Music video analysis

 Chosen genre: EDM/Dance 

Narrative: 

Avicii - Addicted to you

This classic song by Swedish DJ Avicii perfectly captures why narrative makes a music video so great. One can apply Todorov's theory of equilibrium here as it follows the linear pattern of: equilibrium, disequilibrium and new equilibrium. Arguably, a multiple equilibrium sentences as well as a condensed equilibrium exist within this video. The multiple sentences of disruption depict a couple robbing many people, including pubs and even a bank. This is then interrupted by a scene that cements the couple's romance through a few steamy shots. The condensed equilibrium is evident here too because within a minute, the first robbery has already taken place. There could also be the irregular structure of equilibrium at the start, then the new equilibrium is only momentary when one of the protagonists dies. That's the disequilibrium again. You can also apply Propp's character theory here, stating that the two protagonists are the heroes and the police the villain. Furthermore, this metanarrative is almost like a movie and makes the consumer feel like they are watching a story unfold. This also features the artist in one of the scenes, often a telltale sign of a metanarrative.

Mise-en-scene:

Alle Farben - Fading

German DJ Alle Farben makes wonderful use of the clothing and other aspects of mise-en-scene to create a very eye-pleasing music video. The Andy Warhol-like colour scheme makes for a postmodern feel. The positioning of the props, including the plants and the set of steps further pushes the 'perfect; aesthetic. The costumes worn by the actors is a mix of retro clothing, shiny trousers and harshly angled glasses. This makes the audience feel empowered as the brash style of fashion almost boosts confidence. The lyrics also support this message. The use of no low-key lighting relates to the genre and is expertly shown by the bright colours featured. The camera guy is dressed to suit a comical perspective where the sweat stains enhance his 'funny' appearance. The chequered shirt makes this feel like it's a music video from the 80s. The video almost plays itself as both artists involved in making the song star in the video as a performer and a set director. The actor movement is meant to be minimal but the use of the bike makes this video not completely static. The constant pink and blue background is noteworthy because not much is changing part from where the actors are and what they are doing. 

Camerawork:

Avicii - The Nights

'The Nights' is a cult classic from Avicii making use of the different camera angles and filming techniques to create a beautifully put-together video. The video uses a lot of mid-shots and POV shots to make the viewer to feel like they can live through the actor's experiences. The long shots of the city skyline and a rather cool pool divebomb shot are also present. The handheld camera shot simulates a vlog-style video where it's filmed on a selfie stick. The shaky shits make for a much more grounded shot, making it up-close and personal. The selfie-stick shot is also accompanied by a little twirl which could also be interpreted as a 360 shot as well. The side shots add a certain accent of art and finesse to the whole product as it gives a different feel to the shot, making us see more angles makes us feel like we're seeing something exclusive. The long shots of the night sky, peppered with stars, is a very nice shot which makes use of the time-lapse moments which portray the stars to be moving in a dazzling fashion. The handheld camera, as well as the tracking shot, adds a certain element of time progressing. This puts it in great sync with the lyrics.

Editing:

Martin Garrix - Tremor

'Tremor' makes use of very simple footage but adds pace and effects to make this a great experience for the listener. The track has no lyrics apart from the add-in of a few words. This makes it a bit easier to match the pace of the song with the editing. The thumping beat acts like a metronome as it acts as a breaker for each scene, which is just snippets from the DJ's various shows. The slow fade-to-fade cuts, alternating back to an actor which is staring at screens, is like the beginning of a rollercoaster as this is as slow as it will get. From the moment the beat drops, the pace of the editing as well as the effects picks up massively. ALternating between the artist's shots, consisting of long, mid and close up shots. The flash editing makes you feel like you're there at of of their shows. The 'glitchy' effect is supposed to make the song, much like this subgenre, a very gritty and alternative feel. The use of black and white shots are significant as this draws more attention to the music. The genre of EDM is meant to be energetic anyway, this song amplifies that energy into something tangible.

