and very confusing! In some ways I understand that there should be ‘freedom’ in the press, to both publish and produce new work, but I also think that in an age of new media, where we can access news and information at anytime from any source does mean that the notion of press freedom needs to be regulated in some way. I hope that my NEA will help me to explore these issues.
It is really important that I have a target audience in mind, so the audience I am targeting will be teenagers who are just emerging as political voters, essentially they will be 16-18, educated to Key Stage 5 and looking to go on to university. In terms of Pyschographic profiling (Rubicam and Young), I am targeting, ‘succeeders’, ‘reformers’ and ‘aspirers’. In terms of uses and gratifications I am aiming to create products that provide information about the world that connects individuals, families and communities together through a greater awareness of social and political issues. Therefore, my aim is reconcile traditional media with a new form aimed at younger people. As I often read the Guardian and the Financial Times, so I will ensure that the style, tone and register of my web pages will reflect these professional products. For example, the Financial Times uses a lot of quantitative data often presented in graphic form and I will include this on my web pages. In terms of the audio production, I always listen to Radio 4, for example, The Today programme, so again my audio products will reflect the formal tone of this news broadcast.
I want to make both productions to be connected in terms of content and representation, so my audio will actually be the same as one of my main articles from the website, but will include the actual voices of the participants that I used for the article. I will also use consistent branding and iconography, such as the title and strapline to ensure iconic and indexical signs (C S Pierce) are consistent. As with the written articles on the blog, I will use a formal register of language.
David Hesmondhalghis among a range of academics who critically analyse the relationship between media work and the media industry. In his seminal book, The Culture Industries (Sage, 2019) he suggest that:
the distinctive organisational form of the cultural industries has considerable implications for the conditions under which symbolic creativity is carried out’
In this section of your course we are going to study Film and Media Industries, using as a case study the film Blinded by the Light. Important aspects of this study is the production, distribution and exhibition of the film. Do you understand the meaning of the terms?
What is the difference between production, distribution, and exhibition?
a) Film production is the process of creating the content of the film
Development: Ideas for the film are created, rights to existing intellectual properties are purchased, etc., and the screenplay is written. Financing for the project is sought and obtained.
Pre-production: Arrangements and preparations are made for the shoot, such as hiring cast and film crew, selecting locations, and constructing sets.
Production: The raw footage and other elements of the film are recorded during the film shoot, including principal photography.
Post-production: The images, sound, and visual effects of the recorded film are edited and combined into a finished product.
b)distribution is the activities involved in getting the film to the public. This is normally the task of a professional film distributor, who would determine the marketing and release strategy for the film, the media by which a film is to be exhibited or made available for viewing and other matters.
Film distribution consists of working to place a movie in theaters, though it may also be distributed to streaming services. This stage of the filmmaking process includes collaborating with theaters and promoting the movie.
Blinded by the Light: (Gurinder Chadha, UK, 2019)
This is a Targeted Close Study product for which you will need to focus on the following areas ofthe Theoretical Framework: • Media Industries Students are not required to watch the film for the assessment.
TASK 1: Use this post (and the links provided) to build up your own post and notes in preparation for the unseen question that you will take in class. CATEGORIES: NEA, INSTITUTION & EXAM PREP
Blinded by the Light is an example of low-medium budget film making. Students do not need to watch the film but will need to be familiar with the production context and distribution materials including: • website (Bend it Networks) • website (Warners) • posters • trailer • social media presence (Twitter, Instagram, facebook etc). The film should only be studied in relation to Media Industries
Media Industries
Blinded by the Light is an example of a US/UK co-production and distribution. Its distributor New Line Cinema is associated with ‘indie’ films although it is a subsidiary of Warner Brothers Pictures, part of the global conglomerate, WarnerMedia.
• Blinded by the Light is a low-mid budget production ($15m) co-funded by New Line Cinema (an American production studio owned by Warner Brothers Pictures Group) and independent production companies including Levantine Films. Bend it Films and Ingenious Media. • Identification of how Blinded by the Light is characteristic of a low-mid budget release, considering production, distribution and circulation • The role of the use of Bruce Springsteen’s music in getting the film financed and in the marketing of the film • The use of film festivals in finding distribution deals for films • Use of traditional marketing and distribution techniques; trailers, posters, film festivals etc. • Marketing techniques such as use of genre, nostalgia, identity, social consciousness • Distribution techniques – reliance on new technology; VOD, streaming • Regulation of the industry through BBFC (British Board of Film Classification). • Regulation including Livingstone and Lunt
The Importance of Film Festivals
The following link discusses the use of a film festival to secure a distribution deal.
