Case Study: Vogue (Magazines)

Vogue

Summarise the key changes in social attitudes to gender in the 1960s, as well as changes to the economy, consumer goods, travel, food and culture such as fashion and music.

Following the bleak post-war period of austerity, in the 60s the economy was growing and employment rates were high. The standard of living greatly improved, and thus, people could spend their money on consumer goods and recreational activities like travel.

Given the 'baby boom' after WW2, there was a considerable large fraction of the population to appeal to. The youth. Therefore, all the liberating changes discussed can be understood by a countereffect of the constrictive 50s and previous war years.

The authority of older figures over young people started to be challenged. Referred to as 'The Swinging Sixties', this decade was defined by hedonism, favouring the economy as this translated into consumerism. 

In the 60s youth, popular culture expanded. This is reflected in the emergence of pop art, which focused on sources of popular commercial culture like Hollywood movies and pop music.

Social attitudes to gender and social class started to relax, with the start of changing views around those. Measures like the contraceptive pill being approved and legalised abortion demonstrate this.
People more visibly started to protest and rebel, exemplified with the Civil Rights Movement. Particularly, young people had the Hippie youth movement, supported by prominent musicians like The Beatles and Bob Dylan. Hence, the youth defined the decade in terms of culture (fashion and music). 

Analyse the following sections of the magazine for technical codes and how they represent and appeal to their historical target audience

• Front cover

The Vogue front cover has its star persona in a close-up as the main image. The star featured, Sophia Loren, therefore dominates the cover and its layout as there are no cover lines. This characterises the magazine as a rule-breaker among the industry, reflecting their audience of independent women. The cover appeals to them through the dominant central image of Loren, an Italian actress that was at the height of her fame in the 60s. She embodies the success and glamour Vogue's target audience would aspire to, as young women of the 60s were able to break free from the traditional expectations of solely being housewives and mothers. Loren maintains a direct gaze that connotes confidence, but she's distant, due to her slightly raised chin and serious look. This once more transmits her high status and the target audience's desires but also represents the audience to an extent. Loren is an icon of femininity and style, reflecting the liberated woman of the 60s; the change of the Swinging Sixties also involved fashion with Mary Quant's miniskirt being a crucial symbol of the relaxation of social attitudes to gender. So the stylistic choices for Loren's clothing indeed transmit the historical context that tied fashion to female empowerment.
The Turkish headscarf along with the Italian background of the actress both reflect the growing acceptance of diversity. With it, travel became a desired activity, the short snappy words "sun swim sea sun"  reflecting the target audience's aspirations, linking to the content inside and serving as an alternative to cover lines. Also, foreign actresses were included in the Hollywood scene (i.e. Italian Sophie Loren along with Belgian Audrey Hepburn for instance). Still, it's crucial to remember that progress was limited, and the style choices for Loren indicate this. The makeup emphasises her dark brown eyes, unchallenging stereotypical notions of female beauty. Even when foreign elements are incorporated, like the headscarf, a modern audience could identify it as cultural appropriation. The purpose of the shoot (Loren was promoting her recent movie, Arabesque) provides insight into the importance of Hollywood and pop culture in the creative industries, with Vogue evidently benefiting from it, featuring popular actresses like Loren in its covers. This reflects the time period, people engaged in leisure activities like going to the cinema and youth culture expanded. Hence, the target audience of Vogue would be interested in the cover and content inside.

The mise-en-scene of the front cover enhances the success embodied, green is a consistent colour throughout the masthead and the star's clothing, conveying wealth and ambition. The accessories of golden jewels, pearls and feathers ultimately establish Loren as an aspirational figure and a representation of the audience's desires. The list of words, a substitute to cover lines, indicate the audience of the magazine look to it for advice on fashion and beauty, "how to scintillate almost anywhere even at a picnic". The audience is therefore appealed to, as Vogue establishes itself as an authoritative voice in the female-aimed magazine industry. Indeed its influence remains in our modern age, so the audience is successfully appealed to, through the consumeristic nature of society, aiding the fashion and beauty industries as women will buy products for their own pleasure.