Conventions: 

Robin Schulz - Sugar

'Sugar' has most of the conventions stated by Andrew Goodwin in his theory. There is a link between the visuals, lyrics and the song title. 'Sugar' is supposed to be this sweet thing, but here it's used to tag anything one might love. Sugar aso gives you a 'high' which relates to the actions of the disgruntled police officer who goes on a joyride. This fits the EDM genre as its so fast paced and crazy that it suits the listeners of the genre. The whole song is an intertextual reference as its a remake of Baby Bash's 'Suga Suga' which released almost two decades ago. The intertextual references to GTA V with the actor and the whole police costume is an easter egg for gamers. The actors are looking at the road because they are driving. The video doesn't sexualise women but it does the opposite. Instead of the typical 'steamy car wash girls', it's the male actor who's doing that, somewhat drifting from the typical conventions of a music video. The video is a narrative as well as a performance by the vocalist. Both artists feature in the music video, the singer more than the DJ. 

End of Year 12 assessment

Paper 1 Section A

1) Analyse the Close Study Product Score hair cream advert using narrative theory including Todorov. [9 marks]

The Score Hair Cream advert dates back more than five decades ago. Since then, quite a lot of representations of gender, identity and race have drastically changed. Narrative theory seems like a very relevant thing to analyse when it comes to this advert. The advert is in the new equilibrium part of the three-part cycle. Todorov proposed a theory of equilibrium comprising of: equilibrium, disequilibrium and then new equilibrium. This CSP starts in new equilibrium as it states that the cream would improve you to be the perfect man and then introduce a new equilibrium where you are the dream man. The disequilibrium would be before you apply the cream, you are seen as an inferior man without the product and your attraction would increase massively after application. The stages of disequilibrium can also be applied. The 'disruption' phase is when your appearance is preventing you from approaching 'the ladies', the 'recognition' phase is when you acknowledge that you need to do something to fix your appearance and the 'reparation' phase phase is when you use the hair cream and reap the rewards. The man in the central image is clearly enjoying his new equilibrium phase with his smug smirk and the gun which could act as a phallic symbol that represents the hypermasculinity this cream supposedly gives you. 

Other narrative theorists that can be applied here are Propp, Barthes and Levi Strauss. Vladimir Propp came up with a list of stock characters named 'the seven spheres of action'. In my opinion, the 'hero', according to Propp's theory is the central protagonist which is mirrored in the cream. The cream saves the day and the advert is trying to sell it as much as they can. The 'princess' in the advert would be you, the consumer. Your hair is in dire need of repair and Score Hair Cream will fix that, the hero saves the princess. The 'villain' here might be old age or just weak hair which is where the hair cream comes into play. We can also apply enigma codes and action codes courtesy of Roland Barthes. The enigma codes here would be the expression of the man. Why is that man happy? Will I get with that many ladies if I try the cream? This creates mystery for the consumer so that they feel intellectually duped. The action codes here might be the way that the females in the advert are carrying him on a platform which might imply that he will have sex with them later. Furthermore, the pack shot at the bottom of the advert is an example of an action code as it is the product that saves you from ugliness. Finally, we can apply Levi-Strauss' theory of binary opposition. Men were perceived as dominant and therefore more powerful. It was this patriarchal view that empowered men and belittled women. We see that the binary opposite here is men/women or even dominance/subservience. Both Barthes and Levi-Strauss noticed another important feature of these binary opposites is that one generally tends to be seen by a particular society or culture as more valued than the other. In many cultures during the 1960s, the idea of a successful and powerful woman was absurd so the idea of having a man as strong and dependant in the advert is vital to the success of the cream.


Walk and talk video guide:





2) “Postmodernity is said to be a culture of fragmentary sensations, eclectic nostalgia, disposable simulacra, and promiscuous superficiality.” – Jean Baudrillard

To what extent can your music video Close Study Products be described as postmodern? [20 marks]

Both music videos Close Study Products can be considered as postmodern due to them including elements of pastiche, historical deafness, bricolage and many more. In 'Ghost Town', a song by The Specials, we can apply many of Strinati's points as to what makes a media text postmodern. He states that one telltale sign of postmodernism is that there is a breakdown between art and popular culture. The director of the music video for 'Ghost Town' is well known for making arthouse films and this music video is no exception. The merging between highbrow and lowbrow activities is evident here as it combines a song that has topped the charts but has a arthouse style music video. This clearly presents 'Ghost Town' as postmodern. It's also clear that bricolage is present in the music video because we see how the car is driving through London which is a really old and established city whilst the song, which is from a relatively new genre, plays. This juxtaposing of old and new is further demonstrated with the reggae influences which adds to the contemporary 80s atmosphere. 

