Representation of teenagers

Dominant & Alternative (Collage)

Preliminary exercise evaluation (Learner Response)

1) Using this assessment, your last interim and the film language test, write what grade you are realistically working at in Media currently. Are you happy with this grade? 
- I am working at an A grade in AS Media Studies and aspire to achieve the highest mark possible. A B grade (current preliminary exercise evaluation grade) is evidently insufficient but still poses a starting point from which I can learn and develop to achieve the A grade. This is similar to the A I've obtained in the film language test as I can yet achieve a higher mark to secure my possibility of achieving this in the real exam by strengthening my exam technique. 

2) Choose ONE specific aspect of your evaluation that you will try to improve for the real thing next term. Next, explain HOW will you improve it.
- Level of depth in analysis is definitely an aspect I will improve for the real evaluation. I can simply improve this as I feel the effort deposited into the preliminary exercise evaluation was no where near the standard I would apply to the real assessment. The analysis should include chronology of events supported by film language and theory to affect the audience via this particular media text. 

3) Write a list of ALL Media work you need to do over the next three weeks - for both coursework and exam lessons.

Exam

• ALL Introduction to Media concepts and theories (MIGRAIN)
• ALL Film Language work (Mise-en-scene, camerawork, sound, editing)

Coursework

• Script, storyboard and shot-list for opening
• Improve research & planning post

Representation of women

Dominant & Alternative (Collage)

Research and planning Task #2: Institution research

E4

Channel history

Began broadcasting on January 18, 2001, retransmitting American series such as Friends, Smallville and The Cleveland Show as well as previously emitted British series from Channel 4 including Shameless and Hollyoaks. E4 receive kudos for their quality of production however the content generates controversy due to the reinforcement of negative stereotypes of particularly lower-class young adults in urban London areas such as Hackney. E4 is primarily known for comedies and dramas making them an entertainment destination for a cutting edge young audience.

Notable successes

Own production by E4 includes teen drama Skins, The Inbetweeners student sitcom or drama series Misfits. Other shows such as Made in Chelsea have received successful reception and gained a mass audience. E4 also won channel of the year at The Broadcast Awards in Feb 2011. The programmes aired have been praised for the originality and successful attempt at appealing to their target audience for effectively empathising by recreating storylines relevant to modern culture. This encourages the idea for my television show to incorporate themes and ideas recognisable and relevant to younger audiences of today and effectively fulfil the intention to entertain.

Target audience

E4 is recognisable as the top converting channel for Adults 16-34, Women 16-34 and ABC1 16-34s. On top of this it has a young and upmarket viewing profile, with:

·         52% of viewers 16-34

 (Vs 23% Total Commercial TV)

·         43% ABC1 (Vs 38% Total Com)

·         61% female (Vs 54% Total Com TV).

The target audience is known to be predominantly young and upmarket as well as sociable, outgoing as well as being heavily concerned with image and reputation. This associates them with the mainstreamer psychographic profile as they are likely to conform to trends in order to look good additionally to their concern for clothing and fashion also relating them to the aspirer psychographic profile. 

BBC Three

Channel history

Began broadcasting on February 9, 2003. The majority of the original content covers genres from comedy, current affairs, drama and animation. October 2004 introduced the successful Little Britain which progressed to the more analog channels BBC One and Two. BBC has proposed closure of airing the channel on television causing much debate over whether the channel aimed at young people should be entirely available online as of 2015.

Notable successes

The station has delivered successful series like EastEnders , Little Britain or Torchwood , a spin -off Doctor Who and Two Pints ​​Of Larger And A Packet Of Crisps . In October 2006 , the Torchwood series, which was the first program of science fiction created by the chain, managed to reach 2 million viewers, beating the previous record .

Target audience

BBC Three has been disciplined about focusing on the young - its core being 16-34 year-olds: people who are young in spirit and mind-set. BBC Three content is modern, distinctive and relevant - though not exclusively - to the core 16-34 year old target audience.  The tone of the channel is warm, personal and surprising with real take-out value

The motto of the channel involves to not fear trying new things which ties in with a sense of revolution and social acceptance which would be appreciated by young adults who employ the psychographic profile of an explorer. Reformers would also find purpose from watching BBC Three shows as they intend to entertain as well as raise awareness and promote learning and enlightenment of modern culture. 

