lunes, 27 de enero de 2020

Case study: Online Media 1 (Zoella)

Social media in the online age

You will look at the role played by blogs and websites in the media today, exploring the way in which these convergent media platforms increasingly overlap, as well as investigating the potential that they offer for self-representation.

The changing relationship between media producers and audiences will be considered, as the idea that media consumers have now become producers who regularly and actively participate in the creation and dissemination of media content online.

The impact of digitally convergent media platforms on media production, distribution and circulation will also be explored.

General analysis

Content and purpose of her blog/ YT channel/ Insta

What areas of life does she focus on?
As a lifestyle YouTuber she focuses on clothing, makeup, travel, etc.
Who is her main target audience?
Teenage to young adults (13-29)
Does she simply entertain her audience or support, give advice and educate?
She gives advice on her niche: fashion and cosmetics (main focus) while entertaining her audience (additional focus)
What is her mode of address?
Her mode of address is very direct, with her as the focus of the camera shot. Specifically, she's very bubbly and cheerful

Are there any differences between the content and purpose of her various blogs and online channels?
Her blog is a sort of a hub of her online presence, with the inclusion of both her Zoella and Zoe Sugg Instagram accounts signifying the clash of her two personas. These bring different age groups to the table, with a more mature audience following the blog and a younger audience associated with social media and Youtube.

Audience and industry

How does Zoella produce income?
Zoella's income started mainly from Youtube, with advertising throughout the video and sponsorships. Given her niche, lifestyle, clothing and makeup- focused content will have brought the attention of fashion and cosmetic brands. She's linked to other industries, like books; the association with the more traditional literary industry signals her growth age-wise.

How can her audience interact with or give feedback to Zoella/ Zoe?
The audience can interact and give feedback through Zoella/ Zoe's social media channels. 
Define parasocial interaction.
Parasocial interaction is relevant with social media influencers/ Youtubers, as the interaction one has through these channels is one-sided. One can like, comment, subscribe on the basis of believing you know the person as you like their personality. However, the influencer/ Youtuber doesn't know you, they can't establish a proper personal reciprocal relationship, but you still feel you have one (illusion)

Summarise the representations of gender as well as other representations such as age, class or ethnicity that are most dominant in her blogs. You can also explain any use of stereotypes and gender performativity along with relevant technical codes such as body language, use of colour, props and formatting.
Zoella can be argued to conform and foster the stereotypical idea of a girl, who's into makeup and fashion, is bubbly and cheerful, etc. Her mode of address and content suggests this. Looking at the latter more closely, one can see through the pastel and pink-dominated colours in Zoella's YT thumbnails and Instagram pictures that she's establishing her feminine persona. The move to include more mature black and white tones in the social media channels related to 'Zoe Sugg' supports this idea. Butler's gender performativity theory is applicable here, as Zoella is adhering to feminine social roles and stereotypes with the colour pink as an example. 
What are the main differences between Zoella and Zoe Sugg as representations?
Zoella and Zoe Sugg are two created brands, despite Zoe Sugg being meant to represent her more personally. 

lunes, 13 de enero de 2020

The Bridge: Audience + Industry

Industry

Production and ownership information

The programme was originally commissioned and produced by Nimbus Film+Filmlance International, portraying the co-operational nature of the show, even in its production. It is also a co-production with CFF and Film i Skåne as well as various other European partners. Further economic funding from Creative Europe MEDIA (provide for high-quality, high budget European TV drama series) for Season 3 in order to maintain programme's high production values with 1 million euros.
Broadcast dates (including UK): S1- 2011 S2- 2013 S3- 2015 S4- 2018
Scheduling: Saturday 9pm slot in the UK, usually filled by subtitled dramas such as Les Revenants, Hostages, etc weekly two ep. blocks
Channel of original series: SVT1 Sweden and DR1 Denmark (BBC4 UK) leftist- liberal, public service rather than commercial context
Audience figures: Season 3 premiere attracted 1.5m viewers in Sweden, about 1 in 7 of population
BBC website info: Categories like "Characters" and blog posts ('Saga is becoming more unstable' from star Sofia Hein). Recap from Series 2. Clips. 'Buy online' link to BBC Store
DVD/ streaming release info: Available on Netflix on Austria, Germany, Switzerland and Canada
Remakes: US- 'The Bridge'; Anglo/ French 'The Tunnel'
Other ways to maximise audience aka global distribution: The Daily Telegraph reported in Feb. 2014 that The Bridge was on screen in 174 countries