• Contents page (p.3)

The contents page essentially defines Vogue's adherence to traditional conventions of female-targeted magazines, with content sectioned in fashion and style, entertainment, culture, travel, cuisine... This conveys the slowly changing views around women's role in society, as memorability of the alliteration in "picnics probable and improbable" and motif of "picnics" throughout could be defining the target audience essentially still as housewives, just outside the home. Alternatively, the prominence of female journalists in the featured list indicates the visibility of women in professional roles. It represents the changing scenario; to represent their target audience Vogue must make assumptions that lead to gender stereotyping. This doesn't mean that the audience isn't interested in such subject matters. In fact, the motif of "picnics" signifies Vogue's audience must have been interested in organising them given its repetition. 

Nevertheless, Vogue's readership seems to be cultured and educated, with assumed knowledge of the Italian term "Dolce Vitta" and pop art artist "Andy Warhol". This also reflects the cultural and social context of the time, in which modernity was embraced. There are assumed interests by the magazine, about fashion, entertainment and culture, hence, it effectively targets its audience and represents its interests. 

The allusion to various exclusive travel destinations like Abu Dhabi, Deauville and the Mediterranean coast indicate the interests of the readership, people interested in opening up new horizons with the arrival of growing accessibility of travel. Still, it was relatively new and therefore reserved for the wealthy, so it will mostly be a method to appeal to instead of representing Vogue's target audience. Still, the consumerist focus, highlighted by the recommendations of shopping, trends and travel ("cruises") indicate an equally consumeristic audience, with a disposable income. Therefore, the magazine attempts to represent and appeal its target audience, quite broad as it's half the population, women. 

• Feature: 'Money: Questions and Answers' by Sheila Black (p.14,18)

With "money" as the central theme and highlighted as the heading, Vogue is explicitly targeting the new generation of women who were financially independent. With over 26,000 women attending university by 1962, they had the possibility of becoming professionals and not just housewives. They could be in charge of their own finances instead of just leaving their husbands in charge. The subheading of "questions and answers" alludes to the nature of the relationship between Vogue and its readership, Vogue knows its audience and its interests, and acts as an advisor, appealing to them as it establishes itself as a connoisseur in the topics it tackles, in this case, finance. The journalist's background is useful in determining this, as she writes for the Financial Times, immediately elevating her status of expertise in the article. There's underlining that divides the article into sections, "borrowers", "home improvements" "insurance" and "shares", signalling the representation of the audience as independent women with desires to invest and manage their money with expertise. And so, Vogue effectively appeals to the desires of the audience, featuring the Money article.

The article, like the rest of the Vogue issue, reflects the changing status of women in the 1960s; they were given more financial freedom than their previous generations, however, they still were fighting for equal status. The recurrence of Black's transmittance of the readership's questions as vague indicates women weren't really educated financially or given support. Furthermore, the reference to British financial law of the time, in which wives couldn't make private personal investments without their husband's knowledge, indicates women weren't really independent yet. So, the conflicting nature between women's wishes to be independent and their unequal status is represented. They are appealed to with the support offered by the magazine, which recognises and considers their interests.

• Advert: Revlon 'The applied art of eye-making' (p.17)

The advertisement reflects Vogue's audience's interests. With the target focus being on women, the recurrence of beauty-related adverts is explainable as assumptions of the audience's interests are made. These assumptions are arguably not mistaken given that the 1960s was a period of liberation for women. The embracement of hedonism in modern society translated into women reclaiming their bodies in the Women's Liberation Movement. Hence, the advert for 'Eyemakers a la carte' signifies the ability of Vogue's audience to choose and spend their money on themselves. The play-on-words in 'Fabulash' and 'Brow beautiful' targets the audience, who will be drawn by the capitalization of the individual products' names and persuaded by the informal and carefree attitude maintained throughout.

The Revlon advert seems to suggestively give power to women, choices are offered with the parallel phrasing in "shape them, change them, colour them, darken them, deepen them!". In the 60s a large portion of women started to be intellectually and financially independent, hence, the advertising industry adapted to appeal to the new generation. The illustration that accompanies the writing reflects the aim of the advert, it positively exemplifies the products will highlight women's features, therefore appealing to them through physicality at the time of the sexual revolution of the 1960s. Measures like the contraceptive pill and legalisation of abortion meant women were starting to be empowered in their sexuality, and so, Vogue's audience would effectively be interested in products like Revlon.
An oppositional reading to Revlon could argue that the advert isn't really realistic and sincere. The nature of the featured visual, an illustration, suggests the 'perfect' image is unattainable. This is supported by the hyperbolic language throughout, "to make your eyes make history for you!" "positively alluring!". The exaggeration is employed to appeal to women, along with exclamations that convey the tumultuous nature of the time. Advertisers and companies like Vogue exploited the context of the sexual revolution, appealing to women's wishes of liberation. Hence, Vogue's featured Revlon advert represents women's desire to explore and exploit their sexuality. And while captivating the audience, the Revlon advert will represent women as people who should be looked and admired through their makeup, as the visual looks like a painting more than a real image.

