ONLINE MEDIA / ZOELLA

ONLINE MEDIA  media which is distributed over the internet

the only reason why any media products exist is to make money (including online media)

DIGITAL CONVERGENCE - THE COMING TOGETHER OF MEDIA INDUSTRIES THROUGH DIGITAL TECHNOLOGIES

YOUTUBE - video streaming website, created in 2005

• Only made possible through broadband and advances of storage

VLOGGING - video blogging, posting short videos, target audience is predominantly young people

• one of the biggest and most influential forms of media
• 42% of internet users have watched a vlog in the last month 
• 50% for 16-24 year olds
• ability to reach and influence a vast range of audiences, young people have more expendable income, really desirable to advertisers
• producers sell audiences

MICRO-BLOGGING - short updates e.g. twitter

PARTICIPATORY CULTURE - links to Clay Shirky's 'End of Audience', audience participation in the means of production 

Aspirational
Personal identity - able to relate
Identification
Unscripted narrative - haven't planned what to say
Authenticity(?) - are they being real? hyperreality?
Direct mode of address - breaking the 4th wall
Audience Interaction

Jackson Galaxy - Cat behaviour video

• uses pseudoscience - not actual facts
• 'crazy cat man' - USP
• subversive representation - rock mise en scene, 6 guitars in background, not scary, biker side burns and beard, full tattoo sleeves
• has personality
• personal identification - in his house
• partly unscripted - knows what points he wants to make
• low production values - entertaining, quirky 

Zoella
(rebranded to Zoe Sugg)

Zoella markets herself primarily on YouTube

'June Faves'- June 2016

• "Nala" - intertextual knowledge of Disney film, young audience, referential code
• exaggerated and expressive facial expressions - practise, like a children's TV presenter, like a character from a Disney film
• neutral, British accent - not particularly posh, no slang
• vocal delivery is undulating - up and down, appeals to younger audience, keeps the audience listening
• no swearing - stops her from being demonetised (Youtube is self-regulated) 
• frequent jump cuts - a cut from one thing to the same thing, regarded to be a mistake, increases level of authenticity 
• conforms to hegemonic standards of beauty - makeup, nice clothes 

preferred reading is to not find her sexually attractive ;

• very child-like,
• younger female target audience
• big eyes and smile makes her 'cute' instead of attractive 
• high pitched voice
• good teeth but not perfect - more relatable 

MULTIMODALITY - many forms of communication (text, images, sound, etc)

HYPERLINK -  something you click to go somewhere else

HYPERMODALITY - leads us from place to place

PARADIGMATIC VLOG FEATURES

• voyeurism - binary opposition between voyeurism with her non-sexualisation 
• breaking the fourth wall
• amateur aesthetic 
• high-key lighting - professional 
• single camera edit
• aspirational content 
• unscripted narrative
• codes of realism

NEGOTIATION - we switch off a part of our brain that tells us to care that it is not real

To what extent is Zoella a hyperreal construct? (more real than real)

"We live in a world where there is more and more information, and less and less meaning" - JB

• she is an ideal to her target audience
• no hint of sexuality to her
• no hobbies aside from collecting clothes and market

EXPLORING IDENTITY

Zoella and Tanya Burr blogs

ZOELLA

• font is sans-serif - informal, basic, young target audience
• titles all in capital letters - easy to see and understand
• basic lexis - "dreamy bar cart", appeals to younger audience
• no images of her drinking the alcohol - alcohol has an aesthetic function, hyperreal representation of drink, implies she does't get drunk
• "i want to live in my very own 'pinterest-goals' house" - cares about appearance
• hypperlink to Oliver Bonas website - rabbit-hole, want you to buy something
• easy to navigate - menu bar, user experience (UX)
• targets a mass audience - range of posts that could appeal to lots of people, makeup, skincare, food, fashion
• animated fairy lights at the top - cute and cosy, girly
• stereotypes of femininity - pink, fairy lights, white background
• not sexualised - no nudity, full pyjamas, childish, by herself, virginal
• high production values - harder for her target audience to relate

TANYA BURR

• serif font and less capitals - more sophisticated
• elements of sexuality - bikini photos, can see down her top, demonstrates that she is an adult and mature
• looks like a normal person - candid photos, not all staged, heterosexual women are able to identify with her, lower production values of her images
• hyperreal - chooses and constructs her photos to make her look real

