Summer Project: Coursework Planning

1) Research: Music videos

Watch the following music videos and analyse an aspect of media language for each one:

-> Music video 1: Marshmello x YUNGBLUD x blackbear - Tongue Tied

How is narrative used in this music video to engage the audience?

-> Music video 2: Years & Years - I Wish I Knew

How is camerawork and mise-en-scene used in this video? Use CLAMPS to remember the different aspects of mise-en-scene.

-> Music video 3: Foals - Hummer

How is editing used in this music video to engage the audience?

Radio: Final Index

1) Radio: Launch of BBC Radio 1 CSP

2) Radio: KISS FM Breakfast show CSP

Radio: KISS FM Breakfast Show CSP

Audience

1) Read page 2. What is KISS FM's mission?

KISS FM's mission is to target a young audience, reaching them wherever, whenever, however they want. They want to create a constant stream of content to allow their audiences to hear, see, share and discover.

2) Look at page 3. What is the target audience for KISS FM? As well as writing the key statistics from the media pack, try and suggest what psychographic groups would fit the KISS audience too.

The target audience for KISS FM is aged 15 - 34. They have a 60 / 40 female to male split, and are united by their love for music. Tech especially is what excites them. Their audience is predominantly urban, but increasingly national with 65% now living outside London. They heavily enjoy social media.

The target audience would fit the psychographic groups of: The Explorer, as they have a need for discovery that KISS FM satisfies; The Mainstream, as KISS has a large audience, and perhaps The Struggler, as they can use the content produced by KISS to escape from their situation.

3) Now look at page 5 - The KISS network. How does KISS use digital media and technology to reach its audience?

KISS reaches its audience through a multi-platform strategy, such as timelines on YouTube, on-demand streaming, etc. They produce content around the music young people are currently into, and they also have a large social media presence.

4) Now look at the other side of page 5. What content do KISS Fresh and KISSTORY offer and how can audiences access those stations?

KISS FRESH offers first plays of the tracks from popular artists and producers in the industry. It plays urban and rhythmic tunes in Hip Hop, Dance, House and Afro beats. It is available on DAB (in London), Freeview, Sky, plus at KISSFMUK.COM, via the KISS Kube app, on social and at events.

KISSSTORY plays 'Old Skool' music and songs from R&B, Dance, Garage and Hip Hop. It is also available on DAB (in London), Freeview, Sky, plus at KISSFMUK.COM, via the KISS Kube app, on social and at events.

5) Read page 6. What are the different ways audiences can actively engage with the KISS radio brand?

Audiences can actively engage with the KISS Radio brand through: the KISS Kube app to stream shows from KISS; listening online through kissfmuk.com for news and reviews; through live events, and through radio.

6) Are listeners to the KISS Breakfast show active or passive? You can argue this point either way - explain your opinion in your answer.

The target audience that KISS describes is quite passive: "they want or already own the latest cool stuff and have the devices at their fingertips to facilitate this sense of immediacy. It’s more than just dual screening – it’s about using multiple devices simultaneously from a mobile, tablet, TV, and laptop." The idea that their target audience uses multiple devices at once and needs to be consuming media constantly suggests that their audience isn't actively engaged in watching or listening to the KISS Breakfast show, and are therefore passive and take in the intended message subconsciously.

However, I disagree with this. KISS runs real-life events that listeners attend, suggesting that they are active, alongside the fact that they use the KISS Kube app to access the specific content they want to watch or listen to. They are also involved with KISS through social media - KISS has a large social media following and audience interaction is integral to the Breakfast show itself. Listeners can also send in requests or shoutouts to friends through these platforms, as KISS is active across social media and regularly interacts with their audience, implying that the audience is active. 

7) Now think about the clips you've watched or listened to of the KISS FM Breakfast show with Jordan and Perri. What audience pleasures are offered by the KISS FM Breakfast show? Use Blumler and Katz Uses and Gratifications theory here.