Case Study: Online Media 2 (Attitude)

Social media in the online age

General analysis

Identify target audience

Attitude clearly targets its audience, gay older males, with a comfortable income level. As a British magazine, who seeks the mainstream, the ethnicity of the audience will be mostly white.

The magazine's representation links with its audience.
The 'Boys' section is composed of white males, nevertheless diversity is transmitted in terms of age, as the celebrities featured range from their 20s to 40s. Hence, Attitude attempts to appeal to a wide-ranging demographic (20s-50s). Elements of younger LGBT culture such as RuPaul's Drag Race and NikkieTutorials are featured. This, along with the social media presence will appeal to the younger part of the demographic. In contrast, the usual retro culture stories that abound in 90s references along with the celebrity-led stories that reflect the mass media focus of the late 20th century appeal to the older part of the demographic.
The high socioeconomic status of the target audience is conveyed through the sponsored content and partnerships, with products like Calvin Klein, Jaguar, etc. The relatable activities of this demographic is incorporated into the narratives (theatre, arts and cultural events, five-star holidays, premium restaurants) to create a connection. The educated aspect of this audience is appealed to with the formal language and political news stories.
Producers construct and position audiences:
Attitude constructs its audience through choice of stories, how stories are mediated (e.g. ideology), mode of address (a mixture of formal (e.g. news & politics stories) and informal (e.g. boys, entertainment, opinion; direct to create relationships between audience & producers). Whilst this constructed audience may not agree with all of the points of view shown, they can negotiate their readings (Hall) and pick’n’mix the representations they wish to (Gauntlett).
The preferred reading of Attitude’s website (probably by a gay man) would be it is informative, entertaining and fun, and makes them want to buy the magazine. They would be interested in many of the topics and probably agree with the ideologies expressed within. They would probably share or like on social media. It would give them a sense of personal identity and make them feel
less marginalised.
A negotiated reading (possibly as an older gay man, or ethnic minority gay man) may include agreeing with the overall ideology and finding some articles interesting, but finding Attitude offers a narrow range of experiences and representations of homosexuality and therefore being frustrated as it doesn’t offer a sense of personal identity.
An oppositional reading (e.g. a homophobic straight man) would reject the ideas as they find the images of semi-naked men offensive and the idea of promoting a homosexual lifestyle as normal wrong. They may find political articles such as the article criticising a woman on TV who called homosexuality ‘a choice’ offensive as they may hold that view as well. Overall, due to their own personal ideologies they would not be able to accept the messages contained in Attitude’s website.
.

Representation

How is masculinity and sexuality represented in the website? Are certain stereotypes or elements foregrounded or given higher priority and focused upon more than others for the benefit of target audience? If so, why?

Representations of masculinity and sexuality are very present throughout the website given the target audience are gay males. Attitude plays with the 90s and arguably remaining stereotype of gay males being solely interested in sex, as there's a whole section dedicated to 'boys'. The connotations of the word 'boys' itself is somewhat demeaning, although Attitude seeks to empower its male audience. The celebrities featured, not always homosexual, are sexualised.

Stereotypes around gay males abound, as Attitude attempts to appeal its audience. The separate website for its 'theatre' section conveys the belief of gay men as 'flamboyant' and flashy, depicted through its 'style' section too. Hence, their interests are put in a box.

How closely linked is the website to the Attitude magazine in terms of ownership, content and style?

The website's format reflects the magazine's style. As Britain's leading gay magazine and the owner of many successful international versions, Attitude conveys sophistication through its masthead (no capitals: informal) and lettering, extended with the website's interface (professional, not flashy layout; categories, newest stories at the top, picture slideshow). So audience recognition is created.

In terms of content, the website reflects Attitude magazine's aim to feature stories that directly affect the LGBT community, with a constant up-to-date news section. 

