MEDIA CHRONICLES

UNIT 1 – Media Language

1. Forms of media language:
- Denotation –
- Connotation –
- Code –
- Sign –
- Symbol –
- Icon –
- Anchorage –

- Linear model of communication –

- Symbolic codes –
- Verbal codes –
- Non-verbal codes –
- Print codes –
- Technical codes –

2. Choice of media language:

- Choices in media language –
1. Selection
2. Exclusion
3. Combination
- Purpose –
1. Construct narrative
2. Represent aspect of reality
3. Position audience to viewpoint

3. Narrative theory:
- Todorov
- Propp

4. Genre theory:
- How codes/conventions become established as genre – Repetition
- How codes/conventions change over time –

- Principles of repetition/variation – evolution and development of genre with factors of

financial, audience demand, cultural d
- Dynamic nature of genre –
- Hybridity –
- Intertextuality –

5. Technology:
-

- Active audience – Audiences that participates/creates their own meanings with media
products, as media doesn’t directly influence audience’s thoughts/behaviour.
 - Passive audience – Audiences that don’t participates/creates their own meanings with media
products, as media directly influences audience’s thoughts/behaviour.
- Audience positioning – Persuading audience to decode media product in specific way.
- Preferred reading – Interpretation of media product that producers intended audience to be
positioned to.

CSP 1 – OMO Print Advertisement

- Advertisers can use stereotypes to take advantage of social norms. In OMO’s advert, OMO
had utilized the female stereotype that women should be domestic caretakers and should be
happy to do chores with pride. In the 1950’s, this gender essentialist view had been the
social convention for women. Women at the time were have felt pressured to adhere to this
stereotype. Therefore, OMO used stereotypes to lead women who seek to conform to social
norms at the time to buy from OMO.
- Advertisers can use stereotypes to communicate their message more rapidly. In OMO’s
advert, depiction of same female stereotype was prevalent in the 1950s, as that time period
was cluttered with gender essentialist views that women should do the chores at home.
Audience can then understand meaning of advert better, thus using stereotypes allows
advertisers to resonate with audience.

- Historically, in 1950’s, WWII had just ended and its effects were still prevalent. Men were
expected to be breadwinners of home, whilst women would be expected to clean, cook, and
manage domestic affairs. In OMO’s advert, we can see this in key image, Caucasian woman is
seen joyful to do laundry. The key image constructs reality that women enjoy doing domestic
chores, as seen from joy in her facial expression, and pursed lips. This reflects historical
context as it is clear that gender essentialist views of women having to only clean and do
chores is focus of advert itself.

- 1950s was a time when women were being imposed back into domestic roles. Permanent
role in armed force, NHS allowed women good, strong, reliable

- Then, birth control, abortion legislation, equal pay, female multialtion outaw, protection
from harassment

- For symbolic codes, in key image, denotation is Caucasian woman being seen with pursed
lips and wide eyes, whilst doing laundry. Connotation is that she enjoys doing laundry, as is
joyful at results that OMO’s product is providing. Audience is led to believe that they too, will
experience same visceral experience from using OMO. For written codes, in heading,
denotation is “OMO makes whites bright”, connotation is that OMO makes clothing not only
clean from stains, but clean with shine. Appeals to audience by providing USP which makes
OMO’s product special. For color palette, denotation is use of red, white, and blue,
connotation is that OMO aligns with British ideals, as colors appear in icons such as British
Flag. Audience is evoked with sense of patriotism and is appealed to by being resonated with
colors. For typography, in heading and copy, denotation is that font is San-serif, connotation
of simplicity and modernity. Audience will feel drawn to OMO’s brand as OMO will feel sleek,
and brand-new compared to other brands. Copy constructs reality that OMO is better than
competitors, and use of superlatives emphasize point and persuasion. Mode of address is
designed to directly challenge audience to try and test OMO’s product, confidence makes it
more persuasive.

- Galaxy Chocolate Advertisement key values of language representation and narrative

- NHS key values of language representation reception theory.
1. Elements of OMO advert:
- Burst
- Heading
- Key Image
- Copy
- Slogan

- Typography
- Color palette

2. Advertisers use stereotypes:

- Appeal to target audience – OMO uses symbolic code denoting stereotypical mother happy
doing laundry. Use of stereotype create sense of familiarity/recognition that target audiences
appeal to, easier to capture attention/resonate with them.
- Communicate message rapidly – Denotation of domestic mother. Use of stereotype makes
message simple/easily recognizable, which can make message more memorable, easier to
recall product.

3. Codes and conventions:

- Key image – Help increase understanding product, helps sell product
- Product image – Know what product looks like, can be found in stores.
- Brand logo/name – Associate brand with product/advert, vice-versa, builds positive brand
reputation if product/advert is received positively.
- Slogan – Make brand/product more memorable, helps sell product.
- Anchorage text – Fixes meaning, audiences can understand what advertisers intend to
communicate.

4. Maslow’s hierarchy of needs:

- Self-actualization – Purpose
- Esteem – Respect from others/oneself.
- Belonging – Relationships with others.
- Safety – Security of life.
- Physiological – Basic needs of life.

5. Narrative:

6. Modern interpretation:

7. Historical context

Representation

CSP 2 – Galaxy Chocolate Video Advertisement

- Visual codes –
- Establishing shot’s mise-en-scene includes a Mediterranean coastline city setting. This sign
acts as a symbolic code that connotes a sense of exoticism that’s far from the normal reality
 of the target audience, who lives in a more urban, modern world. This communicates to
audience that Galaxy chocolate can offer escapism.
- Establishing shot’s mise-en-scene includes an old luxurious vehicle. This sign acts as symbolic
code that connotes a sense of nostalgia that target audience would associate with joy. This
communicates to audience that Galaxy chocolate can provide them to same blissful joy.
- Verbal –
- Slogan says “why have cotton when you can have silk?”. This sign acts as a verbal code that
juxtaposes cotton with silk, implying that Galaxy chocolate is more premium and superior to
other brands who are “cotton”. This can communicate to the audience that they should buy
Galaxy chocolate
- Non-verbal code –
- Hepburn puts on a driver’s hat on the man. This sign acts as a non-verbal code that signifies
that Hepburn views the man as a servant, not a love interest. This communicates to
audiences that Hepburn is more interested in the chocolate than romance.
- Technical codes –
- Close-up shot of Hepburn’s eating chocolate with bright red lipstick. This is technical code
that emphasizes Hepburn’s lips, connoting a sense of sexuality. This communicates to
audiences that eating Galaxy chocolate will lead to pleasures similar to sexual pleasures,
especially for the 2014 audience, since the sexualization of eating chocolate was a
convention in chocolate advertisements.
- Editing codes –
- There are flashes of black dots that appear on screen throughout advert. This is editing code
that connotes a sense of nostalgia that audiences would associate with joy, since it
resembles many films that audiences would see in their childhood due to dirt in the film
strip. This can communicate to audiences that Galaxy chocolate can provide them with
similar joy.

- Narrative structure using Todorov’s theory –

- There’s an equilibrium, where the Mediterranean coastline city appears to be normal
- There’s a disruption, where a stall’s fruits have been knocked over and obstruct the bus’
path.
- There’s a recognition, where Hepburn realizes the bus won’t move so she’s likely unable to
enjoy her chocolate in peace.
- There’s a repair, where Hepburn exits the bus and enters the man’s car to escape the bad
atmosphere.
- There’s a new equilibrium, where Hepburn enjoys her chocolate in peace.

- Narrative structure using Propp’s theory –

- There’s a narrative structure of The Quest. The Hero is Hepburn on a quest to enjoy her
Galaxy chocolate, the Princess. The donor is the bus driver who unwillingly donates his hat
for Hepburn to use on the man, which is the helper. The man helps Audrey escape the bad
atmosphere so she can enjoy her chocolate in peace. The villain is the stall’s fruits that have
been knocked over, since it obstructs the bus from driving, preventing Hepburn from
enjoying her chocolate in peace.
- The man can be viewed as the Hero, which is saves Hepburn, the Damsel in Distress from the
chaotic atmosphere. This makes Hepburn the Princess since she seems to be his prized love
interest until Hepburn subverts our expectations and puts a hat on him to symbolize that he
is the Helper, not the Hero.

- Intertextual references –
 - The use of Audrey Hepburn, who was a famous Hollywood icon, in a narrative of a man
coming to a save a woman is an intertextual reference to Roman Holiday, a 20th century
movie which casted Hepburn. This can evoke a sense of nostalgia to the target audience who
miss the joys of their childhood. This can position audiences to the Galaxy producers
dominant reading by allowing them to associate luxury and nostalgic joy with the Galaxy
brand, persuading them to buy Galaxy chocolate.
- The use of the song “Moon River” sang by Hepburn is an intertextual reference to Breakfast
at Tiffany’s, a 20th century movie which casted Hepburn. This can further evoke a sense of
romantic nostalgia to the target audience, further associating nostalgic joy with Galaxy
chocolate to persuade them into buying Galaxy chocolate to feel it again.

- Place –
- The place is represented as nostalgic. The producers’ mediation of the place involved
selecting the setting of a Mediterranean coastline city. This constructs a reality that
resembles a time period far from modern day, creating a sense of nostalgia since the target
audience, the old-age demographic, is likely to miss the joys of their childhood. Thus, it
creates positive representation.
- The place is also represented as exotic. The producers’ mediation process involved selecting
an old-model vehicle as a prop for the establishing shot’s mise-en-scene. This constructs a
reality where the past is romanticized, as it omits representations of the past where not
many people were rich enough to buy such a vehicle. Thus, it creates positive representation.
- Product –
- The product is represented as highly desirable. The producers’ mediation of Galaxy chocolate
involved

- Stereotypes –
- Hepburn is seen walking out with her hands behind her back elegantly. This sign acts as non-
verbal code that connotes sense of grace. This is deliberate choice made by Galaxy producers
to construct a selective representation of traditional femininity. This was done to reflect
1960s dominant values of society, where in social context, cultural hegemony imposed ideas
of gender essentialism, such as that women were supposed to be soft/eloquent whilst men
were hard/aggressive. As a result

CSP 3 – NHS Represent Advert

- Denotation and Connotation:

Symbolic Codes Written Codes Technical Codes Verbal Codes conventions

-Facing away from the - Sign on wall of -Establishing shot -Direct address in - dynamic camera
camera signifies that “no guts no glory” of urban British phrases for “you” and quick cuts
she is looking to suggests that city to target a to immerse and - rap appeals to
Britain for help. donating blood is a young British persuade the bame
-Casual clothing to string heroic act audience, perhaps audience
suggest a realistic and is means for where the BAME -Mentions
tone, and relatable glory community diverse range of
tone. -simple alliteration resides. careers to
-Direct address in eye of “register and -low angles to emphasize that
contact to immerse represent”, anchor signify power, the issue affects
and persuade the with the visual dominance, and large sums of
audience code of Leshurr success. people, even
 - positive looking at the powerful
representation of camera suggest important ones.
BAME members to that she is
create aspiration to enforcing the
connect with target message either
audience fiercely
-POV shot in boxing to commanding, or
suggest that the issue wholeheartedly
is a fight begging for you to
-British MP against help save lives.
iconic British -simplistic wording
landmarks which the to create
issue is national and memeorable
one of national pride message
-fashionable pink
headscarf to portray
progressive messages
of empowerment
-dolly shot of empty
chair juxtaposes shots
filled with life, creates
serious message about
lack of BAME donors,
anchored by the
statistic of only 3% are
black or Asian, which
may create a sense of
urgency
-sad facial expression
to reflect the tone and
create sympathy from
target audience
Typography

-San serif font is

modern and eye
catching.
-Parts of text are
missing, connotes
the gap in blood
transplant banks.
-Red “E” is wrong
way round,
connotes disorder.
-Red color to
represent blood.
-Black color to
signify importance
.

- BAME represented positively:

 - Strong
- Successful
- Capable of doing anything
- Challenges stereotypes, in race, women stem roles and in disability
- -represents donors as heroes

- overal message to persuade black and Asian members to donate by invoking pride and
potential success.

- Pulls on heart strings

- Black or Asian peopke are more likely to have rare blood types or conditions that need
transfusiuons such as sickle cell disease, which can severely impact ones life

- shows british MP to show that the issue affects the high and low social class

- Paralanguage is ryhtmic and confident, with a catchy flow, to engage the viewer and make
the video, and thus the message more memorable

Key message of the television advert

- There is a lack of blood donors who are members of BAME, and that
- donating could save the distress and turmoil of life-threatening diseases found within
- the empowering, auspicious, and aspirational BAME community,
- making them heroic and worth glory.
- If you can work hard and be successful you can donate blood too.
- There is a lot of representation in a lot of diverse places but there is no representation in
blood donors

Purpose of the television advert

- Educate the target audience the lack of BAME blood donations
- to encourage BAME members to donate blood
- by resonating with the target audience with positive representation, relatable cultures and
icons, and tugging on their heart strings.

The target audience for the television advert

- The BAME community (Black Asian and Minority Ethnics)

How the television advert is designed to appeal to the target audience

- The establishing shot projects a panorama of the British urban city, which suggests that the
video will be relevant to the audience and a setting to relate to.
- The rap music is a popular culture and convention found within the BAME community which
resonates with the BAME community as a familiar piece of their own identity.
- There are numerous successful and powerful BAME icons which serve as role models and
inspiration.

How the setting is used to reinforce the key messages

- The setting in panorama connotes street culture, modern youth, and the ability for new
development,
 - The cranes signify the real hopeful progression of regeneration and new investment into the
city and thus the BAME community.
- The juxtaposition between the foreground of the city and the background of the sky
highlights the tough roots of the BAME community with the blue sky of opportunity.

Who is Lady Leshurr and some of the notable figures present in the advert.
- Lady Leshurr is a famous black UK grime artist known for her freestyles
- Adams is an openly queer boxer and the first woman to win a gold Olympic medal
- Adepitan is a famous wheelchaired basketball player who lost use of their left leg due to
polio.
- Idrissi is the first muslim hijab wearing model when she first appeared in an H&M campaign
- Ummuna is a famous black MP serving for Streatham

CSP 4 – Arctic Monkeys’ I Bet That You Look Good on

the Dancefloor
- Music videos targets its audience by segmenting overall music market, catering to specific
audiences, such as by psychographics. Arctic Monkey’s I Bet You Look Good on the
Dancefloor (IBYLGD) has mise-en-scene that makes intertextual references to Top of the
Pops, popular 80’s show with similar setting and featured most famous artists at time. This
can target audiences such as Young and Rubicam’s “The Resigned”, who seek only basic
survival and tend to be older and thus cling to past, sense of nostalgia can be very enjoyable
for “The Resigned” as they long for what has been instead of what is now. Additionally, music
videos can target its audiences by catering to specific demographics. IBYLGD utilizes low
angle shots of all men playing instruments, especially Turner, lead vocalist. This can target
audiences who come from male demographic, as low angle can indicate sense of dominance
and power of who is being shot, Turner appears to be more powerful, which male audience
can look up to as role model, which can be appealing to such audience. IBYLGD also has men
singing in strong, Northern British accents. This can target demographic of audiences who
come from UK, especially those in north, as audience can relate and resonate with those
performing.

- Music videos can be enjoyable through ways it gratifies audiences, as outlined by Katz and
Blumler’s Uses and Gratifications theory. In Arctic Monkey’s I Bet You Look Good on the
Dancefloor (IBYLGD) music video, lyrics’ narrative largely surrounded over young romance,
such as how woman they saw dancing moved like “robot from 1984”, these lyrics are mostly
light-hearted, which can very much contrast reality of audiences in real world. Music video
can provide diversion for audiences, feeling relaxed and escaping from real world, losing
awareness of self and instead focusing on light, fun lyrics that IBYLGD has to offer. Moreover,
IGYLGD music video had depicted Arctic Monkeys in casual clothing, costumes consisted of
basic jeans and t-shirts, which also contrasts pop music conventions of very glamorous
clothing. Effect is that audiences can feel sense of actual identity, as Arctic Monkey’s clothing
can feel relatable to audiences, reinforcing audiences own sense of style and fashion. IGYLGD
also depicts few shots of spectators throughout music video, watching in very relaxed
manner, relatively close to Arctic Monkeys and their performance. This may bring audience
sense of personal relationships, as spectators may connote close relations fans can have with
Arctic Monkeys. This can make audiences feel as if they are able to develop social
interactions with band, even if only parasocial. All 3 uses can lead to audiences enjoying
music video, leading to them seeking to be gratified once again.
- Arctic Monkeys was very unique in terms of music industry at time, conventional methods of
bands career progression involved being signed by conglomerate record labels, and
appearing in mainstream media such as on podcasts or television. Arctic Monkeys relied on
identity construction of being more indie and authentic than other artists, thus did not get
signed by conglomerate record labels, but made their own, Bang Bang records, and began
playing numerous local gigs. Eventually, they were signed to small record label, Domino
Records, and still maintained large amount of creative control, which was unconventional for
most popular artists at time. Arctic Monkeys’ marketing was also very unique. At local gigs,
they would offer free CDs to audience and fans. With help of technological convergence,
their brand had spread vastly. Fans with demos shared music online illegally through P2P
sites such as Napster, gaining larger fandom. Photographer, Bull, had shared images of them
online in their website, this gained traction and lead to more fans being created online. Some
fans made their own unofficial pages of Arctic Monkeys on MySpace, this large mass of
organic, viral marketing was unprecedented at time, even saving costs of advertising, whilst
being largely effective in garnering fame whilst maintaining real, authentic brand image.
Arctic Monkeys earlier music, and one of most famous, had used 80s Ikegami camera, which
gave it retro feel to music.