The Importance of recognisable Generic Conventions (and the use of familiar music)
Blinded by the Light has been described as a feelgood jukebox musical film using the music of Bruce Springsteen. This link offers ideas about the importance of genre and this link about the use of recognisable music in the marketing of the film, It was directed by Gurinder Chada, a British director known for Bend it Like Beckham
Social, economic and cultural contexts
Task: In what ways, in the promotional video above, the creators of Blinded by the Light, presented the film as a response to the social and political challenges of the current historical context? Could this make the film more relatable to spectators across different age-groups and generations and why?
Blinded by the Light is characteristic of contemporary cultural production in its use of new technology at production and distribution stages, reflecting shifting patterns of audience consumption. As a low-mid budget film, it can be considered in its economic context having a mix of independent and major production and distribution contexts targeting a different audience to ‘indie’ and high budget films.
These videos show how directors, their past work and the ideas they aim to communicate can be important in film marketing.
It is based on the ‘true story’ of a Pakistani boy growing up in the UK in the 1980s. These links demonstrate how the historical context, nostalgia and British-Asian identity is used in the promotion of the film.
Analysis of “Blinded by the Light” – a close study product on AQA’s A-Level Media Studies syllabus.
Introduction
Set in a dreary and intolerant 1987, “Blinded by the Light” (2019) tells the story of Javed Khan who is inspired by the music and lyrics of Bruce Springsteen to discover his own voice and follow his dreams of becoming a writer. If you are preparing for the AQA A-Level Media Studies exam, you need to demonstrate your understanding of media industries by focusing on the production, distribution and marketing of the film.Contents
Production and Finance
Developed initially by Bend It Networks, “Blinded by the Light” is very typical of a low-budget release. The production company is headed by the director Gurinder Chadha OBE and the screenwriter Paul Mayeda Berges. They aim to deliver “moving, inspiring and commercial” films to a global audience and “invite them to see the world from a new perspective”, especially from those “characters who are normally on the margins”. “Blinded by the Light” certainly meets that ambition.
”At a time of such political and social instability in the world, this film provides us with a vital reminder of our shared humanity and the transformative power of music on both a personal and global scale.”Gurinda Chadha
Films are incredibly expensive and risky so production costs are often spread across various companies, reducing the financial impact if the text fails to complete or reach an audience. The institutions can also combine their industry resources and expertise.
Working from London, Ingenious Media is “one of the largest independent investors in the UK’s creative sector” with an impressive record in financing critically and commercially successful films. Put simply, they secure the loans and provide the money.
The next partner in this co-production is Levantine Films. Based in America, they are an independent motion picture company which develops, produces, and finances projects. They aim to deliver “character-driven, socially relevant and commercially viable” projects. Cornerstone “provide the vital link between creative vision and global commercial success” and Rakija Films are also credited as producers.
This co-production of films and other media texts is known as media synergy.
Of course, the production involves lots of other companies who provide casting services, visual effects, costume design, video equipment, makeup, sound recording and even catering. In order to recreate the look of the 1980s, Dream Cars supplied the vintage vehicles you see on the screen. Rob Brydon probably supplied his own shell suit though.
Finally, Blinded by the Light was developed with the support of the BFI Film Fund. They use money from the National Lottery to support UK companies develop, produce and complete film productions. For instance, if you have wrapped up filming, the BFI can help you launch your project at major film festivals around the world.
TASK 1. CREATE A WORD FILE, OR A FOLDER, AND NAME IT BLINDED BY THE LIGHT. HERE YOU ARE GOING TO KEEP NOTES ON THE FILM AND ITS RELATIONSHIP TO MEDIA INUSTRIES.
TASK 2. READ THE ABOUT SECTION ON THE WEBISTE OF BEND IT NETWORKS AND EXPLAIN HOW DOES IT ‘BRAND’ ITSELF. WHAT IS THE DISTINCTIVE IDENTITY OF THIS PRODUCTION COMPANY, WHAT STORIES DOES IT TELL AND WHAT TYPES OF AUDIENCES DOES IT CLAIM TARGET AND HOW?
Extension: Can you give further evidence on this by looking at the films they have produced in their own work section?
[10 min]
extension. Explain how does the website describe the genre and the history of the Blinded by the Light. see the link below
“Blinded by the Light” premiered at the 2019 Sundance Film Festival – an important event on the movie industry calendar because it gives independent filmmakers from around the world the opportunity to showcase their work to film critics and, most importantly, the distributors. New Line Cinema acquired US distribution rights while the UK rights were bought by Entertainment One. This article from Deadline has lots of great information about the auction. It should be noted New Line Cinema is owned by the huge conglomerate, Warner Bros. Pictures, who delivered the theatrical release of the film to parts of Europe and South America.
Gurinder Chadha then took her film to the Seattle International Film Festival, where it was nominated for Best Feature Film, and won the Paul Mazursky Award at the Traverse City Film Festival in Michigan. Early screening events with the cast and crew also helped to raise the profile of the film in key markets.
Task 3. What types of production companies were involved in the making and distribution of Blinded by the Light? What are their main characteristics and how did this synergy help the film to reach audiences?