'The Zoella Apartment'
PRECISE target audience

• commodity fetishism - purpose of video is to sell the products, she is selling her brand, not the product
• wears long skirt, t-shirt and jewellery - feminine but not sexualised
• uses hyper-referentiality - beyond intertextuality, 'Poppy', her boyfriend's sister, can't understand unless you've watched lots of her videos before
• chaste - to abstain from sex, never talks about it, not part of her brand, could argue that this is a subversive representation of women, not appealing to heterosexual men
• high pitched voice - symbolises being a woman, stereotypical 
• always playing with her hair 
• direct mode of address - positions audience as her friend

REPRESENTATIONS OF FEMININITY?

high angle shot of the candle box and zoella's vocal excitement of it, is a clear example of commodity fetishism, this represents a stereotypical view that women are dumb, shallow, and easily pleased.

poppy clings to nala in a closeup shot, connoting love, affection, and maternal stereotypes.
alfie in the background functions as an appeal to the young, heterosexual, female audience

closeup, wearing makeup, reinforces hegemonic notions of female beauty.
reinforced by mise en scene of white flowers, which symbolises femininity and purity, and makes reference to the housewife archetype 

a range of different closeup shots, provides target audience with an intimate and inviting personal mode of address.
out of focus nature infers to the target demographic that Zoella is 'real' and relatable.
represents a performative element of women, in that Zoella is constructed as clumsy and unprofessional

Industry and audience

• we do not understand algorithms
• videos are created by artificial intelligence/computers
• algorithms calculate which videos will get the most views
• the only reason these videos are made is because they work

moral panic - blown out of proportion (e.g. MOMO)

To what extent does Zoella use Youtube algorithms in order to manipulate her audience?

• using brands in her titles - "asos", established brand, people who are fans of asos will find her videos
• identical facial expressions in all her thumbnails - smiling to show dimples, to make herself look pretty and approachable, gets views
• uses same font - handwritten, serif, cursive, connotes being laid back and childlike, gets views
• white outline - similar to lots of other bloggers, it works
• "reacting" - very popular online videos
• uses her name in the title - associates her name with beauty, establishes brand

Netflix will change audience's thumbnails, depending on who they think you are and what will appeal to you

The audience no longer exists. All that remains is a hyperreal construction forged by algorithms

Zoella us not targeting an audience, but is using algorithmic practise to target a theoretical, machine fabricated audience

CLICKBAIT 

 

• hermeneutic codes so that people HAVE to click to find out what happens - "human barbie takes off makeup", in image she still has makeup on, what will she look like?
• keywords -  "heartbreaking", "crazy", hyperboles
• low production values - low-resolution photo of general looking woman, audience doesn't know what to expect
• includes site you will be going to - audience may be more likely to click if they think it can be trusted
• the wording promises something the article can't live up to - to get clicks

HYPER-ENGAGEMENT + DUTY OF CARE

• Youtube tries to get as many people as possible stuck in rabbit holes (spend as much time as they can on the internet), often people with mental heath issues/are vulnerable
• they do this with algorithms
• the content they watch (often conspiracy theories), get more and more views
• bloggers then pick up on this and make the same content, it triggers a vicious cycle 
• unethical 

https://www.parliament.uk/business/committees/committees-a-z/commons-select/science-and-technology-committee/news-parliament-2017/impact-of-social-media-young-people-report-published-17-19/

Social media companies must be subject to a legal duty of care

Online media is regulated by OFCOM

The UK government has the right to intervene, but is it worth it?

revision

I, Daniel Blake

REGULATION

• regulated by the BBFC (British Board of Film Classification)
• brings up unemployment and homelessness issues

DISTRIBUTION

• distributed by eONE films in the UK, and Le Pacte in France
• Made $15.8 million in the Box Office
• this film can be accessed digitally, for example, Prime Video

POWER AND ORGANISATION 

• produced by Rebecca O'Brien
• production companies include British Film Institute, BBC Film and Why Not Productions
• BBC Film is a major organisation, they have also produced many other popular films, such as The Lady in The Van
• The British Film Institute is also a major organisation
• The BFI is vertically integrated, as they own various cinemas and run The London Film Festival
• the dominant ideology of the BFI is to "promote and preserve film-making and television in the UK"

