Music Industry- globalisation

A2 media ms4 music industry and globalisation from aealey

Television industry- Section B Main Concepts (Industry and Audience) - Global Issues

Global implications.
Globalisation is the increased global connections between cultures around the world leading to less individual cultures and instead having one large culture across the world.

Key terms: 

Cultural Imperialism-Theory states that Western nations dominate the media around the world which in return has a powerful effect on Third World Cultures by imposing n them Western views and therefore destroying their native cultures.

Global village-a term closely associated with Canadian-born Marshall McLuhan, popularized in his book Understanding Media (1964). McLuhan described how the globe has been contracted into a village by electric technology and the instantaneous movement of information from every quarter to every point at the same time.

Starter: List any TV programmes that you know that are watched by people all over the world.

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Globalisation introduction from aealey

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Marshall McLuhan predicted the Internet as an "extension of consciousness" thirty years before its commercialisation.

Contemporary media technologies such as satellite television and the Internet have created a steady flow of transnational images that connect audiences worldwide. 

Without global media, according to the conventional wisdom, how would teenagers in India, Turkey, and Argentina embrace a Western lifestyle of Nike shoes, Coca-Cola, and rock music? 

Hence, the strong influence of the mass media on the globalization of culture.

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Media conveys information and entertainment but there are both advantages and disadvantages.

Task 1: List  advantages and disadvantages of media globalisation.

Task 2: Globalisation of the media means that Western values, which are woven into the fabric of TV texts watched all over the world, are also being exported.

Consider the values and ideology of the three TV texts we are studying.

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Global Television:
It has been possible for live events to be broadcast across the world for several decades.
The BBC has transmitted content, especially news globally for several decades. Its World Service has been available in the commonwealth and other countries for example.
BBC sells its documentaries and dramas world wide in huge numbers, especially period dramas.

The UK buys sitcoms from the USA in large numbers, primarily because America was the birthplace of the sitcom-a genre that is relatively inexpensive to make but which is very popular with audiences.

Britain has also pioneered reality television and formats for programmes like X-Factor and Countdown have been sold globally-even if they are adapted for different cultures.

The concept of global television is vast but we need only be concerned with how UK and USA TV can appeal to global markets as this is where our case studies are drawn from.

We also need to consider global appeal- how and why UK and USA programmes appeal to global audiences.

Countries in which English is the second spoken language tend to buy USA and UK programmes more than from other countries because of the language.

DVD box sets have been recordedwith sub titling in many languages since the development of digital media in the 80's.

British TV exports more successfully than any other country (USA comes second) due to the belief that Britain produces better quality television than any other country.

Catch up services such as BBC and ITV Players are not available outside of the UK because this would give foreign audiences the opportunity to watch programmes that haven't been paid for.

Since the rise of the internet, television streaming has been developed but this is generally a paid for service. Enterprising hackers often findd a way to access these services without paying for them.

Distribution

TV distributors work in the same way that film distributors do. They work as agents between the television production companies and the broadcast channels. (Simplified).

Happy Valley was sold through BBC worldwide, the BBC's own distribution company, to seven international broadcasters.

Its international success was no doubt based on the fact that it premiered 7.6 million viewers and achieved 28.9% share-winning the slot.

Sarah Lancashire, the star was already famous for her role in Coronation Street on ITV, which is also broadcast globally.

First Dates was produced by TwentyTwenty (a British production company). Twenty Twenty is owned by Warner Bros Television.

The format for the programme was first developed for Channel 4 but has since been sold to Canada, Germany and the USA.

This works like a franchise. No other company can take or steal the idea for the programme and make their own version. It has been copyrighted. It has to be bought form Warner Bros Television.

Always Sunny was made for the FX channel in America (fox).
It was broadcast on the UK FX Channel and also on Virgin 1 (11.00pm) and Bravo.

It was added to Netflix a year after it appeared on FX in the USA.

All of the seasons are available on Netflix and it is always trending there which shows its popularity.
This shows it popularity, Netflix is a global provider of streaming films and television series.

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Task 3: Use this link to research facts about Netflix. There will be a test on this next week.

http://www.telegraph.co.uk/technology/2016/03/26/inside-netflix-how-reed-hastings-is-building-the-first-global-tv/

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Some exam questions from past papers:

A global audience is important to media industries.’