How does The Bridge fit into the BBC's remit of the kinds of programmes it should be producing?
Specifically within BBC4 which aims to reflect a range of UK and international arts, music and culture, The Bridge fits the channel chosen by the BBC to be scheduled in. As a nordic noir show which therefore deals with profound serious issues within society; it also satisfies BBC4's ambition of providing innovative high-quality programming that is culturally and intellectually enriching. More explicitly it also fulfils the aim to offer international and foreign language films, dramas and docs.

Regulation information

The bodies in charge of regulating The Bridge were Ofcom for the UK and ... for Sweden/ Denmark.
What possible legal or ethical issues could have raised by the content of Series 1-3 to affect broadcast?
The dark and bleak nature of the show, given its Nordic Noir sub-genre, could have been an issue to audiences unfamiliar of the genre in the UK.

Audience

Audience marketing

How did the marketing (trailers, advertising, etc) for The Bridge target, identify and maximise its audience? This could also be by targeting an existing audience of the programme or genre. Consider the location of the audience as well as its previous knowledge.

  • Use of specific genres/ sub-genres and their conventions

Not explicitly but coat implies investigator+ team low-angle shot = power of the law, original Scandi cover 'Bron/ Broen' duality of Danish-Swedish co-op+ sub-genre Nordic Noir influence, The Bridge dominates background as iconography,

  • Use of stars audiences would recognise 

"as seen on the BBC" DVD cover, Scandinavian DVD cover's three lines to signify Series 3 and continue earlier branding

  • Use of characters audiences want to know more about or identify with

Saga in all of them, facial features serious, implies coldness and social inadequacy, and in some there's Saga+ partner (Henrik/ Martin) in order to have the ability to choose

  • Any other methods used to target audiences e.g. enigmas and link to other products or genres

de-saturated colour palettes, high-contrast and low lighting to be stylistically generic and create enigma; Scandi version- multi-lingual blurbs to have an international appeal + bilingual title reflects production context

Press coverage- Radio Times (Saga) CATCHY LANG. EYE-CATCHING CODE IMPOSITION + Nordic Noir (Sofia Helin) magazines TONED DOWN PALETTE+ SPECIFIC LEXIS
Radio Times- 'feminist icon' and 'sex symbol' reception commented by Helin (didn't interpret it that way intentionally but feminist icon > sex symbol) + comment on the uneven amount of refugee intake by the UK compared to Sweden, despite larger population informs the social issues discussed on Nordic Noir

Audience response

Popularity of the genre/ sub-genre
Fandom
@TheBridgeUK with about 18k likes+ follows, Instagram with 5,600 follows
Twitter fan accounts with more than 1000 followers
Unexpected international reception mentioned by Heil on the British show This Morning.
What could be an oppositional reading of The Bridge, in particular in relation to how different types of audience and nationalities could respond to the character of Saga or the settings and theme of the programme? Any other examples?
Asperger's syndrome
Nordic Noir
Pg. 48-49 booklet

Critical response 

Give examples of fan, newspaper and website reviews of the series and any awards. Were this generally positive and what were the main reasons?
The series was positively received by critics, winning the Critics' Choice Television Award for Most Exciting New Series and the Peabody Award (noting "its rare, non-stereotypical depiction of two cultures rubbing against and informing each other is fascinating as is the mystery") in 2013.