Diversion:

• Light-hearted humour offers escapism and is entertaining
• Focus on gossip, entertainment and reality TV offers escapism
• Competitions on the show engage listeners

Personal Identity:

• Young, Black presenters may be relatable to younger Black audiences
• Jordan and Perri have been political campaigners and have been connected to political movements like Black Lives Matter, appealing to Black audiences who may have faced discrimination or are also advocates of the BLM movement
• They discuss many issues a young audience can identify with and relate to, such as relationships, being bored in lockdown, etc.
• Ethnically diverse guests may help engage their primarily Black audience
• Informal way of speaking targets a young audience

Personal Relationships:

• They may have some fans from being part of a dance troupe, Diversity, who appeared on Britain's Got Talent
• Jordan and Perri are friends and so have a natural chemistry that appeals to audiences
• Jordan and Perri have been connected to political movements like Black Lives Matter, perhaps creating a relationship with Black audience members
• The show will appeal to fans of celebrities who become guests on the Breakfast show
• Audiences can send in requests or shout outs to friends that are read out, creating a parasocial relationship

Surveillance:

• Parts of the Breakfast show offer education and information to listeners 
• Educational content is simple and easy to understand

8) How have audiences changed in terms of how they listen to music and radio since the 1960s?

Previously, radio was much more common as television was still in the process of becoming popular - it was people's main form of entertainment, and how most people listened to music. Radio was also used for more sophisticated discussions around art, literature, etc. on the older BBC stations. Teenagers mainly used pirate stations, as they were catered towards them, until the launch of BBC Radio 1, which was hugely popular at the time as there were no competitors.

Now, young people listen to radio significantly less as there are other forms of media that perhaps seem more exciting (shows, apps, games, etc.). People have also begun to prefer on-demand media consumption, specifically music streaming services like Spotify and Apple Music over listening to scheduled music through the radio, which has led to KISS FM's decline in recent years.

9) How does the KISS FM Breakfast show contrast with Tony Blackburn's 1967 Radio 1 Breakfast show and the launch of BBC Radio 1?

There a variety of differences between the KISS FM Breakfast show and Tony Blackburn's Radio 1 Breakfast show: KISS FM has multiple competitors as there are more radio stations broadcasting, while BBC Radio 1 had virtually no competitors at all; KISS FM is much higher-quality (AM to FM to DAB); KISS FM is available on-demand, while BBC Radio 1 was not; KISS FM has two Black presenters and regularly features ethnically diverse guests, while BBC Radio 1 had a White presenter on a show which most likely did not feature non-White guests often.

10) Use Stuart Hall's Reception theory to offer a preferred and oppositional reading of the KISS FM Breakfast show. For the preferred reading, why do fans love the show? On the oppositional side, why might someone criticise the show or not want to listen?

For the preferred reading, it would likely be held by a younger audience who enjoy the music being played or can relate to the topics discussed on the show. They would support the political messages on the Breakfast show (Black Lives Matter campaign) and enjoy Jordan and Perri's humour, chemistry and 'banter.' They would also be fans of the celebrities featured on the show.

For the oppositional reading, it would most likely be held by older people who don't enjoy the humour in the same way a young person would, or would prefer older music over the modern music played on the show. Potentially, people who hold racist views would dislike the fact that two Black presenters host the show, or would be unsupportive of the political views held by them. They would not be fans of the celebrities featured on the show. Furthermore, another oppositional reading would be that the show is not fully enjoyable as it is live instead of on-demand.

The negotiated reading would be a combination of both, except people who take the racist oppositional reading would not enjoy the show in any way. 

Industry

1) When did KISS FM first launch and what type of station was it then?

KISS FM first launched on the 7th October, 1985 first as a pirate station, becoming a weekend operation as they were regularly taken off-air by authorities. It, over time, became legitimate as it grew in popularity enough to become a real competitor. It is now more mainstream and has been operating legally since 1990. It was then bought by the conglomerate Bauer Media.

2) Look at the Bauer Media Group's list of brands. How many different types of media can you find on there? What brands do you recognise?

There are multiple different types of media brands: radio stations, magazines, films, news, etc.

 

I recognise: KISS, Magic Radio, Grazia and Heat. 

3) How does KISS FM make money?

KISS FM makes money through advertising, sponsorships and events, such as summer festivals and the Wembley Arena Halloween Party. Brands can pay to have their product featured on the show either in ad breaks or as part of the show itself, and companies can also pay to sponsor shows, competitions or events during the broadcast. KISS also earn money from brands paying to be promoted through the KISS social media posts.