The mise-en-scene as well as the filmography mirror popular film genres like British social realism, thriller and hammer horror. The use of intertextuality only proves my point that 'Ghost Town' is a really good example of postmodernism. The intertextuality also refers to the lyrics which reference the political mess Britain was in during the time Margaret Thatcher was in office. The song and video offers evidence of Gilroy's Black Atlantic Identity theory. It suggests that black culture is forged through travel and hybridity and was referred to as a "liquidity of culture". The representation of Britain as a multicultural country through the band and song is reinforced through the strong political message 'Ghost Town' sends. 

Common's Letter To The Free is, in my opinion less postmodern but still contains elements of it. Much like 'Ghost Town', the music video is filmed in an arthouse style and the song itself was used in a movie and topped the charts. This is a clear use of postmodernism. We can also apply Frederick Jameson's idea of historical deafness as in the music video, Common emphasises the effect the oppression of black people has had not only on him but the whole black community. Historical deafness comes in because we are not taught this in school and this further shows that the media display information in a certain, constructed way. The 'mediasation' of history is a clear sign of postmodernism as the media tries to filter out information according to their individual views and beliefs. Common also explains that the black square is also a postmodern concept. In an interview, Common said that even he didn't know what it was and that it was open to interpretation. This represents the infinite thing about blackness and blackness cannot be defined in time or space. This links to Strinati's point where he states that a sign of postmodernism could be the "confusion over time and space". 






Walk and talk video guide:





Paper 1 Section B

3) Identify three strategies used to promote Chicken to an audience. Explain a reason for each strategy. Each of the reasons must be different. [6 marks]


One of the strategies was that the film was on a film festival circuit. It featured in many places like Giffoni, Tallinn and France. This was effective because it could relate to a specific audience and the festivals invited many people who are interested in the arthouse genre, cementing its success. Film festivals also invite quite a few critics so the film is more likely to get picked up by a critic who is willing to give it acclaim.

Social media was also a huge player when it came to promotion. Social media was free and for a microbudget film, that's perfect. Their social platforms on Twitter, Instagram and Facebook would reach thousands of potential viewers and therefore creating more buzz around the movie by posting 30 second snippets of the film.

Traditional media such as posters and YouTube trailers were also a key factor in Chicken's promotion. The poster featured arthouse style pictures was accompanied with critic review quotes. This tells the viewer automatically that this is a film worth watching. The YouTube trailer can also capture a younger percentage of viewers as younger people spend their time on platforms like it. The YouTube trailer also gives us an insight to the film, almost like the film festival circuit.

Walk and talk video guide:






4) How do regulatory contexts shape the output of media industries? You should refer to your film industry Close Study Product, Chicken. [9 marks]

The BBFC regulates the film industry in the UK. They assign age ratings to films they deem fit for viewing. The film industry is a part of the cultural industry. This is perhaps one of the most expressive and successful media industries to ever exist. That still doesn't make it risk free. Media theorist David Hesmondhalgh refers to the cultural industry as a "risky business", this means that when a film comes out, its success isn't guaranteed. Risk can be reduced by including star power and even exploring a well established genre or franchise. The BBFC can have a massive impact on how a film does depending on its age rating. If the producer of a film aimed a film at 12 year olds and the BBFC rates it at 15, it might be difficult for that film to make money because it isn't accessible to their target audience. 

The BBFC regulate the films into the following categories: Universal, Parental Guidance, 12, 15 and 18. The higher you go up in age, more restricted things are unlocked. Films with U and PG ratings are perfect for family films and films with a rating of 18 have violence, extreme nudity and drug use. The BBFC has a direct impact on the success of a film. For a film like Chicken, the budget was tiny and it was in the arthouse style genre, which is not widely known. If Chicken was put in the wrong rating, say 15, the film would not do well and lose money. The fact if the film makes even £10k profit that's still something. If the BBFC filters out films that younger audiences might love, then it looks bad on the BBFC's front too. 




