Saturday 26 April 2014

Case Study Digital Media Story ..

BBC suspends CBI membership over its no campaign in Scottish referendum

http://www.theguardian.com/media/2014/apr/24/bbc-suspends-cbi-membership-no-campaign-scottish-referendum


The BBC has joined the exodus from the CBI after the employers' organisation registered as an official no campaign in the Scottish independence referendum. In a further blow to the CBI after more than a dozen high-profile resignations, the corporation said it was temporarily suspending its membership of the CBI to protect its neutrality, as complaints about its continued membership from independence campaigners mushroomed on Twitter.But the BBC said its suspension would only come into effect during the 16 weeks of the official referendum campaign period from 30 May to 18 September. Every other CBI member to have left, including the broadcaster STV, has done so with immediate effect. In a statement issued late on Thursday, it said: "In order to protect the BBC's neutrality, the CBI and the BBC have agreed to suspend the BBC's membership during the business group's registration period under the terms of the Scottish Referendums Act 2013."


The CBI, which has made clear it opposes independence and is now legally able to spend up to £150,000 to campaign for a no vote, issued exactly the same statement under the name of its director-general, John Cridland. The joint announcement was issued only a few hours after the BBC said it would review its membership "in our own time and on our own terms". BBC sources said the move was a corporate decision taken by executives in London. It was limited to the 16-week official campaign period because it had no material impact on the independence of the BBC's journalism, said one source. "It won't affect the way we report the referendum; it's all to do with perception, I think," he said.

A spokesman for the first minister of Scotland, Alex Salmond, said the BBC had "done the right thing". Asked about the much shorter period of its membership suspension, he said: "It's up to the BBC to decide exactly what the parameters are." But he added: "We're quite clear that publicly funded bodies have an obligation and in the case of the BBC, an overriding obligation, to be impartial and to be seen to be impartial."

None of the other 15 or more universities, public agencies and businesses that have so far left the CBI either to protect their neutrality or in protest at its support for the no campaign have delayed their departures. In the days since it emerged last Friday that the CBI had registered as a no campaigner after taking legal advice and formal approaches from the Electoral Commission, eight universities including Edinburgh, Glasgow, Aberdeen and Strathclyde have quit to protect their neutrality. But two, Dundee and Edinburgh, have said they would likely rejoin after the referendum. And after initialling insisting it valued its CBI membership too highly to quit, Robert Gordon University in Aberdeen said on Thursday it too had left but only "for the time being".  However, the independent broadcaster ITV, which does not air its main Channel 3 services in Scotland, where that licence is owned by STV, said it had no plans to resign. It said: "We remain entirely impartial on the debate over Scottish independence and our coverage of the issue will, as always, be completely fair and balanced."

Weekly NDM Story ..

says it's 'a matter of time' before it overtakes Apple's iTunes in Europe

http://www.theguardian.com/technology/2014/apr/25/spotify-itunes-apple-europe-streaming-music

Streaming music service Spotify has added more than 1m active users in the UK in the last four months, as it tries to overtake Apple's iTunes as the biggest digital music service in Europe. "Some of our partners are saying Spotify is now generating more revenue each month across Continental Europe than iTunes," Spotify's head of label relations in Europe, Kevin Brown, told industry site Music Week. "Given that download sales are declining and Spotify is growing rapidly, particularly in the UK, it is only a matter of time before Spotify is bigger than iTunes across Europe as a whole." Brown added that a "significant amount" of the million new British Spotify users are paying for a subscription, rather than listening to its free, advertising-supported version. The growth has been sparked by marketing partnerships with Vodafone and the Sunday Times.

  • Spotify said in March 2013 that globally, it had 24m active users, including 6m paying subscribers. 
  • The UK is one of Spotify's biggest markets. The company's UK subsidiary published financial results for 2012 last November, when it generated £92.6m from British customers, including £64.8m from subscriptions and £9.1m from advertising. The UK accounted for just over a quarter of Spotify's global revenues in 2012.
  • In 2013, streaming music services generated £103m of revenues in the UK according to figures from industry body the BPI, which said that British music fans streamed 7.4bn songs that year – double the total in 2012.
  • Streaming accounted for just 10% of overall UK recorded music revenues in 2013 – just over £1bn – but Brown told Music Week that Spotify expects that proportion to rise to around one third in 2014. 