[15min]
Early Screening Event in Los Angeles
Official Trailer
Trailers have always been used to promote the latest releases in cinemas, but social media platforms offer filmmakers a fantastic chance to promote their work to a larger audience. For instance, you can still watch various versions on YouTube:
Although you are not studying representation, notice how the producers are able to signify a sense of time with the use of denim clothing, the Converse shoes and the iconic cassette player. This might appeal to the audience’s nostalgia for the trends that defined the 1980s.
Blinded by the Light Official Poster
In terms of marketing, the quotation “the feel-good film of the year” comes from The New York Post. This signals the quality of the film to audience because it is a trustworthy source. It is worth reading their full review online. The poster also appeals to fans of the director’s previous success “Bend It Like Beckham” (2002). Of course, the music of Bruce Springsteen will grab the attention of his followers.
Reviews Poster
There are many reasons why audiences might choose to watch a particular film in the cinema: famous actors can “open” a production because we are always eager to see our favourite performers on the big screen; directors, especially those who are considered auteurs, will attract a devoted following; and big-budget blockbusters use incredible special effects to appeal to our senses..
By contrast, independent films rely on critics and reviews to create interest. Reviews posters are used to emphasise the quality of the text – look at how many appear in this poster. The language is persuasive: “feel-good”, “crowd-pleasing” and “beautiful music”. – we are “guaranteed” to enjoy this five-star production.
Task: What traditional modes of promotion were used for the marketing of Blinded by the Light and how were they stylized?
Task: What were the non traditional styles of promotion (social media) and what form did they take?
Digital Distribution
Studios used to make money from the sale of videos and DVDs. While that revenue stream continues to shrink because of the popularity of digital streaming and VOD, you can watch “Blinded by the Light” on Amazon Prime for a small fee. It is also available to rent on Apple TV, Google Play and other platforms. If you are in America and subscribe to HBO, the film is included as part of your package.
Screenshot from Amazon Prime
Formatting
The film industry can be very lucrative, but there are plenty of risks. David Hesmondhalgh (2018) argued cultural industry companies devised a variety of strategies to overcome the “perceived difficulties in making profits”. The term formatting refers the ways these institutions try to increase their chances of success.
For example, the feel-good comedy is seen as a financially reliable genre because they target a mass audience. Appealing to all ages and gender, action-adventure and superhero films are also considered to be four-quadrant productions.
Major studios can afford famous actors and directors to improve the marketability of their films. Hesmondhalgh called this star power. Notice how “Blinded by the Light” emphasises its use of Bruce Springsteen’s music. It should be no surprise to learn advertisements for the film appeared at the start of his music videos on YouTube. The film also plays on the director’s previous success, “Bend It Like Beckham”.
Another formatting technique is the series. The Marvel Cinematic Universe epitomises this concept of serialisation. Being part of a franchise almost guarantees success compared to the riskier stand-alone texts. That is why the big screen is full of sequels, prequels, spin-offs, alternate timelines and reboots. As Bill Ryan (1992) argued, formatting as an attempt to “confront the uncertainties of the cultural marketplace” through some “form of creative control”.
Essay Questions
To what extent does Blinded by the Light typify the production and distribution of low-mid budget films?
With reference to the Close Study Product, explore the importance of the film festival circuit in the distribution of independent productions.
Explore why the circulation of Blinded by the Light reflects the shifting patterns of audience consumption.
How relevant is David Hesmondhalgh’s concept of formatting in understanding the success of Blinded by the Light?
“A movie’s success is dependent upon the producer’s ability to exploit traditional and new marketing techniques”. To what extent do you agree with this statement?
Why are independent film productions important for the UK economy? Refer to your Close Study Product to support your answer.
Bibliography
Hesmondhalgh, David (2018): “The Cultural Industries”. Ryan, Bill (1992): “Making Capital from Culture”.
What is the term that describe the effort to maximize audiences through genre, stars and serialization. How is it applied to your close study product?
Industries that make texts: distinctive features
•Problems: Why are media industries risky business?
•Risky business. ‘It is a well-established fact that most books, recordings and films fail, and that most revenue comes from a small number of big hits” Researchers had noted that 80 percent of income derives from 20 per cent of product or 90 per cent of income from 10 per cent of product. Often success is more concentrated that this.
Traditional cultural industries face competition from companies that use new form of technologies in neighboring sectors, such as the IT industries in the twentieth-first century.
Audience use cultural products in unpredictable ways. Art consumption is often associated with status and difference. As a result, fashionable performer or styles, even if heavily marketized, can suddenly come to be perceived as outmoded.
This is why ‘symbol creators’ artists are given a relative (yet not unlimited) freedom to produce original and distinctive products that might become hits. However, media industries must continuously control the circulation and availability of the artists come up with.