Walk and talk video guide:





5) How useful are media effects theories in evaluating the success of media products? Refer to your Radio Close Study Products, Life Hacks and War of the Worlds, in your answer. [20 marks]


In both radio CSPs, media effects theories can be applied to analyse the success of them. In BBC's Life Hacks, the use of Blumler and Katz's Uses and Gratifications theory could be applied. They suggested that there were four types of audience pleasures. Life Hacks utilises the following: personal identity, surveillance and diversion. One can find personal identity when the hosts include a topic or invite a guest that has the same background as them. Members of the BAME community in particular could relate to the content or hosts in Life Hacks. Surveillance can be found in the news element of the show, as it is run by the BBC and a part of their remit is to "inform, educate and entertain". The last part of their remit links to the diversion part where listeners of the podcast are asked fun questions or the music they like is played. We can also apply the two-step flow model to Life Hacks as the hosts are a key factor in being the 'opinion leader' when attracting young people to the show.

War of Worlds is a much more dated and established radio show that is a completely different idea. Frankfurt School's idea of the hypodermic needle is a 1920s theory that suggest that the media injects content into consumers and therefore can have a devastating effect on them. This is clear with the War of Worlds broadcast when reports suggested that people had packed their bags and left the town following the initial report of invasion. Stanley Cohen's theory of 'moral panic' can also be applied. This is when the media defines something as a threat to societal values and interests. When the broadcast aired the chaos that ensued was similar to the moral panic explanation. The broadcast made a lot of people panic and they called the police station many times, this was a success. 

George Gerbner's cultivation theory could be applied here as consumption of media can affect the way you react to certain situations. Heavy consumption of the radio in the 30s could have been vital in making the radio show seem very real. It made people vulnerable to fake news and it worked. This created the 'Mean World Syndrome' where heavy consumers viewed the world as much worse than it actually is. My final use of media effects is the dependency theory by Rokeach and DeFleur. They suggested that people rely so much on the media that they believe everything they say. This means that the media can influence people on what decisions they make and can create any feeling such as fear in War of Worlds



Walk and talk video guide:





Paper 2


1) Liesbet van Zoonen suggests that gender is constructed through media language and that these constructions reflect social contexts. 

How far does an analysis of Men’s Health and Oh Comely support this argument? [25 marks]

Men's Health and Oh Comely both include rather different views on gender and it's clear why that is the case. OC positions itself as a niche feminist magazine and Men's Health weighs in as a well established magazine helping men around the world. Van Zoonen views gender as negotiated and dependant and social and historical context. She argues that in media today women are: objectified, framed in a provocative way, restricted to secondary roles and reinforce western beauty ideals. This is clearly not the case in OC as we see that the magazine takes in a very different representation of women across the edition. There is an androgynous person who takes a relaxed pose. We question this as we are unable to tell if they are male or female. The colours the model is wearing also reflects how alternative the stereotypes OC show are. This agrees with Van Zoonen's idea about gender being constructed by the media and that OC are opposing that view. The front cover and indeed the other CSP pages in OC actually oppose Van Zoonen's statement as they are showing how it's like to be gender fluid and free. They show that it is not a problem.

In Men's Health, we see a very different take on gender. Whilst they target men with mental health issues, their blatant fat shaming style of advertising is quite profound. This can be seen from the get-go with Vin Diesel's flexed tricep and his dominant stance reinforcing the hypermasculinity and could even hint at bell hook's theory. Radical feminist bell hooks suggests that the media projects men in one way and shames those who do not fit that agenda. She calls this "normalised traumatisation". This is where men are used to show how they should look, and anyone who does not comply with 'the norm' is seen as different. Like Van Zoonen, she agrees that gender roles are constructed and are not natural. Butelr also agrees because she belives that 'gender is a performance' and is influenced by society, culture and micro rituals. The use of many hypermasculine cover lines as well as the obvious PhotoShop to Diesel's muscle shows that Men's Health accepts toxic masculinity. The cover image also rejects David Gauntlett's idea that masculinity is in crisis.

The use of the #slaywinterblues on the front cover links to Gauntlett's theory that meanings change over time and that there are generational differences. The hashtag shows that they want to reach a younger audience and that 50 years ago, they would have got much less attention with this marketing style. Van Zoonen also states that the media sexualises males and females to reinforce sex role stereotypes and sex-appropriate behaviours. She goes on to explain that men are typically presented as dominant and women submissive. This is clear in MH where everything from the very personal editor's letter to the direct eye contact (direct address) Vin Diesel gives demonstrates that MH clearly reinforces dominant masculine stereotypes. Gender is clearly constructed by the use of blue, often associated with males, and agrees with Van Zoonen and Butler. 

