The Mirror and The Times: Analysis

Analyse the following covers in terms of how the technical codes (main image, headline, pull quote, etc) persuade the audience to buy the newspaper and how the audience is being persuaded to respond to the main news story. Consider issues of iconography, binary depositions and semiotics. 

Daily Mirror- The newspaper has chosen to tie its main close-up image to iconography that represents American values through the Statue of Liberty. In this way, along with the mono-syllabic headline "What have they done?" the Daily Mirror emphasises the negative consequences of Trump's election. There's a contrast between what the image represents, bold liberty and how it is being represented, despaired. As according to Barthes' semiotics, the audience will be able to form meaning from their associations with the main image, which accompanied with the dark and shadowy background suggests an apocalyptic future. The subheading invites the reader to look inside as the readers are directly addressed ("what it means for you and the world") In this way the issue of importance is brought up, as the second headline, continuing the same bleak theme, is an accident that occurred in Britain, therefore in more proximity to the readers in Britain than an American news story, however as the sub-heading suggests the election will have consequences even to non-Americans ("you and the world") Therefore, readers are more likely to respond to the jump line and read on. 

The Times- The Times has iconography in the background of its main medium-shot image, with the American flag representing the country's values once again, however, in this front cover it is represented in a less negative way. The body language, with Trump's fist up and the vice-president's clap, suggest an emotive response, which along with the headline "the new world" shows a contrasting view of the consequences of the US election, as this 'new world' could be either good or bad. The pull-quote "You will be so proud of your President, you will be so proud" shows the recently elected Trump appealing to Americans. The repeated statement evokes patriotism, a value expected due to who they represent, Conservatives; the patriotism is not only suggested through the language of Trump's words but also his clothing, a red tie that along with Pence's blue tie lead back to the American flag. The constant utilisation of this iconography will capture the reader's attention as they will engage with the image as it holds cultural significance and it will have meaning to them through associations they make (semiotics).
Headlines, strapline, stand-first, by-line, stand-alone, slogan, central image, NIB/ sidebars, jump line, masthead, pull-quotes, adverts, puffs

Analyse which factors make up the news agenda (threshold, unexpectedness, elite nations/ persons, negativity, unambiguous, personalisation, proximity, continuity) are being considered in the choice of the cover story. 

Despite the different angle of coverage of the news story both newspapers take the same factors into consideration (1965 Galtung and Ruge's news values)

The Daily Mirror's front cover enhances the negativity through its two stories, a tram crash and the US 2016 election results. Given the unexpectedness of the results the news value of proximity is ignored, so even though the tram happened in the UK America's news story is given preference in order to maximise sales. Furthermore, the newspaper makes sure the audience doesn't feel ignored by directly addressing them ("what it means for you") including the threshold value.

Basic industry information

Tabloid or broadsheet? Tabloids generally contain more images, and its headlines often play on shock value and sensationalisation for a wider audience. Broadsheets generally tend to be more informative (covering more political and international news unlike tabloids) and have a more serious tone.

Tabloid (Red Top, popular press): Sensationalist, gossip and scandals, patriotic, concerned with national 'British' issues 

Broadsheet: Educated, middle to upper class, serious news, politics, more likely to have informed opinions and an open mind, international and not just national issues
Ownership? The Mirror: Reach plc (one of Britain's biggest newspaper companies) 

The Times: News UK, Times Newspapers Ltd. (British newspaper publisher + subsidiary of American mass media conglomerate News Corp)

Political bias? The Mirror- left-wing; The Times- right-wing. It means the newspaper is likely to hold values similar to its end on the political spectrum and not support political leaders from the opposite party.

IPSO (Independent Press Standards Organisation) is responsible for the regulation of the content of British newspapers. It considers complains from newspapers and magazines with IPSO membership. Also, complains made under the Editor's code. 

Radio Industry

1. LNWH is no longer broadcast by the BBC but it's still available online. Summarise the differences between broadcasting and podcasting for the audience and how it may affect the content and structure of a programme.

• Podcasts are digital audio files that can be downloaded on your device to be listened to anytime. Broadcasts are transmissions via terrestrial audio (AM/ FM) and/ or online
• Broadcasting covers various topics via talk shows, covering events e.g. festivals, interviews, music... In contrast, podcasts are usually utilised for news updates, features or interviews
• Broadcasting brings the opportunity for live interaction (typically controlled from a studio by a no. of DJs), but podcasting is also interactive in the sense that the listener is able to choose what they will listen to.  
• The audience of broadcasts is wider as it doesn't create a specific niche audience like podcasts do (due to the programmes being tailored to a specific audience)

The content and structure of programmes would be affected due to the live aspect of broadcasts (opportunity for interaction with the audience, hence they can have a say in the music being played, engage in talks through social media...)