Discuss this statement with reference to your three main texts. [30]

For this question you will need to combine your knowledge of globalisation and global media with audience theory. This will be supported by examples from your three main texts. 

What to think about...

• How would you define what a global audience is?
• Do your texts appeal to a global audience? If so, how?
• How do your three main texts use marketing to connect with a global audience?
• How have new media technologies in the online age enabled audiences to connect with media texts?
• If your main texts lack a clear appeal to a global audience, did this affect their financial or critical success?

‘To what extent are your three main texts global?’ [30]

 As this is a to what extent question, candidates may argue either way. Some of the texts studied may have a more narrow focus and distribution and will not therefore be global. 

This response is wholly acceptable and may include references to 

• budget, 
• content, 
• context 
• and target audience (e.g. Local newspapers, UK based advertising campaign).

Many texts, however, will have some global aspect – for example content, stars, distribution, social media links, internet links and therefore global audiences and appeals. 

There is a difference, however, between a text which has European or trans-Atlantic appeal and one which is global. The following are some generic points candidates might make for each of the industries but, overall, responses will be dependent on texts studied. 

• Programme content Non UK made - 
• distribution Franchises 
• Sales 
• BBC networks 
• Internet viewing (not i-player)

To what extent do your three main texts target a global audience? [30] 

This is an open question which invites candidates to consider the "to what extent" part of the question. It is perfectly valid for candidates to conclude that a text does not target a global audience. 

Responses will differ depending on the industry studied but may make reference to some of the following points: 

• Distribution 
• Use of stars/celebrities 
• Production values 
• Budget 
• Niche audiences (not global) 
• Subject matter/contact 
• Marketing 

• Better responses are likely to discuss the nature of 'global' and recognise that a text needs to target a widespread audience to be global, whilst weaker responses may see 'global' as anything outside the UK. 

Global Implications

Here is a sample WJEC question on global implications:

With reference to your selected industry, explore how far your chosen texts are 

global. 

Here is the examiner's response to the answers submitted:

This was quite a broad question but it was not a popular one. Some candidates responded

extremely well and were able to write about the content of their texts (e.g. setting, themes,

actors/stars/celebrities) as well as the global ownership, distribution and audiences for their

selected texts. However it was disappointing to see how few candidates knew anything

about the context of their selected texts and too many made quite bland statements claiming

their texts to be global without really understanding the term itself.

This is what you need to consider for an answer on global implications:

• Product, brand, identity and status

• Promotional strategies

• Use of international celebrities

• On-line adverts

• Facebook, Youtube

Task 4: Answer this with reference to the three TV texts we are studying.

B4. To what extent are your three main texts global? [30]

Television industry- Section B Main Concepts (Industry and Audience) - Marketing

Explore marketing in the television industry, specifically the three case studies.

Marketing 

Television channels market themselves in a variety of ways:
Trailers for specific programmes as well as general trailers expressing the brand identity of the channel and illustrating the overall range of its content.
Official websites that give detailed, additional information about TV programmes broadcast by the channel.
Official social media accounts that promote the channel on YouTube, Twitter and Facebook.
Cross-platform advertising a TV show or TV channel in a magazine, on radio or online.
This also includes star actors appearing on talk shows prior to a new TV series being broadcast.
Channel idents.
Merchandise from popular TV shows is also used to market channel content.

Link to BBC Happy Valley webpage:
http://www.bbc.co.uk/programmes/b042r1dj

Production company: Red Production Company
Distibutor: BBC

Link to Always Sunny - TV.com
http://www.tv.com/shows/its-always-sunny-in-philadelphia/

Link to First Dates official website:
https://www.twentytwenty.tv/program/first-dates_833.aspx

Production company: Twenty Twenty
Distibutor Warner Bros Television Productions UK 

Example questions:

How effectively were your three main texts marketed?
(Higher grade candidates need to engage with the effectively part of the question.)

Task 1: Discuss and answer the following questions:

• Why is it important to use a range of strategies to market TV programmes?
• Discuss the importance of social media in the marketing and promotion of your three main texts.