The way that the readers may react to these gender representations could be different. With OC, women could feel empowered and go on social media to evoke even more change in the feminist community. In MH. it's a matter of how to sell stuff. The readers of MH may see the feature of the Marathon Man and think why they are not like that, it certainly seems attainable. The way that MH constructs their idea of masculinity has an impact on how the readers may be motivated to make changes to their exercise routine or eat less. If this advice is met with success, the reader will come back for more therefore resulting in a strong connection between MH readers and the constructed image of masculinity.

Walk and talk video guide:





2) “Television dramas reflect the social and cultural contexts of their production.”

To what extent does an analysis of your television Close Study Products support this view? [25 marks]

Capital is a 2015 BBC drama which uncovers the 2007 global financial crash and explores social issues and the dire situation of London homeowners at the time. Deutschland 83 is a 2015 costume drama that is in German and takes place in 1980s Germany at the height of the Cold War. Capital is a state-of-the-nation drama and is based on a book by John Lanchester. Capital does a good job at reflecting the division between rich and poor and other ethnic, occupational and demographic categories. This is a clear use of Levi-Strauss' binary opposition as we see both sides of the story. One side we see Roger, a rich banker and the other side we see Qwentina whos is an abused and mistreated asylum worker who struggles to make ends meet. This in fact was relevant in 2015 as the EU referendum as well as the smaller economic growth meant that the division between rich and poor had increased massively. 

Capital also depicts how the rates of the world's banks are declining which, even though it was more prominent in 2007, was still true in 2015 with the failing high-street banks issue. Although, some may argue that the representation of certain ethnic groups like the Kamal family and Bogdan are somewhat incorrect in accordance with contemporary views. The Asian and the Eastern European communities have swelled in numbers since 2007 and in 2015 even more came to the UK for work. This increase in ethnic minorities mean that tolerance and acceptance towards these groups also increased. Perhaps they weren't represented correctly, this is why the statement isn't 100% right for Capital. You could also argue that Capital is both left and right wing as many ideologies across the spectrum are somewhat enforced. Capital also represents British culture quite well as we see a diverse mix of residents on Peepys Lane and indeed reflects social and cultural contexts of its production.

The producers of Deutschland 83 were a mix of German based UFA Fiction and US based Freemantle Media. This synergy between the two countries enhances the view that foreign language television is becoming increasingly popular and mainstream. D83 reflects the global nature of television and how connected we all are internationally. It's an eclectic mix of spy-thriller, costume-drama and a coming-of-age TV show, it uses the hybridity of its mishmash of genres and makes for a gripping show that relates to the viewers even though it's set 40 years ago. The fact that the construction of this program is done in a postmodern way reflects modern media culture and how the TV shows of today toy around with different genres to find a balance in between. We can clearly see the influence of the German side of production due to the sourcing of the actor, the language and the setting but we can also see that the US side of production has had an effect due to the thriller style narrative, the postmodern conventions and of course the budget.

D83 makes a good case in presenting the time it was produced as we know from 2013, the documents for Able Archer were released for public viewing. We can apply Baudrillard's hyperreality theory because they use replicas of the documents in the briefcase scene which also brings in Frederick Jameson's idea about historical deafness. History was written by the winners and clearly from the reports you see a one-sided report. This is an example of how the media deliberately alters parts of history and we learn from there, not knowing any better. So that is one flaw when agreeing with the statement that it reflects cultural and social contexts. The use of postmodernism is noteworthy too. In the supermarket scene, Sweet Dreams by The Eurythmics diegetically plays whilst the arrangement of the food products on the shelves resembles Andy Warhol's Tomato Soup art. It's this blend of art and popular culture which makes D83 a postmodern TV show a and therefore makes it perfect when looking at the social and cultural contexts of its production. Postmodernism will always evolve and carry on being contemporary.