2. Define and give an example of a commercial and a public service radio broadcaster, explaining the key differences.


3. Explain the identity and purpose of the BBC based on its origins, history  and how it is funded
BBC (British Broadcasting Company) was founded in 1922 and John Reith was appointed General Manager. It originally was a private company and became a public service corporation. 
1927: established by Royal Charter as the BBC, defining objectives, powers and obligations (Reithian directive to "inform, educate and entertain") 
The 1930s brought TV and the BBC was the first broadcaster to begin a regularly scheduled TV service in 1936. The company continued its radio service.
1946- Woman's Hour (1947 managers worried about the topic of menopause being discussed so after the 60s topics like 'keeping house' and childcare were featured less)
Muffin the Mule- first children's programme in new studies at Lime Grove
1948- news + first televised Olympic Games 
1950- The Archers- longest-running soap opera and 1958- Blue Peter second TV debut
1960s- Radio 1 goes live, youth market

4. How does the BBC broadcast or provide content nationally, locally and globally? 
(give examples)
BBC was the first broadcaster to attempt a programme that involved satellite broadcasts (end of 60s)
BBC World Service- globally
BBC Arabic and Persian Television (news and youth and current affairs respectively)


5. Content  and style of BBC Radio 4    
Based on the types of programmes available, the branding of the station, the choice of presenters and listening to the content, explain the general content, identity and audience of Radio 4 give some examples of speech-based radio programmes from the station.

key text: late night woman's hour

CONTEXT

History and background of BBC:

Supposed to create content that satisfies all its audiences.

History and background of LNWH:

Late-night edition of Woman's Hour (a radio program from BBC Radio 4) on air since 1946, created by Norman Collins & originally presented by Allan Ivimey (Radio Times: specialist in "writing for and talking to women").

Weekly podcast format (+ modern, similar purpose as the re-branding from BBC iPlayer Radio to BBC Sounds).

Summary of content and audience of Radio 4:

• Spoken word
• Middle class, 40-60 women

TEXT

Themes and subjects covered:

From older feminist issues such as the pill to recent ones like makeup on public transport. Plus notable attempts to reach out to a modern audience and be more on-trend with 'James Charles/ Tati Westbrook' and 'Love Island'.

Structure and content of typical episodes (interviews, feature pieces, discussion, phone-in, etc)

Interviews conducted with various female professionals of different backgrounds e.g. 'Love Island' had a Danish comedian and body positivity campaigner Sofie Hagen and journalists Zing Tsjeng and Yomi Adegoke. Formal audio code-wise with the BBC Sounds intro but informal in tone as there's swearing and conversational language. Mode of address isn't necessarily direct as it's a light-hearted discussion between the women present.

However, there's an attempt to reach out to its audience, e.g. in 'Makeup on Public Transport' they lead listeners to their Instagram poll (Opportunities for audience feedback)

Most episodes have adverts at the end of the podcast. 'Makeup on Public Transport' had a 30sec advert for BBC Sounds podcast Planet Puffin. It seems to be only BBC content that is advertised as in 'Home' Lauren refers to 'one popular book website' without naming it.

LAUREN LAVERNE: 2015-18

• 41
• Sunderland; criticised for regional accent
• English radio DJ, model, TV, presenter, author, singer (pop-punk band Kineckie at 16), comedian

EMMA BARNETT: 2018- present

• 34
• Surrey
• British broadcaster and journalist, The Telegraph editor and BBC Radio presenter
• Previously on 5 Live

The target audience of LNWH (age, gender, class, use of media, etc.)

35 to middle-aged women, middle class, various interests but aware of current issues of mostly progressive views, technically-savvy due to text format (not radio programme but podcast)

THEORIES

Hall's reception theory: 

A male audience, part of Radio 4, might respond negatively

A young audience might not resonate with episodes like 'Love Island' and the podcast in general

White middle class

Curran and Seaton's media industries and power theory:

Giant corporations= less creative, imaginative and interesting content

No pressure to make money- publicly funded

Giant corporation