Cultural companies are relying on neighboring cultural industries to make their products known and valued by the public. A film for example relies on good film reviews that are published either on print or online.
•Creativity versus commerce
Although quite often media products films are successful both commercially and aesthetically — meaning they are both popular with the public and the ‘experts’ — there is a predominant idea that commercial interests limit and often opposes the creative personality of the artists. Creativity and commerce seem to be in a constant struggle or else, a tense dialogue. The autonomy of the artists in a commercial environment is highly contested and debatable.
•High production costs and low reproduction costs
A film might be very expensive to make, but it is much cheaper to reproduce and circulate it. There is a high ratio between fixed costs (production) and variable costs (circulation). This means that big heats are extremely profitable (compensating for the inevitably large number of misses). This leads to a very strong orientation towards ‘audience maximization’ in the cultural industries and a consequent emphasis on circulation and on marketing activities.
•Semi-public goods;
cultural industries products like films can be ‘consumed’ limitless times without losing their value (as opposed to food for example). What is more the means of industrial reproduction of cultural goods are relatively low in cost. This means that firms have to achieve the scarcity gives values to good by limiting access to cultural goods and services via artificial means.
•
•Responses
•Misses are often offset against hits by building a repertoire
This extra emphasis on audience maximization means that, in the cultural industries companies tend to offset misses by means of ‘overproduction’ attempting to put togethers a large catalogue or ‘cultural repertoire.’ The more product a company releases the more chances it has to come up with massive hits. Although there are companies that appeal to ‘niche’ (specialized audiences), firms continue to focus financing on high production and marketing budgets in the hope of creating blockbusters.
•Concentration, integration and co-opting publicity
To what extent ‘vertical integration,’ ‘media conglomerates’ and internationalisation apply to the production and circulation of your close study product?
•Artificial scarcity
cultural goods tend not to be destroyed in their use and are often relatively easily shared. This means that they lack the scarcity that sometimes renders other kinds of goods valuable.
Media companies control the circulation and availability of the product through a variety of methods, such as copy rights (which prevents people from freely copying texts)
The primal way of achieving scarcity for cultural goods is vertical integration. The ownership of distribution and retail channels allows companies to control release schedules and ensure the adequate availability of gods.
For example in film industry there is a lot of discussion about when a film is released and how and what is the window of time between its theatrical release and non-theatrical release (home video, streaming).
read below how a media researcher discusses two different tactics of release:
Blinded by Light’s time of release was discussed in these terms in the press
It’s theatrical release was August 2019. More people attend cinemas during this moment, as schools are closed and tv-seasons have not started.
‘According to the film industry adage, “in the summer, blockbusters reign supreme.” The summer season typically accounts for 40% of the entire year’s domestic box office revenue, making it a make-or-break period for the box office.’
However, the film performed had mediocre success in its first weekend of release ($4.5 million, finishing ninth) and overall it grossed $18.1 millions. This profit was described as a ‘noble failure.’
It must be noted that distribution companies place great importance on profits made during the first weekend of release as then they share half of the overall profit (the other half goes to the exhibitor). In the following weeks, the distributor claims less percentage of gains. So first weekend is highly significant for the economic success of the film.
Journalists and distribution companies argued that its wide release was a mistake. Warner Bros. should have begun with a limited release to build audience interest, and that the film’s August date was too close to that of Yesterday, a film with some surface similarities: it depicts a young British Asian male inspired by a classic popular music act.
read below the journalistic source from the film magazine Deadline
”Now Blinded by the Light could and should have platformed, especially with a 90% Certified Fresh Rotten Tomatoes score, A- CinemaScore, and 4 1/2 stars on PostTrak. Pic’s sad opening at $4.45M now in 9th place (up from the $3.5M we saw yesterday).”#
[Note the importance given on film reviews by the commentator]
”With a fresh-face cast, this film needed to be primed for adult audiences, and Warners could have done so, especially since it came out of Sundance. Rival distribution chiefs think Blinded by the Light, given its great critical and exit response, should have rolled out in September to build word of mouth. You can play into success with a platform release, but you can’t unspend money. Now that Warners has blown this money on P&A [means money spend in marketing P and A stands for Print and Advertising, it also points the decision for ‘wide release’ that costs more money], they can’t play into the pic’s potential success now. Why didn’t Warners platform? Likely the same reason –believe or not– why Annapurna had to go fast with Bernadette: The studio spent too much money on the movie, and in this case, $15M for a Sundance indie pic purchase is a huge chunk-of-change. Another thing that could be impacting Blinded by the Light is that film is following too quickly on Universal/Working Title’s Yesterday ($71.6M domestic!), another British pop music ode. While that movie paid homage to the Beatles, Blinded is a nod to Bruce Springsteen. Those who showed up, largely on the coasts, were 53/47 Male and 54% over 35, with the single-largest quad being 55+ at 27%. The mix was 63% Caucasian, 17% Asian/Other, 17% Hispanic, & 3% African American. Overall, outside Detective Pikachu and Annabelle 3, it’s been a hard summer for Warner Bros with Godzilla 2 not performing up to snuff, The Kitchen (-60% in weekend 2 with $2.2M, now at $10.3M), The Sun Is Also a Star and Shaft failing to work. Granted, Godzilla was the expensive out of all of them. That $120M-plus opening for It: Chapter Two can’t come soon enough.