RADIO 2

'"Ensure a wide range of services and a wide appeal is available"

• On the whole, yes - LNWH is an example of appealing to middle-class females

"Maintain plurality in broadcasting"

• danish guest on LNWH - offers a range of different voices

"Protect audiences from offensive or harmful material"

• yes, no offensive content as after watershed, does occasionally swear

"Protects audience against unfairness or infringement of privacy"

• Mentions no one in particular, no invasions of privacy

SLOW TV MOVEMENT

• Scandinavian, 7 hour train video
• obsession with Scandinavian way of life in 2016
• links to LNWH 
• middle class 
• relaxing video, nothing happens
• have on whilst doing something else
• "comfy radio"

How does LNWH meet the needs of its audience?

• slow paced and repetitive - don't miss anything
• relaxing voices - soothing
• relaxed conversation - don't have to think too hard
• non-judgemental space - egalitarian, utopia, no interruption

Media products need to have authenticity to appeal to its audience

The hashtag LNWH does not get many interactions - this implies that its audience is older

PARTICIPATORY CULTURE

Enthusiast podcasts - 

RADIO

SPECIALISED

BBC RADIO - 'BBC SOUND"

• Funded by the license fee

• "Audiences are the heart of everything we do"
• "We take pride in delivering quality and value for money. ..."
• "Creativity is the lifeblood of our organisation. ..."
• "We respect each other and celebrate our diversity"

BBC1 - younger audience, mass audienceBBC2 - slightly older audienceBBC4 - older than BBC2lots of choice, thumbnails, descriptions, clean white background, shows how far through the show is - meets the needs of many audiences
LATE NIGHT WOMAN'S HOUR

• spin-off from the long running BBC Radio 4 daily magazine programme, Woman's hour
• broadcast once a month, late at night
• presented by Lauren Laverne and features a number of female panellists
• each episode focuses on a particular theme relevant to the its female target audience 
• Friday night, 11pm - graveyard slot

Meet the needs of audience?

• "democratisation" - sophisticated lexis, requires knowledge
• "i knew my marriage was over when we bought an Ikea wardrobe" - gentle snobbery
• magazine show - deals with a range of topics, 'round table' discussion, professional 
• relatable - " my favourite winter mug", audience will have their own favourite mug
• middle class mode of address - lots of guitars, "square scarfs", "only 20 books"
• moved to brother's attic after being evicted - most people would become homeless but that issue wasn't mentioned, keeping it positive, being evicted is an adventure
• lots of historical context of WW2 - suggests that those problems are over, paints a Utopia, gloss over problems

Target audience?

• middle aged
• middle class
• female - full female panel 
• is the show sexist? - talk about emotional women and "masculine" men, binary opposition 

Regulatory issues?

• no regulatory issues
• radio also regulated by OFCOM
• no material in the show that could offend 
• LNWH does occasionally swear, however it is not breaking any rules
• the regulation of radio is ineffective - can lie about age online
• plurality - where a media product/organisation gives a voice to a wide range of ideological perspectives
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• Why broadcast this show?

• PBS - public broadcasting service, no advertising, license fee
• "inform, educate and entertain" - BBC has to appeal to all audiences because we all pay (remit)
• have a remit to show a diverse range of media output
• localness - have to be talking about something local (LNWH don't have to as its on a national radio station)

'Woman's Hour' - 1946, 2pm, immediately after end of WW2, encouraged women to rebuild their life, to listen to whilst doing the housework, to educate the female audience, moved to less popular Radio 4 in 1970's, criticised for being sexist and too middle class"exoticism" - exotic for the audience to listen toGREAT BRITISH BAKE OFF was sold to cut costs
HOW HAVE DIGITAL PLATFORMS CHANGED THE WAY WE CONSUME RADIO?