There's no possibility for audience feedback, without a comments section, leaving little possibility for the audience to interact with the producers, mirroring the magazine as it represents a more traditional form of media. Still, Attitude's social media presence (10.2k YT 171.1k Twitter 211.1k IG 750k FB) together with the 'get in touch' link facilitate some interaction and advancement with modern technology. [Shirky's end of audience]

Paper 2: Identity Q. Social Media

How far can aspects of identity be seen to affect the way in which audiences use online media? Discuss with reference to Zoella [15 marks]

Response

Aspects of identity affect the ways in which audiences use online media, and they contribute to how audiences are constructed and audiences construct. Gauntlett’s Identity theory exemplifies the relevance behind audience construction; media adds a layer of construction to our identity, and so, Zoella’s audience will feel represented with her personality and the content of her videos. YouTube channels usually have popular series, for Zoella it is her Primark hauls, which plays on affordability and relatability. Even prior to her success, she seems to have carefully targeted a wide demographic. The fact she represents the dominant groups in terms of social class, ethnicity, etc, means it’s easy for the viewer to have a positive engaging response given she’s a ‘safe bet’ in terms of representation. Doubtlessly, her mainstream success in the traditional media with her WH Smith book club collaboration and her own Girl Online trilogy confirms it. The widely-held stereotype of the ‘girly girl’ is relevant throughout her channel. As a female fashion and makeup guru, a teenage to young adult female who enjoys the two will feel identified with her. Additionally, the self-identifying audience can go further, feeling inspired to create their own channels, which to an extent, Zoella caused. She inspired the surge and trend of fashion channels following her success. Hence, audiences themselves construct too, affecting the ways in which they interact with online media, and YouTube channels/ Internet celebrities like Zoella.

Audiences are active or passive depending on who they are in terms of demographics. Shirky’s End of Audience and Jenkins’ Participatory Culture theories outline the audience interaction and the broken barrier between audience and producer. Technically, fans are very engaged, and people like Zoella experience this, with millions of subscribers on YouTube and followers on her social media platforms, as well as dedicated fan accounts and fan art. However, it could be argued that they are passive, as they are the target audience and respond like the producer (Zoella) has intended them to. Through a friendly, accessible mode of address and body language along with cheery music and audio codes, viewers of Zoella will feel involved with her, affecting their interactions, which as evidenced will be high. Still, those outside of Zoella’s targeted audience, of teenage to young adult females, will construct oppositional readings, and interact with her differently. For instance, her £50 advent calendar scandal will have provoked more of a reaction from people who aren’t supporters and are not biased towards her. Therefore, aspects of identity influence audience interaction.

As previously outlined, identity is relevant to how audiences interact online. However, there are other ways audiences’ use is affected. The role of the producer is a crucial factor too. Zoella’s brand identity is the ‘girl next door’, ‘girly girl’. Hence, her pastel and pink-dominated Instagram and colourful YouTube thumbnails establish her targeted young audience. When contrasted with the Instagram colour palette of ‘Zoe Sugg’, full of black and whites and more mature tones one can see she’s appealing to a more adult audience. The contextual situation, given the audience has grown with her since 2009, leads her to seek to develop and maintain her audience. Hence, her two creations, Zoe Sugg and Zoella complete this purpose. Hail’s reception theory is at play, as Zoella/ Zoe Sugg’s constructions cause an oppositional reading that recognises a different flaw and negative reaction each time. Zoella’s old YouTube videos had a simple mise-en-scene and minimalist presentation, eventually growing more sophisticated, a common trope as YouTubers get more recognition. This is also demonstrated through her thumbnails, which were simpler and became fancier in terms of lettering and overall layout. Now, with her current videos under the ‘Zoe Sugg’ channel she’s found a compromise, doubtlessly, her thumbnails and mise-en-scene are lavish, but there’s a minimalist layout (and again, a more mature colour scheme) symbolising a different time in her life as Zoe Sugg, and thus, a different demographic, away from Zoella’s initial one.

Notes

Audiences are constructed & Audiences construct ("aspects of identity ... affect [how] online media [is used by audiences]")

Theory: IDENTITY (media adds a layer of construction to our identity) + RECEPTION
Demographics (age/ gender/ ethnicity) + what they're consuming affects their identity
Zoella— represents the dominant group (white, middle to upper class, heterosexual) + 'girly girl' stereotype
Evidence (text):

• Wider context: links to success (sponsorship, traditional place in the media aka a safe bet: books)
• Content: makeup and fashion- advice; Primark haul vids- affordable, relatability- LINK to how she inspired a surge of fashion channels following her success

Self-identifying audience

Audiences are active/passive, by who they are in terms of demographics ("aspects of identity", "how far")