 

4) How many listeners does the KISS Breakfast show have and how has this changed in recent years?

The KISS Breakfast show currently has 980,000 listeners. During the time Rickie, Melvin and Charlie hosted, the Breakfast show had over 2 million listeners, but by the time Jordan and Perri took over this figure was already down to 1.4 million listeners. The figure has been steadily decreasing. 

5) How is KISS FM regulated and what can happen if they break the rules?

KISS FM, and all radio is regulated by Ofcom. Ofcom has a broadcasting code that all shows must follow, including leaving out anything inappropriate for younger listeners.

In 2006, KISS was fined a record fee (for any UK commercial radio station) of £175,000 by media regulator Ofcom. Ofcom punished KISS for "numerous and serious breaches" of broadcasting codes after receiving 10 complaints from April to November 2005. They involved prank calls on the Bam Bam breakfast show where consent was not sought from the victims and controversial material (swearing and discussions of pornography) aired when children were likely to be listening. KISS said it accepted the findings and apologised for any offence.

End of Year 1 Exam: Learner Response

1) Type up any feedback from your teacher in full (you do not need to write the mark/grade if you do not wish to).

Total: 39 / 42      Grade: 9 

WWW: Stunning: almost impossible to fault! 

EBI: Perhaps research some of the British post-colonialist contexts for 1960s to push even higher.

2) Look at the mark scheme document linked above. Question 1.1 asks about mise-en-scene. What do we use to remember mise-en-scene? Give one example answer from the clip too - you'll find example answers in the mark scheme.

CLAMPS -> Costume / Lighting / Actor PME / Make-up & Hair / Props / Setting

e.g. - setting - empty city

3) Question 1.2 asks about narrative features in the extract. Look at the mark scheme to pick out three possible answers for this question.

• Narrative theory: Propp – character types. Lyra and Will as heroes who the audience can identify with and accompany on their exploration of this empty city. The audience are clearly positioned to sympathise with Lyra and Will when they initially face the two other children.
• The two children they are chasing initially are presumed to be villains but the dialogue in the second half of the extract complicates this. Instead, perhaps they become donors – giving Lyra and Will a drink and something to eat as well as important information about the Spectres (including the danger Will may soon be in).

• Todorov (equilibrium): The empty city creates a sense of disequilibrium – that something has gone wrong and needs to be repaired or at least understood by the characters.

• Costume: Lyra and Will are placed in costumes that reflect the world they are from. This helps to communicate the wider narrative arc of the show and emphasises the fact they are ‘out of place’ in this city currently. This creates a sense of narrative enigma (why are they there? What will they discover? Are they in danger?) and also a sense of binary opposition – of two opposing worlds. The costumes of the two other children help emphasise this contrast and reflect the narrative development of the ‘Spectres’ that have left these children homeless and the city empty of grown-ups.

4) Now focus on Question 2 - the 20 mark essay. Use the mark scheme to pick out one way Doctor Who reflects 1963 and one way His Dark Materials reflects 2020.

Doctor Who: 

 

The storylines reflect events in society at the time of production, e.g. in Doctor Who the

Daleks were initially seen as representing the Nazis, especially in the 1960s when WW2 was

still a recent memory for many of the audience. Since then the Daleks have continued to

represent totalitarianism, although in some recent episodes they have been more

humanised.

His Dark Materials:

His Dark Materials reflects the increasing independence young people expect and deliberately places the children in environments where there are no adults. Many grown ups are presented as villains and Lyra’s parents have effectively abandoned her. This subverts traditional stereotypes but does reflect modern contexts where young people are increasingly asserting themselves in society (e.g. political protest, climate change etc.)

5) Reflect on your overall work and exam performance this year. What three things do you need to work on or revise in Media for Year 11?

• Researching extra social, cultural and historical contexts in the relevant time periods to use in any question.
• Aiming to use more high-level examples of representation - e.g. representations of the patriarchy and religion through the Magistrate in His Dark Materials
• Working on timing - aiming to write more in the given time / writing faster

Radio: Launch of BBC Radio 1 CSP

Historical, social and cultural contexts

1) What radio stations were offered by the BBC before 1967?