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Ideology 

• TV has provided clear divisions of social class 

• the BBC more associated with middle class viewers 

• ITV known for its popular culture, entertainment output consumed by primarily working class audiences 

• BBC2 offers more ‘high brow’ cultural output 

• Channel 4’s original aim was to broadcast challenging, minority interest programming 

• Channel 4 today has become more mainstream after broadcasting the first Big Brother in 2001 and acquiring This Morning from ITV in 2001, rebranding the programme as Richard and Judy.

Task 2: Homework. How effective was the chat show on the following link to the marketing of Happy Valley and why did the distributors choose This Morning (a magazine format show) for this pseudo event.

http://www.itv.com/thismorning/showbiz/spoiler-alert-happy-valley-killers-revealed

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Example question:
Discuss the marketing strategies used by your selected industry. Refer to your three main texts. [30]

Candidates should be discussing a range of different marketing strategies and use examples to illustrate their ideas.
Generic points (for example, marketed on Facebook) need actual examples to demonstrate knowledge of the campaigns.
More specific points which may be referred to might include:

• Integrated approaches across different media platforms
• Scope and content of the campaigns 
• Use of teasers; word of mouth; viral marketing 
• Use of market research
• Links to different audience groups 

The following are some generic points candidates might make in relation to how texts are marketed for each of the industries. The lists are not intended to be prescriptive.

 Trailers  TV listings  magazine articles  reviews  websites  social networking links  viral campaigns  on radio  star appeal  interviews  awards

Television industry- Section B Main Concepts (Industry and Audience) - Regulation.

To explore how regulation impacts the television industry.

For TELEVISION INDUSTRY regulation, we need to consider:

• OFCOM
• Broadcasting code
• BBC Board 
• Legal responsibilities 
• Watershed issues  

MS4 Industry: Regulation Example question:
Briefly outline the ways in which your selected industry is regulated. 
What impact has regulation had on your chosen texts? 

Starter task:

Recall three television texts that you have seen which contain violent content.

Classify the texts in order of violent content, most violent at the top of your list.

Television text	Type and extent of violence

Key terms:
Desensitised: Make (someone) less likely to feel shock or distress at scenes of cruelty or suffering by overexposure to such images.
Watershed: In the UK, the BBC has a well-established policy of making 9pm the pivotal point of the evening's television, a Watershed before which, except in exceptional circumstances, all programmes on our domestic channels should be suitable for a general audience including children.
Censorship: A suppression of speech or other communication which may be considered objectionable, harmful, sensitive, or inconvenient to the general body of people as determined by a government, media outlet, or other controlling body.
Ofcom- is the government approved regulatory authority for the broadcasting and telecommunications industries in the United Kingdom.Formation 29 December 2003

When responding to a TV regulation question you should be able to discuss the issues that show up in our three texts; Happy Valley, Always Sunny and First Dates.

You didi this task in the lesson:

Discuss and list the possible issues for regulation in the three texts you have studied.

Measuring aggression and its causes has always been an important focus for social psychologists, partly because excessive aggression isn't tolerated in our society, and overly aggressive individuals often find themselves in jail because of their behaviour. The first experiments on the impact of media violence on human behaviour were conducted by psychologists and sociologists who applied theories of social learning and modelling behaviour i.e. they thought that people saw violent behaviour on TV and copied it. The more violent behaviour they saw, especially violence that went unpunished, the more likely they were to behave in a violent manner themselves. 

Since the 1960s and Albert Bandura's Bobo Doll experiments, there have been many studies by social psychologists attempting to establish a causal relationship between media violence and aggressive behaviour.

Ofcom Regulations 

Broadcast Code- Ofcom's Broadcasting Code sets rules for TV and radio stations.
The Code sets standards for television and radio shows which broadcasters have to follow.
It includes rules designed to protect viewers and listeners from harm and offence – such as what can be screened on TV before the 9pm watershed.

Every time Ofcom receives a complaint from a viewer or listener, they assess it under the Broadcasting Code to see if it needs further investigation.

If they find a programme has broken these rules, then it will be found in breach of the Code and Ofcom will publish this decision.

Learn more about how to complain about a TV/radio programme

• Media has to be judged as to whether it is suitable for its audience

• žThis can be due to society, culture, where the media was made

Responsibilities 

Ofcom's responsibilities are wide-ranging. It has a statutory duty to the interests of citizens and consumers by promoting competition, and protecting consumers from what might be considered harmful or offensive.