Summer 2019, which doesn’t have a Meg or Crazy Rich Asians is shrinking its gap with summer 2018, when you start the season on respective Avengers weekends in the end of April. Right now we’re $4.52 billion for April 26-Aug. 18, which is close to 1% ahead of the same period a year ago.”
•TASK 14 – Explain why the release strategy for Blinded By the Light may have negatively impacted on its ability to make profits at the box office?
•Formatting starts, genres and serials
see your blog above [discover the section]
•Loose control of symbol creators; tight control of distribution and marketing
Symbol creators are expected to create innovative, original, disruptive products. It is important to establish a distinctive identity to what they make, even it conforms to generic conventions.
At the same time media companies control audience access to the product through cinemas and streaming services to protect revenues and avoid piracy
In the abstract above, Hesmondhalgh argues that production — the creative component of a media product — is often exercised by independent companies whereas circulation is controlled by senior management.
Can this be applied to the production and distribution of Blinded by the Light?
Strive for Five: Silent Exercise
1.In the case of Blinded by the Light, vertical integration was involved in the circulation of the film, when
a) Bend it Networks collaborated with Ingenious and Levantine Films
b) Bruce Springsteen expressed his approval for the film
c) New Line cinema, a subsidiary of Warner Bros. Pictures bought the distribution rights
d) Chadha Gurinder, the director of the film, developed the idea of the film
2. Brand Synergy — collaboration between two trusted stars — occurred when
a. writer Sarfraz Manzoor agreed to collaborate with the director Chadha Gurinder
b. Bruce Springsteen agreed to have his music used in soundtrack and participated in the promotion of Blinded by Light
c. when the film was screened in the Sundance film Festival
d. when the Viveik Carla was selected as a protagonist for the film
3.David Hesmondhalgh argued that media industries tend to allow relative autonomy for symbolic creators but exercise tight control over circulation. This is exemplified in Blinded by the Light because
a) the production was done by independent companies (Bind it Networks, Levantive Films, Ingenious films) whereas the distribution was assigned to New Line Cinema which is the subsidiary of a media conglomerate, Warner Bros. Pictures.
b) Bruce Springsteen contributed his creative talent in the soundtrack of the film
c) Chadha Gurinder is a free spirit and her screenwriter Sarfraz Manzoor is a unique voice.
d) Bend it Networks made marginal people appealing to global audiences.
4. What David Hesmondhalgh described as ‘artificial scarcity’ was applied to the circulation of Blinded by the Light
a) by promoting in the film music devices that are not available anymore (walkman)
b) By releasing the film directly to streaming services
c) by releasing the film in selected movie theatres.
d) by releasing the film in August of 2019 via New Line Cinema and supporting it with a extensive marketing campaign that involved interviews, posters, social media and screenings in film festivals.
5. Formatting was used in the circulation of Blinded by the Light
a) in the celebration of rebellion and good music
b) in the generic choice of a ‘ Feel-good Jukebox dramedy’ and the star power of Bruce Springsteen as well as the relative popularity of the director Chadha Gurinder
can you now fill out the second and third slide of this power point. Use this link for the explanation of the terms: https://media-studies.com/cultural-industries/
Can you explain the following terms
Silent work: connect words on of the first group with their synonyms words or phrases
the variety of cultural products, ideas, styles and opinions that permeate the public sphere
Commercialization, transformation of ideas, arts and knowledge into sources of profit.
Artists, authors, editors, actors who participate in the creation of a media and cultural product.
A media company/brand expands its activity across different sectors of production (for example a newspaper creates radio stations, podcasts, dating sites, job adverts and online retails shops)
Merging various media companies and technologies together on the same platform or device. For example a website or a social media platform or smartphone might bring together broadcasted, visual and printed forms information and entertainment. A product becomes available across various platforms
A very large organization that owns numerous other media companies. For example Bertelsmann, National Amusements (Paramount Global), Sony Group Corporation, News Corp, Comcast, The Walt Disney Company, Warner Bros.
A large company that controls all the stages of production, from production to distribution and exhibition, for example Netflix (it owns both production studios and streaming platform). Another example is Warner Bros. It owns both production company, distribution companies/International cinema chains (New Cinema) and television network (HBO)
Exercise with a partner: Find one example of traditional and one example of digital marketing/promotion of your Close Study Product and discuss it.