- Real and authentic – Mise-en-scene, studio setting and vocals adds realism, entertaining and
relatable.
- Live and unplanned – Mise-en-scene, ladder in the background adds, music video is not
highly curated, more impromptu, appeal to consumers may enjoy the feeling of.
- Talent over fame – Technical code, close up shots of band members playing instruments,
appeals to consumers who enjoy musical skill
- Self- deprecating – Verbal code, “Don’t believe the hype”, humble and down to earth,
appeals to younger audiences
- Low angle shots – Technical code, makes him feel more dominant, engage audience with role
model
- Film grain – Vintage feel, engages audience with 80’s nostalgia/anemoia.
- Intertextual reference – Mise-en-scene, Top of the pops, adds to the retro feel
- Romeo and Juliet
- Lyrics – References to DJ and dirty dancing, targets audience who enjoy hyper, high energy,
and superficial music.
- Active audience – technological convergence, fans had shared music illegally online,
gratification theory, personal relationships, sense of identity.
- Not resonate with intertextual reference – Aberrant readings, audience now does not fit into
demographic or psychographic audience
- Not resonate with deliberate bad quality – Aberrant reading, audience now may think it is
bad quality and may prefer more high-budget
- No narrative music video – Aberrant reading, audience may prefer more story elements
rather than performance

- Debut single made first on charts – Very unusual, as little marketing was done
- CD’s given for free – Build close rapport with generosity, in the hopes that they would
become loyal fans and spread their music to other potential consumers.
- Illegally shared music online – File sharing websites, giving them a much larger audience with
little to no marketing
- Small indie record label – Give creative freedom, which large corporate record labels don’t
allow
- Small budget – Conventional for new bands, as it is low risk for spending for the record label
- 80’s Ikegami 3 colour camera – Gave vintage feel
 - Low budget – No setting or costume change, and live performance, adds to humble realism
- Music was shared online By photographer – Unconventional, spreads music vastly.
- Fans shared band – MySpace accounts made
- Social media marketing – Changed music industry
- Available on iTunes – Reflects the growing change for online music purchasing

CSP 5 – Black Pink’s How You Like That?

- Entertainment pleasures – bright colors, fast pace, dancing, overstimulation
- Lots of low angle shots – Technical code, dominance, power Asian female representation
appeals to young Asian women
- Each band member individual identities – Some sexy, innocent, delicate, strong, appeals to
mass audience of all preferences
- Lush exotic settings – Settings ares lush, fantastical, provides escapism
- Hybrid genre – Hip-hop, trap, K-pop conventions and musical tones, broadens audience
- High budget – Adheres to modern conventions of music videos, which many consumers are
used to and enjoy.
- English and Korean lyrics – Westernized and extends connection local Korean fans, appeals to
global audiences.
- Simple routine – Dance routine posted, fans can emulate this, can provide fan made,
marketing as they post themselves doing the dance online, spreading music
- Use of hindu statue – Aberrated reading, culture appropriation placed in middle eastern
setting, which can drive some of the audience away
- Promoted on social media – everywhere was posted, more marketing.
- Reality TV – appeared on numerous shows to build strong fanbase, traditional
- Active audience – Audience could vote, comment, and share online, boosting their
consumers retention to the bands music and members.
- Collaboration with American stars – lady gaga, resonates with global audience.

- Record label – YG entertaibment, South Korean record label, music production, and talent
agency, diversified its business portfolio, in control of its marketing mix. Earn more revenue
with merchandise and decrease risk, large success for Kpop music, worked with PSY, due to
hallyu, have lots of investors, high budget. sexual scandals.
- Cares about bad publicity and PR – pleases audience with editing out and apologies
- Kpop idols are manufactured through a strict auditioning and training process, reality tv
included
- Promoted – Online countdowns, teaser trailers, posters
- Reality show – Build fanbase and parasocial relationship, and build hype
- Global audience – Music industry is globalized so actions are done to widen appeal to
increase revenue, includes global mise-en-scene
- Stars chosen – Based on global marketability to widen market
- Lisa is from Thailand, sexy badass?
- Rose is Australian – cinnamon roll
- Jennie is New zealand. Looks they could kill you, is a cinnamomn roll.
- Released album in Japanese
- English lyrics to be marketable to western audience
- Social media – Important for promotion of brand
- Broken numerous records and won awards, live streamed concert called the showe due to
pandemic
 - Regulation – Always has age ratings on top right as Korean brand
- Interscope helps distribute brands worldwide, performed in Grammys in 2019
- Promoted on American shows and billboards
- Had numerous sponsorships – Work with Samsung and pubg
- Labels want as much money as possible

Arctic monkeys:

- Gratification theory:
- Diversion – “Dancing to disco-pop like a robot”, person of interest being charming yet stiff,
lyrics were regarding very anodyne themes, so consumers can relax and escape reality.

- Demographic:
- Caucasians – Band is based in UK, grew fanbase from gigs in UK, name is reference to
“northern monkey”, resonates with audience.
- Youth age

- Psychographic:
- Resigned – Mise-en-scene pertains colourful lighting and set design, Intertextual reference to
products such as Top of the Pops, 70s show that aired popular artists to perform on stage,
creates sense of nostalgia that resonates with audience who cling to past.

- Aberrant reading:
- Not enjoy performance
- May not enjoy poor quality
- May not enjoy intertextual reference

- Record label:
- Domino – Small Indie record label, gave major creative control, large conglomerate record
labels didn’t.

- Small Budget:
- Was conventional for new bands – Decreases risk for record label in case band does not
succeed, incur losses.
- Bare-boned performance – Mise-en-scene appeared unpolished, setting and costume never
changed, sense of humble realism.

- Active audience:
- Illegally distributed music online – Technological convergence, allowed fans to distribute
music on file-sharing sites, Napster, spreads music rapidly and expand fan base.
- Use of social media – The rise of internet, fans created numerous Myspace pages online
dedicated to band, promoted brand devoid of official marketing.
BlackPink
 - Visually entertaining –
- Individual personalities –
- Power representation –

- Jisoo – Delicate
- Jennie - Sexy
- Rose – Innocent
- Lisa – Strong

- Cares a lot about what public thinks

- Strict auditioning and training
- Globalized because industry is globalized

CSP 6 – Marcus Rashford

- Key messages of Marcus Rashford’s social media platforms are that he is friendly, athletic,
successful, philanthropic, as well as family-friendly. Website contrasts his social media,
constructed as professional

- Represents himself, BAME, British community as positive, successful, smart, intelligent, cares
about family.

- Audience is seen as hero and villain, Marcus Rashford is dispatcher, food organization is
helper, hungry children is damsel in distress, well-fed children.

- Technical codes –
- In homepage of MR’s website, there are numerous low angle shots of MR’s face. This sign
acts as technical code that signifies sense of dominance. This communicates to audience that
MR is powerful influencer, which may contrast much of social context of 21st century, as
despite much social progression, cultural hegemony imposes stereotypes of BAME
community, specifically black people, are weak/unsuccessful.
- In homepage of MR’s website, there are shots of MR in bright, low-key lighting. This sign acts
as technical code that connotes sense of hope and success that contrasts from despair and
failure. This communicates to audience that MR is figure of hope/success, and can be role
model to audience, which culturally reflects his numerous social media posts, where he
stresses/successfully aids in executing food campaigns for hungry children in UK, such as his
COVID campaign to bring food to children with donations to FareShare.
- Photographic codes –
- Website uses monochromatic black/white color palette. This sign acts as photographic code
that suggests sense of professionalism/classiness. This communicates to audiences that MR
should be taken seriously, as he is not only football player, but political influencer/business
man. This seems to contrast cultural context, since Western media has constructed jock
stereotypes of those who play football by overgeneralizing them to be hooligans/toxically
masculine. Meanwhile, MR is positive influence on society, he amasses social media
attention by posting criticisms UK government/call to change legislation by allowing free
school meals to working class children.
 - Website uses San-serif typography, which is sign that acts as photographic code that signifies
modernism/simplicity. This communicates to audiences that MR seeks to focus on modern
ideas/topics, which culturally reflects his social media posts on BLM (Black Lives Matter)
movement that came to light around 2010s, as well as numerous others around time in
platforms such as Twitter, Instagram, YouTube.

- MR represents himself positively via being educator. In his website/social media platforms,
such as Instagram/Facebook, he has made several posts regarding his book “You are
Champion” as well as other kid’s books. He also makes several reposts of children
reading/enjoying his book. This selective representation done by his producers deliberately
choose to post images of MR being positive influence on children, constructing idea that he
is role model for children of UK/around world. This culturally subverts much of other media
products at time, since BAME community was widely underrepresented in Western media,
resulting in many BAME children not having someone to look up to. MR serves as positive
role model that demonstrates that they can be successful, smart, powerful just like MR
despite being black.

- MR also represents himself positively via his work in football. His Instagram posts include
highlights of his games/website shows moving images of him scoring impressive goals whilst
being apart of Manchester United team. This mediation selectively represents MR to be
highly talented at his sport. There are also posts of him playing football with Legendary
football icon, Cristiano Ronaldo. This sign acts as non-verbal code that signifies that MR is as
skilled in football as Ronaldo, reinforcing construction of MR being gifted at his sport,
representing him as uniquely talented.

1. Audience:
- Use of verbal/visual language designed to target male audience – Addresses audience as
“boys” or “bros” on Twitter, imagery of being colloquial to male companions on Instagram,
attracts audience with relatable masculine language and imagery.
- Large focus on football related content to target sports and club fans – Posts numerous
images of Rashford amidst playing football on Instagram, even posting image playing with
Cristiano Ronaldo, resonating with audience who are fans that admire Rashford for his
prowess in football.
- Surveillance – Posts numerous content and links on Twitter regarding child poverty,
spreading awareness of issues and ways audience can aid in situation, audience is gratified
by being educated on significant sociopolitical concerns.

2. Representation:
- Challenges negative stereotypes on black race – Posts content that sheds light on successful
black figures such as Muhammad Ali and Obama, as well as himself receiving an award on his
Facebook and Instagram. Even posting protests regarding BLM and inspirational quotes of
empowerments regardless of background. Represents black people as successful, powerful,
and socially engaged.
- Set positive representations on young children – Posts myriad of photos of children happily
receiving his books on Facebook, not only represents himself as positive impact on youth,
but more importantly represents children as literate and well educated.
- Set positive representations on England – Posts various content that either deliberately or
subtly utilizes English symbolism, such as flag, its colors, as well as making tribute to Late
Queen Elizabeth II on Twitter. Represents him as pridefully British, and that belonging to
England is worth celebration and to be proud of.
CSP 7 – Kim Kardashian
1. Language:
- Genre conventions –
1. Instagram – Focus on images, short captions, @s, emojis, comments
2. Facebook – Focus on images, short captions, @s, emojis, comments

- Technical codes – still and moving images/include tones of each posts. Is there pattern to
frequency or content of posts
- Symbolic – Color
- Verbal –
- Non-verbal codes –

- Differences in content –
1. Instagram
2. Facebook
3. Websites – SKKN, SKIMS, Kardashian Kloset (uses .com so that’s nice)

- Audience positioning – Image constructed, – How does she use the genre features of social
media platforms to project her brand and her lifestyle? Find examples of different narrative
structures in examples of Kardashian’s online presence. What is the story? How is the
narrative designed to work? Why is the narrative structured in the way that it is? How might
an audience respond? Why?
1.
2.
3.

2. Representations:
- Individuals – Kardashian, consider positive/negative stereotypes of gender, ethnicity, age,
social class, Who chooses the content and why (selection)? o How are the representations
put together (construction)? o How are the meanings of representations influenced using
different platforms such as Instagram, Facebook or websites (mediation)?
- Groups –
1. Celebrities – especially female stars
2. Family –
3. Friends –
- Places – (particularly those associated with wealth and success
- Ideas – (ones she champions)
- Products – (both her own and for other brands),

3. Audiences:
- Target audience –
1. Instagram –
2. Facebook –

- Audience address – How are they addressed by Kardashian’s posts? What is the nature of
Kardashian’s appeal?
- Instagram –
- Facebook –

- Audience participation – What are the opportunities for audience participation and
interaction?
- Instagram –
- Facebook –
- Websites –

- Uses/gratifications – Include pleasures, for both insa and facebook

1. Diversion –
2. Personal relationships –
3. Sense of identity –
4. Surveillance –

- Preferred reading –
1. Instagram –
2. Facebook –

- Audience response – Is there any evidence of direct effects on the audience, especially in
relation to persuasive messages, particularly in Kardashian’s promotional or sponsored posts
and her activism?
1. Instagram –
2. Facebook –

- Contributions to identity – Include desired/actual self, how do people feel about themselves
and who they are, as they connect with Kim Kardashian via her online presence? How do the
comments on her posts reflect the nature of her audience?

4. Industries:
- Social media platforms make profits – Including Instagram/Facebook
1. Platforms sell audiences to advertisers to generate ad revenue. Platform sell advertising
space that can be charged higher price for greater expose to advertiser’s target audience to
advertisers with hopes that advert will increase their customer acquisition.
2. When given permission, platforms collect user data to increase revenue. Platforms collect
data on user’s demographic, variables psychographic interests, browsing habits that can be
sold to businesses for market research to.

- Patterns of ownership –
1. Takeovers – Meta Platforms acquired Instagram in 2012/WhatsApp in 2014 as horizontal
integration, Oculus VR in 2014 to diversify product portfolio
2. Concentration of ownership – Increasing amount of ownership of media platforms by fewer
stakeholders. Meta Platforms is conglomerate that increased amount of social media
platforms/goods they own by acquiring Instagram, WhatsApp, Oculus VR.

- Regulation – Social media platforms lack self or government regulatory bodies. They lack
control over content posted by users, so distance themselves from content posted on
platform. They rely on users to report content that goes against terms/conditions of
service/bots to regulate content.

- Global Regulation – Becomes difficult due to globalization. International agreements to

regulate trade have been ineffective worldwide, due to national disagreements on individual
rights/public interest. Thus, social media platforms operate in different countries, but are
only subject to control of local governmental regulatory bodies.
 - Government regulation – OFCOM is setting codes of conduct to ensure social media
platforms have effective regulatory systems in place to protect public interest. Penalty can
include fees. Power is limited to any operations occurring in UK.

- Brands are interested in associating with Kim Kardashian – KK has strong brand reputation/
brand image of glamour/luxury, so promotions from KK can act as USP for products made by
brands, like SKIMS, BeatsbyDre, Nike to charge higher prices or make more revenue.

- Consequences of bad social media endorsement –

1. Influencers can be “cancelled” – harming their brand reputation/image which can lead to less
influencer power/less sponsorship deals for influencer to make revenue. KK received
backlash for promoting diet lollipops/unhealthy beauty standards.
2. Influencers can receive penalty fees – Non-compliance to advertising laws. KK was fined 1
million dollars in 2022 for promoting EMAX tokens, cryptocurrency, for not disclosing being
paid 250 thousand dollars, breaking advertising legislation.

q. Context:
- Cultural context – How has she influenced the influencers? Kardashian represents the
cultural phenomenon of celebrity. As well as her social media profile, Kardashian has been
involved with genres such as reality TV (eg Keeping Up With The Kardashians – her initial
success was as a reality TV star), TV drama (American Horror Story), tabloid magazines
(particularly during her marriage to Kanye West) and mobile gaming (Kim Kardashian
Hollywood). She has become almost an icon for the concept of “famous for being famous”
and the commodification of fame. There are contrasts to be made with Marcus Rashford’s
online presence, given his more altruistic profile, his personal background and his rise to
prominence. How do you think that Kim Kardashian’s online presence reflects modern
society and culture?
- Social context – There might also be comparisons with Lara Croft, given the character’s
positive and negative gender representations, not to mention her longevity. . How do you
think that Kim Kardashian’s online presence reflects modern society and culture?
- Historical context – The success of Kim Kardashian provides a historical overview of the
development of social media and the creation of the influencer. Kardashian’s fame pre-dates
social media (the family became prominent in the 1990s whilst Kardashian herself achieved
global fame in the mid2000s). Her developing profile is closely tied to the growing power of
social media (for example her 2014 picture which ‘broke the internet’ or the incident in Paris
in 2016 during which she was robbed, which was in part blamed on her posting in ‘real time’
on social media). She regularly posts pictures and videos from her past, reflecting her own
historical context. How do you think that Kim Kardashian’s online presence reflects modern
society and culture?