Specification of Broadcast Code – this provides a set of mandatory broadcast rules, it covers:

Protection of under-eighteens

Harm and Offence

Crime

Religion

Sponsorship

Elections

     Privacy 

The sanctions available to OFCOM:

• Issue a direction not to repeat a programme or advertisement;
• Issue a direction to broadcast a correction or a statement of Ofcom’s
findings which may be required to be in such form, and to be included in programmes at
such times, as Ofcom may determine
• impose a financial penalty (The maximum financial penalty for commercial television or
radio licensees is £250,000.)
• shorten or suspend a licence (only applicable in certain cases)
• revoke a licence (not applicable to the BBC,S4C or Channel 4).

OFCOM Audience Research (2011)

• a third (33 per cent) of all parents surveyed expressed some level of concern regarding what their children had seen on TV before 9pm in the previous 12 months;

• Among all parents surveyed, the concerns most frequently mentioned were ….

• violence (20 per cent),

• sexually explicit content (17 per cent)

• offensive language (17 per cent);

• the types of programmes that caused most concern to all parents surveyed were soaps (14 per cent) and film (14 per cent), followed by reality programmes (12 per cent) and music videos (11 per cent)

What did teenagers say?

• The research amongst 768 teenagers aged 12-17 showed that:

• just under a quarter (23 per cent) said they had seen something on TV before the watershed in the previous 12 months that had made them uncomfortable or they had found offensive;

• the top five concerns measured as a percentage of all teens questioned were:

• sexually explicit content (7 per cent),
• offensive language (4 per cent),

• violence (4 per cent),• nakedness/naked body parts (2 per cent),

• news (1 per cent)• animals being killed/mistreated (1 per cent);

Task 3: 
Discuss the issues shown below in bold then list in order of issues that young people need to be protected from.
Put the most 'dangerous' at the top (1).

Channels like the BBC for example, are also self regulatory. They work with producers to ensure that there will be no need for Ofcom to intervene except in extreme circumstances.
Although, Ofcom will become the BBC's external regulator in April 2017. Ofcom will put together an 'Operating Framework' for the BBC, covering performance, content standards and competition.

An audience member can complain to Ofcom regarding a particular programme that they may deem offensive or harmful. Audience pressure over certain programmes can often be a successful form of regulation. When Ofcom receives a complaint, it assesses it under the terms of The Broadcasting Code and decides what action to take. Ofcom produces a regular Broadcast Bulletin reporting on the complaints received and decisions taken.

All media texts are subject to regulation. 
How has regulation affected your three main texts? [30] 
Candidates will need to know how their selected industry is regulated and to comment on how regulation has had an effect on their studied texts. 
Whilst the texts may not have been controversial they will all have had to adhere to the regulator’s code – so some discussion of relevant parts of the code may be needed. 
Overall, media texts need to adhere to codes of practice so regulation may affect the structure, content, placement/scheduling etc. of texts.

http://www.dailymail.co.uk/news/article-2635491/A-gruesome-murder-country-road-savage-beating-basement-bathed-blood-Did-BBCs-brutal-Happy-Valley-far.html

“A lot of people in the movie industry tend to run and hide from it like ostriches. Movie industry people are definitely in denial right now, but you do become desensitized to violence when you see it on the screen so often. Let's face it, violence exists for one reason in movies, and that's to get an effect, create an emotion, sell tickets.”—Madeleine Stowe

Bandura and Social Learning Theory

Censorship is essentially an issue of responsibility. Are we responsible for processing and filtering the images that we see and the lyrics we hear, or is someone else (parents or government) responsible for processing and filtering for us? 

Should the creators of media texts censor themselves, and take responsibility for the effects their texts may have on an individual? If there are going to be legal restrictions on the depiction of violence, who writes and enforces them?

These are difficult questions, and they have been debated for centuries. There's a broad consensus that some censorship is necessary — although in the Internet age it may be impossible to enforce. 

Most people would agree that not all media texts are suitable for all audiences. It is generally agreed that there need to be some limitations placed on the type and content of texts which young children are exposed to, for instance. It is also agreed that the texts which are accessible to a wide and largely involuntary or non-selecting audience (billboards, television commercials, music broadcast on the radio, terrestrial TV before the watershed) should not contain elements which might be offensive. 