• BBC Radio Home (1939-1967) broadcasting education programmes and news. Mainly speech-based.
• BBC Radio Light (1945-1967) broadcasting mainly light entertainment (comedy / drama) and music.
• BBC Third (1946-1970) broadcasting intellectual arts-based talk and music.

2) How was BBC radio reorganised in September 1967? What were the new stations that launched?

• BBC Radio Home was replaced by Radio 4.
• BBC Radio Light was replaced by Radio 2.
• BBC Radio Third was replaced by Radio 3

These new stations were introduced as the old stations didn't appeal to a younger audience - they weren't seen as cool and were too formal.

 

3) What was pirate radio and why was it popular?

Pirate radio stations were offshore radio stations, meaning that British radio restrictions did not apply to them. This meant they were able to avoid 'Needle Time', where stations could only play five hours of music per day (out of the fear that records would become obsolete and unpopular as a result), and were therefore more popular with young people than the BBC.

4) Why did pirate radio stop broadcasting in 1967?

Pirate radio stopped broadcasting in 1967 after the Marine Broadcasting Offences Act passed in the same year, which officially outlawed pirate stations. The Government was able to close the legal loophole that allowed these stations to broadcast. This meant that fans of popular music had to go to BBC Radio 1 instead if they wanted to listen.

5) How did the BBC attract young audiences to Radio 1 after pirate radio stations were closed down?

BBC was able to attract young audiences to Radio 1 after the closure of pirate radio stations, as fans had to tune in to them to listen to the popular music pirate stations were previously streaming. They also 'stole' (employed) some of the pirate station DJs, bringing many of their listeners with them. Commercial radio didn't broadcast until 1973 so it had no competition. Radio 1 also developed better content more suitable to the target audience as it became more popular. In the 1970s and 1980s, Radio 1 became the most listened to station in the world with audiences regularly over 10 million.

6) What was 'needle time' and why was it a problem for BBC Radio?

'Needle Time' was a restriction placed on the BBC where they were only allowed to play 5 hours of music a day. This was passed by Musicians' Union and Phonographic Performance Limited, a music licensing company, after concerns that too much music on the radio would mean that people no longer buy records.

7) How did BBC Radio 1 offer different content to previous BBC radio stations?

Compared to previous BBC radio stations, BBC Radio 1 was much more informal and conversational. They had Tony Blackburn present / DJ, which meant that younger audiences were able to resonate with him (personal identity) as he was 24. The station also played popular music.

8) Who was the first presenter for BBC Radio 1 and why did these new Radio 1 DJs cause upset initially at the traditional BBC?

The first presenter for BBC Radio 1 was Tony Blackburn. These new Radio 1 DJs initially caused upset as they were much less traditional in comparison to the more formal, previous BBC radio stations, and added comedy aspects to Radio 1.

9) Listen to excerpts from the Tony Blackburn's first 1967 broadcast - how might it have appealed to young listeners?

It may have appealed to young listeners as Tony Blackburn added a comedic aspect (diversion) with sound effects, such as the animal noises and the kneecap joke. The station played music all day, and introduced competitions, such as the competition to win a transistor radio. Blackburn also called out the address, encouraging audiences to send him letters that he could then read out - this acted as a form of audience interaction. He was also previously on Radio Caroline, a pirate station, so some of his listeners may have moved to Radio 1 alongside him. Radio 1 may have also appealed to young listeners as they might hear their favourite artist or band, appealing to their sense of personal identity.

10) How was Tony Blackburn's radio show more like pirate radio rather than traditional BBC radio content?

Tony Blackburn's show was more like pirate radio as it was informal and conversational, and played popular music all day, which traditional BBC didn't do. Traditional BBC content was seen as much more traditional and therefore boring by younger audiences, so Radio 1 presented itself in the opposite way to attract younger audiences.

Audience and industry

1) What was the target audience for BBC Radio 1 in 1967?

In 1967, the target audience for BBC Radio 1 was young people who were listening to pirate radio.

2) Why did Radio 1 initially struggle to attract young listeners?

Initially, Radio 1 struggled to attract young listeners because it was not seen as cool by them, as the BBC stood for traditional, conservative values. BBC Radio 1 also had to be broadcast simultaneously with Radio 2, so it had to have a more formal style than the pirate broadcasters. This made it more unpopular with young listeners.