CSP 8 – Kim Kardashian Hollywood

- Target audience – Aimed at female, young, Western demographic. Mainstreamer, succeeder
psychographic
- Historical context – As mobile phones become more mainstream, mobile games began to
take popularity. As result, gaming industry became more accessible, so experience boom.
This made it so gaming industry became less male dominated as women began playing
games on mobile phones, such as Candy Crush.
- Pleasures
- KKH allows audiences significant number of options in customizing their avatar, even for
BAME-friendly selections that allow players to customize their hair, clothes, eyes, skin
 color/sex to cater to audiences’ personal identity. This can be very appealing to audiences,
especially BAME audience, as culturally, many Western video games lack customization for
avatars that can represent BAME community. Even if they do, its typically only 1 or 2
hairstyles, such as Afro. As result, audiences can be pleased emotionally, feeling cerebral
pleasures
- KKH also allows audiences to engage in light amount of strategy. Audiences are expected to
make right decisions on making social media posts, modelling/acting gigs, dating to increase
their stardom whilst spending lowest amount of energy they can to keep playing. This can be
enjoyable to audiences who want casual level of thinking involved, but are still rewarded by
thinking critically if they wish to succeed quick in game. As result, audiences can feel cerebral
pleasures.
- KKH also constructs reality where audience meet up with famous celebrities. In game,
audience can meet/speak to Kim Kardashian as their mentor, as well as Kylie/Kris Jenner. This
can be very appealing to fans of Kim Kardashian as well as her family, particularly audiences
who enjoy Keeping up with Kardashians, reality TV show. This can evoke positive emotions of
joy/excitement. Thus, audiences can feel further visceral pleasures.

- Uses/gratifications theory –
- Diversion – Audiences can escape from reality. KKH constructs reality where audience
flashbacks to “before [they] were famous”, meeting up with Kim Kardashian to become
mentor as they rise to stardom/become a-list celebrity. This can be very appealing to
audiences who stress from their daily life, so instead want to live vicariously through their
avatar in KKH. This especially reflects dominant values of contemporary society, since 21st
century gave rise to celebrity culture, idolizing those who are famous for being
famous/believe that fame should be only thing to aspire to be. KKH epitomizes this ideology.
- Personal relationships – Audiences can also be gratified from developing personal
relationships. In KKH, target audience gets to meet with Kim Kardashian to be their mentor,
which can further facilitate parasocial relationship with Kim, especially for fans who see her
as role model. This can position audience to feel excited/joyful. Audiences can also date
NPCs in KKH, both men/women regardless of sex of their avatar. This can be significantly
gratifying to LGBTQ+ subculture audience, since homosexuality has been severely
underrepresented/misrepresented by bias in Western media. KKH allows audience to explore
their sexual identity to develop close relationships in game/out.
- Personal identity – Audiences can be gratified by allowing game to shape their personal
identity. KKH allows audience to reinforce their beliefs/values of importance of fame, since
contextually, contemporary society in West holds dominant values that put pedestal on
celebrities/stardom. They do this by making fame goal of game, so audiences can feel
gratified by being consolidated on their values of stardom. Audiences can also feel gratified
by being able to compare their beliefs to that of NPCs around them, such as Kim Kardashians
valuing of appealing visuals/maximizing popularity. This allows audience to change their
personal identity to fit Kim Kardashian, who would be role model to target audience, which is
majorly her fans.
- Surveillance – Audiences can also be gratified by allowing them to view window of world
they do not experience in daily life. In KKH, audiences can learn what it’s like to become/be
celebrity in Hollywood, including modelling/acting gigs, managing their PR/making club
appearances. This allows target audience, being working class who are fans of Kim, become
exposed to reality they’re not familiar with. This would be very appealing to audiences.

- KKH may have negative influence on audiences. KKH’s female NPCs, such as Kim Kardashian,
almost only have 1 body type, which is curvy hourglass figure. This constructs selective
representation of females as having to be always be curvy to ensure they’re visually
 appealing to male gaze, which is infamous for sexual objectification of women. This highly
reflects dominant values imposed by cultural hegemony of contemporary, Western society,
who value superficial, lustful view points of women to uphold patriarchy, as well as cultural
context, where objectification of women is still conventional, such as in League of Legends, a
MOBA (Mobile Online Battle Arena) game that features scantily clad women, like Ahri. As
result, this can give underlying message that all women should aim for perfect, wide hips,
large bust, small waist bodies, or else they won’t be successful in life. This raises issues in
accordance to passive audiences, such as Hypodermic Needle theory, which posits that
audiences have no control over their decoding/will always take dominant reading of
messages that producers encode. In turn, this means that audiences who play KKH will
internalize superficial values of their appearance, which can influence audiences to care less
about developing their personality/joy/more about how to appease others.

- KKH’s primary core game loop largely involves buying right amount/type of clothes that
increase audience’s number of fans in-game. This represents materialism as positive, since
purchasing more clothes/investing into fast-fashion is rewarded in game mechanics,
encoding underlying message that reinforces hyper-consumerism. This socially reflects much
of dominant values imposed by cultural hegemony, Western society, where nations having
politically grown prominently more capitalist, resulting in values that prioritize
selling/buying. Thus, this message of consumerism, subtly positioning audiences to
viewpoint to perpetually make purchases, can be negative influence on audience. For
example, over-consumerism is directly tied with waste/pollution, since consumers generally
don’t recycle, leading to many products ending up in landfills or as litter that pollute
environment. Once producers have encoded this message into KKH, it is up to audiences to
decode it. Audiences may be active, but can become passive. This is outlined by Gerbner’s
cultivation theory, where media products can cultivate audience’s perception of reality by
desensitizing audiences to particular ideology. As result, this suggests that as audiences
interact with KKH, particularly as they gain XP/level up, they may begin to no longer separate
fiction from reality, causing them to take dominant reading/adopt values of consumerism in
game to real life.

- However, KKH’s narrative plot pushes audiences, especially female target demographic, to
put in effort to reach stardom, following in footsteps of Kim Kardashian where she is
audience mentor. This encodes underlying message of determination/adopting growth
mindset, which can be highly effective. Two-step communication model, audiences are
passive since it is up to opinion-leaders to decode message encoded by producers, audiences
will accept reading they take. For KKH, Kim Kardashian acts as opinion-leader, since she’s
highly famous, influential celebrity that endorses game, becoming NPC as well as approving
every clothing item in game. This can lead audiences to take dominant reading of game,
being positioned to viewpoint that if they never give up, they can achieve their dreams no
matter what, like in KKH.

- KKH may also simply be cause for concern devoid of valid reasoning. This is because
culturally, many media news networks cover extremist cases of gaming resorting to violent or
harmful consequences. Such is case for many FPS games, where shooting others in game has
allegedly caused many of those in youth who’ve played them to recreate acts in real life, like
performing school shootings. This may be explained by Moral Panic theory, which proposes
that mass media pins certain group, or idea as folk devil, demonizing them by constructing
negative representation that position audiences to deplore it. Although not apart of violent
game genre, much of negative stigma carries over to games in entire gaming industry. Thus,
KKH may be subject to being folk devil from being video game that mass media demonizes.
 This viewpoint is highly extremist/doesn’t reflect true nature of video games, as many games
can offer positive benefits/modern audiences tend to very active in taking
oppositional/negotiated readings as result of education from internet/technological
advancements. Instead, it is likely done for clickbait to allow news networks to gain traction,
in hopes to generate revenue from subscriptions.

- Advertising
- Game has multiple distribution channels, such as IOS, Android platforms.
- Game was freemium, offering audiences chance to play but encouraging them to make in-
app purchases to get more energy to continue playing as they get hooked in games
mechanics
- Being advertised as Kim Kardashian game acts as USP, since previously, few media products
of celebrities would be made in video game form.

- Glu Mobile – American mobile game developer company/publisher of KKH. Glu Mobile is
skilled in developing mobile games, such as Indestructible of freemium vehicular combat
genre video game. This could have affected KKH by providing higher quality mobile game,
since Glu Mobile was very familiar with mobile game industry/mechanics that can appeal to
mobile gamers, such as casual gaming mechanics, like simple tap to play game loops. Thus,
this could have led to satisfying audiences more, resulting in audiences becoming hooked,
increasing likelihood of generating ad-revenue or in-app purchases to continue playing or
gain more social media fans in game faster.
- KKH/Kim Kardashian’s social media presence demonstrates convergence in way that they
both rely on mobile communication technology. KKH is casual tap RPG game that aimed at
targeting casual gamers, which culturally reflects rising mobile gaming industry, where
men/women alike gained increasing accessibility to games by having them on-go, such as
Candy Crush, with their mobile phone. Without mobile phones, it’s unlikely that KKH would
be able to attract target demographic, females/casual gamers, since rest of gaming industry
held major gender problem, where marketing was centered around male demographic. This
meant women were unlikely to own game console, such as Playstation, or own PC with
adequate hardware to run video games, since gaming was aimed at niche audience of men.
Kim Kardashian’s social media presence in social media platforms such as Instagram/X
allowed her to quickly facilitate her brand recognition online amongst mass audience. This
culturally reflects rising industry of social media, where huge conglomerates, such as Meta/X
captured large market share of social media market, increasingly generating customer
loyalty/retention in their platforms as technological advancements, such as advanced
algorithms that cater person’s feed to their interests, improved. Without mobile phones, Kim
Kardashian would find harder time finding large potential fanbase as much as mobile phone
industry offers. Other media forms, such as television, or computers, lacked
engagement/psychological addiction that comes with mobile phone convenience. Thus, this
shows that KKH/Kim’s social media have been brought together through media convergence
of mobile phones.

- Commercial success – KKH was highly successful commercially, generating USD 1.6 million
within first week, with over 45 million downloads.
- Video game industry is shifting away from original content, more on celebrity endorsement
or expanding over existing media products without need of diversification, such as in
Fortnite, where most of content makes intertextual references to other celebrities, movies,
shows as part of customizing avatar, do emotes, or listen as soundtrack. Video game industry
is shifting away from heavy-commitment, male-dominated experience to more diverse target
 audience of both male/females. LGBTQ+/BAME subculture representation allows for better
success in video game industry, which was severely lacking in earlier games.

- Social media platforms use celebrities – Social media platforms use celebrities, like Kim
Kardashian to increase their profits. Kim Kardashian is A-list celebrity famous for being
famous, she is role-model for many women around world who view her content online
through social media platforms, such as Instagram/X, or are fans of her appearances on
Keeping Up with Kardashians. Kim is cultural phenomenon in Western media, since she has
ties to many other famous celebrities, such as Kanya West, controversial artist/ex-husband,
whilst appearing in many other adverting campaigns, like in Met Gala, where she wears
stunning/fashionable outfits. This demonstrates that Kim has large fanbase in West, but also
globally through increasing globalization of media. This is quite attractive for social media
platforms, who rely on customer retention/loyalty to continuously use app to gain ad-
revenue for income. Kim making frequent posts on platforms, such as Instagram, keep
audiences engaged, since many will be fans who want to know products she endorses as well
as her lifestyle, who she follows, who she unfollows to develop their parasocial relationship.
This keeps users on platform, viewing more ads, thus, increasing social media platforms
profits.
- Ownership – There’s increasingly higher concentration of ownership with only few
conglomerates holding majority of market share in social media industry. Meta is large
conglomerate that has horizontally integrated to takeover Instagram/Whatsapp whilst
already owning Facebook. Elon Musk, owner of SpaceX amongst other businesses, recently
acquired Twitter, now named X. Google’s diversification of their product portfolio by takeover
of YouTube is another example.
- OFCOM (Office of Communications) – Government-backed regulatory body that enforced
Online Safety Act to protect children online from inappropriate content, such as violence.
Failure for social media platforms to comply to law can lead to fines up to 10% global
revenue, or detachment from doing business in UK.

- KKH reflects contemporary dominant ideologies of valuing stardom and fame. She is defined
by her physical appearance/popularity. She is influencer/entrepreneur to millions of people
world-wide who are engaged by her actions.

- KKH’s key message pushes idea of fame being paramount to success and happiness,
constructing reality that celebrity lifestyle is all there is to seek in life in terms of joy. For
symbolic codes, game depicts very expensive, tight-to skin clothing that is bought and
attained more over course of gameplay, signifying lavish lifestyle and conventional as female
standard for high-end fashion. This adds idea to audience that those in celebrity life live
glamourous, aristocratic life.

- Women are represented as successful, confident, KK is seen as mentor for players. Maria is
successful business women

- Kash or Kstars for progress on celebrity pathway.

- I believe audiences hold power to resist harmful effects of video games. Although, it can be
difficult process for audiences to undergo. There are numerous harmful effects media
products have instigated, such as violence. In case of Red Dead Redemption 2 (RDR2),
audiences experience open world, wild west society, navigating world with Arthur Morgan
and Van der Linde Gang. Game is available on Playstation, Xbox, and PC, rated PEGI 18. Game
features violent content reflective of wild west society, with gun warfare, melee combat,
 blood, and death animations. Not only is such content highly grotesque, but also depicted
very realistically. RDR2 illustrates very vivid SFX (Sound Effects), dynamic animations, such
that even bullets being shot provide visceral sense of impact as bullets tear through
environment and enemies.

- This had become very common concern, especially amongst adults/parents. Violent content
paired with realism can be very uncomfortable for many audiences. In game, set in lawless
society, audiences have to undergo moral dilemmas that go against conventions of right and
wrong. In one moment, players are asked to collect debt from farmer who cannot pay.
Players are asked to then verbally threaten farmer to intimidate payment, or use physical
violence to get farmer to conform. In latter, scene would play farmer being severely
assaulted until visible injury and distress.

- However, not all video games hold harmful effects that surface-value. Kim Kardashian
Hollywood (KKH) is casual tap RPG where audiences play as character, alongst side Kim
Kardashian, seeking to become A-list actor. Game is available on IOS and Android. Common
concern in KKH is how it constructs values in one’s lifestyle. In one scene, Kim Kardashian
tells player that they will work from being “nobody to being on the fringe of the public’s
mind.” Another concern is unrealistic beauty standards it reinforces in every female
character’s design. From Kim Kardashian, to even customizable avatar, every female NPC only
depicts one female body type, large bust, thin waist, resembling hour glass figure.

- This can become detrimental to audiences, especially as outlined in Gebner’s cultivation

theory. Gebner believed media affects audience’s perception of real life. Audiences can
become passive, as over time they become desensitized, with repeated exposure to
messages and ideologies. Audiences may begin to cultivate idea that messages in media
products apply to real life, instead of evaluating messages to their own interpretation, or
separating two entirely. In RDR2, audiences can become passive and may begin to become
desensitized to idea of violence and getting what they want via extortion. They may begin to
blur lines between fiction and reality and begin to become more violent in real life, which
could lead to severe harm to themselves and others around them. For KKH, idea of being
“nobody” is enforced if players don’t have fame in game, audiences can cultivate this idea
and apply it to real life, that they hold no value unless they become famous, in terms of
unrealistic standards of beauty, it can severely tamper players’ mental health, especially for
young females. Audiences may begin to attempt to post themself online to gain following
and influence, which can lead to exploitation or being cyber-bullied, or heavily relying on
other’s opinions to maintain self-esteem. Audiences can begin to feel fat or ugly as they do
not resemble body figures of those in KKH. These effects can be very harmful to resist as they
not only appear in these video games alone, but also in many media industries. Unrealistic
expectations of women have been very conventional in society, and celebrity culture has
been at its top in present times, and this significantly increases chance of desensitization
from increased exposure.

- However, this relies on assumption that desensitization is effective, able to become rampant,
and turn audiences into being rather passive. However, for most part, audiences are very
active and engage in numerous readings that can even negotiate or outright reject preferred
readings emergent from media products, which makes it very possible to resist harmful
effects. As outlined by Kats and Blumler’s uses and gratifications theory, that says audiences
will actively only choose media products that gratify them, which generally only leads to
positive pleasured given to audience. In RDR2, audiences may not be cultivated by messages
in game, as they could be more interested as to how different world is to our own,
 specifically how dangerous it is in game compared to real life. This can serve as surveillance
for audience, as they learn what potential wild west society could have been like, and how
people would have dealt with problems at time. This separates game world and real world,
instead of blurring lines like in cultivation theory. In KKH, audiences may simply take game as
way to escape from reality and lose awareness of self for at least moment in time. This can
serve as diversion for audience, who are simply entertained by vicarious pleasures of living
different successful life, and can be immersed in games mechanics and story line. Harmful
effects from video games can be easily offset by how players use it to gratify themselves, or
through active interpretation of messages to live more enjoyably.

- Additionally, video games can also offer benefits. RDR2’s moral dilemmas can offer way for
audiences to develop decision making skills under pressure, as well as improving reaction
time and strategy skills from combat. KKH can help audiences learn social skills from dating
mechanic, and also improve decision making skills from deciding on what helps increase
their fame in game.

- Audiences are gratified by personal relationships from dates and kk being mentor, sense of
identity reinforced by avatar customization, surveillance of how Hollywood works, diversion
by immersion.
- Representation of women is negative, positive, emphasized femininity.

- Cultivation theory by over exposure and hypodermic needle theory, passive audience.
- Gratification theory and reception theory, active audience.

- Distributed by Glu mobile

1. Notes:
- Is kim positive on social activism or toxic on representation.

2. Reception theory:
- Media is encoded by producer.
- Media is decoded by audience.
- Preferred reading
- Negotiated reading
- Oppositional reading
- Reading depends individually.

- Inclusive teenagers with inclusive adults join in with a health drink that joins them together
with a run.
- Clock in ad
- Can I use any drink for brief 1
- Is video a bad idea?
- Funny and fast

- Talkhouse drink
- Kool aid
- Representation:
- Africa: Haze, Fares
- Asia: Aster, Ate Mharlie, Coach Patrick, Vic and Dressy
- Europe: Julius

- Funny and fast

- Serious but subversion

- Close up shot of drink, drink gets kicked by haze or smth.