Marketing Blinded by The Light
Blinded by the Light used a mixture of traditional and digital/viral marketing methods to get the audience’s attention Examples of the promotional activities used to market the film include:
Traditional forms
Poster Campaign which differed by region (e.g. called The music of my life in South America) & Theatrical Trailers released with a PG certificate to make them widely available to a range of potential audiences globally.
Cross Promotion: emphasising the trusted brands (brand synergy) connected with the film product on promotional material and using them to promote it e.g. Springsteen (a well-established international and highly successful music star) and Bend it Like Beckham the director Chadha’s previous smash hit film which made a huge international impact. This is an obvious attempt at Minimising risk/Maximising profit (Hesmondhalgh)
Press Junkets* Festivals and Interviews – The distributors spent a long time on the festival circuit trying to publicise the film internally and secure world-wide distribution deals which is perhaps why the film lost out to “Yeste,rday” which was released first .Newspaper Critic Reviews e.g. the Guardian Newspaper review which called the film a “buoyant but uneven crowd-pleaser
*PRESS JUNKETS=, a day or two of back-to-back media interviews, taking place in one location. Commonly set up in a hotel, publicists will pitch and schedule a jam-packed itinerary wherein journalists arrive in quick succession.
New Digital Forms
The various promotional Websites (Warner Bros, Film Site, Corner Stone Agency Website) which contain links to interviews , clips and various versions of the trailer.
The Twitter page – which was regularly updated and maintained while the film was engaged in the “festival circuit” in January 2019 right up until the release of the DVD in November 2019.
YouTube videos of Bruce Springsteen advertised the film, contributing towards a cross-media promotion and drawing on the star power of the American super star. This evoked the formatting technique of maximizing audience that has been discussed by Hesmondalgh.
The Facebook page – which encouraged users to like and share material with friends and contacts including interactive polls such as “were you a Wham Boy or a Bananarama Girl?” This ideas is known as “Viral Marketing” and takes advantage of something called The Two Step Flow* model of communicating information.
(The concept of the ‘two-step flow of communication’ suggests that the flow of information and influence from the mass media to their audiences involves two steps: from the media to certain individuals (i.e., the opinion leaders, influencers, popular facebook and social media commentators) and from them to the public.
Meta-critic websites e.g. Rotten Tomatoes – where all the reviews from both critics and users are put in one place for film audiences to see how well the film is “rated”.
Writing Assignment:
“A movie’s success is dependent upon the producer’s ability to exploit traditional and new marketing techniques”. To what extent do you agree with this statement?
EXERCISE: MATCH UP THESE SYMBOLS WITH THEIR MEANING (two of them 12a/12) have one meaning
Suitable only for adults
Parental Guidance:General viewing, but some scenes may be unsuitable for young children. A PG film should not unsettle a child aged around eight or older. Unaccompanied children of any age may watch, but parents are advised to consider whether the content may upset younger, or more sensitive, children.
Suitable only for 15 year or older
Films classified in these two wasy contain material that is not generally suitable for children aged under 12. No one younger than 12 may see such a film in a cinema unless accompanied by an adult. Adults planning to take a child under 12 to view a 12A film should consider whether the film is suitable for that child. To help them decide, we recommend that they check the content advice for that film in advance.
Suitable for all:
should be suitable for audiences aged four years and over, although it is impossible to predict what might upset any particular child. These films should be set within a positive framework and should offer reassuring counterbalances to any violence, threat or horror. If a work is particularly suitable for pre-school children, this will be indicated in the content advice.
What is BBFC stands for?
a)Broken Bone Feels Chatty b) Barbie Blames Freddy Krueger c) Bake back Fries Charley d) British Board of Films Classification
C…………. is associated with
a) the social class of the director a) the aesthetic class of the film c) a form of regulation that defines which age-appropriate groups can watch the film without being ‘harmed’ d) school classrooms
when was the last time we spoke about regulation?
Sonia Livingstone and Peter Lunt identified two types of regulation. Can you match up [1] and [2] with qualities described below them?
b. regulation directs media to respect democracy, education, knowledge and social justice
c. content needs to be fair, accurate and conform to certain standards.
d. only those who buy a media product can decide what is appropriate or not
E. the State does not intervene in any way in the media market and ascribes citizens total freedom to decide what cultural and filmic products to consume.
The BBFC belongs to what model? citizen-led approach or consumer-led approach?
Blinded by the Light was classified as 12a/12 Here comes the details of it:
On what grounds what is given this classification?
Exercise: How do you think this classification would impact the circulation of the film?
Divide into groups and make a timetable and map of all the steps of production (including PR), distribution, marketing activities done for Blinded by the Light. Discuss the timing and thinking behind each step. Then start drawing a similar map for imaginary film that you are going to produce.