Preliminary Exercise Evaluation

Brief

Produce a 30 second clip to exhibit a scene on TV with the manipulation of basic film production techniques (lighting, sound, editing etc.) as well as employment of match-on-action, the 180-degree rule and shot/reverse shots. The narrative of the scene should include a character opening a door and sitting down opposite another character with whom they exchange a couple of lines of dialogue with. 

Planning process and pre-production

The planning consisted of devising a storyboard which fulfills the role of assisting the director to achieve a particular visual look of the film and gives an idea of the mise-en-scene to include when filming, as a result giving ideas to formulate a shot-list to refer to while shooting. The script is the most crucial part of pre-production as it establishes the narrative result and what the director must film in order to tell the story. 

Strengths and weaknesses 

The most prominent qualities of this production are the selection of shots and the editing. This includes the interesting close-ups such as that of the gun, as well as well as the footstep featured in the second clip of the sequence. Shots exchanging between close-ups of the character reaching their hand towards under the table and the rival reaching into their pocket effectively develops enigma codes of what they are about to obtain, following onto the action code of a gun which establishes the peak of climax and tension. The editing assists this particular scene especially because of the rapid cuts and the match-on-action to show continuity of the guns being approached as well as the unveiling. Editing allows exhibition of the 180-degree rule effectively due to exchanging angles between the two conversation participants, in conjunction to the accuracy of filming and maintaining consistency of following the 180-degree rule to engage the audience.  The sound was also impressive as well as the overall background non-diegetic soundtrack which connotes suspense and drama. A scene when the sound was used to effect was the footstep shown at the start of the video, as well as the guns cocking simultaneously. The selected background track was timed in effect to the fluctuating tension of the on-screen actions, beginning with a lover volume beat with a slower pace, developing onto a louder and faster beat at the peak of the tension - resultant to editing of sound to be compatible with the timing of action in the scene. The lighting was also impressive with the low-key lights to display the two characters and creating a setting of secrecy because of the surrounding dark room. However this calls for the weakness that the character with the black/red leather jacket being poorly lit during the majority of the second half of the scene, from which it can be learnt that it is important to position lights  Another crucial weakness is related to the script which includes long lines of dialogue provoking the audience to lose the pace of tension and become caught up into one individual clip of a character talking. Overall, the editing, acting and filming were exceptional traits of this video however details such as lighting lacked consistency and script manipulation should be considered in the future to ensure dialogue maintains attention and the desired effect. 

Representation

1. This campaign video produced by 'No more page 3' highlights the idea that The Sun, a high-selling UK tabloid, reinforces the representation of objectifying women sexually with the mass display of women barely dressed and posing in a provocative manner. This is in contrary to men, who are otherwise represented for their careers and achievements as photos of them exhibit various emotions. The video also mentions that The Sun is 'a newspaper renowned for sport', however there is 'not one(...)single picture of a woman doing sport'. This further validates the overall 'snapshot of the media' representation of women as merely sexual objects. I personally believe such a representation of women to be a social defect in our ever-developing and growingly accepting world of abolishing prejudice and inequality. Such representations of women can influence audiences as suggested by the hypodermic needle and two-step flow model which identifies opinion leaders/the media such as The Sun to have potential to heavily influence audiences into believing in a particular idea. 

2. (H/W) 
'The video games brutalised women are used as background decoration in' - discusses the idea that women are used in video games only to fulfil the purpose of enhancing the ambience or 'background decoration' in the form of sex objects and victims of violence. 

'The Problem With 'The Casual Cruelty' Against Women in Video Games' - suggests that video-game producers and narrative directors merely include women into the overall production of the game in order to elicit shock and titillation within an audience. This means to argue that women do not contribute any significance to the storyline of video-games. 

'GTA 5 and 5 other video games banned from stores' - this news article second-handedly reinforces the criticism of video-game developers portraying women as victims of violence. Australian Target stores have refused to retail the newest GTA because of the influence such controversial games can inflict on an audience. 