"I don’t see iTunes as our primary competitor - that’s YouTube," said Brown, criticising labels that decide to keep albums off Spotify in favour of exclusive deals with iTunes. "We’re still put in the same bucket as iTunes by some labels, whose music then appears on YouTube. That drives me nuts."The prospect of Spotify overtaking iTunes is causing concern for some musicians and songwriters, who are worried about streaming's ability to sustain artists' careers – a sale of a 99p iTunes download pays out just over 69p to rightsholders, while a Spotify stream averages a payout of between 0.35p and 0.5p. In both cases those rightsholders then pass on varying percentages of those royalties to the music's creators.

Artists like Beyoncé have clearly done well from iTunes exclusives, but Spotify's current case study is singer Kiesza, whose 'Hideaway' single was available for three weeks on the streaming service before going on sale, when it promptly topped the iTunes and official UK singles charts. For now, Spotify versus iTunes is a fairly clear streaming versus iTunes comparison. But with Apple already having a streaming radio service – iTunes Radio – in a few countries, and tipped to launch a full Spotify-style "on-demand" streaming service later this year, the two companies are likely to be even more direct competitors in the coming years.

Presentation Feedback ..

Question 13 - Presentation feedback


1) Social Media (Twitter) - 

  • Most developed field.
  • Gained 500 million users. 
Arab Spring.

People Rely on Twitter- Produces News and it's faster in terms of receiving news. 
Challenges traditional news sources.

"Hashtag" - become more relevant in everyday life. 

Discover Page shows BBC News and Sky News - No longer needing traditional news sites. 

Undeveloped countries were able to grow and develop because people had a say in what was happening through the use of twitter.

2) Facebook and Democracy - 


Interact with others, demographic is 25 - 34.

"Facebook was not originally created to be a company. I was built to accomplish a social mission." - Mark Zuckerberg.

"The internet is an empowering tool" - Al Gore.
-First protest - Tunisia. 
-Ben Ali was a dictator.

Cina censors foreign websites.

"The global village" - Mc Cuhan.

"Facebook could be tracking users without their knowledge or permission, with could be an unfair or deceptive business practise" - Ed Murkey.

3) Music Industry -

Spotify - 

  • "Commecial music streaming service". 
  • Access to 20 million songs. 
  • No need to download.

Itunes -

  • Apple, 2001.
  • Media player & media library.
  • Don't need to be professional to make music. 
Piracy -
  • Illegally downloading music. 
  • Hader to produce music. 
  • No steady income. 
Music companies aren't making much money anymore - loosing revenue because people don't buy CD's anymore.

-Decrease in CD sales - Dropped 11.7% (Album sales have dropped.)

People use soundcloud and live streaming.

"Audiences are now the new gatekeepers."

-Justin Bieber became successful by the audience watching his videos on youtube.
-Sean Kingston - Famous through myspace 
-Soulja Boy and Conner Maynard both became famous through the audiences on youtube.
Don't need to rely on big companies to make them famous.

PIRACY - Get music for free on spotify and deezer.

Blaming google because they don't protect music sites and block illegally downloading sites.

DIGITAL ECONOMY ACT (DEA)

-Use illegal downloading sites more than 3 times and houses internet would get blocked - No internet.

4) Film Industry (Netflix)

  • Netflix is a successful provider of on-demand films.
  • Netfilx supplies a wide range of films, being able to watch televisions in the comfort of your own home. 
  • Used to be £6.50 per month but have increased to £7.50.
Blockbuster Videos - The internet killed the video stores because content is available online for free. 

-Pluralist believe they have more power on the film industry
-Marxist believe they control the audience and even through people watch films whenever and wherever  they are still controlled by the content

Kills the idea of scheduling because of time-shifting and on-demand.

5) Smarthphones

SAMSUNG 3III VS. IPHONES.
Both very effective popular devices. 

  • Business people used to use smart-phones more but it's now the younger generation. 
  • Smathphones have become more productive in everyday use - Easier and quicker.
  • Create moral panic because people have a stronger control of their content.
  • Whatsapp allows people to communicate all around the world.
  • Becoming our own producers of news.
  • Using the camera to document everything that you do
The internet and new and digital media is very disruptive - destroying the traditional ways of consuming media.

6) Sky

-Rupet Murdoch owns everything.
Sky + was made in 2002.
Sky Go and Sky + -time shifting

TV isn't going to die because they keep improving it.
  •  Sky Go.
  • On demand & Catch up TV.
  • 3D Television.

"See it First"

-Shows a film on Sky Go before showing it on Sky Movies on the normal channels.

7) Instagram 

Launched in 2010, popular in 2012.

Shares the idea of the Hashtags like Twitter.

2012 - Facebook took over instagram to make it popular & better to use.
Mark Zucheburg wanted Instagram because he knew it was on the rise and facebook was dying.