Walk and talk video guide:

Radio: Final index

) Radio: Introduction to Radio

2) Radio: Life Hacks

3) Radio: War of the Worlds

Music Video: index

1) Music Video - introduction and factsheet questions

2) Music Video theory and This Is America analysis

3) Common - Letter to the Free context and analysis

4) The Specials - Ghost Town context and analysis

War of the Worlds: Blog tasks

Media Factsheet

Read Media Factsheet #176: CSP Radio - War of the Worlds. You'll need your Greenford Google login to download it. Then answer the following questions:

1) What is the history and narrative behind War of the Worlds?

The world was on the brink of war with the rise of fascism in Nazi Germany. Allied Nations were prepared to report on war at any moment. The radio play covers an alien invasion of New Jersey.

2) When was it first broadcast and what is the popular myth regarding the reaction from the audience?

It was first broadcasted in 1938, just a year before WW2 broke out. The popular myth was that residents of New Jersey thought that the gas over the city was real and that martians had actually invaded NJ.

3) How did the New York Times report the reaction the next day?

Local police were overwhelmed during the broadcast. It caused mass panic and some people even fled their homes

4) How did author Brad Schwartz describe the the broadcast and its reaction?

 He argues that “the stories of those whom the show frightened offer a fascinating window onto how users
engage with media content, spreading and reinterpreting it to suit their own world views.

5) Why did Orson Welles use hybrid genres and pastiche and what effect might it have had on the audience?

he borrowed conventions of radio and his gripping idea to create a hybrid genre that definitely evokes a frightening reaction from the listeners. The use of pastiche by reworking a Victorian narrative is inspirational.

6) How did world events in 1938 affect the way audiences interpreted the show?

Far right powers in Germany were gaining popularity and they were annexing parts of countries. This made Europe and the US on edge as they prepared for the eventuality of an attack. The show made the audience scared because they were always waiting on a radio report that Germany had invaded the US.

7) Which company broadcast War of the Worlds in 1938?

CBS Radio

8) Why might the newspaper industry have deliberately exaggerated the response to the broadcast?

To get more sales therefore making the radioshow as well as newspapers more profitable

9) Does War of the Worlds provide evidence to support the Frankfurt School's Hypodermic Needle theory?

The listeners did not actively consume the media they were exposing themselves to. They blindly accepted the content of the radioshow for what itis and didn;t ask themselves if it was a hoax or just pretend. 

10) How might Gerbner's cultivation theory be applied to the broadcast?

Radio in the early 20th Century became a staple of family and daily life. They centralised their entertainment intake on the radio content. The consumption skews peoples perception of reality and it clearly shows through the reaction from the show.

11) Applying Hall's Reception Theory, what could be the preferred and oppositional readings of the original broadcast?

Preferred: to be entertained and intrigued

Oppositional: people to cause mass panic

12) Do media products still retain the ability to fool audiences as it is suggested War of the Worlds did in 1938? Has the digital media landscape changed this?

I think not as everyone has matured in the sense that they can sense when something is fake as there are so much fake news stories online nowadays.

Analysis and opinion

1) Why do you think the 1938 broadcast of War of the Worlds has become such a significant moment in media history?

It fooled such a big population and gained fame due to its simple yet effective impact on audiences.

2) War of the Worlds feels like a 1938 version of 'fake news'. But which is the greater example of fake news - Orson Welles's use of radio conventions to create realism or the newspapers exaggerating the audience reaction to discredit radio?

The Orson Welles radio show was more fake news-like because it made a lot of people overreact whereas the newspapers just intensifies the existing panic

3) Do you agree with the Frankfurt School's Hypodermic Needle theory? If not, was there a point in history audiences were more susceptible to believing anything they saw or heard in the media?

I agree with it to an extent taking IQ, upbringing and the time period into account.

4) Has the digital media age made the Hypodermic Needle model more or less relevant? Why?

It's more relevant as there are more 'fake news' articles popping up. The spread of social media makes it easier for young or even old people to be susceptible to being fooled by fake news.

5) Do you agree with George Gerbner's Cultivation theory - that suggests exposure to the media has a gradual but significant effect on audience's views and beliefs? Give examples to support your argument.

Yes because 'Mean World Syndrome' is something that occurs as a result of increased media consumption. The bobo doll experiment also shows that increased hours in front of TV or the radio could have an effect on the way you see the world and its surroundings.

6) Is Gerbner's Cultivation theory more or less valid today than it would have been in 1938? Why?