- Quench your urge to surge.

- ADD CAPTIONS

- Media language

- Denotation
- Connotation

- Symbolic code
- Written codes
- Technical codes
- Design and layout
- Color palette
- Typography

- Linear model of communication

- Sender
- Message
- Receiver

- Constructed nature of reality

- Todorov’s narrative theory

- Equilibrium
- Disruption
- Recognition
- Restoration
- New equilibrium

- Appeals
- Closure
- Enigma

- Propps narrative theory

- Hero
- Villain
- Dispatcher
- Helper
- Donor
- Damsel in distress
- Princess

- Technology
- Forces that affect it
- Image manipulation
- High definition
- Computer-generated imagery
- Mobile communication technology
- User-generated content

- Neale’s Genre theory

- Repetition
- Variation
- Dynamic nature of genre: Bukingham and Abercrombie
- Hybridity

- Intertextuality

- Media representation

- Selection
- Mediation

- Media is window on world and version of reality: Buckingham

- Medium is message: Mcluhan

- Gender essentialism
- Social constructionalism

- Mulveys male gaze theory

- Halls reception theory

- Dominant reading
- Negotiated reading
- Oppositional reading

- Technique of persuasive communication

- Dominant values

- Agenda-setting theory

- News value

- Media industries
- Takeovers

- Providers
- Content provider
- Network provider
- Platform providers

- Television license

- Sponsorship

- Product placement

- Globalization

- Cultural imperialism

- International agreements

- Regulation

- Media audiences

- Active audience
- Passive audience

- Hypodermic needle theory

- Cultivation theory
- Two step flow theory

- Uses and gratifications theory

- Segmentation

- Call of duty: Mobile is a mobile game rated PEGI 18 that immerses audiences in a multiplayer
FPS (First-Person Shooter) experience in various game modes such as Team Deathmatch,
Battle royale, and Zombies. It is available on IOS and Android platforms.
- In Call of Duty, players encounter numerous instances of violence that reflect a realistic war-
torn environment. In teams or in solo, players are taught to kill opponents on sight with
various different guns and weaponry, even using grenades to destroy players. Players in
game mode can

- Video games may hold various harmful effects. For example, Read Dead Redemption 2
(RDR2) is multi-platform video game where players navigate the Wild West, following Arthur
Morgan and the Van der Linde Gang. The game itself is rated PEGI 18. The game features
violent content reflective of a barren Wild West society. Such as gun violence, melee combat,
and death animations. Not only is it highly gruesome, but also depicted realistically. With
vivid SFX (sound effects), dynamic animations, even the bullets have a visceral sense of
 impact as it tears through the environment and enemies. One concern for parents/adults is
just how realistic violence is depicted. Players encounter numerous moral dilemmas that
challenge the notions of right and wrong, in the context of a lawless society. Such as killing or
sparing adversaries, engaging in crime, or upholding one’s honor. In one moment, players are
tasked to collect debt from a farmer who cannot pay. Players faced a decision to either
verbally threat the farmer in intimidation, or compel them to pay through severe physical
assault. Choosing the latter displayed a scene of heavily beating up the farmer until visible
injuries and distress. There are positive skills to be gained from the game, however. Facing
moral dilemmas can lead to learning great decision-making skills, empathy, and teamwork (if
played in multiplayer).

- Additionally, Kim Kardashian Hollywood (KKH), despite not displaying violence, has subtle
negative messages embedded as well. KKH has players encounter themselves through the
journey of becoming an A-list celebrity, with Kim Kardashian (KK) as their mentor. The game
is available on IOS and Android platforms. The game is a casual tap RPG, with an animated
style. Players are tasked with customizing their own appearance, purchasing progressively
more expensive clothing to gain more fame, going on dates with both men and women to
get viral, and posting on social media to progress their stardom. The problem with KKH is the
way it constructs reality, with the idea of garnering fame as the only goal to aspire to, and
that it will make everything better, moreover, it reinforces negative representations of
women, the stereotype of women being gold diggers, obsessed with fame, money, and
materialism. However, the game can provide positive skills of decision making as well, and
social skills that help you navigate the world.

- This becomes an issue with passive audiences, who do not engage in evaluating the message
encoded by video game produces or completely accept the preferred reading superficially.
Such can be outline with Gerbner’s Cultivation theory. Gerbner postulated that the media,
over time, can affect the audience’s perception of reality, audiences can become desensitized
from repeated exposure, believing that the messages present in media products apply
exactly to how it is in real life. In the case of RDR2, audiences could be desensitized to the
idea of gun violence, and physical assault over time. Leading to them believing that this is
normal in real life, and is entirely justified by their intentions, whether it be monetary or
social gain. In the case of KKH, audiences can be desensitized to the idea that fame is all that
matters in real life, and may become to become more materialistic, and self-obsessed with
their own appearance and social media presence. These harmful affects can span further,
with the negative representations of women being gold-diggers and materialistic, passive
audiences may begin to be desensitized to this representation and may begin to perceive
women in real life as the same stereotype.

- On the other hand, this doesn’t take into account active audiences, who evaluate and
decode the message of media products depending on their upbringing and culture,
furthermore, it doesn’t take into account how audiences can actively choose the media they
consume to satisfy their wants and needs. Such as outlined by the Uses and Gratifications
Theory proposed by Katz and Blumler. They believed Audiences are active in their choice to
consume media, and satisfy wants such as diversion, finding ways to relax or escape,
personal relationships, finding social interactions through fictional or non-fictional
characters, sense of identity, finding one self’s values or reinforcing one self’s values through
what is seen in media, and surveillance, finding information and education about the real
world. In the case of RDR2, instead of being desensitized to the idea of violence, audiences
instead can simply find diversion from their everyday life, losing their awareness of the self.
CSP 9 – Lara Croft GO
- Narrative –
- Story is set in Amazon rainforest. Lara is investigating ancient ruin to retrieve Atlas of Beyond.
It is guarded by Queen of Venom, ruin is riddled with monsters, such as salamanders,
spiders, snakes that seek to kill her. Lara climbs through obstacles/solves mazes to
survive/escape.
- There’s binary opposition between human vs monster. Lara is human that aims to retrieve
ancient artifact, Atlas of Beyond, whilst monsters, such as salamanders, snakes, spiders,
Queen of Venom, thwart her plans by aiming to kill her. This drives conflict by constructing
humans as good whilst monsters are bad.
- Genre – Action-adventure, puzzle, casual game
- Lara croft wears gloves, boots, light-weight costume. This sign in mise-en-scene acts as
symbolic code that signifies adventure/exploration. This communicates to audiences that
Lara is seasoned adventurer who has likely encountered dangers such as one faced in Lara
Croft GO, such as snakes/spiders that seek to kill her. This culturally reflects other media
products, such as Indiana Jones movies, where he wears similar costume in addition to his
iconic adventurer hat.
- Lara Croft’s body figure is very fit, with hour-glass body. This sign acts as symbolic
code/indexical code, as it connotes that Lara exercises/does physical, strenuous activities
often. This communicates to audiences that Lara is strong/powerful, which culturally
subverts other products of Western media that tend to construct reality where women are
thin/fragile, so are incapable of being strong.
- Soundtrack of Lara Croft go is mostly mellow, quiet. It uses ethereal/synthesized sounds. This
sign acts as technical code that connotes sense of other-worldliness/loneliness. This
communicates to audience that they’re in unfamiliar territory, emphasizing that they’re
exploring ruins that no ones ever visited in hundreds of years/are alone in journey. A
forgotten path

- Lara Croft as character has hour-glass body figure in mise-en-scene. This selective
representation by producers represents Lara Croft as sexual object, since her body parts are
highly appealing to male gaze. This conforms to negative female stereotypes of 21st century,
where cultural hegemony imposes that women should be visually appealing to men
constantly, whilst men are free to look how ever they’d like, despite dominant values slowly
shifting towards more progressive ideals. This also reflects cultural context, where women in
media are often objectified in Western blockbusters, such as in Bumblebee or in Black
Widow, or in advertising, such as confectionary advertisements for chocolate, especially in
older games that feature Lara Croft, particularly Tomb Raider 1.
- Lara Croft is also seen in shooting monsters, such as salamanders/snakes, whilst also
overcoming obstacles, such as boulders/sawblades that she effectively avoids. This sign acts
as non-verbal code that signifies strength/power/also indexical as it connotes that she is
skilled because she has done this numerous times before. This creates positive
representation of females, since it selectively constructs idea that women are
strong/dominant, which subverts stereotypes of women in contemporary society.
- There is also intertextuality in game, since Lara Croft’s adventure’s costume as well as Lara
Croft GO’s narrative of retrieving artifact from ancient ruins are highly reminiscent of India
Jones movies. This further reinforces that Lara is strong/cunning, as audiences associate
their ideas of masculine strength of Indiana Jones to Lara Croft. As result, it subverts female
stereotypes of contemporary society, since despite significant progression over years, there’s
bias of gender essentialist ideas, such as how women should be weak/fragile whilst men
should be brave/strong.
 - • player assumes the role of the protagonist in an interactive setting/story that combines
real and fantasy elements • familiar costumes and accessories of an action-adventure hero
such as utility belt, holster, pistols • puzzles to solve and places to explore, obstacles and
traps to overcome, used to show heroism of LC • mixture of static and moving
objects/creatures in a landscape which the player can navigate • decisions to be made on
interactions with other characters or objects, whether they can be used and which have
special powers • mystery/implied peril, eg creatures, falling over the edge, which the user
has to assess for relevance/danger. Figure 2 • Indiana Jones-style combination of nature,
traps and mazes: puzzles to be solved. • Moving pillars, platforms, levers, blades which need
to be activated in a particular sequence to access another part of the game. MARK SCHEME –
GCSE MEDIA STUDIES – 8572/1 – JUNE 2023 10 • Elements of natural environment which LC
seeks to preserve or collect and add to inventory. • LC doing a handstand (after climbing up
the wall), combines male and female gender stereotypes. • Shadowy cliffs and valleys which
represent paths traversed/yet to be explored. • Elements of problem-solving and action
which draws on genre conventions. Figure 3 • Evil creatures which have to be defeated to
pass different stages/release parts of game. • Grid-like setting to navigate with focus on the
protagonist, uses genre conventions of violence and strategy to progress. • LC with spear,
which she has thrown at the snakes, shows she’s not afraid to use violence if necessary
(challenging stereotypical ‘male’ genre conventions). (Other props such as flames can help
control the snakes, eg by moving them back a step.) • Representation of darkness/evil and
light; pockets of light behind snakes suggest exit after snakes have been speared and are no
longer a threat and user has to assess the validity of this/reject red herrings. • Low
lighting/framing of scene like someone looking through binoculars (focusing on character
movement).

CSP 10 – His Dark Materials S2E1

- Monkey with woman in photo and also really dramatic music

- Hand held shots
- Panning shots
- Two little things shoot
Magic dust
- Creator of Hamilton
Blcoks
Amnd syiatsies
Amnd [Link]
Amnd mountains
Amd multiverse
Slit in the tite
Demon ferret
- Dutch angle
- Book with cross but it looks evil
- Nehgative rereentatoon of religion
- Wine is reference to eucharist but also its bad
Over the shoulder shots
She gievs him wine which is a power thing
Sexism
- Close up makes her look scary
- More dutch angles
- Angel uconography
- Music creates tension
- Low angle shot
- Posirie representation of demons
- Hamilton cameo is like exciting an sruff
- Mweaning of name “lyra”
- Btight lighting
- Romantic tensiom
- Hands on back and looks scary
- Red connotes evil
- Desaturated colors but bright red
- Side shots ofevil woman
- Dust is sin
- Why do they have low angle shots
- String reresetatoon of women and teenagers
- Theyre put in shots of light
- No men
- Black rep is positice
- Hey yeah the demons are men.
- Theyre being watched (?)
- Juxtaposition between plots
- She calls lord asriel no lord
- Blue red colorpallete
- So red
- Golden compass high and lyra low
- Her daemon is white
- Okay they can changed color
- Okay sges clumsy and also weird
- Omlette is a sign of friendship
- Okay he has a phone
- Her fist is strong
- Zombie symoblsim
- Dark and blue lighting
- She subverts steirt types
- She bows down
- Staircase seperates tyem and lighting brinsg focus to division
- Oxford exists in both worlds
- British reprsenttation
- Show cases complexity of golden compass
- Building symboplism
- Flicerng lightys

- His Dark Materials is a hybrid genre between teenage drama, sci-fi, fantasy, horror.
- Costumes
- Mrs. Coulter is dressed in crimson red. She wears turtle-neck sweater. Costume indicates a
sense of wealth and power. The color connotes passion and anger. The effect is that the
audience is led to believe that Mrs. Coulter is an elegant yet dominant figure, while
reinforcing that she is malicious. This constructs the idea that she is a force to be reckoned
with.
- Magisterium is dressed in black, white, gold. They wear Catholic vestments and golden
jewelry with a cross.
- Lyra is dressed in shades of blue. They wear shirt and overalls. The use of blue acts as a
symbolic code that indicates wisdom, and also juxtaposes the deep reds found in Mrs.
Coulter’s costume. This enhances the binary opposition between the moral goodness of Lyra
and youth, and the moral corruption and machiavellian and age. The use of denim clothing
alludes to ideas of the middle class, and casualness that is typical to what a contemporary
teenager would wear today, This makes Lyra more relatable to the audience, and enhances
the immersion of HDM being a teenage drama.
- Will is dressed in muted tones, slightly blue. They wear a t-shirt and fitted pants.
- The witches dress in dark shades. Thet wear flowy dresses/robes and messy hair

- Genre theory
- Genres are categories of media products based on shared characteristics, they are defined by
the system of expectations and ideas audiences carry over when interacting with product.
For a media product to be successful, the prodyctr must be repeptitive of others in the
genre, will having variatiuon in itself.

- Fantasy – Talking animals, portals

- Drama –
- Horror – Ghosts and very

- Hero –
- Villain –
- Princess –
- Helper –
- Dispatcher –

- Equilibrium
- Disruption
- Recognition
- Repair
- New equilibrium

- BBC contemporary family drama TV show with hybridity based on Pullman’s His Dark
Materials trilogy. First series covers Northern Lights, second series covers Subtle Knife, and
third series covers Amber Spyglass. Show was produced by Bad Wolf with direct links to BBC
and Doctor Who. First episode of second series, “City of Magpies”, aired on BBC1 and made
available on iPlayer on 8:10PM, Sunday, November 8 2020, and on DVD on December 28
2020.

1. Lyra, orphan from another world who discovers prophecy that they will change world, meets
Will, fugitive from our world who killed someone in self-defense, meet in Cittagazze, third
world with run down and neglected city.
2. Lyra and Will learn from children that Cittagazze is haunted by Specters, evil black clouds
who hunt/drain energy off of adults to turn them into zombie-like figures
3. Mrs. Coulter, Lyra’s villainous mother, gets on board ship with Magisterium, theocracy that
governs Lyra’s world.
4. Mrs. Coulter tortures Katja, witch, to learn about Lyra and enigmatic dust.
5. Ruta, another witch, kills Katja to put her out of her misery, and severely injures Head of
Magisterium.
6. Mrs. Coulter offers deal to Deputy Head of Magisterium to kill Head of Magisterium and lie
that it was due to witch in exchange for more power/freedom.