'Why does sexism persist in the video games industry?' - the focus of this particular article is dedicated to the inequality of fictitious characters portrayed in video-games. Game producer Ubisoft has made the decision to eliminate female assassins from their best-selling Assassin's Creed franchise leading to controversy and criticism from feminist satirical comments such as:  '"#womenaretoohardtoanimate when you throw all your efforts into putting them in situations where their clothes are strategically ripped off" wrote @emilyrwanner.'. This comments on the complaint of video-games presenting women with the mere role of sexual temptation instead of the more protagonist role of an assassin.

MEST2 Research and planning

Five opening scenes from television programmes aimed at an audience similar to the brief (E4 18-35 year olds). This means the programmes will conform to Channel 4's remit to “foster the new and experimental in television.  It will encourage pluralism, provide a favoured place for the untried and encourage innovation in style content perspective and talent on and off screen”.


Misfits

http://www.channel4.com/programmes/misfits/on-demand/44919-001

The narrative begins by introducing the five main characters of the cast. The cuts exchange through a selection of medium close-ups of the two female and three male actors as they dress in prison apparel. The location is identified as some sort of low-class changing room, presumably at some sort of rehabilitation centre as suggested by the costumes of the actors. The audience is exposed to the attitudes of the characters suggested by their arrogant facial expressions as well as the way they are presented getting dressed and looking in the mirror - an action which is the utmost of physical self-evaluation. The sound is non-diegetic and features a fast-paced techno beat which develops in pace as the cuts occur quicker and each character displays an action which resembles their character. This includes a woman doing her hair which connotes image-consciousness and another female character is exhibited creating cleavage as she adjusts the position of her breast which establishes the idea of sex into the themes of the television show as this particular character is associated with that via this first impression to the audience. The individual cuts of the characters proceed to a halt to the music and cut spontaneously into a low-angle long shot of the six characters stood leant against a fence with distinctive body language to complement the nature of their attitudes. Simultaneously, we hear the dialogue of the probation worker which receives uninterested facial expressions displayed with a series of close-ups switching between the characters. The dialogue exchanged among two of the male characters develops into a fight which consumes the sound of the scene inviting a sound bridge to introduce the cartoon-styled title sequence. This proceeds onto the setting besides a river with the young offenders doing community service until visual effects are used to portray a supernatural storm at which point editing is rapid and the camerawork is manipulated to suggest chaos with rapid camera tilts and disorganised pans. The scene which follows afterwards uses visual effects to show an interval and indicate that a change has occurred and the narrative to follow will suggest that the characters have been affected by the storm.

Youngers 
http://www.channel4.com/programmes/youngers/on-demand/53167-001
This British comedy show opens with a hip-hop styled instrumental beat with extreme close-ups displaying a golden chain being kissed by a teenage male which symbolises pride and is an effective method of introducing the nature of the character. This moves on to the teenager rapping on a microphone in the setting of what seems to be his friend’s bedroom studio. The lighting is low-key and a shot displays that it is late at night which is validated when the rapping teenager’s mother interrupts the recording session to insist that he is sent home. This scene is halted with the inclusion of a short title sequence to display the name of the show. An establishing shot follows immediately to display flats based in what appears to be the location of East London with a radio-rip playing in the background, cutting to a shot steadily zooming into a male character sat on a bed half-dressed with who seems to be his girlfriend dressing in the background. This continues to a cross-cut over to the other character who is displayed listening to his mother speak to him on the subject of GCSE results. One of the upcoming shots is a close-up showing the frame occupied by a letterbox (an actual letterbox – not the film term for adjusting aspect ratio) being opened and shut by the other male character. A medium shot is used as they exchange dialogue in the midst of a suburban estate. Sound is focused on the three 'mandem' sat on a wall as they speak obnoxiously loud, after which a medium close-up is used to display one of the two main characters' facial expression - disappointed and annoyed. This introduces a sense of conflict in the narrative immediately which is further supported with the use of a long shot of the five subjects, out of which one is furthest away and continues to walk off after a discussion exhibited with over-the-shoulder shots edited rapidly into a sequence.