This is a targeted CSP for which you will need to focus on the following areas of the theoretical framework:
Media Industries
Media Audiences
You will need to be familiar with the Daily Mail newspaper as an institution and have knowledge and understanding of the newspaper as a media product in terms of the relevant newspaper industry and audience issues it illustrates. In order to develop this knowledge and understanding, you should consider one complete print edition of the newspaper chosen by your teacher and selected key pages from the newspaper’s website, including the homepage and at least one other page as context for the role of newspapers in the contemporary media landscape.
The study of The Guardian newspaper entails knowledge and understanding of its institutional structure and strategies to target a national and global readership as well as its position within the newspaper industry. Students should be familiar with one complete print edition of the newspaper (chosen by the teacher) and selected key pages from the newspaper’s website including the homepage and at least one other page. The study of the digital presence of The Guardian is an important context for analysing the position of newspapers in the contemporary media landscape.
For more details, information and starting point, please look closely at your CSP booklet.
The CSP is from Wednesday 6th November 2024. I have 10 copies of each in the class, but you will save articles, quotes, ideas etc from the on-line version on the actual day itself.
Theory helps us to understand what we do. So that what we do, we may do better. Theories are generally made up and around some key language this is REALLY IMPORTANT! You must show your KNOWLEDGE AND UNDERSTANDING OF key language in your A level assessments if you want to score high marks.
30% of your A level grade will come from your coursework which is called a non-examined assessment (NEA). We don’t know what the set tasks will be yet – they will be released towards the end of your first year. But generally they are a cross-media production portfolio, which essentially means you produce 2 different media forms for the same product – so for example, you would produce both a magazine review (PRINT) and an opening sequence (FILM / TV) for a new drama (= the product). Or you produce 6 Instagram posts (NEW MEDIA) and a newspaper interview (PRINT) for a new green energy campaign (= the product) – note that these are all just hypothetical.
The good news is that I really, really like practical work and I believe that we can learn a lot about media (theory) ie your exam stuff by completing practical work. So, for example, we have been looking at theories of identity, the self and audience by producing our interviews.
Induction
For the induction I asked you to create a print product that follows the style, layout and conventions of a real media product. The brief was very wide (often the case with real media products!), so for your real NEA / coursework you are requested to write a STATEMENT OF INTENT which is a short piece of writing (400-500 words) which outlines what your intentions are ie what it is you are trying to achieve. You write this before you start your production.
As we didn’t do this for the summer task, I may need a bit of explanation from you about your intentions just to give me a better idea of what it was you were trying to do. We can do this in class when we look at all of our work as a ‘gallery’ exercise. We can also use this session to think about assessment – yep! Basically, how good is your work!?
To help I have emailed you back with an assessment sheet, asking you best guess where you think your assessment lies. Essentially, do you think your product is:
Excellent (level 5)
Good (level 4)
Satisfactory (level 3)
Basic (level 2)
Minimal (level 1)
Level 0 = 0 marks
Here is the assessment that I have sent out to everybody
To build up confidence, knowledge, understanding and ability in terms of practical work we are now going to produce an interview following a style model from the Weekend FT magazine.
Theory helps us to understand what we do. So that what we do, we may do better. Theories are generally made up and around some key language this is REALLY IMPORTANT! You must show your KNOWLEDGE AND UNDERSTANDING OF key language in your A level assessments if you want to score high marks.
Look for example at this assessment sheet for your narrative essay which clearly assesses your knowledge and understanding of narrative theory . .
Let’s start with some key language around NARRATIVE. Let’s start this one by you telling me (and everyone else) something you know about NARRATIVE / STORYTELLING THEORY. So, what do you know?
TASK: I suggest that you print out this list below. Annotate it to provide an AUDIT of WHAT YOU KNOW and WHAT YOU DON’T KNOW, (ie highlight it, or provide a brief description, or . . . ) and then stick it in your book.
Key Terminology (could be a Kahoot test!)
Linear
Chronological
Sequential
Circular structure
Time based
Narrative arc
Freytag’s Pyramid
exposition,
inciting incident,
rising action,
climax,
falling action,
resolution,
denouement
Beginning / middle / end
Equilibrium
Disruption
Transgression – often disequilibrium is caused by societal / moral / ethical transgression (ie challenging Aristotelian virtues)
New equilibrium
Peripeteia
Anagnoresis
Catharsis
The 3 Unities: Action, Time, Place
flashback / flash forward
Foreshadowing
Ellipsis
Pathos
Empathy
diegetic / non-diegetic
slow motion
In Media Res – starting in mid-action
Metanarratives – drawing attention to the process of storytelling
Are you ready to Play? Are you happy to Play? Then
Firstly, Let us silence our magic Talismen And place them thus . . . In the Harness of Tranquility. We will have no peace while they try to Torment us!
Many thanks.
So let us begin and yes we have begun with Three Welcomes! Because (as we shall discover) Three is a Magic Number! And indeed, this Welcome is divided into three parts:
An opening Salutation – to set the scene, introducing setting, theme, characters, quest.