I think the less media you consume, the less likely you are to be brainwashed by the media. There are less avenues of cultivation if you consume less forms of media. Nowadays we have so many forms of media that we see examples of cultivation everywhere. 

BBC Radio 1 - Life Hacks: Blog tasks

Analysis

Read the notes and listen to the extracts from Life Hacks above before answering the following questions:

1) Go to the Life Hacks iPlayer page and analyse the content. What does this suggest regarding the Life Hacks audience and what the BBC is hoping to achieve with the programme?

In my view the content that Life Hacks talks about are meant for young adults. Age range would be from 16-25. This suggests that the audience is interested in contemporary and hard-hitting topics which directly affect their futures. The BBC wants to attract in the younger generation by offering them exclusive content using industry-leading tech.

2) Go to the Life Hacks podcast episodes page. Listen to a few episodes of the podcast and explain how the topics may a) appeal to a youth audience and b) help fulfil the BBC's responsibilities as a public service broadcaster. 

As I said, the BBC wants to make the average viewer much younger than it is today. The BBC is an old and established PSB who are typically wired to cater towards the elderly part of the demographic. "inform, educate and entertain' - I think Life Hacks does well to deliver on that. It provides entertainment with fun topics such as creativity, one can be educated via the many life stories that are told and you can be informed via the podcast reviewing and relating to current affairs.

Media Factsheet

Read Media Factsheet #196 Close Study Product: Radio - Life Hacks. You'll need your Greenford google login to download it. Answer the following questions:

1) Read the first page of the factsheet. What content does Life Hacks offer to listeners?

It explores advice for certain adolescent issues and situations.

2) Which of the five central purposes in the BBC's remit does Life Hacks cover?

I think it's "To show the most creative, highest quality and distinctive output and services."

This shows that LH is a new and interactive platform where young people can share and listen to other stories. It;s distinctive because of the unique structure of the podcasts. They centralise around one topic. This may interest different people therefore having a wider appeal.

3) Read the history of Radio 1 on page 2. Why was the launch of Radio 1 both significant and controversial?

- Radio 1 allowed young people in the 60s to get news, weather, music and entertainment in one place. This battled with the pirate radio stations at the time, to which the young people were more accustomed to. Many questioned the BBC's decision to promote pop music was wrong as it didn't fit in with their PSB remits.

4) Do you consider Life Hacks to be a 'distinctive offering' that helps the BBC to fulfil its public service broadcasting remit? Why?

Yes because it ticks all the boxes. Offers specific advice on adolescent topics. It brings in young people by the masses and in return makes the BBC seem more 'down with the kids'. It educates them on what things can pop up when growing up, it can inform them on how to cope with them and also divert their minds by entertaining them with music/talks with guests or hosts.

5) Look at the figures on page 3 of the factsheet. How much does the BBC spend on Radio 1?

£1.6 million 

6) How has new technology impacted on radio?

New tech has given the opportunities for most radio companies to expand their brand and increase their average listeners. It's a simple fact of numbers. If you are on a platform that has a a lot more reach, chances are that you will thrive, and with the unique approach Life Hacks have taken, it's ringing true.

7) What has Radio 1 done in response to the changes new technology have had on radio?

They have had to make their Live Lounge service more interactive and social than ever before.

8) What are the audiences targeted by Radio 1 and Radio 1 Xtra? What is their actual audience?

Radio 1: They have a median age of 30 so they're not really that old. They have more female and ABC1 listeners. 90% are white. 

1Extra: teens, younger people. Ethnic minorities. More male than female. ABC1-C2DE. High reach to BAME listeners.

9) Applying Gerbner's Cultivation theory, how might Life Hacks influence its listeners (or 'cultivate' certain views)?

When the advice about adolescent scenarios are given out, chances are that the more impressionable minds are more likely to act upon them and take their advice. They may have not known anything about most topics but the listeners are given a new standard of living.

10) Applying Hall's Reception theory, how might different audiences 'read' Life Hacks? What pleasures or reactions might different audiences have to the programme?

The preferred reading is that the listener takes their advice as constructive and uses that to improve their lives or to prepare/be educated on certain topics. The negotiated reading could be that the advice is somewhat useful but doesn't apply to the listeners current situation. The oppositional reading could be that the advice given could be the complete opposite of what actually works for a listener, rendering their advice useless.