Therefore, rules and regulations and systems have been set up to filter the content of certain media texts in certain situations. This is the practice of censorship.

Issues facing producers of factual programming.

Under 18s must be protected from potentially harmful and offensive material. 

One of the main ways of achieving this is through the appropriate scheduling of programmes.

Anything unsuitable for any viewers must be  shown at nine pm or later. 

Nothing unsuitable for children should, in general, be shown before 9pm or after 5.30 am. 

There should then be a gradual transition to more adult material, generally, the more adult in nature a programme is, the later in the schedule it should appear.

Ofcom

The Office of Communications commonly known as Ofcom, is the government-approved regulatory and competition authority for the broadcasting, telecommunications and postal industries of the United Kingdom.

Ofcom has wide-ranging powers across the television, radio, telecoms and postal sectors. It has a statutory duty to represent the interests of citizens and consumers by promoting competition and protecting the public from harmful or offensive material.

It is Ofcom's job to protect the under 18's from seeing harmful content. 

The creation of media texts and their content is complex but Ofcom is concerned about the issues listed below.

Task 2: 
List the issues below in order of issues that young people need to be protected from.
Put the most 'dangerous' at the top.

Drugs, smoking, solvents and alcohol

• These activities should not be condoned, encouraged or glamorised in programmes likely to be widely seen by under 18s unless there is editorial justification.

Violence and dangerous behaviour

• Violence, its after-effects and descriptions of violence, whether verbal or physical, must be appropriately limited in programmes broadcast before the watershed (in the case of television) or when children are particularly likely to be listening (in the case of radio) and must also be justified by the context.

Offensive language

• The most offensive language must not be broadcast before the watershed (in the case of television) or when children are particularly likely to be listening (in the case of radio).

Sexual material

• Material equivalent to the British Board of Film Classification ("BBFC") R18-rating must not be broadcast at any time.
• In addition, measures must be in place to ensure that the subscriber is an adult.

Nudity

• Nudity before the watershed must be justified by the context.

Exorcism, the occult and the paranormal

• Demonstrations of exorcisms, occult practices and the paranormal (which purport to be real), must not be shown before the watershed (in the case of television) or when children are particularly likely to be listening (in the case of radio). 

Below is also taken from a page on the OFCOM website:

Television

What is the watershed?

Protecting children from harmful material on TV and radio is one of Ofcom’s most important duties.

Our Broadcasting Code sets standards for television and radio shows and broadcasters must follow its rules.

There are strict rules about what can be shown on TV before the 9pm watershed. But what exactly is the watershed and how does it work?

The watershed means the time when TV programmes which might be unsuitable for children can be broadcast.

When is it?

The watershed begins at 9pm and material unsuitable for children should not, in general, be shown before 9pm or after 5.30am.

What do you mean by unsuitable material?

Unsuitable material can include everything from sexual content to violence, graphic or distressing imagery and swearing. For example, the most offensive language must not be broadcast before the watershed on TV or, on radio, when children are particularly likely to be listening. Frequent use of offensive language must be avoided before the watershed, and must always be justified by its context.

Can TV channels show whatever they like after 9pm?

No. The transition to more adult material must not be unduly abrupt and the strongest material should appear later in the evening. But even then Ofcom’s rules protect viewers from offensive and harmful content.

What happens if broadcasters break the rules?

Since 2003 Ofcom has taken action on more than 300 occasions when broadcasters have scheduled unsuitable content before or immediately after the watershed. In two recent cases inappropriate music videos — including Rihanna’s S&M — were shown early in the afternoon.

Does the watershed still matter?

The watershed continues to help parents protect their children from material that might be unsuitable or even harmful for them.

Twice a year, every year, we ask parents and the wider general public what they think about standards on TV. Almost everyone (93 per cent) understands the watershed and 74 per cent think 9pm is the right time. If you just ask parents, that number rises to 76 per cent.

http://www.mediaknowall.com/gcse/Television/television.php?pageID=sched

Television industry- Section B Main Concepts (Industry and Audience)

L.O. To recap on the main concepts for MS4 Section B

Starter task: In groups,using the given cards, match the key words with their definitions

Key terms:

Channel Identity-Makes the channel recognisable to audiences and different from other channels.

Presenters, stars, programme genres and specific genres all help to contribute to a channel's identity.