3) What audience pleasures did Radio 1 offer listeners in 1967? (Use Blumler and Katz Uses and Gratifications theory).

Diversion

• Tony Blackburn's jokes
• The fact it plays music all day
• The use of background music and sound effects
• Animal noises, 'kneecap' joke
• Introduction of competitions
• Competition to find the clues and win a transistor radio

Personal Relationships

• Tony Blackburn was previously on Radio Caroline
• Loyal viewers will have followed him to BBC Radio 1
• Fans will have personal relationships with artists or bands featured on the station
• Ability to send letters to Tony Blackburn and have him read them out - mention the fan's name

Personal Identity

• Teenagers will find a sense of personal identity in the more laid-back format of the station
• Teenagers will find a sense of personal identity in the music played, which caters more to their generation
• Tony Blackburn reading out letters

Surveillance

• Learning about new records being released
• Learning about what music is popular 'currently' 

4) How is the BBC funded?

The BBC is funded through their compulsory licence fee paid by the public, which was around £4 a year in the 1960s. Now, a TV licence costs £174.50 a year.

5) Applying Stuart Hall's Reception theory, what would the preferred and oppositional readings have been for BBC Radio 1 in 1967?

The preferred reading would be that BBC Radio 1 is cool, new, fresh, etc. as it is much less formal in comparison to previous BBC stations, similar to how pirate stations were at the time. Teenagers who take on the preferred reading would likely enjoy all of the music played, be interested in the competitions (such as the competition to win a transistor radio), want to send something to Tony Blackburn that he can read out, etc. Furthermore, they would also have likely been previous fans of Tony Blackburn from his time on Radio Caroline, and enjoy his familiar (to them) style of presenting.

The oppositional reading would be that BBC Radio 1 is 'lame', boring, or perhaps trying too hard to cater to teenagers / emulate pirate stations - it is a stark difference from previous BBC stations, which were very formal and more academic or arts based. Perhaps, audiences who take on the oppositional reading would not be fans of Tony Blackburn's humour or style of presenting, not be interested in the competitions, not enjoy the music, etc. Adults at the time would likely take on the oppositional reading because of the target audience being teenagers.

 

Television: Final Index

1) Television: Introduction to TV drama

2) Doctor Who: Language and Representation

3) Doctor Who: Audience and Industries

4) His Dark Materials: Language and Representation

5) His Dark Materials: Audience and Industries

6) Industry contexts: the BBC and public service broadcasting

Television: Industry Contexts - Public Service Broadcasting

1) What is the BBC's mission statement?

The BBC's mission statement is to inform, educate and entertain. This means: to provide information; to support learning for people of all ages; to produce creative output; to have diverse content, and to reflect the United Kingdom, its culture and value to the world. They seek to act in the public interest through providing high-quality content and services.

2) How is the BBC funded?

The BBC is funded by the TV licence fee. Currently, the licence fee is currently £174.50 (subject to change) a year, which is around £15 a month. This fee must be paid by any household that wants to watch live broadcast TV or iPlayer. This pays for BBC TV, radio, website and iPlayer. A TV licence is unnecessary for Netflix or other international streaming services. They also gain some income from their commercial services: BBC Studios and BBC Studioworks.

3) What must the BBC do to meet its public service broadcasting responsibilities? (Look at the five bullet points in the notes above).

To meet its public service broadcasting responsibilities, the BBC (according to its Royal Charter), must: provide impartial news and information to help people understand and engage with the world around them; support learning for people of all ages; show the most creative, highest quality and distinctive output and services; reflect, represent and serve the diverse communities of all of the United Kingdom’s nations and regions and, in doing so, support the creative economy across the United Kingdom, and reflect the United Kingdom, its culture and values to the world. Their Royal Charter consistently reiterates that they must act in the interest of the public instead of competing in the market.

4) Who is the regulator for TV and Radio in the UK? You can find details on this in the notes above.

In the UK, TV and Radio is regulated by Ofcom (the Office of Communications).

5) How is TV and Radio regulated by Ofcom?