• online - 'BBC Sound"
• podcasts - can skip to bits we want to hear
• don't have to listen to it live - advantage to people with a busy lifestyle
• can sometimes watch the presenters - visual element, can make it easier to listen to, can make the presenters more likeable, direct address
• apps - offer a better user experience (UX)
• digital radio (DAB) -  don't need to be nearby, usually better reception
• phone downloads - can listen without wifi or reception
• phones are mobile - can be used anywhere, always have access
• thumbnails - looks more appealing, another way to draw in audience
• DIGITAL CONVERGENCE
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• DISTRIBUTION 
• AUDIO STREAMING  listeners can click to play a radio programme instantly over the internet, has a global reach
• DIGITAL AUDIO BROADCASTING (DAB)  greater number of wavelengths and therefore stations are available with digital audio, increased number of stations, niche programming and improved quality
• PODCASTS  programmes are packaged and available as downloadable content on a range of different platforms, more flexible
• CROSS-PLATFORM  combination of visuals with audio output and availability of radio through television platforms, utilises visual elements, more appealing to modern audience

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VIDEO GAMES

COMPONENT 1, SECTION B 

HETEROSEXUAL MALE AUDIENCE
NOTHING TARGETED TOWARDS WOMEN
INNUENDOS ASSUME THE AUDIENCE WILL BE OLD ENOUGH TO UNDERSTAND
ASSUMES WOMEN DON'T WANT TO PLAY VIDEO GAMES
DISTRACTION/HOBBY

WHAT IS A VIDEO GAME?

• require a console
• target a core/niche audience
• interactive
• typically played by younger audience
• much more complicated narratives
• faced with many problems (disequilibrium)
• often an online component
• much higher RRP
• significantly longer length

The assumption that if you play too many video games you will become violent is an example of the hypodermic needle model.

THE HISTORY OF VIDEO GAMES

• first game - 1962, Space War, developed in USA, experiment, simulator 
• in 1962 computers were huge, made them impractical, only in labs 
• Space Invaders - 1979, Japanese, developed by Taito, arcade game, extremely popular, technology still didn't allow to play video games at home
• American arcade boom - Atari and Nintendo began creating games, centipede in full colour
• Micros in Uk - micro computers, bedroom coding, video games becoming more affordable at home
• huge amount of genres - people making them up as they made them at home (typically teenage boys)
• video game crash - 1980's, Atari buried millions of E.T. video games in landfill to get rid of them
• Japanese imports - Dragon Quest, role-play game
• Japanese console boom - 1986, SuperMario Bros, NES console, most successful video game ever made, marketing specifically towards kids, sound effects
• Street Fighter - 1991, very popular in arcades, female character that became popular
• Sony Playstation 1 - 1994, interesting marketing technique, uses reverse psychology, satire, makes fun of idea that video games make you stupid
• indie games - made by small development teams, cheap
• AAA game (major games) - takes thousands of people to make
• controversies surrounding representation and production methods - exploitation and 'male gaze'
• digital distribution - downloads

SPECIALISED INDUSTRY (POSSIBLY THE MOST SPECIALISED)

ASSASSINS CREED 3 - LIBERATION

• published by Ubisoft in 2012 for Playstation Vita 
• 2 years later it was HD re-released for Playstation 3 and Xbox 360

Trailer

https://youtu.be/q5RxYUw4DFY

How does this trailer target a specialised and a generalised audience?

• black, female protagonist/ avatar - subverts the expectation that the target for video games in young heterosexual males
• "new missions" - appealing to audience that have already played the game, spend more money, 'double-dipping'
• re-released on more popular consoles - gives more people access to it, originally didn't sell very well on PS Vita, multi-platform release, mass audience
• tackles big ideological issues about race, slavery and colonialism - pushes boundaries, increases word of mouth sales
• intertextual reference to Django Unchained (2012) - cult film, slavery in antebellum America
• high quality animation, graphics, soundtrack, locations - has high production values
• shares conventions of high budget Hollywood film - non-diegetic voiceover/narration, lots of action and proairetic codes, orchestral soundtrack connotes high quality
• all games have similar iconography and themes - creates recognisable brand image, know it will make money

The sales for Assassins Creed 3 Liberation did not meet the expectations, therefore, it was re-released.

The story was criticised, and only got average reviews.

It is going to be re-released a second time as it is an easy way to make money. 

600,000 copies sold on PS Vita, underperformed. 

REGULATION - PEGI

Pan European Game Information

Ages range from 3-18

Don't refer to the level of difficulty 

It is legal for someone under the age of 18 to buy a PEGI 18

Advisory classification system

The regulation of video games has never been effective 

PROMOTION

Within my research i noticed that there is a very specific iconography presented within all of the promotional materials.