Theory: SHIRKY&JENKINS END OF AUDIENCE&FANDOM (expand- no separation between text and audience), HAIL RECEPTION (name drop)

• Technically fans are very engaged- subscriber count, Insta followers, fan art+ fan accounts

Parasocial interaction: friendly, accessible mode of address, body language; cheerful audio codes and music

• But they are passive (?), as they are the target audience, only those outside target audience construct oppositional readings

Role of producer ("how far" ie there are other ways audiences' use is affected)

Theory: HAIL RECEPTION
(Expand on it)
Zoella— producer
Brand identity 'girl next door'

• Targets audience (Insta for Zoe Sugg and Zoella's technical codes- b&w, pink)
• The audience has grown with her- developing and maintaining audiences (YT/ Insta vs Blog channels; 13-29) + old to new vids from simple mise-en-scene and minimalist presentation to a sophisticated background- common with you-tubers

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. 

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.

Life on Mars: Audience + Industry

Audience

Audience marketing

How did the marketing (trailers, advertising, etc) for Life on Mars target, identify and maximise its audience? This could also be by targeting an existing audience.

• Use of specific genres and their conventions
• Use of stars such as John Simm
• Use of characters
• Any other methods to target audiences e.g. enigmas, merchandise, links to other products or genres...

Life on Mars targets an older audience, given the 70s mis-en-scene, and this is exemplified through the trailer. The trailer's soundtrack, from a popular 70s rock band (Led Zeppelin), appeals to the older audience through familiarity. This is also achieved through the character of Gene Hunt, and the actor behind him, Philip Glenister, a familiar face for BBC audiences through previous series for the broadcaster. The press pack also makes it clear through sections like 'Do you remember the 70s, which aims at an audience that will play on the nostalgia factor. Nevertheless, the show does attempt to maximise its audience, the character of Sam Tyler being a prime example, as he's the antithesis of Gene Hunt, looking to bring a younger audience. The voiceover in the trailer clearly outlines the narrative in order to have a mainstream audience, along with the clearly established hybrid genre of crime and sci-fi. All this is achieved in less than a minute, with the quick paced editing. The posters all feature Gene Hunt and Sam Tyler, indicating they will be the main protagonist and side-kick, a common crime convention, and luring in the two audiences. The posters sell the star persona of John Simm, as he'd be a familiar face to BBC audiences due to Doctor Who.

Audience response

Audience pleasures:

• genres
• characters
• escapism e.g. enigma codes
• messages i.e. identity

Life on Mars found a cult following among fans, with a wiki page set up. This links to the sci-fi genre, from which there's a strong fandom. 

What could an oppositional reading of Life on Mars be, in particular in relation to how different types of audiences could respond to Gene Hunt and Sam Tyler? Any other examples?
An oppositional reading of Life

Critical response

The TV programme found success among fans and critics.
It won Best Drama twice on the International Emmy Awards (2006 and 2008) and the BAFTA Audience Award in 2007 (also nominated in other categories like Best Drama, Best Writer, Best Actor, etc). It was considered a good drama, with reviews from newspapers like The Telegraph claiming 'Theoretically, this should add up to a right old mess. In practice, it makes for [an] enjoyable piece of television' and The Guardian 'Once there in 1973, we find ourselves in a reasonably gripping police drama- yes, The Sweeney, perhaps, with better production values- [...]'. The critics acknowledge the success of the aims of the show, like hybridising crime and sci-fi and alluding to the audience's nostalgia with nods to the 70s.
Life on Mars found success among the audiences targeted, its mainstream aim highlighted through the transmission time, achieved an average audience of 6.8 million viewers. Despite rival shows like ITV1'S 'Northern Lights', the timing benefited the show, as it was scheduled post-watershed Monday nights at 9pm

Industry

Production and ownership

Produced by Kudos Film and Television for BBC Wales
Broadcast date: January 2006
Scheduling: Monday 9pm- peak viewing time post-watershed
Channel of original broadcast: BBC One (global producer; no money through ads but TV licenses)
Audience figures: S1 average audience of 6.8m
Spinoff: Ashes to Ashes - FRANCHISING
Different versions: USA, Spain, Russia, South Korea, Czetch Republic 

How does Life on Mars fit into BBC's remit of the kind of programmes it should be producing?

"To be the BBC's most popular mixed-genre television service across the UK, offering a wide range of high-quality programmes... the primary outlet for major UK and international events and it should reflect the whole of the UK in its output. A very high proportion of its programmes should be original productions." 