- Genre – Category of media product that follows specific codes and conventions. Genres can
be combined to form hybridity. Episode’s genre is mainly fantasy but combines steampunk,
teen drama, supernatural and horror to appeal to mass audience.
- Teen drama – Subgenre of drama that targets 13–18-year-olds.
- Steampunk – Sub-genre of sci-fi based on retro-futuristic technology inspired by 19th century
machinery.
- Horror – Genre that aims to create fear, panic, paranoia into audience.
- Supernatural – Genre that includes concepts that are beyond nature.
- Narratives – There is binary opposition to create conflict that drives narrative forward.
- Good and evil – Lyra seeks to save children from being separated from their daemons but
Mrs. Coulter and Magisterium propagate this, this is common narrative in fantasies.
- Youth and old – Lyra is young and daughter of Mrs. Coulter. She believes that children should
not be separated which rebels against her mother’s ideologies, common narrative in teen
dramas.
- Narrative of 2 unlike teenagers becoming friends is common trope in romance/teen dramas.
- Multiple plot strands – Carrying from last episode, Lyra and Will are exploring Cittagazze
which carries onto next episode, Mrs. Coulter is trying to find answers for Magisterium, Lee
is venturing to witches to protect Lyra. This is done to create suspense in each plot line when
it cuts to next, and illustrate complexity and detail of world with how each plot line weaves
into others.
- Iconography – Daemons, talking animals that are extension of soul, is common symbol of
supernatural. Portal that leads to Cittaggazze, another world, is common trope in fantasy.
Specters, evil ghost-like creatures, is common trope in supernatural. Alethiometer, enigmatic
complex device with numerous golden cogwheels, is common symbol of steampunk. This is
done to make genre easily recognizable and attract target audience.
- Characters – There is Lyra, hero who is prophesized to change world, and Magisterium, villain
who is tyrannical theocracy, common trope in fantasies. There is Pan, helper who’s Lyra’s
daemon side-kick, common trope in fantasies.
- Lyra – Wears blue clothing with overalls. She is brave, quirky, strangely naïve.
- Will – Wears contemporary muted clothing with blue tints.
- Magisterium – Wears black and white Catholic robes.
- Mrs. Coulter – Wears old-fashioned blood red clothing.
- Witches – Wears fantastical, sometimes torn, robes.
- Lee – Wears cowboy-like adventure’s clothing
- Setting – There’s Magisterium’s ship, mise-en-scene lighting has heavy contrasts which sets
dark and gloomy mood and suggests Magisterium are malicious. There’s Cittaggazze, mise-
en-scene has Mediterranean-style architecture and terrain which gives sense of familiarity

- Target audience – Mass audience of contemporary family, fans of fantasy genre, fans of book
trilogy.
- Age rating – In France, it is 10+. In UK, it is 12 by BBFC (British Board of Film Classification). In
HBO (Home Box Office), it is 14+. In Brazil, it is 16+.There is no sex and nudity, mild alcohol
and drugs, mild violence and gore, mild frightening and intense scenes, mild profanity.
- Gender – Episode appeals to both male and female target audience as there’s large amounts
of characters that represent both genders positively, such as empathetic Will and brave Lyra.
Although, since lead protagonist is woman, it may cater to more female target audience.
- Ethnicity –
- Episode appeals to various ethnicities, Lee Scoresby portrays a proud and brave Texan
American, which appeals to American target audience.
- At same time, he is played by Lin-Manuel Miranda, popular Hispanic actor, so can also appeal
to Hispanic target audience.
- Episode features Oxford, city in UK, which can resonate with British target audience.
- Main characters, Lyra and Will, also have British accents, which can resonate with British
target audience.
- Marketing helped reach British target audience as BBC installed 3D art of portal into
Cittaggazze onto floor in Oxford to generate interest into British target audience.
- Age –
- Appeals to teenage audiences. Main characters, Lyra and Will, are young and portrayed
positively, so teenage audiences can relate to them.
- Show schedule helped reach target audience as it aired on 8PM on Sundays before
watershed, time where adult content is aired, so it was late enough that children would not
be watching TV, but not late enough for teenagers to be watching so they can enjoy show.
- Marketing helped reach teenage target audience as BBC showed series 2 trailer in many
targeted BBC teenage shows, such as Blue Peter, on online platforms, such as YouTube, and
on TV magazines, which are places where teenagers frequently visit.
- Social Class –
- Targets all social classes of ONS (Office for National Statistics) as BBC installed “breathing”
billboard of Lorek, armored polar bear, which can be seen as upper to lower classes pass by
in their vehicles.
- Targets A, B, and C1 ONS social classes as BBC launched massive marketing campaign to
display printed media for show on shopping centers, which are things frequently visited by
upper to lower middle classes.
- Targets C1, D, and E ONS social classes as BBC launched massive marketing campaign to
display printed media for show on bus stops, which are frequently visited by working to
lower classes.
- Targets book fans as there are many chances for book fans to experience His Dark Materials
world in real life, such as 3d art installation in Oxford, and Snapchat lens where users can
hunt for HDM easter-eggs and take selfies. There’s also website where book fans can
discover their own daemon to further immerse themselves into HDM world.
- Targets fans of fantasy genre as there are large amounts of special effects, such as green
screening of Ruta, witch, flying through sky, which is common trope of fantasy genre.
Additionally, there is CGI, such as daemons which require digital animation with
puppeteering as reference. CGI is another common trope in fantasy genre. Moreover, there is
lots of narrative elements and iconography that follow codes and conventions of fantasy
genre, which helps resonate with fans of fantasy genre.
- Targets mainstreamers as mainstreamers tend towards big, trustable brands. HBO and BBC
are massive conglomerates that are both long-standing and have excellent brand reputation.
HBO is massive streaming platform with award-winning shows, such as Game of Thrones.
BBC is cultural influence in UK, being one of earliest TV channels in UK with reputable
mission to “inform, educate, and entertain”. With these brands supporting HDM,
mainstreamers can feel more inclined to watch show, especially as show that targets mass
audience.
- Targets explorers as explorers seek new experiences and innovation in products, tending to
be younger audience. HDM offers hybridity so offers USP (Unique Selling Point) to audiences
seeking innovative experience. HDM combines codes and conventions from fantasy, with
witches seeking to protect Lyra, prophesized savior, both of which are common tropes in
fantasy genre; horror, with low key lighting and contrasts with evil ghost-like figures, called
Specters, which is icon in horror genre; and steampunk, with depictions of alethiometer,
 device ran by 19th century technology, with golden cogwheels and complicated mechanisms.
This can generate massive appeal as there are few shows like HDM that combines as many
genres like it.
- Targets strugglers. Strugglers are psychographic that tend towards alcohol, drugs, and junk
food. As a result, they struggle with life and live off of any stimulation that helps them escape
reality. HDM contains many conventions that follows fantasy genre, which allows audiences
to escape from their reality, immersing them into another world. Here, it constructs reality
that there are multiple worlds that can be travelled to via magic. This is enhanced with
numerous special effects and CGI that make world more convincing to suspend disbelief,
allowing strugglers to feel visceral pleasure from escaping their unwanted life.

- Critical reception – Series 1 received highly positive critical reception from many reputable
journalists. Times referred to “rare creature: something that can entertain adults and
children simultaneously”. Series 2 received less positive, but good critical reception from
many reputable journalists. Daily Telegraph referred to it as “[looking] great” and “robustly
made” but “doesn’t inspire as much wonder as it ought to”.
- Book fans’ reception – Show received polarized reception from book fans. Many were
pleased with show due to beliefs that it was faithful adaptation. Others were displeased due
to problems with casting, inability for TV show to show internal monologues, and slight
changes between book plot and TV plot.
- Fantasy fans’ reception – Show received positive reception from Fantasy fans. Many were
pleased with stunning visuals, immersive soundtracks, and excellent casting. Many were
pleased with hybridity, combining codes and conventions from plethora of genres to give
unique but still fantastical experience.
- Audience size – Series 1 premiere peaked at almost 10 million viewers and was 8th most
watched show in UK in 2019. Series 2 premiere peaked at almost 6 million viewers and was
21st most watched show in UK for week. Audience size had downward trend due to heavy
marketing and promotion in beginning, generating high interest that quickly fades.

- Visceral pleasures – Show offers many visceral pleasures through its stunning use of special
effects. Show uses CGI to depict daemons with realism to allow them to interact with real
world. Lyra’s daemon, Pan, speaks and interacts with Lyra consistently in show, and blends in
with reality; it’s hard to tell that he’s only computer-generated and not real. This can be very
appealing as it immerses audience to another world, evoking of sense of wonder that
stimulates visceral pleasure into audience.
- Show also uses thrilling scenes to stimulate visceral pleasure into audience. In one scene,
there is exciting chase between Lyra and Will and enigmatic children of Cittaggazze that
occurs throughout neglected city. This evokes sense of excitement that can emotionally
stimulate visceral pleasures into audience.
- Cerebral pleasures – Show offers cerebral pleasure through narrative generating large
amounts of enigmatic appeals. When Lyra enters Cittaggazze, they see large mysterious city
that is strangely unpopulated. This can lead active audiences to speculate and theorize about
why and how. Desire to know as well as confirmation when audience’s theories are correct
can evoke cerebral pleasure.
- Diversion – Show offers diversion. Audiences can be gratified by escaping reality, especially
when one’s reality is in place of stress, such as days before exam. Many teenagers face
distressing predicaments so show offering diversion allows to show to target teenage
audience. In episode, mise-en-scene provides audiences to divert from their reality. There
are daemons, talking animals that act as extensions of soul for character. Daemons are far
from reality and are more fantastical, allowing audiences to immerse themselves in different
reality from theirs. Episode also takes place in fantasy setting, third world called Cittaggazze,
 which resembles more Mediterranean-style style architecture than our contemporary
modern world. This enhances immersion into different reality.
- Personal relationships – Since show pertains to teenage target audience, audiences can build
sense of companionships to characters in show. Lyra, main protagonist, is smart, and likable
character with endearing masculine traits, which can resonate to female audiences with
similar qualities. As Lyra navigates Cittaggazze, abandoned city stuck between Lyra and or
world, and crosses paths with Will, she starts to develop friendship with him. She begins to
share omelet with him, and eat together as symbol of their companionship, and audiences
can immerse themselves in world and step into her shoes, evoking sense of relationship with
Will when audiences watch episode vicariously. Audiences can also develop personal
relationship outside of watching show. Active audiences like to engage with other watches
and discuss theories, ideas, and critiques both offline and online. This can give audiences
ability to develop personal relationships with fans alike.
- Personal identity – Audiences can use show to develop person identity. Audiences feel need
to identify with characters or situations to help them create their own identity. This can be
done by reinforcing their current personal values and ideologies. In episode, audiences can
view Lyra, despite being female, exhibiting stereotypically masculine traits. For instance, as
Lyra explores one of Cittaggazze buildings, she encounters Will by surprise, immediately
pinning him down to apprehend him. This portrayal of masculinity can be relatable to many
female audiences who believe their share similar masculine characteristics, which reinforce
their personal values of being less feminine, shaping their identity. Audiences can also begin
to identify with characters and begin to mimic some of their qualities. Will, in episode, wears
contemporary clothing that resembles more casual fashion with muted colors. His costume
design and his more empathetic personality contrasts Lyra’s bright blue costume and
quirkiness. Audiences, especially male demographic, can see Will as role model and begin to
replicate his fashion choices, shaping their personal identity in terms of what they believe in
ideal to wear.
- Fans with their own interpretations of HDM contribute to their sense of identity through
active engagement. Fans of media product tend to actively engage with it more-so than
passive audiences and do this in plethora of ways. For fans of HDM, many take opportunity
to scrutinize each episode and decode messages in show to draw their own theories and
interpretations. For example, “Where do Specters come from?” For fans with their own
interpretations, constantly theorizing becomes large part of who they are. Another way is
through activism. Many fans of HDM take to further interact with show online, requesting
changes made on Twitter, or writing fan fictions when unsatisfied with direction of show.
Fans have even made their own webpage on [Link], creating entire encyclopedia on
all there is to know about HDM, and this can become large part of person’s life, slowly
shaping their sense of identity. Many also begin to mimic Lyra and Will’s sense of fashion,
mimicking Will’s taste in muted colors or Lyra’s masculine sense of fashion. Other fans will
also seek social interaction with others alike. Discussing their favorite scenes, characters, or
analyzing each episode with others. This can develop personal relationship with others, and
with enough people, can develop into a fandom. For fans, this can give them shared group
identity.
- Outlined by Stuart Halls Reception theory, once producers encode messages into media
product, they create dominant reading, and active audience is expected to decode it
depending on their personal values and experiences.

- BBC – British Broadcasting Corporation is public service organization that is oldest and largest
broadcasting service in UK with over 20 thousand employees. Its mission is to “inform,
educate, and entertain”.
 - Bad Wolf – Southern Welsh production company founded in 2015 that is one of largest
independent production companies in UK. Sony Pictures TV acquired majority stake of
company for international growth in 2021.
- International production – Producers, such as BBC, and HBO, funded HDM. Production
companies, such as Bad Wolf, New Line Cinema, and Scholastic, made it.
- BBC as producer – Their funding from households paying license fees which cost around 150
pounds per year. License fees provide license to receive broadcast TV in UK and is considered
tax, so its evasion is criminal offence.
- HBO as producer – Their funding from subscriptions with over 40 million subscribers
generating 7 billion dollars per year.
- HDM costs – Around 60 million dollars to produce, 8 million dollars per episode, making it
BBC’s most expensive drama show ever produced.
- BBC used HBO – Allowed BBC to access greater source of finance to increase HDM’s quality
by increasing production costs.
- Creating programs for international audiences – Producers creating programs for
international audiences typically need to invest more funding to distribute internationally, so
increases their risk as there is no guarantee that program will make profit. It is also difficult
to target international audience as each nation has its own dominant values which can affect
way audience positions themselves to dominant reading. This makes it hard to appeal to all
audiences as conforming to 1 nation’s dominant values to resonate with that nations
audience could backfire in another nation with oppositional values. For example, non-
Christian cultures would not hold negative reception to evil representation of Christianity
with Magisterium in HDM. However, Christian cultures would take offence to same
representation of Christianity, so would take oppositional reading and take no interest in
show. This makes it very difficult to capture fully international audience as it is hard to please
each of them.
- BBC and HBO needed HDM – BBC and HBO felt need to invest large amounts of funding to
produce and acquire rights to HDM in response to change of teenager viewing habits,
switching from broadcast TV to streaming services, and growing demand for fantasy media,
from shows like Stranger Things, and Rings of Power.
- Multi-channel, multi-platform TV landscape – This landscape allows BBC and HBO to increase
its marketing output without largely increasing its marketing expenses. BBC can market
through its various networks, such as through TV, social media, or radio. HBO can market
through its links to other integrated companies, such as CNN, Cartoon Network, and Warner
Bros. However, this leads to having large amount of competition and audiences having large
amount of consumer choice. This leads to audiences being fragmented, making it difficult to
garner higher audience figures as BBC and HBO have to compete with other large
competitors, such as Netflix or Hulu.
- Regulations – BBC is regulated by OfCOM (Office of Communications) that oversees all media
products ensuring they comply with code of conduct, non-compliance can lead to fines or
having their license removed. They regulate which products are broadcasted before 9PM
watershed. It is difficult for OfCOM to regulate media products outside of UK

CSP 11 – Dr. Who’s an Unearthly Child

- BBC sci-fi TV show with Guinness World Record for longest running sci-fi show in world,
running from 1963-1989 and brought back in 2005 with almost 900 episodes. Plot involves
Doctor travelling through space-time on TARDIS (Time and Relative Dimension In Space) to
prevent evil from harming innocent lives or changing history. There have been 15 Doctors,
 each transition explained by reincarnation into next. There have been several reoccurring
villains, such as Daleks, Cybermen, Master.

1. Barbara and Ian, who are science and history teachers, discuss about gifted student, Susan.
2. Susan makes strange facial expressions and suggests that she is alien and time traveler.
3. Barbara and Ian investigate Susan’s address which leads to junkyard.
4. Barbara and Ian meet doctor, Susan’s enigmatic grandfather, but denies knowing Susan.
5. Barbara and Ian force their way into TARDIS (Time and Relative Dimension In Space).
6. Susan and Doctor reveal they are alien refugees and time travelers from another planet.
7. Susan begs to stay on Earth but Doctor sets TARDIS to new destination.
8. TARDIS travels through space-time and arrives in new planet.

- Genre – Category of media product that follows specific codes and conventions which can be
combined with genres to form hybridity. Episode’s genre is sci-fi.
- Narratives – There’s absentation as Susan leaves Barbara and Ian in school to go home,
there’s departure as Barbara and Ian leave school to visit her address, there’s first function of
donor as Barbara and Ian meet Doctor and insists they don’t know Susan, there’s guidance as
Barbara and Ian are transported through space-time, there’s unrecognized arrival as Barbara
and Ian arrive in another, deserted planet, there’s pursuit as hostile, paleolithic man finds
them. Sci-fi narrative, such as including time-travel, aliens.
- Iconography – Sci-fi elements, such as TARDIS being teleportation device, TARDIS control
being electronic/futuristic, TARDIS interior is metallic/futuristic with abstract designs. CGI
being time travel.
- Characters –
- Doctor represents new technological age of discovery in 1960s, he is Time Lord with
eccentric, distracted, dark personality from planet Gallifrey who travels through space-time
on TARDIS with human companions who ask questions to act as audience surrogates to
provide exposition. They’re symbol of divine intervention, symbol of struggle between good
and evil.
- Barbara and Ian represent traditional human values of middle class, they are science and
history teachers so offer advice to Doctor when travelling through space-time on TARDIS.
They act as audience surrogates so doctor can provide exposition. They are symbol of unique
human traits, such as empathy, act as parents to Susan since they’re naïve, they reinforce
gender stereotypes.
- Susan – Relatable to young target audience and acts as translator between human confusion
of Barbara and Ian and alien madness of Doctor. Susan is naïve but aware of Doctor’s alien
madness so provides exposition.
- Setting – Settings provide familiarity, such as school. Settings provide unfamiliarity, such as
alien palent. Settings appeal to conventions, such as TARDIS futurism. Settings provide
mystery and suspense, such as chiaroscuro of junkyard and foggy London.

- Target audience – Younger, family, working class demographic. This is because BBC is
committed to their mission to “inform, educate, entertain” citizens in UK, particularly
children, since in cultural context television industry in UK mostly compromised of younger
children entertaining themselves with television after tiring day of school. Not only was
media landscape limited in its forms in 1960s, being mostly as newspaper, books, or radio for
everyday life, but TV only had 2 channels, BBC/ITV. Thus, BBC would have to appeal to mass
audience of children/their families to compete with ITV. Working class was also targeted.
This is because culturally, watching TV in UK was popular form of family past time, especially
when mother was tired from performing all domestic work, such as cleaning, whilst father
from working his job.
- Visceral pleasures – In An Unearthly Child, episode is cultural relic that would be well known
as start of media franchise, with Doctor Who extending to over 40 seasons. The mise-en-
scene lacks color, which culturally reflects technological limitations of time. It also lacks high-
definition, which also reflects thereof. These visuals can be very appealing to audiences of
today, particularly older demographic who saw this product when it originally aired as child,
which can evoke feelings of nostalgia. As result, audience can relive/reminisce
joy/excitement of their youth through episode, giving audience visceral pleasure.
- An Unearthly Child also utilizes narrative techniques that can be enjoyed regardless of time
period it was watched. At end of episode, there is cliff hanger where episode ends at
disruption of TARDIS being transported to unknown, barren, potentially hostile environment
before shadow takes up screen. This sign acts as enigma code to audiences even of today, as
it evokes sense of mystery, such as who is making that shadow? What’ll happen next now
that they’re somewhere unfamiliar? This can be exciting/thrilling to find out, resulting in
giving audience visceral pleasures.
- Cerebral pleasures – Show is also educational. Flashback scenes of Susan forgetting when
Britian adopted decimal system for currency/being corrected teaches audiences historical
knowledge of country they live in. This can be satisfying to audiences of today, particularly
British demographic, as it offers window of world that they’ve grown up in, but at later time.
Learning new things associated to audience’s identity, such as past of their country of origin,
can be very appealing. Thus, this gives audiences of today cerebral pleasures.