Secondly, the real action starts – as characters interact, tension may rise! Brains may boil! Tongues will either wag wearily or they may dry up, like cement in the mouth!
Thirdly, last of all in our Final Act The denouement plays out! Each character plays out their performance to the hesitant, nervous, waiting crowd.
This is a most important part of proceedings And full respect and utmost attention must be given To those who hold the stage.
A word of caution at this point! Hold back your judgement Wait patiently in the wings. Remember that we live lour lives moving forwards But we understand ourselves looking back. So hold judgement And be wary. It is Telios we seek And Hubris we seek to avoid!
So let us begin And welcome you to this: the Chapel of Knowledge And I, your appointed priest. I am a Seer, a Prophet, a poet and a Philosopher. I am Michael. In Ancient times it meant teacher or wise.
Now a welcome to you and your crippling, agonising awkwardness which is The Beginning.
Now, Take a moment. Be still. Rest the whirling Furies trying to poison your mind. Quell them with all your might.
Be at peace.
Breathe
And Breath (again).
Find an inner calm.
And embrace
Your fear Your excitement And your trepidation.
Embrace this new day And assuage and reconcile your emotions. As I must do mine, So you should do yours.
So take just a little longer another ‘moment’ Quell yourself. Tame your emotions To harness your actions. As we cast off on our journey.
But what is this journey For which you have anticipated? What is your purpose? What will be your tasks?
To make it easier for you to understand I shall give it just one name And that name is . . . Story.
For what have we got And what can we hope to get? If anything at all . . . It is the chance to tell our story.
And as you will be part of my story (which starts right here and now) So I will be part of yours.
And look around At what you see And who you see Because (for better or for worse) It has been ordered By Destiny and Fate that they also will be part of your story.
So expect to tell your stories To make your Story. And expect to be able to listen and respond to stories of Others.
Expect to reflect and think and evaluate. Expect to be challenged. Expect to be tested. Expect to learn. Expect Change.
If possible, enter your expectations with courage and heart. If possible, last the course, Rise to the challenge And leave with success, with pride and above all, the ability to tell a better story.
Any questions?
Once answered Let us go to work.
Your first task is to deposit your first task in this secret envelope (that I will now pass around) And if not today then tomorrow. But be warned – do not baulk this Task. It is the first step in your journey and judgement will be made!
Once done – Gather around in groups of three Because Three is the Magic Number! And get set to go to work.
(And here we are in the second Act)
The task is as follows: Each one of the three must choose another, But each of the three must only be chosen once. Talk to them. Talk to each other. And be prepared To tell their story.
If possible, can it be told in verse? If it is possible, It is possible that you may have the strength of Zeus and/or the wisdom of Apollo and/or the wit of Dionysus To tell it well, You will need all Three – which as we know . . . is the . . .
If not, And you find yourself possessed by the Wild Furies Devouring your whole being. Then lay quiet and nothing will be expected of you . . . Yet!
So go! Children of Men and set to work You have 15 minutes to complete your task!
Any questions?
So be it! The Sands of Cronos mark time And in 15 minutes the final Act will begin Our journey to the end!
Theory helps us to understand what we do. So that what we do, we may do better. You will find that theories are informed and underpinned by key language – it is really important that you use key language if you want to score high grades in (all) of your A levels.
So let’s start with . . .
TALKING ABOUT OURSELVES!! AS THAT’S WHAT WE LIKE DOING BEST!
In this crazy video Ron Gallo is carrying around a box called ‘self’, so what is he trying to tell us in this story? That we are always looking for ourselves? That self-discovery is the journey of life? That it is the journey that makes gives us a ‘self’? That the self is ultimately undiscoverable?
So how can we understand the self? Well one way is to ask questions and to tell stories. It’s a process of someone interacting with someone else to discover who they (both those asking and those answering) are?
So, that’s what we will do.
Let’s start that process by trying to uncover something interesting (yes building up a bit of interesting narrative or story) from interacting with someone else – but as much as possible please try to keep in groups of 3 (it’s magic remember?)
Erving Goffman
Erving Goffman raised the concept of The Presentation of The Self in Everyday Life (1956) which proposed an idea of ‘the self‘ as divided between the ‘front’ and ‘back’ regions, in essence this means that individuals present an idea of themselves in different moments of interaction. This is useful in terms of Media Studies, because media representations of the self – think for example of ‘the selfie‘ alongside a whole host of social media platforms – provide spaces to play out and perform representations of the self.
So there is a distortion of ‘reality’
Johari Window
The ‘Johari Window‘ developed by Joseph Luft and Harrington Ingham in 1955, presents a grid model of four distinct elements that form a representation and identity of ‘the self’, which suggests that we form multiple understandings of our ‘selves‘ primarily in four main contexts:
Homework week 1
Write up the BODY COPY of your interview on a WORD DOCUMENT (no formatting) and email it to your school email.