Word of mouth advertising-When someone recommends a product they have used and like to someone else.

Idents-This is the channel's identification. The ident is a short visual image that works as a logo for the channel. It appears before the programme on channels like BBC1 and 2.

Plurality-Refers to a range of content to suit many people.

Ethos-This is what the channel believes in and what it sees as it's role. The ethos is usually set out in the channel's charter. (Synonyms; ideology, values, principles, mission).

Channel 4 outlines in its ethos; ... to be innovative, experimental and distinctive and a commitment to diversity

FX: On March 28, 2013, FX president John Landgraf, announced their upcoming launch of a new channel, FXX, described as "slightly more comedy focused" and aimed at younger audiences of ages 18-34 compared to FX's programming and 25-54 viewers respectively. The channel was launched alongside the new tagline, "Fearless", that was implemented during 2013 across the channels of FX Networks.

BBC: The mission of the Corporation is to "inform, educate and entertain"

Link to BBC remit

Task 1 and 2 - handout

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For responses to Section B of the exam (Industry and Audience), we need to recap the main concepts of the following with regards to the three main TV texts...

Industry Issues:

• Production.
• Background/Context (brief but relevant).
• Marketing/Promotion.
• Regulation issues
• Global implications
• Distribution/Exhibition

Audience:

• Targeting
• Positioning
• Responses and interaction
• Debates surrounding the relationship between audience and the text.

The main concepts we need to cover can be seen in this diagram:

Industry Issues:

• Production

Example question:

Explore the key factors which influence the production of your three main texts. [30]

This question is asking candidates for factual information.

Higher level responses will include detail rather than generic points which may characterise lower level responses. 

Higher responses should also engage with “explore”. 

The following are some generic points candidates might make in relation to factors that influence production for the TV industry. 

Institutional context: - 

Public service/commercial broadcaster - 

Production company 

Existing brand e.g. franchise or spin-off? 

Potential audience/fans? 

Budget - production values, stars etc. 

Scheduling 

Regulation

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• Background/Context (brief but relevant)

Example question:
Discuss the ways in which television channels maintain their individual identities. Refer to two channels in your answer. 

Candidates may refer to any two channels in their response. 

Points covered may include references to: 

• Remits 

• Scheduling 

• Programming 

• Idents and branding 

• Use of 'personalities'. 

Some candidates may argue that channels do not have individual identities but are very similar; this is acceptable – please mark on merit of the response. 

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• Marketing/Promotion

Example question:
How does BBC1 market itself to audiences? 

This question could be answered from a channel identity or marketing point of view. 

Higher grade candidates are likely to combine the two approaches. 

Points covered may refer to: 

• Idents and branding 

• Scheduling and programme types 

• Use of teaser campaigns and trailers (also on other BBC channels and radio) 

• Radio Times and TV listings magazines 

• Billboard posters 

• Via its website 

• Use of personalities 

• "Leaking" of stories to tabloid newspapers.

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• Regulation issues

Example question:
All media texts are subject to regulation. How has regulation affected your three main texts? 

Candidates will need to know how their selected industry is regulated and to comment on how regulation has had an effect on their studied texts. 

Whilst the texts may not have been controversial they will all have had to adhere to the regulator’s code – so some discussion of relevant parts of the code may be needed. 

Overall, media texts need to adhere to codes of practice so regulation may affect the structure, content, placement/scheduling etc. of texts.

The following offers a brief overview of the regulators for the Television industry. 

• OFCOM 
• Broadcasting code 
• BBC Board 
• Legal responsibilities 
• Watershed issues 

 --------------------------------------------------------

• Global implications

Example question:

‘A global audience is important to media industries.’ Discuss this statement with reference to your three main texts. 

Globalisation is the increased global connections between cultures around the world leading to less individual cultures and instead having one large culture across the world.

Example question:
To what extent do your three main texts target a global audience? 

This is an open question which invites candidates to consider the "to what extent" part of the question. It is perfectly valid for candidates to conclude that a text does not target a global audience. Responses will differ depending on the industry studied but may make reference to some of the following points: 

• Distribution 
• Use of stars/celebrities 
• Production values 
• Budget 
• Niche audiences (not global) 
• Subject matter/contact 
• Marketing 

Better responses are likely to discuss the nature of 'global' and recognise that a text needs to target a widespread audience to be global, whilst weaker responses may see 'global' as anything outside the UK.