Ofcom regulates TV and Radio by overseeing all broadcasting channels and producing a broadcasting code, that every broadcaster must follow or face large fines and / or have their licence revoked. For example, in 2022, Ofcom removed RT (Russia Today) 's licence for continually broadcasting propaganda that favoured the Russian Government, breaking the rules that Ofcom have with impartiality. Ofcom also regulate TV to ensure that rules are followed and inappropriate content is not broadcast to audiences. The BBC is regulated by Ofcom.

6) How do Doctor Who and His Dark Materials help the BBC to meet the BBC's remit to inform, educate and entertain? Answer this question in at least 150 words.

Doctor Who (specifically the 1963 CSP version) successfully follows two aspects of the BBC's mission statement, particularly to entertain and educate. As Doctor Who is a TV show, it inevitably entertains audiences by giving them a sense of diversion, allowing them to escape from their everyday problems by watching it. The episode An Unearthly Child presents this through its usage of the TARDIS, which helps audiences escape reality as the TARDIS defies laws of physics by being bigger on the inside than the outside. An Unearthly Child is also useful for educating audiences as its main premise is that the characters travel to different worlds and time periods through the TARDIS. In doing so, the show teaches audiences about different eras and worlds, through teaching different aspects of history, culture, etc. The 1963 version, however, may have some aspects in the episode that make it less effective at following the BBC's remit. For instance, in the episode, the Doctor states that the "Red Indian's savage mind" was "blown" when being presented with technology. This line may have normalised or caused audiences at the time to be accepting of racist behaviour, counteracting the educational aspect of the BBC's mission statement.

His Dark Materials essentially only follows the entertainment aspect of the mission statement. This is accomplished through its complicated, fantasy-genre narrative following Lyra exploring different worlds, and its large, epic settings that allow audiences to escape from reality. It utilises CGI through the daemon, Pan, and multiple scenes, such as the scene of the witches flying, which create a sense of diversion as these aspects are impossible in reality. The show is less effective at educating and informing audiences as it explores fictional cities and stories, however, it may be good at educating audiences in representation. His Dark Materials subverts many stereotypes, such as stereotypes of race, through the Black witch, Ruta Skadi, and stereotypes of gender through the opposing scenes of Will cooking and Lyra failing to cook. As a result, audiences can be taught not to use stereotypes to identify people and also to not feel as if they have to adhere to stereotypes themselves.

Grade 8/9 extension questions

Read this Wired feature on how the BBC is adapting to take on Netflix. What does the article suggest the BBC needs to do to remain relevant in a streaming TV age?

To maintain relevant in the era of streaming, the article suggests that the BBC must refrain from using BBC iPlayer as a 'catch-up service; a streaming service where audiences can revisit what they missed on live TV. Most suggestions were to do with featuring shows that haven't been aired recently and that people will want to watch. There were also suggestions for audience personalisation, meaning that if a person opened BBC iPlayer, they would be presented with shows they would want to watch instead of shows they wouldn't have an interest in.

How does His Dark Materials help the BBC to take on the big streaming rivals like Netflix and Amazon?

His Dark Materials helps the BBC take on streaming competitors as it's a very high-quality, modern TV show, with a very large budget as provided by HBO. The show is very similar in quality to shows on Netflix, Disney+, etc, and hence, helps attract audiences. It stars famous actors like Ruth Wilson and Lin-Manuel Miranda and helps to attract a much wider audience. This contrasts many other BBC programmes that only appeal to certain, niche groups of people, that are only aired by the BBC as they don't need to turn a profit (as a public service broadcaster) and, as a part of their key purpose, must have diverse content. 

Do you think the TV Licence is good value for money? Why?

The TV licence isn't great value for money when compared to subscription-based services like Netflix and Disney+. As the TV licence costs £174.50 annually, it equates to around £15 a month, while other streaming services average at around £10 a month. While a TV license allows someone to access BBC iPlayer (that can be accessed without a licence regardless) and live TV, live TV has become too unpopular for it to be worth the money. Now, streaming services are exponentially more popular, and most young people don't even watch live TV anyway. Furthermore, the BBC offers much more niche programmes that are far less popular in comparison to most shows on Netflix and Disney+, so there's more of a deterrent against people purchasing the TV licence as there's a higher chance that they would prefer the shows on more popular streaming services rather than the shows on the BBC. Overall, there's much less incentive for people to purchase a TV licence rather than a subscription to a streaming service, as the shows are less mainstream and the price is slightly higher.