Facebook's unique selling point is sharing photos - Instagram is the new way of sharing photos. 

Friday 11 April 2014

Case Study Digital Media Story ..

BBC to extend time programmes are available on iPlayer

http://www.theguardian.com/media/2014/apr/04/bbc-extend-time-programmes-iplayer-series-stacking

BBC iPlayer

BBC shows including Sherlock, Doctor Who and Top Gear will soon be available to watch for up to 30 days after first transmission on online video service iPlayer, giving viewers an extra three weeks to catch up with their favourite shows. The BBC will extend the amount of time its programmes are available on its iPlayer video-on-demand service from seven to 30 days after the proposals were approved by the BBC Trust, effectively quadrupling the amount of content on offer. iPlayer, which had a record 3 billion requests for TV and radio programmes last year, with a top 20 dominated by BBC2's Top Gear, will make the change to its catch-up window in the summer.

However, a further change will mean some programmes are actually available for less time, with an end to the "series stacking" option that enable viewers to download all episodes of a series retrospectively. While the amount of TV programmes available on the iPlayer will increase fourfold, the total amount of radio content will increase around two and a half times. Diane Coyle, vice chairman of the BBC Trust, said: "With an average of 10.7 million programme requests every day, BBC iPlayer is highly valued by audiences and has been a phenomenal success since it launched six years ago. "It is important that iPlayer continues to evolve and meet the expectations of users. We have conducted a thorough assessment of these proposals, including taking independent advice from Ofcom, and concluded that this is a sensible move that will benefit audiences and provide a clearer and more consistent catch-up service."

In a statement, the BBC said: "People keep telling us they want programmes to be available on BBC iPlayer for longer – so extending availability from seven to 30 days will make iPlayer even better. "New iPlayer already has downloads, better recommendations, HD, live restart, favourites and collections, and extending the catch-up window to 30 days gives people even longer to enjoy their favourite BBC programmes. We will now set about making this happen with the aim to roll this out from the summer."

Weekly NDM Story ..

Daily Mail picture manipulation was 'an editorial mistake'



The Daily Mail has conceded that the picture manipulation I reported on yesterday was "an editorial mistake", according to Press Gazette. The image showed Tottenham footballer Emmanuel Adebayor saluting manager Tim Sherwood after he had scored a goal during Tottenham's 5-1 defeat of Sunderland. But the Mail - unlike The Guardian and the Daily Telegraph - deleted the man standing next to Sherwood, a member of Spurs' coaching squad, Chris Ramsey. A spokesman for the Daily Mail quoted by Press Gazette said it was not the paper's policy to manipulate news images and that it had been a "mistake". An internal investigation is underway. The original picture was taken by Kirsty Wigglesworth and distributed to newspapers by Associated Press, which prohibits digital manipulation of its photographs. The Daily Mirror also ran the image, choosing to obliterate Ramsey with a headline.

Weekly NDM Story ..

Newspaper publishers use e-commerce technology on website photos


The Daily Telegraph and Daily Mirror are experimenting with technology that turns online photographs into adverts, reports the Financial Times.It's an e-commerce system developed by a Finnish company, Kiosked. When people visit pages on the papers' websites, the technology scans the content and works out the most relevant advertisements to display. Then it overlays images of products that readers may wish to buy on the pictures. The FT's digital media correspondent, Robert Cookson, gives an example from Thursday's football reports on Mirror.co.uk. The image of a Bayern Munich player was overlaid with a Kiosked module offering ways to buy a replica Bayern kit. He quotes Kiosked's co-founder, Micke Paqvalén, as saying: "This is the next phase of e-commerce. It's a very powerful way for publishers to monetise their content." Paqvalén said other groups - such as The Guardian, DMGT and the Huffington Post, plus the magazine publisher Gruner+Jahr - are also planning to experiment with the technology. Evidently, the publishers do not plan to use Kiosked modules within their main news articles. They will be restricted to non-news sections, such as sport and entertainment.

NDM Case Study 10/04/14 Summary ..

How has the impact of new and digital media allow the audience to time shift and watch their programmes online such as BBC Iplayer and 4OD instead of following scheduled timing.


Saturday, 22 March 2014: Questions 1 & 2


Thursday, 27 March 2014: Question 3


Saturday, 29 March 2014: Question 4


Saturday, 29 March 2014: Questions 5 & 6


Monday, 31 March 2014: Question 7


Thursday, 10 April 2014: Questions 8 & 9


Thursday, 10 April 2014: Questions 10 & 11 


Thursday, 10 April 2014: Question 12

Thursday 10 April 2014

NDM Case Study ..