- Production process – Unearthly Child had vastly different production processes to that of His
Dark Material. In An Unearthly Child, shots were done live to video tape. This means shots
were filmed lived/cut to different shots/cutscenes live before being distributed to broadcast
TV. In contrast, His Dark Materials had access to digital storage, being able to store camera
shots in SSD drives/back up data to cloud, allowing for more shots to be made with more
security. Unearthly child also prioritized color palettes significantly less, more-so value of
colors on camera. This reflected limited technological advancements at time, since colored
video was highly inaccessible/impractical for broadcast television with low budget of 2300
pounds. Meanwhile, His Dark Materials had access to colorization thanks to technological
developments in digital technology. Commissioning was also vastly different. For AUC, it only
took enthusiastic persuasion from Newman to convince BBC to air Doctor Who. For HDM,
they have had to deal with complex commissioning procedure of 21st century to be greenlit.
This is because of numerous amount of people involved in different departments of BBC
entertainment, due to large product portfolio of BBC’s media products, including
commissioning for drama/comedy TV, amongst their educational products, BBC Bitesize.

- 4 million watched first episode for AUC

- More representation of women playing more active roles reflects changing dominant values
of 1960s. There’s still traditional stereotypes, such as Ian being strong whilst Barbara was
weak. There’s also positive representation of teenager through Susan, which culturally
subverts much of media film portrayals of teenager, that demonize teenagers to be
hooligan/cause for trouble. There is lack of BAME community since historically, there were
little political movements/rights to minority subcultures.

- Casting of several BAME community shows progression of dominant values of Western

society, casting Amir Wilson/Lin-Manuel Miranda to play significant roles.
- There is also more negative representation of religion, which reflects changing dominant
values of Western society. It can be argued that religion is imposed by cultural hegemony of
 Western politicians, such as Donald Trump, however, there is clear shift with more leftwing-
leaning politicians, such as Joe Biden.
- There is also breaking of traditional stereotypes, with Lyra being charming tomboy whilst
William is empathetically feminine.

- Overshadowed by john f kennedy so reaired later

- Bbc has monopoly at first until 1950’s, such as a for andromeda
- Newman was hired after struggles in bbc
- There was a market for time travel and gap in the broadcast
- 2300 budget and 500 budget
- There was a continuity editor
- Hartnell played doctor who
- He has Edwardian outfit
- Ford played Barbara
- Hussein and Cobrin were the directors
- Electronic effects and kaleidoscopsic and basic typographic, like time and space is breathing,
but doctor who stands out, hissing interluding are vibrating
- Barbara appears like Audrey Hepburn
- Ian is closeminded and Barbara is open minded at the end, but its opposite in the beginning.
- Doctor is idiosyncratic and breaks 4th wall. And narcissistic. And mean about red Indian. He
thinks of humans as playthings.
- Production is doing parts live (?)
- Caveman can be seen as adam and eve / macbeth

CSP 12 – Tatler Magazine

1. Language:
- Print codes –
1. Design/layout – Denote simplicity/minimalism with only few elements/colors. This is
conventional amongst other high-end fashion magazines, such as Vogue, communicating that
Tatler is fashionable/luxurious brand. This helps target high-income demographic, especially
those who regularly consume fashion media.
2. Color palette – Denotes large amount of green from Longleat garden background which is
associated with money. This connotes that Emma Weymouth is not just wealthy, but
abundantly so. This helps resonate with high-income demographic.
- Typography – Combination of serif font for masthead/san-serif font in cover lines create
juxtaposition between both elements. This highlights how despite serif font connotes that
Tatler is old brand/san-serif font connotes modernity, Tatler actively seeks to cover
new/contemporary stories to be up-to-date/relevant, especially in competitive magazine
market.
- Symbolic code – Dominant signifier is Emma Weymouth, which has very luxurious dress. This
costume in mise-en-scene connotes royalty which is anchored by main cover line that she’s
new “Marchioness of Bath.” This helps target upper class British audience/psychographic
interested in celebrity/royalty.
- Verbal code – Cover line of “See EU later!” is word play of “EU”/”See you later!” This
connotes playfulness/fun, communicates that they’re happy about Brexit, as if they’re
excited about leave. This helps target upper class British audience who are highly educated,
especially those who regularly consume political media. Love in the time of Corona reference
- Non-verbal code – Body language of Emma Weymouth denotes direct eye contact with
camera. This connotes confidence that subverts essentialist stereotypes of all women being
 shy whilst men are all outgoing, communicating Weymouth as powerful. Perhaps challenging
readers to prove her nobility wrong. This targets female demographic, especially those who
are feminists.

- Portrayal of aspects of reality/viewpoint –

1. Upper-class is having fun – Partygate
2. Upper-class is becoming more diverse –
3. Conservatism is good –

- Conformity to conventions –
1. Masthead
2. Words/phrases with all capital letters
3. Model directly looking at camera

- Narrative devices – narrative devices such as character, setting, narrative conflicts and their
resolution
1. Action codes –
2. Enigma codes –
3. Setting –

- Enigma –

2. Representation:
- Individuals –
- Emma Weymouth – Mention underrepresentation or misrepresentation
- Max Johnson –
- Groups –
- Women –
- Men –
- BAME –
- British –
- Upper class –
- Places –
- Britain –
- Longleat –
- Issues –
- Brexit –
- COVID-19 –

- Stereotype uses –
1. Make media product easily decodable – Communicate lots of information in short amount of
time that readers understand.
2. Cater to audience’s viewpoints – Reduces financial risk/persuades readers into buying
magazine.
3. Enforce values –

- Audience interpretation –
- Gender – How do audiences interpret the representations on the cover of Tatler and how are
these interpretations influenced by the identity of the reader?
- Age –
- Ethnicity –
 - Social class –

3. Context:
- Preferred coverage –

- Cultural context –
- Coverage of people –
- Coverage of issues –

- Social context –
- Values –

CSP 13 – Heat Magazine

1. Language:
- Print codes –
1. Design/layout – Denote complexity, with several different font sizes, bubbles, images
arranged compactly.
2. Color palette –
3. Typography –
- Symbolic code –
- Verbal code –
- Non-verbal code – Please include combinations

- Portrayal of aspects of reality/viewpoint –

1.
2.
3.

- Conformity to conventions –
1. Masthead
2. Words/phrases with all capital letters
3. Barcode
- Subversion to conventions – Vulgar language “Badass”

- Narrative devices –
4. Action codes –
5. Enigma codes –
6. Setting –

- Enigma –

2. Representation:
- Individuals –
- Victoria Beckham – Mention underrepresentation or misrepresentation
- Cheryl –
- Liam Payne –
- Groups –
- Men
- Women
- BAME –
- Celebrities –
 - Issues
- COVID-19 –

- Stereotype uses –
- Make media product easily decodable – Communicate lots of information in short amount of
time that readers understand.
- Cater to audience’s viewpoints – Reduces financial risk/persuades readers into buying
magazine.
- Enforce values –

- Audience interpretation –
- Gender – How do audiences interpret the representations on the cover of Tatler and how are
these interpretations influenced by the identity of the reader?
- Age –
- Ethnicity –
- Social class –

1. Context:
- Preferred coverage –

- Cultural context –
- Coverage of people –
- Coverage of issues –

- Social context –
- Values –

CSP 14 – I, Daniel Blake

1. Industries:
- Independent cinema – Low-budget films not produced by 5 major film studios (Universal
Pictures, Sony Pictures, Paramount Pictures, Warner Bros., Walt Disney Studios). Film is
British, social realism, independent movie regarding effects of austerity cuts on old man,
Daniel Blake.
Director power – Ability that director can be used as USP for product to attract consumers.
Ken Loach has high director power as award-winning British, Left-wing film maker famous for
social-realist films.

- Production companies –
1. Sixteen Films
2. Wild Bunch
3. Why Not Productions

- Production budget – Undisclosed but was low budget that can be estimated at 4 million
pounds.
- Sources of funding –
1. BFI (British Film Institute)
2. BBC Films
3. EU’s Creative Europe Fund

- Age rating – 15 BBFC certificate due to very strong language used throughout

- Marketing company – eOne

- Audience targeting –
1. Guerrilla marketing – Unconventional, low-cost advertising strategies to create social
buzz/attention/interest in consumers that can spread advertising via word of mouth to go
viral. Film had used high-pressure hose/stencils to create “clean graffiti” on 200 dirty
pavements, projected film’s title/one of speeches onto Houses of Parliament.
2. Trailers – Short advert that includes highlights, release date, film credits of film before
release. Film had trailer including highlights of Daniel Blake’s dialogue, positive reviews from
film critics, hashtag of #IDanielBlake.
3. Other techniques – Labor Party politicians invited as special guests to London premiere,
social media campaign of people affected by austerity cuts reading out Daniel Blake’s final
speech/personal messages, collaboration with Daily Mirror that gave free tickets to
readers/changed masthead into film’s graffiti font.

- Merchandise tie-ins – T-shirts, mugs, posters with “I, Daniel Blake” in film’s graffiti font.
- Multi-media platforms – Helped market/exhibit film.
1. Physical – DVD/Blu-Ray
2. Digital – YouTube, Google Play Movies, Amazon Prime Video Netflix

- Distribution company – eOne

- Film distribution – World premiere was at 2016 Cannes Film Festival in France, UK premiere
was in Newcastle in 2016 where film was shot. Film premiered at over 30 film festivals/36
cinemas globally with limited released in USA/Canada.

- Multi-media platforms – Helped market/exhibit film.

1. Physical – DVD/Blu-Ray
2. Digital – YouTube, Google Play Movies, Amazon Prime Video Netflix

- Reception –
1. Audience – 16 million dollars at global box office, mostly in France/UK.
2. Critics – BAFTA Award for Best Picture, Palm d’Or at 2016 Cannes Film Festival in France.

- Globalization – Increasing free movement of goods, services, media, values across

international borders.
- Hollywood domination effects on national cinema production worldwide–
1. Hollywood domination leads to cultural imperialism allowed by globalization.
2. American media exerting dominance in other countries leads to normalization of American
values/ideologies globally.
3. This can lead to cultural homogenization, losing uniquely local cultures in favor of global
American culture.
4. Thus, national cinema production outputs more American-aligning films.

2. Context:
- Historical –
- Social –
 - Cultural –

- Producers resist American domination of international film industry – What methods do

producers use to resist the American domination of the international film industry?
- Financing/production differences between blockbusters/indie films –

CSP 15 – Black Widow

1. Industries:
- Blockbuster – High-budget films produced by 5 major film studios (Universal Pictures, Sony
Pictures, Paramount Pictures, Warner Bros., Walt Disney Studios). Film is Marvel, Hollywood
blockbuster about Black Widow’s backstory that’s first part of “Phase Four” in MCU (Marvel
Cinematic Universe).

- Production company – Marvel Studios

- Patterns of ownership –
3. Demerger – Company splits into separate parts. Marvel Studios was demerged from Marvel
Entertainment in 2015 when it was transferred to Walt Disney Company.
4. Takeover – Company is taken over by another. Marvel Studios was acquired to become
wholly-owned subsidiary of Walt Disney Company via acquiring Marvel
Entertainment/intellectual property of Marvel Comics, like Ironman, in 2009.
5. Concentration – Cross-media ownership is Increasing amount of ownership of media by
fewer stakeholders. Walt Disney Company is conglomerate that increased amount of
media/intellectual property they own by acquiring Marvel Entertainment.
6. Convergence – Coming together of media forms or organizations to create new media
product or experience. Walt Disney Company acquiring Marvel Entertainment shows
convergence between media organizations.

- Production budget – 200 million dollars

- Reasons for funding blockbusters – High budgets allow for benefits leading to large profits.
1. Cast actors with high star power, ability for actor to be used as USP of product to attract
consumers. Film hired Scarlett Johansson with high star power to be lead actor
2. Increase production quality with large skilled crew/cast, high-quality sets/props, advanced
technology/CGI. Film uses several shot locations from US, UK, Hungary, “bus full” of
cameras/lights available on set, large amount of CGI from around 20 special effects
companies.

- Increasing diversity in film industry – Film was directed/casted to be largely female with
director Cate Shortland/lead actor Scarlett Johansson as Black Widow with Florence Pugh as
Yelena.

- Age rating – 12A BBFC certificate due to moderate violence/injury detail.

- Audience Targeting – Done through marketing.

1. Women – Released International Women’s Day greeting from Scarlett Johansson with
Florence Pugh/2 Black Widow Barbie dolls of her black/white costume in 2020.
2. Young – Released Black Widow in white costume to Fortnite game/audience interactions
with Black Widow cast/crew hosting games/Q&A sessions on Twitter in 2020.
3. Comic fans – Released Three new Black Widow comics released focusing on film’s characters
in 2020.
4. Marvel fans – Released Black Widow special episode on Marvel Legends on Disney+.
5. Global audience – 30 brand sponsorships with large companies, such as BMW, Ziploc, Geico.
- Distribution –
1. Traditional – Cinema
2. Digital – Disney+ streaming service, 2021 digital download by Walt Disney Studios Home
Entertainment, Blu-Ray/DVD.
- Differences in distribution from previous MCU movies – Several changes due to COVID-19
pandemic.
1. Premiere was significantly delayed from May 2020 to June 2021, whilst previous MCU
movies typically weren’t significantly delayed.
2. Several simultaneous global premieres with different stars each that invited fans, whilst
previous MCU movies typically had single, private invite-only world premiere.
3. Simultaneous release in cinemas along with Disney+ streaming service with temporary 30-
dollar additional fee to watch due to many cinemas being closed/worry of going from
consumers, whilst previous MCU movies typically were released in cinemas, then released on
Disney+ streaming service after 6 months.

- Star power effects on production/marketing – Film casted actors with high star power, like
Scarlett Johansson/David Harbour.
1. Secure funding – Stars have pre-sold audience, decreasing risk of film making loss. Scarlett
Johansson has fans from being Black Widow in Avengers movies, David Harbour has fans
from being Jim Hopper in Stranger Things.
2. Influence production decisions – Stars can be central to success of media product, so
producers may have to listen to creative or strategic suggestions. Scarlett Johansson insisted
that Marvel employ a female director, so Marvel hired Cate Shortland.
3. Increase marketability – Stars have pre-sold audience/can be used as USP to add value to
film, so can charge higher prices to consumers/increase revenue.

- Audience response – 400 million dollars in box office

- Global audience – Large investment needs large revenue. Global audiences allow Marvel
Studios to increase chances of high revenue from box office/merchandising whilst benefitting
from marketing economies of scale, advertising to large audiences to lower average costs,
allowing Marvel Studios to break even.

- Globalization/streaming services effects on film industry – Globalization is Increasing free

movement of goods, services, media, currencies, beliefs across international borders.
Globalization/streaming services allow Hollywood blockbusters ability of distributing
internationally to be commercially successful/to allow cultural imperialism of American
media on other countries to dominate media consumption in foreign film industries.

- Cultural imperialism – Domination of country’s media in other countries to normalize their

values/ideologies.
- Black widow exemplifies cultural imperialism of America – Hollywood blockbusters can
almost guarantee commercial success with large production, marketing, distribution budget,
making it difficult to independent/national cinema in other countries to compete.

2. Context:
- Historical context –
- Social context – You will consider how the film reflects changing cultural values, particularly
in relation to the film industry (such as the importance of film franchises and the popularity
of certain genres).
- Cultural context –
 - Diversity – Your study of Black Widow provides scope for investigating broader cultural and
historical debates about diversity in the film industry.
- Social impact of streaming services on producers/audiences –
- Social impact of COVID-19 on media producers and audiences –

CSP 16 – Daily Mirror

1. Language:
- Print codes –
1. Headline – “Back of net” is football idiom that connotes Lineker is winning compromise deal
to return. It’s combined with “?” to connote that it’s not confirmed. This targets working
class that enjoys football/Match of Day.
2. Design/layout – Lineker image is very big to signify power/importance of Lineker. Images of
Mr. Davie/sharp are very small, signifying weakness/unimportance. Design denotes mostly
images/less words that are put in columns on grids to connote small, easy read that targets
working class readers.
3. Color palette – Red signifies left-wing/pro-labor party political lean to targets left-wing
readers. Black connotes that Lineker being removed is serious matter.
3. Typography – Headline is in bold to connote importance. Headline is San-serif, connoting
modernity. Secondary headline is in serif to connote confidence/trust in compromise deal
leading to Lineker returning. Military font in inside page connotes there is heavy conflict.
- Symbolic code –
1. Lineker has smug grin, connoting confidence/power that he will return for Match of Day.
2. Mr. Davie/Sharp have unfriendly facial expression, connoting unlikability/hostility that helps
target left-wing readers who dislike Tory acts of them both.
- Verbal code –
1. “Mirror” in masthead connotes they are reflecting values/thoughts of target readers to
address them. “Newspaper of Year” in masthead signifies they’re superior than competitors
in market.
2. “Hope” in secondary headline connotes positivity about Lineker returning. “Peace deal” in
secondary headlines connotes there is chaos/they are trying to subdue it.
3. “Infuriating”, “thrashed”, “want his scalp” in standfirst is negative language that connotes
Tories are hostile/angerly out of control.
4. “Beeb”, “Get in!”, “Get out”, “axing” is a Informal mode of address that targets working class.
“It seems they want to pick/choose when to be impartial” is repeated to signify doubt of
BBC/government to target working class readers that are anti-government.