Run
http://www.channel4.com/programmes/run/on-demand/53615-001

The expository minute of the drama 'Run's opening scene begins with overlay shots out-of-focus with sound effects to create an eery effect which slowly transitions with a cross-fade onto the ambience of a setting appearing to be a suburban east London street of shops. The camera tracks the travelling woman, with the use of a medium close-up to show the back of the woman as she walks into a convenience shop. The editing is very slow and cuts have long durations in between and the camera follows and pans the movement of the woman’s actions. An aerial shot follows her movement to display the surrounding environment and continues to the setting of a flat kitchen with an argument exhibited with background dialogue. Non-diegetic melancholic music is featured in the following scene continuing onto a phone ringing and a title sequence follows. Meanwhile, cross-cuts are made between the mother and her two sons who are shown following a young woman named Tracy which is exhibited with medium close-ups showing her being followed by the two men in the background. Shortly afterwards, editing is at its highest pace yet in the opening of this show as a man is brutally punched and kicked to death which is emphasised with sound effects of contact between the man and the attacking moves. This is supported with non-diegetic music to elaborate the dramatic effect of the murder. The occurrence of these events establishes conflict in the narrative and creates an anticipation for repercussions to follow on and affect the characters introduced in the opening scene. 

Psych
http://www.videoweed.es/file/2903488e69df8

Text-on-screen ('1986, santa barbara, ca') is used at the introductory frame of the clip to establish the idea that the following scenes are in retrospect as this TV show is set in 2006. This proceeds to introduce an American diner with a panning shot displaying the setting, accompanied with upbeat non-diegetic music. A sound bridge introduces the father of a young son with typical dialogue exchange among a father and son relationship. This continues onto conversation dictated via over-the-shoulder shots employing the 180-degree rule. The close-up of the fudge-cakes creates an enigma code of its significance and continues to become a foundation point for the forthcoming narrative from which the audience learns of the child's supernatural psychic ability. This is exhibited via the use of visual effects to show a glow on particular mise-en-scene features mentioned in the context of the dialogue on order to present the meaning of the action clearly to the audience who is newly introduced to the television show. The scene develops and proceeds onto one set in 2006 (suggested by on-screen-text) as transitioned via a dissolve to display the child as a matured man. The scene shows low-key lighting and exhibits a couple engaging in sexual activity as the television is playing in the background, proceeding onto the title sequence and zooming out show from a medium close-up of the protagonist upwards to the establishment of the area of what appears to be a police station. The visual effects of the glowing objects continue to be used in the upcoming scene and a non-diegetic music track is to connote a casual atmosphere and the upcoming dialogue exchange provides further insight into the character’s intelligence and wit. 

Topboy
http://www.dailymotion.com/video/xw0f4l_top-boy-episode-1_shortfilms
The TV show Topboy begins by displaying various establishing shots of an urban setting based in a suburban London council estate. The non-diegetic soundtrack accompanies the sinister atmosphere of the environment and suggests reinforcement of the stereotypes associated with such a setting being linked with crime and violence - further supported with the sound of a police siren. The scene continues to display an over-the-shoulder shot showing a long distance surveillance over who the audience may assume to be the main characters of the forthcoming narrative, dressed in urban clothing associated with whom are referred to as 'hoodrats' supporting the stereotype of engagement in crime. The editing featured in the upcoming seconds is rapid to suggest development of tension and creates suspense for action to occur. This is validated with the sound of a ringtone suggesting an action code of accepting and replying to the call, thus raises enigma codes regarding the caller and the context of the conversation - answers to which remain a mystery at the moment. The following shots feature a market in the suburbs of East London with short pans to show the average population of the commuters. In the midst of the introduction, the narrative reaches a climatic point when a black SUV is displayed speeding towards the male and female subject at the council estates, supported with cross-cuts exchanging between the locations of the characters' peers as well as himself and his companion who anticipate danger from the arriving car. The props of the guns are effective in creating tension as the characters are shown to be anxious, which is shortly exacerbated as the characters aggressively argue with one another, the background music increases in volume and a cut switches to the young male in the flat who’s actions are followed with a medium close-up and a pan to his mother in bed who is evidently unwell. The combination of these two problematic situations lead to validate the anticipated tension and create conflict for the narrative of the TV show to develop into a complex story.

Dependency theory - questions

1. What do YOU primarily use the media for: entertainment or information? (or something else?)

To accommodate media into my lifestyle I grant it a primarily informative purpose. This means that the TV shows, films and e-media I engage with fulfils my gratification (as proposed by Blumler and Katz) of surveillance in the form of enlightenment, if not education, discovery and information. 