Life on Mars is targeted towards a mainstream audience despite its niche concept. The 1970s nostalgia appeal, with soundtracks and props that aim to reel in older audiences could have alienated younger audiences. Nevertheless, the programme seeks to "reflect the whole of the UK" through the protagonist, Sam Tyler, and other diverse characters like Annie, Nelson and Maya, nevertheless their minor roles could create an oppositional reading (as it can be argued that the 1970s was a less progressive time hence the predominancy of white characters) and claim that there's a lack of representation. Life on Mars is an original production, though, therefore BBC's remit is mostly met.

Regulation

Which bodies were in charge of producing the content of Life on Mars? What possible legal or ethical issues could have been raised by the content of S1 E1?

Kudos Film and Television were in charge of producing the content of Life on Mars. The regulation of all the UK television industry is by Ofcom, who's main duty is to "further the interests of citizens and consumers"

• Ensure TV television services are provided by a range of different organisations
• Ensure that a wide range of high-quality programmes are provided, which appeal to a range of tastes and interests
• Protect viewers from offensive or harmful material
• Protect people from unfair treatment and ensure their privacy is not invaded

Mainly accomplished by the operation of the Broadcasting Code

• Watershed 5.30am- 9pm = content deemed inappropriate for children
• Code deals with issues such as violence and dangerous behaviour, use of discriminatory language and portrayal of crime
• Code also ensures that any factual programming is not misleading to cause the audience harm or offence

The content of S1 E1 could have caused complaints to Ofcom due to...

Postmodernism on Life on Mars

To what extent can S1 episode 1 of Life on Mars be seen as a postmodernist text? [15]

Which of the following post-modernist techniques and attitudes does it use, refer to or follow in its narrative, mis-en-scene, performance, visual/ audio codes, etc?

Life on Mars utilises post-modernist techniques like intertextuality. Explicitly, the title references Bowie's 70s song which suggests the sci-fi part of the hybrid genre. More implicitly, there are references to 70s TV with the university challenge programme and news; Enoch Powell is referred to, a political figure which highlights the dark undertones the episode deals with such as racism.  These indicate a media awareness which raises the question of whether the events he's dealing with are his personal memories or the constructed media versions. The series makes Sam's confusion distinguishing reality and the artificial clear; the simulacra idea of Baudrillard is referenced throughout. Nevertheless, the audience is not engaged with hyper-reality, we are aware Sam isn't experiencing real life. Sam is engaged within his own world,
The parody and pastiche technique within post-modernism is used in the episode, with the 70s cop show The Sweeney being alluded to through bleak mis-en-scene and clothing and narrative like chasing and violent scenes. One could argue the text is closer to being parody as iconography like iPods and cassettes, Jeeps, batches are employed to emphasise the ancientness of the time he's been taken too to an extreme. The episode also utilises the technique of bricolage, as the episode is fragments of different texts in the same crime genre,
Life on Mars implies various dark social issues like gender and racial inequality, however it doesn't indulge in them, merely including them in its iconography like the newspaper with the Enoch Powell story. This follows the post-modernist value of ambiguity and no single meaning. It is also ironic in nature.

Does it also use more traditional established techniques to connect with its audience, such as follow established genre conventions, create original characters, follow a linear narrative, etc? Briefly summarise these.

hyper-reality?
It follows genre conventions like crime narratives of catching the criminal and sci-fi utilisations of music and audio codes. Bowie's song 'Life on Mars' plays at the start of the episode, and could be argued to be part of the reflexivity in post-modernism, as we are aware this is a constructed reality. Furthermore, the character of the psychologist could be argued that to an extent it breaks the 4th wall, nevertheless its appearance is explainable within the show's established rules (enigma as to whether he's unconscious or actually time-travelled).
Life on Mars isn't necessarily ambiguous and meaning can be denoted. It has the overarching theme of finding your identity, as the narrative of the episode, according to Todorov's narratology, sees him on the equilibrium being questioned by Maya who claims "you used to believe in gut feeling", indicating he's too cautious instead of being daring, and by the disruption he has to learn to find himself whilst being in the past.
Despite the two different eras (starting in the modern 2000s and going back to the 1970s), the text follows traditional techniques like the linear narrative, instead of a fragmented narrative. This allows the audience to follow Sam's strange journey in a more conventional and straightforward way.