It's really hard to differentiate between the different games and the franchise. One of the criticisms of the franchise - It's  oversaturated. All of the games are very similar and not that distinguishable

There are certain items of merch that will only appeal to a niche audience (e.g. assassins creed backpack)

AUDIENCE THEORIES - FANDOM - HENRY JENKINS

What happens when you play too many video games?

• your attitude and opinions change
• you become stupid
• lose out on social interaction - becoming anti social

HYPERDERMIC NEEDLE MODEL - AUDIENCE IS PASSIVE - ASSUMES AUDIENCE IS MINDLESS - NEGATIVE THEORY. 

Video games are universally violent and violence is presented as the only way of solving things.  CULTIVATION THEORY - GEORGE GERBNER   

MORAL PANIC  an event is over exaggerated to create fear within the public

If we see violence over and over again we become desensitised to it

preferred - violence is acceptable, binary opposition between good and evil (simplified world), women are just as able as men, anti-slavery
negotiated - agree with anti-slavery message, but don't agree with violence and find it boring
oppositional - violence shouldn't be used to solve problems

LORE  the story behind video games, story lines that are not apparent 

The Silver Case - how is it atypical?

• mostly narrative
• intertextual reference to Pokemon 
• lack of structure and gameplay - argument that it's not even a videogame
• no continuity 
• sound effects criticised but not taken off - don' care about audience
• excessive strong language  

CLAY SHIRKY
END OF AUDIENCE THEORY

• audiences are no longer passive
• we interact with producers and media products
• we are part of the marketing/product

Death Stranding (unreleased)

No release date
His games often break the rules - eccentric 
Kojima Productions

https://www.youtube.com/watch?v=8QyElGLGrn0

• he is creating an audience 
• intentionally weird iconography lacks genre conventions 
• many invitations for active audiences to create 'fan theories'
• however, this can be disappointing for audiences do not get what they expect
• famous Hollywood actors, high production values
• Sony funded means extremely expensive and likely to fail, in exchange for exclusivity 
• Immersive array of shot types, audience positioned directly with players, single take is exceptionally hard to achieve in film, made possible with CG
• audience doesn't understand what is going on, have to go onto the internet to discuss 

3 questions

In what way does the media product use media language to encode the ideology of the producer? - Woman Magazine

Woman magazine was first released in 1964 as a weekly magazine, targeted towards mature women of the working class. The producer of the magazine has encoded many of his ideologies using media language throughout the product. An ideology is the belief of the producer.

On the cover of the magazine, the producer has used mise en scene to encode his beliefs. For example, the dress the model is wearing is very floral and traditional, which means that the producer is trying to convince women to wear similar items of clothing. This reinforces the hegemonic rules of how women should dress, as they are not inspiring them to branch out. Therefore, this mise en scene shows that the producer of Woman magazine likes to stick to hegemonic rules and traditions. 

Additionally, the front cover of the magazine features "seven star improvements for your kitchen" which encodes the ideology that women belong in the kitchen. The direct address of "your kitchen" reinforces the belief that the kitchen is a woman's priority, as well as the fact that they should look after it, as it needs "improvements". Overall, the audience can see that the producer wants women to conform to the widely held hegemonic beliefs from when the magazine was released. 

Lastly, the question "are you an a-level beauty?" on the front cover can be decoded to imply that women should aim to be beautiful, and therefore should always be wearing makeup. This is an example of Roland Barthes' theory of semiotics, as it is a hermeneutic code, that if you read the magazine you will find out how to become an "a-level beauty". This ideology is enforced by the fact that the model is wearing makeup, and she is someone that the audience is meant to aspire to be. Throughout the magazine this ideology has been encoded by the producer. 

How can audiences interpret this product in different ways? - Tide's got what women want

'Tide's got what women want' is a 1950's print advertisement, selling washing powder to housewives. The media language within the advert can be interpreted by the audience in many different ways, which supports Stuart Halls' Reception Theory. This theory says that audiences will have different responses to the ideology that the producer is trying to show; either the preferred reading (agree with ideology), negotiated reading (agree with some elements of ideology), or a oppositional reading (do not agree with ideology). 

The print advert uses a lot of red font, in the header and in a few key words such as "clean" and "tide". This colour has connotations of sexuality and love, therefore, audience members are likely to interpret this is as the love for the product; this would be considered the preferred reading, as the advert is trying to sell it.  However, the sexual connotation could also be to symbolise the way men looked at women in the 1950's. Many adverts from this time period sexualised women in this way, which could be seen as audience manipulation, which links to Gerbner's theory of cultivation. He believed that if audience members saw the same ideologies repeatedly, they would begin to believe them as well. 