Audience contexts: additional reading

1) Read this short Guardian review of Life Hacks. What points does the reviewer make about Life Hacks and the particular podcast episode they listened to?

He found out interesting concepts set up by popular rapper Stormzy. It also featured an author. They talk about how Stormzy's campaign helps BME students to get into Cambridge/Oxford.

2) Read this NME feature on Radio 1 listener figures. What are the key statistics to take from this article regarding the decline in Radio 1 audience ratings?

The 9.2 million listeners that Radio 1 now pulls in each week is officially the second-lowest ever recorded ratings for the BBC station, and is close to equalling the lowest weekly rating of 9.1 million, which was posted in May 2017.

There was better news for Radio 1 in terms of its digital audience, with the station now posting a record 16 million YouTube views a week. The station is also still the top choice for listeners aged 15 to 24 in the UK.

Industry contexts: final tasks

1) How does Life Hacks meet the BBC mission statement to Educate, Inform and Entertain? 


 It educates them on what things can pop up when growing up, it can inform them on how to cope with them and also divert their minds by entertaining them with music/talks with guests or hosts.

2) Read the first five pages of this Ofcom document laying out its regulation of the BBC. Pick out three key points in the summary section.

"the public has exceptionally high expectations of the BBC"
 "leaving creative decisions in the hands of programme-makers, but stretching and challenging the BBC to deliver for all its audiences."
"In most areas, they place tougher requirements on the broadcaster than existed before, as well as safeguarding key areas of delivery. They set a baseline for future performance."

3) Now read what the license framework will seek to do (letters a-h). Which of these points relate to BBC Radio 1 and Life Hacks?

"support social action campaigns on radio"
"require the BBC to reflect the full diversity of the UK"
"secure a more distinctive BBC"

4) What do you think are the three most important aspects in the a-h list? Why?

The three I listed on the top. To support social campaigns on radio is huge because not only is it for a good cause, it provides more listeners/supporters. The BBC, in the current climate, must do better to encompass the UK as a multicultural part of the world. It's expected from all media companies at this point. The BBC has lost some support but through making smart and progressive choices, they could win the favour of the public again and be an industry leader simpy down to the content they produce and the people they attract.

5) Read point 1.9: What do Ofcom plan to review in terms of diversity and audience? 

They want people from every culture to be presented in a way that's fair and not offensive. People from other cultures will see themselves reflected in the BBC in a positive light and then will be more inclined to support the growth of the BBC. This is a god idea since there is a growing immigrant population in the UK.

Read this Guardian interview with BBC 1 Controller Ben Cooper.

6) What is Ben Cooper trying to do with Radio 1?

“My focus is to bring new audiences and new ways to the BBC,”

He wants to make Radio 1 a multi-platform  business than can keep tabs with other modern companies.

7) How does he argue that Radio 1 is doing better with younger audiences than the statistics suggest?

The 46-year-old is armed with some statistics of his own to illustrate his point. Using figures based on those aged 10 and up, he reckons the most common age of a Radio 1 listener is 18. And for its YouTube channel it is 12- to 17-year-old females. “There is no holy grail of one single digital footprint figure in the industry unfortunately,” he says.

8) Why does he suggest Radio 1 is distinctive from commercial radio?

It offers more entertainment than commercial radio. Radio isn't a PSB. The BBC has a remit to abide by and it's that which gives Radio 1 the edge in terms of content and appeal.

9) Why is Radio 1 increasingly focusing on YouTube views and digital platforms?

YouTube is where most of their key audiences spend all their time, more views and listens are possible. 12-17 year old females are the most likely to listen to R1 on YT. YouTube, for many, has proved a great place t get views based on content that;s already been created.

10) In your opinion, should the BBC’s remit include targeting young audiences via Radio 1 or should this content be left to commercial broadcasters? Explain your answer.

I think the BBC should carry on with their current direction. The more they target the younger audience bracket eventually they will give in and accept that the BBC is actually evolving and proves to be a threat to other radio services in the future. We might even see a resurgence in Radio 1 listeners in the next decade. I think that the longer they keep sticking with young people and including ethnic minorities, there's light at the end of the tunnel for the Beebs.