Example question:
With reference to your selected industry, explore how far your chosen texts are global. 
 This is quite a broad question and can be answered from the perspective of global content (setting, themes etc) as well as from the production, distribution and audience angles.

• Themes and content 
• Use of non UK actors 
• Co-productions with non UK companies 
• Productions made by non UK company 
• Distribution and sales • Programme websites 
• Availability – e.g. via Sky website or BBC America 
• DVD sales

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1. Why might First Dates be popular with a global audience?

Consider: Flexibility, hybridity

FD is popular with a global audience because the format has flexibility and can be easily adapted to suit different cultures and their dating styles.

Also, all countries have their own set of popular celebrities who can attract an audience. The hybridity of the genre also makes it attractive in that it combines entertainment with elements of reality, this makes it attractive to a global audience.

2. Consider the impact of the different formats of television viewing on the industry.

Consider: What formats? Advertisers, budgets.

Audiences have a range of choices regarding how they view their television programmes, later on the Internet, their iPad or mobile phone. This has had a further impact on commercial television as advertisers who are no longer sure of an audience are pulling out of television and looking for other platforms to air their advertisements.

As a result, some channels ITV for example have had to cut programmes or reduce the budget for new programmes.

3. Why is social media important to television companies?

Consider: Word of mouth advertising, event television, hashtags.

Social media sites like Facebook and Twitter can generate a buzz around a particular programme. They also encourage event television where a large audience are all watching at the same time and communicating with each other through the social media as they watch. Having links to social media sites such as the Twitter ‘#’ on programmes and channel websites will attract a younger audience to the programme.

4. How can you tell that BBC is less governed by commercial interests?

Consider: Programmes commissioned, digital channels.

The evidence that the BBC is less governed by commercial interests is evident in its programming. It commissions for example, comedy programmes such as mock the week as well as high budget nature programmes like Frozen Planet. Its digital channels are used for much of the alternative, lower rating programming and have a specific profile. This is also true of BBC2 which is often used to pilot new programmes to assess their viability before they move to the mainstream channel.

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Some additional past exam questions:

SECTION B: 

INDUSTRY AND AUDIENCE 

Answer two questions from this section, using a different media industry for each. 

You must refer to the three main texts you have studied in each answer. 

2011 

B1. Explore the different ways in which audiences and/or users respond to your chosen texts. [30] 

B2. To what extent is the success of your chosen texts dependent on stars and/or celebrities? [30] 

B3. With reference to your selected industry, explore how far your chosen texts are global. [30] 

B4. Explore how your chosen texts use digital technology in their marketing. [30] 

Winter 2012 

B1. Assess the main advantages of the internet for your three main texts. [30] 

B2. With reference to your three main texts, discuss the key features of their distribution. [30] 

B3. Explore the different ways your three main texts attract their audiences. [30] 

B4. How global is the appeal of your three main texts? [30] 

Summer 2012 

B1. Discuss the audience appeal of your three main texts. [30] 

B2. Explore the impact of regulation on your three main texts. [30] 

B3. How effectively were your three main texts marketed? [30] 

B4. ‘The main function of a media text is to entertain its audience.’ How true is this for your three main texts? [30] 

Winter 2013 

B1. To what extent are stars and/or celebrities important to the promotion of your three main texts? [30] 

B2. Explore the different ways your three main texts target their audiences. [30] 

B3. Explore the different ways audiences interact with your three main texts. [30] 

B4. ‘Distribution is the key to success.’ How far do you agree? Refer to your three main texts in your answer. [30] 

Summer 2013

B1. What do texts offer audiences? Refer to your three main texts in your answer. [30]

B2. How do your three main texts use digital technology? [30] 

B3. How do your three main texts position audiences? [30]

B4. To what extent are your three main texts global? [30]


Winter 2014 

B1. Explore the use of digital technologies in your selected industry. Refer to your three main texts. [30] 

B2. How is your chosen industry regulated? Refer to your three main texts. [30] 

B3. To what extent do your three main texts appeal to different audiences? [30] 

B4. ‘A global audience is important to media industries.’ Discuss this statement with reference to your three main texts. [30]