Additionally, the advert contains a lot of direct address, for example, "you women". This lexis could be interpreted as sexist and patronising because women are being generalised and it is very direct, this may be because the producer is trying to take control over its audience so that they buy the product. On the other hand, some audience members could see this as empowering, as it gives women a sense of community. This subverts a lot of conventions of 1950's adverts because it goes against the patriarchal hegemonic norms of society. 

How does this product use intertextuality? - Humans

Intertextuality is used in Humans to create a deeper meaning and for audience gratification; intertextuality is when a media product references another media product. Humans is an 8-episode, sci-fi series, that launched on channel 4 in June 2015.

In one of the first scenes of the first episode of Humans, the audience meets the synths, where there is a key intertextual reference to 'Blade Runner' (1982). There is an extreme close up shot of a synths' eye, which mirrors the shot of an eye in 'Blade Runner'. This creates deeper meaning as people refer to the eyes as 'the windows to the soul', therefore, it raises the question of whether the synths have a soul/emotions; it is important that this was at the beginning of the first episode because it sets up everything the show is about. There are themes of postmodernism, a theory by Jean Baudrillard, throughout the series, but especially in this shot as it has the audience challenging what is and isn't real. Additionally, the reference to another media product may please the audience if they understand where it is from, which is likely, as they are both from the sci-fi genre. 

A second way the producer has used intertextuality to please the audience is by referencing the popular family comedy TV series, 'Outnumbered'. Many of the dynamics between the members of the Hawkins family are similar to those of the comedy series. For example, in the first episode Joe is shouting at his 3 children to tidy the house, however, the children do not listen to him. It is important that the producer has not only appealed to sci-fi fans, but also families as it widens their target audience. By using this form of intertextuality, the series becomes more family-friendly and it appeals to fans of 'Outnumbered'. 

mini mock

"It is essential for a TV programme to simultaneously target both mass and specialised audiences"

Explore this statement with reference to Les Revenants

A specialised audience is a small, enthusiastic group of people that a TV show is aimed towards, whereas a mass audience is when a show is aimed at a larger, broad group of people. Les Revenants is a French, supernatural drama that was produced by Fabrice Gobert. It was originally released in November 2012 on the french channel Canal+, but it was later release on Channel 4 in the UK the following year. I believe that Les Revenants has simultaneously targeted both mass and cult audiences.

One way in which the TV show targets a cult audience is that it invites many polysemic readings. For example, the audience sees a slow zooming in shot of a frame of butterflies, which then smashes as a butterfly flies out; during this shot the diegetic music crescendos to symbolise that this has a deeper meaning. This allows the audience to create their own meaning as there is no anchorage towards what the scene symbolises. This supports Stuart Hall's reception theory, as the audience has a negotiated reading. However, you could argue that the show challenges this theory, as there is only negotiated readings. Les Revenants doesn't show any obvious ideologies, meaning the audience cannot take the preferred or oppositional reading; therefore, the audience is left having to make their own decisions. Another example of this is when the screen suddenly turned black after the bus crash. This creates polysemic meanings because the black could symbolise the death of the characters, however, it also could represent the audience's own confusion. polysemy is important in a cult tv show as it allows the specialised audience to engage in the show through discusions.

Additionally, the show lacks typical supernatural/ horror conventions that would appeal to the larger audience. For example, the 'zombies' look like normal people, which subverts the stereotype of this genre paradigm. As well as this, the scene where Victor is stalking the woman lacks horror conventions because he isn't a 'monster'. 

On the other hand, the trailer of Les Revenants targets a much larger, international audience. Firstly, it features many quotes from popular British newspapers, as well as British text, which invites their international audiences to watch the show, as they know and trust these newspapers. Secondly, the fast paced editing and montages makes the series appeal to action fans, as the show looks exciting and filled with adventure. Additionally, the producer has picked actors that all conform to stereotypical standards of beauty, for example, the young boy has dark and strong features, whilst all the women wear very natural looking makeup. This appeals to the mass audience as there are characters that everyone can aspire to or enjoy watching.