2. To what extent do you feel we are dependent on the media?

I feel that more impressionable audiences tend to be dependent on the media and hence emphasise the validity of the hypodermic needle theory. However dependency does rely on individual differences and can be influenced via opinion leaders as suggested by the two-step-flow model which gives audiences a more active decision on media consumption - thus dependence.

3. Has our dependence on the media changed over the last 10 years? If so, how?

As a society, the dependency theory of media has been developing into reality as it is often heard of the mass impact inflicted onto audiences (especially modern audiences) due to the messages conveyed via different forms of media. An example of this is demonstrated by the influence of e-media texts such as Twitter, as well as news suppliers such as The DailyMail Online. Such providers of information provoke particular views, opinions, beliefs on topics as well evoke certain feelings and emotions such as outrage or acceptance within audiences. Over the last 10 years, the accessibility of media has witnessed an 'explosion' as modern audiences are constantly consuming media by commuting on a daily basis as well as using a smartphone, tablet or another 'smart' device. Consequently, reliance is evident due to the high extent of exposure to the media. 

Audience Theory questions

Article 1 

- 'Playing violent video games for just 20 minutes a day can encourage aggressive behaviour'

• How can you link this news article to the hypodermic needle theory? 

The news article demonstrates the indoctrinating aspect outlined in the hypodermic needle theory which suggests that the media will inject ideas, beliefs and ideas into an audience. This particular article aims to convince the audience to believe that playing violent video games will promote aggressive behaviour.

• Find another online article/academic study that challenges the belief that violent video games are harmful. Provide the link and summarise its key points.

Playing violent video games ‘not harmful to children’ - This article challenges the belief proposed by the DailyMail article and suggests alternatively that playing violent video games can actually benefit. Benefits outlined by this media text include that violent video-gaming could be therapeutic and reduce aggression and bullying behaviour in children. 

• What's your view on this debate?

I believe that the entire concept of aggressive behaviour being encouraged by entertainment such as violent video games relies solely on subjectivity and individual differences. This can vary according to exposure to sensitive material within an audience as well as their characteristics such as age and education. 

Article 2 

- 'Jamal Edwards: Amateur film-maker turned multimillionaire'

• How can you link this feature to the two-step flow model?

This feature relates to the two-step flow model because an audience (opinion follower) is being influenced by the BBC news reporter, being the opinion leader to channel the mass media of this particular YouTube channel.

• Identify FIVE other YouTubers who are influencing audiences. 

'Nigel Alexander' - https://www.youtube.com/user/nkalexander7

'DeliStatus' - https://www.youtube.com/user/DeliStatus

'ChampChong' - https://www.youtube.com/user/ChampChong

'NigaHiga' - https://www.youtube.com/user/nigahiga

'KSIOlajideBT' - https://www.youtube.com/user/ksiolajidebt

• Post up links to their content and explain how they mediate information/content for their audiences.

'Nigel Alexander' - https://www.youtube.com/user/nkalexander7 

- NKA delivers skateboarding and fitness related content with a cinematic approach as well as integrating comedy as an entertaining factor of appeal.

'DeliStatus' - https://www.youtube.com/user/DeliStatus 

- DeliStatus is a skateboarding based YouTube channel which showcases series's of videos with a montage format with accompanied adult humour as well as reference to current trends to appeal to it's teenage urban audience.

'ChampChong' - https://www.youtube.com/user/ChampChong 

- ChampChong 'providing the latest in gaming news' aims to supply video game enthusiasts with updates and reviews of video games from an unbiased perspective as he does not represent a gaming institution. 

'NigaHiga' - https://www.youtube.com/user/nigahiga 

- Ryan Higa is known primarily as a vlogger but also produces film content such as skits and sketches with a comedic approach. He mediates the opinions and beliefs in his videos from a personal perspective with an urge for support from an audience by using convincing methods of antertainment appeal and persuasion.

'KSIOlajideBT' - https://www.youtube.com/user/ksiolajidebt - KSI is a regular YouTuber who also employs the comedic approach of streaming and supplying gameplay footage. The views and ideas he advertises in his videos are not intended for impressionable audiences as his dialogue consists majorly of satire and incongruity.