- Features of newspaper genre –

1. Masthead
2. Headline
3. Byline

- Features of tabloid newspaper genre –

1. Small text to images ratio
2. Informal mode of address
3. Emotive language

- Narrative codes – Maintain interest/appeal for readers

1. Enigma codes – “?” in headline creates ambiguity that persuades readers to read inside to
find out if Lineker will return to Match of Day. “I can’t say anything” is said by Lineker at end
 to be create more enigmatic tension so readers can be persuaded to read next edition when
update is made.
2. Action codes – “progressing very positively” suggests that Lineker will be reinstated for
Match of Day, this eases tension made by enigma in headline. Mr. Davie “[ruling] Linekers
tweet was in breach of BBC impartiality guidelines” suggests that Lineker wont be reinstated
after peace talks, creating tension between what was previously implied with readers’
desires/what’s suggesting will happen to persuade reader to keep reading in hopes of getting
explicit answer.

2. Representation:
- Individuals – Mention underrepresentation or misrepresentation/ construct version of
reality/viewpoints that reflect ideology/gender, ethnicity, age, social class
- Groups –
- Places –
- Issues –

- Stereotype uses –
1. Make media product easily decodable – Communicate lots of information in short amount of
time that readers understand.
2. Cater to audience’s viewpoints – Reduces financial risk/persuades readers into buying
magazine.
3. Enforce values –

- Audience interpretation –
- Gender – How do audiences interpret the representations on the cover of Tatler and how are
these interpretations influenced by the identity of the reader?
- Age –
- Ethnicity –
- Social class –

3. Audiences:
- Target readership – Older demographic of 35+, working class demographic of C2DE NRS
social grades, Labour-party-valued psychographic who expects easy-to-read/short news.

- Readership targeting –
1. Price – Times charges low price of 1.20 pounds for print newspapers to target lower class
demographic of C2DE NRS social grades.
2. Subscription – Daily Mirror offers 3 subscription models from digital, home delivery, voucher
deals starting from 1.25 pounds per week to target readers who are loyal to Daily Mirror or
very interested in newspapers/want cheap prices.
3. Platform availability – Daily Mirror offers cross platform availability on print for traditional
readers or digital website for readers who seek convenience to target more segments of
market.
4. Advertising – Daily Mirror has social media account with 500 thousand followers to promote
Daily Mirror content to target active audiences.
5. Product portfolio – Daily Mirror website also has webpages for bingo/gambling, competition,
e-shop with discounts to target working class demographic who seek gaining financial
rewards or benefits.
6. Design – Times follows codes/conventions of tabloid newspapers, including small text-to-
image ratio, informal mode of address, simple analysis to appeal to target readership.
- Uses/gratifications – Include pleasures
1. Diversion – Daily Mirror has humorous comic strips of Perisher/weird news section on
website to evoke visceral pleasure/crossword puzzles to play/solve to evoke cerebral
pleasure. This allows readers to relax/escape stresses of reality.
2. Personal relationships – Daily Mirror has lifestyle articles of columnists on opinion articles
that give their personal opinions to allow readers to develop sense of personal connection to
specific columnists.
3. Personal identity – Daily Mirror has lifestyle articles on gaming, food, fashion to reinforce
reader’s lifestyle. Daily Mirror’s columnists have political bias to tory values that is reflected
in representation of stories/choice of language in news to reinforce reader’s political values.
villainize Torry politicians.
4. Surveillance – Daily Mirror has top stories/news with simple analysis of information about
political/financial UK/world events that readers can use to be educated, satisfied of their
curiosity, evoke cerebral pleasures.

- Audience type – Daily Mirror positions audiences to be active by having comment sections
on articles on website for users to post their opinions/thoughts, “Got a Story?” webpage for
users to submit their own story, competitions webpage for users to join.

- Negotiated reading –
1. Some ethics-focused psychographic may not fully trust preferred reading of integrity of Daily
Mirror due to being member of IPSO with anti-Leverson Editors’ Code of Practice.
2. Centrist psychographic may reject some political ideas in preferred reading of Daily Mirror’s
columns with political bias to tory values that its correct but some ideas are wrong..
- Oppositional reading –
1. Some ethics-focused psychographic may fully reject preferred reading that Daily Mirror is
ethical due to being member of IPSO who doesn’t have compulsory arbitration for all
members/hasn’t fined any publishers for any breaches in conduct.
2. Tory-leaning psychographic may fully reject preferred reading of Daily Mirror’s labor values
being correct.
3. Upper class demographic of ABC1 NRS social grades may fully reject preferred reading of
Daily Mirror being worth reading, perceiving it as too short/unintelligent.
4. Younger demographic of under 35 may fully reject preferred reading of Daily Mirror being
worth reading, perceiving it as too long/boring to read.

4. Industries:
- Market position – Tabloid
- Circulation – 12% year-on-year drop to 350000 copies in August 2021.
- Branch reach – Daily Mirror, Sunday Mirror, Sunday People, [Link] was 32 million per
month in May 2021.
- Changes in readership figures –
1. Readership has decreased due to advancement in technology from television to convergent
technology of digital platforms/internet. These new technologies eliminated newspaper
industry’s domination over mass media. Newspapers are no longer senders in linear model
of communication/only media producers who set agenda.
2. Prosumers/influencers can generate/post their own content on social media platforms with
own encoded messages that can go viral to influence public agenda.
3. Print newspapers who charge price per edition or subscription struggle to compete
commercially with digital news websites who offer free news without making loss.
 - Response to decline – Daily Mirror launched website [Link] that’s free to access
funded by selling advertising space. Over 50% of advertising revenue came from digital
adverts.

- Daily Mirror with other Reach PLC products – Daily Mirror offers tabloid newspapers from
Monday to Saturday, Sunday Mirror is sister newspaper that offers tabloid newspapers on
Sunday. Sunday People is newspaper that also offers tabloid newspapers on Sunday.
- Convergence –
1. There’s digital convergence of newspapers moving towards digital platforms launching
websites to read their articles with advertising or paywalls to remain commercially
successful.
2. There’s convergence of companies merging/acquiring each other to increase concentration
of ownership. Daily Mirror, People, Northern/Shell was acquired by horizontally integrated
conglomerate Reach PLC to have large cross-media ownership of newspapers/websites
across UK.
- Regulation – British newspapers are self-regulated by IPSO (Independent Press Standards
Organisation) or IMPRESS (Independent Monitor of Press).
1. Biggest newspaper publishers, like News UK, are members of IPSO. Smaller newspaper
publishers, like Canary, are members of IMPRESS. Some newspaper publishers, Guardian, are
not members of either.
2. IPSO – Has anti-Leverson Editors’ Code of Practice to allow for more press freedom, no
influence over British politics, less severity of punishment if code is breached since IPSO
rarely imposes fines without over-compromising ethics.
3. IMPRESS – Has pro-Leverson Standards Code to ensure fully ethical practice compliant to
Leverson’s recommendations of independence/strict enforcement of fines if necessary.
IMPRESS is recognized by PRP (Press Recognition Panel) created by Royal Charter after
Leverson Inquiry demonstrated need for regulatory change after News International phone
hacking scandal.

5. Context:
- Press –
- Press freedom – For/against arguments
- Press intrusion – Ethics/working practices of newspaper journalists

- Political context – you will need to investigate political leanings and how they are reflected in
the content you have studied

CSP 17 – The Times

- Print codes –
1. Design/layout – Text is organized into grid to signify order/professionalism to target upper,
well-educated readership who expect high-quality news. Large text to image ratio to connote
that newspaper is informational/well-analyzed. Follows inverted pyramid of information
from most to least important to conform to codes/conventions of broadsheet newspaper.
2. Color palette – Blue to signify trust/reliability, yellow is polysemic but signifies BBC sports,
black connotes seriousness/professionalism, white background connotes that it’s traditional
broadsheet newspaper as it conforms to codes/conventions of broadsheet newspaper.
3. Typography – Mainly serif-font to signify professionalism, credibility, traditionalism. There is
some San-serif font to connote that Times is modern newspaper with edition that has
modern news.
- Verbal code – “Solidarity” is in quotes as though it were scare quotes to signify
doubt/disapproval for them supporting Lineker. “Cry foul” in subheading to signify that BBC
 stars are weak/fragile, copy calling situation “dramatic” implies that public is overreacting.
Semantic field of harm with “forcing” BBC/“abuse” online to signify that public, specifically
Labor-leaning public upset that Lineker was removed for his tweet, is harmful/malicious.
Subheading of “seek truce” implies battle between BBC/public. “Give bosses some time to
work it out” evokes forgiving/sympathetic tone that signifies that Davie is being
unreasonably put under distress. “We need [Davie] back running ship” connotes that Davie
will bring everything back in control.
- Times conforms to codes/conventions of broadsheet newspapers to communicate to
readership that Times is part of genre which appeals to upper class demographic who expect
high-quality, serious news.

- Features of newspaper genre –

1. Masthead
2. Headline
3. Byline
- Features of broadsheet newspaper genre –
1. High text to image ratio
2. Formal mode of address
3. Non-emotional language

- Narrative codes –
1. Enigma
2.

4. Representation:
- Individuals – Mention underrepresentation or misrepresentation/ construct version of
reality/viewpoints that reflect ideology/gender, ethnicity, age, social class
- Groups –
- Places –
- Issues –

- Stereotype uses –
1. Make media product easily decodable – Communicate lots of information in short amount of
time that readers understand.
2. Cater to audience’s viewpoints – Reduces financial risk/persuades readers into buying
magazine.
3. Enforce values –

- Audience interpretation –
- Gender – How do audiences interpret the representations on the cover of Tatler and how are
these interpretations influenced by the identity of the reader?
- Age –
- Ethnicity –
- Social class –

4. Audiences:
- Target readership – Older demographic of 35+, Upper class demographic of ABC1 NRS social
grades, Torry-valued psychographic who expects in-depth analysis of important news.

- Readership targeting –
7. Price – Times charges high price of 2.50 pounds for print newspapers to be perceived as
premium/high quality to target upper class demographic of ABC1 NRS social grades.
8. Subscriptions – Times charges 1 pound for 6 months then 10 pounds thereafter to offer
discounts on print, unlimited access to digital articles/puzzles, video exclusives to target
readers who are loyal to Times or very interested in newspapers.
9. Platform availability – Times offers cross platform availability on print for traditional readers
or digital website for readers who seek convenience to target more segments of market.
10. Advertising – Times has social media account with 1 million followers to promote Times
content to target active audiences.
11. Design – Times follows codes/conventions of broadsheet newspapers, including large text-to-
image ratio, formal mode of address, in-depth analysis to appeal to target readership

- Uses/gratifications –
5. Diversion – Times has puzzles, including Crossword, Sudoku, Chess, on website/Times2
supplement that readers can play/solve to escape stresses of reality/evoke cerebral
pleasures into readers.
6. Personal relationships – Times has columnists have Comment section about news to give
personal opinions which can allow audience to develop personal connection to specific
columnists.
7. Personal identity – Times has lifestyle features about health, food, fashion on
website/Times2 supplement that can reflect reader’s lifestyle for sense of actual identity.
Times’ columnists can have political bias, especially Tory values, to reinforce readers’ political
values for sense of actual identity.
8. Surveillance – Times has top stories/news with in-depth analysis of information about
political/financial UK/world events that readers can use to be educated, satisfied of their
curiosity, evoke cerebral pleasures.

- Audience type – Times positions audiences to be active by having comment sections on

articles on website for users to post their opinions/having contact us webpage if readers
have any queries.

- Negotiated reading –
3. Some ethics-focused psychographic may not fully trust preferred reading of integrity of
Times due to being member of IPSO with anti-Leverson Editors’ Code of Practice.
4. Centrist psychographic may reject some political ideas in preferred reading of Times’
columns with political bias to tory values in favor of neutral ideas.
- Oppositional reading –
5. Some ethics-focused psychographic may fully reject preferred reading that Times is ethical
due to being member of IPSO who doesn’t have compulsory arbitration for all
members/hasn’t fined any publishers for any breaches in conduct.
6. Labor-leaning psychographic may fully reject preferred reading of Times’ columns with
political bias to tory values.
7. Lower class demographic of C2DE NRS social grades may reject preferred reading of Times
being worth reading, perceiving it as too long with brand that’s detached from working class
interests.
8. Younger demographic of under 35 may reject preferred reading of Times being worth
reading, perceiving it as too long/boring to read.

12. Industries:
- Market position – Broadsheet
- Circulation – 12% year-on-year drop to 370000 copies in January 2020.
 - Brand reach – Times, Sunday Times, [Link] was 15 million people per month in early.
2020
- Changes in readership figures –
1. Readership has decreased due to advancement in technology from television to convergent
technology of digital platforms/internet. These new technologies eliminated newspaper
industry’s domination over mass media. Newspapers are no longer senders in linear model
of communication/only media producers who set agenda.
2. Prosumers/influencers can generate/post their own content on social media platforms with
own encoded messages that can go viral to influence public agenda.
3. Print newspapers who charge price per edition or subscription struggle to compete
commercially with digital news websites who offer free news without making loss.
- Response to decline – Times launched website [Link] that has paywall. Users can
access 2 free articles per week then have to pay subscription to have unlimited access.

- Times with other News UK newspapers – Times offers broadsheet quality newspapers from
Monday to Saturday, Sunday Times is sister newspaper that offers broadsheet quality news
papers on Sunday, Sun offers tabloid newspapers.
- Convergence –
1. There’s digital convergence of newspapers moving towards digital platforms launching
websites that sell advertising space or has paywall to read their articles to remain
commercially successful.
2. There’s convergence of companies merging/acquiring each other to increase concentration
of ownership. Times/Sun was acquired by horizontally integrated conglomerate News UK,
which is wholly-owned subsidiary of conglomerate News Corp, which is owned by Murdoch
Family Trust. Murdoch family has one largest cross-media ownership in world by owning
newspapers/books across UK, US, Australia.
- Regulation – British newspapers are self-regulated by IPSO (Independent Press Standards
Organisation) or IMPRESS (Independent Monitor of Press).
1. Biggest newspaper publishers, like News UK, are members of IPSO. Smaller newspaper
publishers, like Canary, are members of IMPRESS. Some newspaper publishers, Guardian, are
not members of either.
2. IPSO – Has anti-Leverson Editors’ Code of Practice to allow for more press freedom, no
influence over British politics, less severity of punishment if code is breached since IPSO
rarely imposes fines without over-compromising ethics.
3. IMPRESS – Has pro-Leverson Standards Code to ensure fully ethical practice compliant to
Leverson’s recommendations of independence/strict enforcement of fines if necessary.
IMPRESS is recognized by PRP (Press Recognition Panel) created by Royal Charter after
Leverson Inquiry demonstrated need for regulatory change after News International phone
hacking scandal.

13. Context:
- Press –
- Press freedom – For/against arguments
- Press intrusion – Ethics/working practices of newspaper journalists

- Political context – you will need to investigate political leanings and how they are reflected in
the content you have studied

CSP 18 – Radio 1 Launch Day

1. Audiences:
- Target audience –
1. Range – Niche
2. Demographic – Youth
3. Psychographic – Regular consumers of pop music, previously from from pirate radio, such as
Radio London, before Marine Offenses Act 1967 closed loophole that allowed it.
4. Agency – Active

- Preferred reading – Radio 1 is fun, “cool,” youthful, friendly, like pirate radio, such as Radio
London.
- Assumptions about target audience – BBC believed audience of young demographic wanted
more fun/informal hosts with more active engagement/pop music similar to pirate radio,
such as Radio London.

- Audience positioning techniques –

1. Pirate radio host – Used DJ (Disc Jockey) Tony Blackburn, former DJ for pirate radios: Radio
Caroline/London, as host for his Breakfast Show to persuade target audience/loyal fands into
listening, so positions audience to believing Radio 1 as “cool”/exciting with same style as
pirate radio genre.
2. Radio jingles – Happy, light-hearted music accompanying pop music of 1967, so positions
audience to believing Radio 1 is youthful/relatable to target audience.
3. Informality – Tony uses Informal/direct mode of address, such as “c’mon, off you go”, with
informal paralanguage, so positions audience to believing Radio 1 is casual, similar pirate
radio, like audience is listening to close friend.

- Radio 1 Launch Day vs. modern day in accessing/consuming music –

1. Medium – In 1967, music could mostly only be consumed via home radio or portable radio
that had small aerial to receive signals. In modern day, music can be consumed with
traditional radio, mobile phones, computers, many more. This was due to lack of
technological advancements for other devices/lack of disposable income to buy vinyl records
with equipment.
2. Timing – In 1967, music could mostly only be consumed during live radio broadcasts, such as
Radio 1 only live broadcasting from 5:30 AM to 2:00 AM. In modern day, music can be
consumed any time with on-demand streaming services/downloading MP3 files. This was
due to lack of technological advancements for cheaper storage devices
3. Location – In 1967, music that was available was limited by geographic segment of audience,
such as how Radio 1 signals could not be received globally. In modern day, music from all
over world can be consumed all over world via internet. This was due to lack of
globalization/fragmented radio landscape.

4. Industries:
- Funding – 1.25 pounds for radio only/5 pounds with television/radio.
- BBC made significant changes to radio provision –
1. There was gap in market for pop music that would satisfy wants/needs of young
demographic in UK radio industry.
2. Radio Caroline, pirate radio beginning in 1964 that broadcasted offshore of Essex, filled gap
in market by broadcasting pop music to UK.
3. There was increased demand for pop music by young demographic in UK radio industry.
4. BBC noticed increased demand/that their radio programmes didn’t serve young
demographic which goes against their mission to “serve all audiences,” so replaced BBC Light
that broadcasted light music/entertainment, such as comedy, with Radio 1 for pop
music/Radio 2 for other light entertainment; replaced BBC Third that broadcasted
 intellectual arts-based talks/classical music with Radio 3 with similar content; replaced BBC
Home Service that broadcasted news/educational content with Radio 4 for similar content.

- BBC being public service provider affected Radio 1 –

1. Brand image – Being public service provider lead to having professional/organized brand that
young target audience didn’t enjoy. Target audience preferred casual/disorganized brand of
pirate radios, such as Radio London’s. Target audience took oppositional reading that Radio 1
wasn’t “cool” enough, so Radio 1 had negative audience response.
2. Mission to “act in public interest” – BBC’s public service mission was to “act in public
interest” of UK. Musicians Union/Phonographic Performance Limited worried that too much
music broadcasted by radio would decrease record sales, so proposed needle time to BBC to
limit broadcasting music to 7 hours across all 4 BBC radios. BBC having to “act in public
interest” of musicians in UK had no choice but to agree. This dissatisfied young target
audience since they previously could listen to significantly more pop music on pirate radio, so
Radio 1 had negative audience response.
3. Mission to “inform, educate, entertain” – BBC’s public service mission was to “inform,
educate, entertain” audience of UK. This meant that Radio 1 had to be
informational/educational, so simulcasted news in UK with Radio 2. This dissatisfied young
target audience since it didn’t fit pirate radio style of casualness/disorganization which they
expected Radio 1 to fit, so Radio 1 had negative audience response.

- Presenters/effects on style/music of Radio 1 –

1. Tony Blackburn – Pirate DJ from Radio London/Radio Caroline with happy, teenage
personality famous for light-hearted humor/corny jokes. This lead to Radio 1 having
upbeat/fun style.
2. John Peel – Record producer/Pirate DJ from Radio London with passion for music/variety.
This lead to Radio 1 having unique musical approach during “Peel sessions”, constantly
broadcasting psychedelic rock/new music from new bands.
3. Kenny Everett – Pirate DJ from Radio London with crazy sense of humor. This lead to Radio 1
having more chaotic/creative style, being unpredictable to BBC management/playing as
personally-made comic characters, such as “Lobellia” May.

- Success at launch –
- Brand image – Being public service provider lead to having professional/organized brand that
young target audience didn’t enjoy. Target audience preferred casual/disorganized brand of
pirate radios, such as Radio London’s. Target audience took oppositional reading that Radio 1
wasn’t “cool” enough, so Radio 1 had negative audience response. This made Radio 1 less
successful at launch.
- Mission to “act in public interest” – BBC’s public service mission was to “act in public
interest” of UK. Musicians Union/Phonographic Performance Limited worried that too much
music broadcasted by radio would decrease record sales, so proposed needle time to BBC to
limit broadcasting music to 7 hours across all 4 BBC radios. BBC having to “act in public
interest” of musicians in UK had no choice but to agree. This dissatisfied young target
audience since they previously could listen to significantly more pop music on pirate radio, so
Radio 1 had negative audience response. This made Radio 1 less successful at launch.
- Mission to “inform, educate, entertain” – BBC’s public service mission was to “inform,
educate, entertain” audience of UK. This meant that Radio 1 had to be
informational/educational, so simulcasted news in UK with Radio 2. This dissatisfied young
target audience since it didn’t fit pirate radio style of casualness/disorganization which they
expected Radio 1 to fit, so Radio 1 had negative audience response. This made Radio 1 less
successful at launch.
 - Financial struggle – License fees stayed same (1.25 pounds for radio only/5 pounds with
television). This made it difficult for BBC to fund extra station along with other 3, making
Radio 1 less successful at launch.

- Success over decades –

1. Numbers – 20% market share of radio industry in UK in 1993/5% in 2021.
2. Monopolized market – Marine Offences Act 1967 closed loophole that allowed offshore
pirate radios to broadcast, so no commercial radios existed. When commercial radios arrived
in 1970s, it took years for them to broadcast nationally. This meant young demographic had
no choice but to listen to Radio 1 for pop music, making Radio 1 more successful.
3. Used Pirate DJs – Radio 1’s roster of DJs, such as Tony Blackburn, Kenny Everett, John Peel,
had loyal fanbase that carried over to Radio 1. This to loyal audience for Radio 1, making
them more successful.

5. Context:
- Historical context –
- Social context –
- Cultural context – role and relevance of radio in an online landscape by drawing comparisons
with Kiss Radio and other commercial services.
- Political context – An investigation into the role of pirate radio and its suppression by the
government in the period immediately before the launch of Radio 1 will provide a political
context.

- Response to changing demand/pressure –

- Informal in and authority was out “Reithianism”

- Identified 28 categories, such as R&B soul, so “pop” music doesn’t exist. gloriously eclectic
and ever-changing cultural scene with fragmented pop at time.

CSP 19 – Kiss Breakfast on Kiss Radio

1. Audiences:
- Target audience –
1. Demographic – Young of 15-34, British
2. Psychographic – Consumers of pop music
3. Agency – Active

- Targeting audience – On demand Kiss Kube app and available on DAB (Digital accessibility),
wide reach on social media to market. Competitions have aspirational prizes, like winning
holiday and expensive back-to-school bundle giveaways

- Audience appeal – Include needs of audience

1. Music selection – Current chart hits, pop music, strategic playlist timing
2. Presentation style – Informal/conversational tone, youth-oriented language, fast-paced
segments, high-energy informal mode of address
3. Presenters – Relatable, parasocial relationship, contemporary dialogue, light-hearted young
black Jordan/Perri

- Audience-reach over time – Success declined in 2018 but brought in Jordan/Perri to change
refresh show. 2 million in 2018 to 1 million listeners in 2023
- Audience-reach over competitors – Success is less than BBC Radio 1 with 4 million listeners in
2023.

- Uses/gratifications –
1. Diversion – Presentation style, music selection, gossip, reality TV,
2. Personal identity – Presentation style, music selection, presenters
3. Personal relationships – Presentation style, presenters
4. Surveillance – Social media posts of political movements, news and weather in simple
language.

- Preferred reading –

- Contributes to audience identity –

- Jordan/Peel personality
- Jorda/Peel clothes
- Pop-culture music

- Audience interacts with presenters/KISS –

- Listeners send requests/shout outs for friends via social media platforms, such as KISS FM’s
Instagram, Tiktok, Snapchat.
- Audience can like, share, comment, with Perri’s TikTok with over 1 million followers.
- Audience can download KISS Kube app to stream shows on demand.
- KISS

2. Industries:
- BMG –
- Bauer Radio –
- Acquisition controversy –

- BMG demonstrates –
1. Cross-media ownership – BMG owns over 120 radio stations in UK, from KISS FM, KISSTORY,
Kerrang!, Heat radio. They own magazines, like TVChoice. They owned TV shows, The Box TV
2. Concentration – Increasing ownership of media by fewer stakeholder. BMG’s shareholders,
Like Bauer, increasingly own more radio stations, some magazines/TV shows, whilst
competitors own less.
3. Convergence – BMGs takeovers of radio networks shows media companies come together
through mergers/acquistions. 80% of listeners of BMG’s radio stations listen on digital
devices.

- Funding –
1. BMG primarily generates funding from selling audiences to advertisers.
2. They sell advertising space to advertisers.
3. They get sponsorships like KISSTORY with KFC or social media ad sponsorships or.
4. Ticket sales from Live KISS radio events

- Synergy from brands/products – Different radio stations can cross promote each other/share
resources for equipment/information. This decreases average costs/improve brand
recognition. Kiss radio network, Kerrang! Heat Radio

- Supporting KISS radio network –

1. Social media –
 2. Pop-up/on-demand radio – Pop up radio stations for James Bond/other media products
3. Event organization –
4. Video streaming –

- OFCOM broadcasting codes – 2006 fined for making prank calls, younger loisteners can be
lstenong to avpoid hgetting in trpu le for OfCOM

3. Context:
- Historical context – Contrasts with the Tony Blackburn Breakfast Show will help to develop
your understanding of key developments in the history of radio such as deregulation (the
relaxation of government controls) and the impact of technological and social changes
- Social context –
- Cultural context –

- Radio in digitized media landscape –

NEA – Health Drink Advert

- BBC sci-fi TV show with Guinness World Record for longest running sci-fi show in world,
running from 1963-1989 and brought back in 2005 with almost 900 episodes. Plot involves
Doctor travelling through space-time on TARDIS (Time and Relative Dimension In Space) to
prevent evil from harming innocent lives or changing history. There have been 15 Doctors,
each transition explained by reincarnation into next. There have been several reoccurring
villains, such as Daleks, Cybermen, Master.

- Keeps your organized

- Keeps you smart
- Keeps you healthy
- Keeps you energetic
- Keeps you strong
- Keeps you motivated
- Keeps you fast
- Keeps you precise

- Individualism
- Stealing
- Running
- Gym
- Volleyball

- Unity
- Giving
Running
- Pilates
- Taekwando
 - “And then there was Surge”
- Men digging find Surge

1. Breaking news begin the scene introducing a mysterious crash from the sky.
2. Wide shot of smoke rising from the ground.
3. Transitions from breaking news on camera to panning out of tv and turning to see Klent.
4. He’s on the couch sat in the middle, the mise-en-scene should be clean. He says “This could
be the one.
5. Pan to a board of how to be productive, stronger, faster, better.
6. Cut to Khent going out of the kitchen door, looking into camera then out into the open door.
7. Smoke in scene and camera moves to see Klent walking towards it.
8. Void black shot from drink on camera, then Klent picks it up, close up of him drinking. It cuts
to a shot of him raising it high, it’s a still shot and says “let there be Surge!”
9. Burts of light and red lightning special effects on Klent.
10. Wide shot of Klent running to home building.
11. Exercising with clones, he breaks a sweat after being done walking out until Khent steals the
drink. Klent says “No wai-“ “Let there be surge!”
12. Woman saying “Khent is so bad at volleyba-” Shots of Khent playing volleyball montage and
spiking and shaking the ground. POV Sniping shots. Everyone is cheering KHENT!!! IM YOURE
BIGGEST FAN
13. They’re arguing for surge.
14. “Be king of the hill”

1. WOMEN ARE SPIES AND TRANSITION FROM WALKING IN HALLS WITH MAIN TO QUICKLY
MOVING AND CUTTING TO THEM STUDYING IN CLASS EFFECT

1. POV shot. Woman wakes up in a spy headquarters (school). 2 women greet and welcome
them into the organization; they’ve been “personally selected”.
2. They give them a tour and explain that they’ve been conducting experiments on a new
powerful drink that can change women’s lives. (demonstrate with shots of the Y12 women
studying without their senior jackets; it’ll accompany shots from outside the classes’ glass
window of women displaying supernatural powers).
3. Specific shot of 1 of the women saying “and even I’m still learning!” then transition and cut
to shot of one in chair and one standing and teaching then transition and cut back to them in
hallway.
4. Woman is in denial, but women give them anecdotes and flashbacks. “When I needed it,
Surge helped me become Taekwando champion. overwhelmed but women reassure them
and hands them a drink, asking her to say “let there by Surge!”
5. Burst of light and red lightning special effects on woman. “No go catch them dreams queen.”
6. She starts running for race, and wins. Transitions to shots of Surge with fruit falling
7. Women on couch all drinking surge and laughing and looking very healthy in background
8. You are stronger than they want you to be.
9. Shot of surge among crashed cans of other energy drinks.

“Success is only how hard you try. Surge is the first energy drink built with your health in mind with
only the purest natural ingredients rich with vitamin B and C so that you can make your energy their
enemy. After all, you are stronger than they want you to be. Surge Energy. Quench your urge to
Surge.

1. Emma Weymouth is an English socialite, fashion model, and first Black Marchioness. This
positions audiences to a more progressive viewpoint that the British elite deserves more
inclusive representations of the BAME community, reflecting Tatler’s shift to a more modern
target audience.
2. The British lifestyle is represented as frivolous. The cover lines “Love in the Time of Corona”
intertextually refers to the book “Love in the Time of Corona” that suggests that people in
 the UK blissfully, even romantically, enjoy their time with loved ones despite tragic
circumstances for the rest of society.
3. The CSP omits other aspects of the British lifestyle, such as that of the working class. Its
representations select political and noble examples of British life whilst ignoring the struggles
of many British people working a 9 to 5, or living paycheck to paycheck.
4. The posh Caucasian stereotype is being subverted. Culturally and historically, the upper
echelon tends to only consist of those who are White. Emma Weymouth is a prominent
example of a figure who subverts the contextual expectations of what royalty looks like.

“Pickleball is so gay it’s like,

Why play with pickles and balls?”
- Aster

NOTES (Temporary)
- It seems that when content is boxed together in the csp booklet, it can be used to create one
cohesive answer.

Volleyball –
Khent – Black/red – rosie.b_wsd@[Link]
Mazen – Black (need shirt) – stacy.v_wsd@[Link]
Gabo – Red – carol.k_wsd@[Link]
Adithya – Black – carol.k_wsd@[Link]
Tai – Black (need shorts) – nabeela.a_wsd@[Link]
Abdul – Black – nabeela.a_wsd@[Link]
1. Vitto – Red – jazeela.y_wsd@[Link]
2. Iren – Red – jaya.j_wsd@[Link]
3. Lex – Red (needs shorts) – philomenawak.w@[Link]
Ridge – Red – rosie.b_wsd@[Link]
Milo – Red – carol.k_wsd@[Link]
Fares – Black – sadia.s_wsd@[Link]
Jarett – Referee blue polo (need shirt) – stephanie.h_wsd@[Link]
Volleyball – Fares
Whistle – Axel (ff25 first lesson)
Mazen’s shirt – Me
Tai’s shorts – Me
- Lex’s shorts – Me
Jarett’s shirt – Me
- Vitto’s shirt – Yuan (sf18 first lesson)
- Iren’s shirt – Me
Lex’s shirt – Mazen
Ridge’s shirt – Ridge
Milo’s shirt – Axel
- Fares’ shirt – Khent
- How to lower net – Ask guy 2nd break
 - 4 Karate uniforms – Sir Ravindra
- Mat – Email to Sir Melvin
- Know – HOW DOES REF END
1. Muna – shazia.r1_wsd@[Link]
2. Carissa – hithanaduran.d_wsd@[Link]
3. Zeinah –
4. Ria –
5. Yeshie –
6. Anne –
7. Angelica –
Salma – ayshazabha.p@[Link]
Yashvi – Sir rafael
Carissa – jazeela.y_wsd@[Link]
Christelle – farheen.s2_wsd@[Link]
Sen – junaid.q_wsd@[Link]
Yeshie – rafah.a_wsd@[Link]
1. Ria –
2. Anne –
3. Zeinah
4.

- Bring drinks and spray can

Khent
1. Me
Ridge
Mazen
2. Axel
3. Yuan
4. Neyney

Sir Ravindra to get the thingies –

Mat
Volleyball
Walkie talkie
Brief case

1. Punch – Block OTS salma

2. Punch – Block OTS salma
3. Kick – Dodge OTS Muna
4. Punch – Hold Cut before punch
5. Zoom out – Also try close up
6. Pan right –
7. Teleport –
8. Punch – they get hit OTS Salma
 9. Shock scene
10. Punch – OTS Muna
11. Punch – they get hit OTS Muna
12. Kick – they get hit and KO OTS salma
13. Celebrate

052808
Howto do fight scene
How to do ref in martial arts
How to do volleyball scene

Wide shot push

Cut to ref shijak
Fight scene
Teleport
Fight scene
Cut to surprised friends
Finish
Celebrate

1. Crush cans then replace.

2. Punch can away then replace.
3. Spinning it then landing perfectly.
4. Squeeze can then replace.

Fruits around the scene

1. Mik
2. Iren
3. Me
4. Vitto
5. Fares

1. Mens – Surge is treasure. REDbull, SURGE, Gym

2. Womans – Surge is state of teha rt drink spies the GAS station, girls as sies. Stop time.
Am4tial arts telport to kick butt.
Ff02 for marcus