How has the impact of new and digital media allow the audience to time shift and watch their programmes online such as BBC Iplayer and 4OD instead of following scheduled timing.


12- Consider theoretical perspectives in relation to the impact of new/ digital media in your case study. E.g. Representation of certain groups as a result of changes, Marxism & Hegemony, Liberal Pluralism, colonialism, audience theories etc.


Consider theoretical perspectives in relation to the impact of new and digital media (BBC iplayer, E-Media). 


Marxist:

Marxism is the idea that hegemonic leaders have control of the audience, all the control and power is down to the media and the society. Audiences never have nor ever will have full control over watch they want and what they want to watch because sub-consciously the media have full power and control to influence the audience.

Pluralist: 

Pluralism means that audiences believe audiences have full power over what they do and what they watch, they believe because of the developments in technology such as time-shifting and BBC iplayer they have all the power, being able to watch a programme wherever and whenever. Pluralist people are quite naive in the sense that audiences can't actually have full power, the media and society will always have a huge influence on the audience.

NDM Case Study ..

How has the impact of new and digital media allow the audience to time shift and watch their programmes online such as BBC Iplayer and 4OD instead of following scheduled timing.


10- What issues may there be regarding media effects and /or regulation/ censorship as a result of changes due to new and digital media?


What issues many there be regarding regulation and censorship of the BBC because of new and digital media (BBC iplayer)?


In terms of Regulation and Censorship the BBC are still in control because people pay for the content that the BBC provides to educate, inform and entertain

Ofcom has certain powers to regulate the BBC's licence fee funded television and radio services aimed at audiences in the UK, but not the World Service which is grant-in-aid funded. Ofcom's Broadcasting Code applies in the following areas:

  • Protection of under-18s
  • Harm and Offence
  • Avoidance of inciting crime or disorder
  • Responsible approach to religious content
  • Prohibition of use of images of very brief duration
  • Fairness
  • Privacy.

The Editorial Guidelines reflect the provisions of the Ofcom Broadcasting Code in these areas.

11- Are there any cross-cultural factors and /or effects of globalisation involved in the impact of new technology on your case study?


Are there any effects of globalisation involved in the impact of new technology (BBC iplayer, E-Media)? 


The internet being the new way audiences watch Television means our content has become viral, being able to watch programmes from all around the world, however, the BBC only allows their content to be seen in some countries, for example, people in Egypt aren't allowed to watch content on the BBC. This also means BBC iplayer isn't allowed either. 

"Globalisation is usually blamed, but some elements of the "modern world", especially digital technology, are pushing back against the tide." - Jonathan Amos

It could be argued that the reason Egypt and other counties aren't allowed to watch the BBC is because of democracy, England being such a diverse and democratic county will give other counties ideas like China, giving people the confidence to speak up and ask for their rights as humans therefore putting pressure on the leaders of the countries.

NDM Case Study ..

How has the impact of new and digital media allow the audience to time shift and watch their programmes online such as BBC Iplayer and 4OD instead of following scheduled timing.


8- What are the political and social implications of the new technologies and the methods of their consumption? E.g. moral panics etc?


What are the political and social suggestions of BBC iplayer and the way the audience consume Television?


Socially, people suggest that BBC iplayer is the new way of watching BBC. BBC iplayer is mainly popular with the teenage audience, it's easier and better, socially it creates the idea of being flexible, being able to go out with friends and socialising and then coming home and catching up on BBC iplayer. In terms of audiences consuming the programmes, well the website has the option to watch live which enables the audience to relax and watch it wherever, whenever they want. Also with the new download button people are now able to watch their programmes offline, no longer needing the internet.

Is there Still a Place for Public Service Television?

RECONSIDERING THE TELEVISION ENVIRONMENT

The internet offers an enormous selection of content from which consumers may satisfy informational and entertainment needs traditionally met by television. The transition to fully digital television marks an appropriate point to re-examine the economics of television broadcasting and the case for public service broadcasting. The consumer concern recognises that there may be market failures in broadcasting such that it fails to deliver the outputs that consumers themselves want to watch. These priorities are captured by the BBC’s Reithian mission to ‘inform, educate and entertain’. The TV licence fee, which supports the BBC’s public service activities, is currently frozen in nominal terms until BBC charter renewal in 2016; over the longer term multichannel households may prove resistant to substantial increases in its value or object in greater numbers to the principle of a compulsory licence fee

Tony Hall: BBC is admired around the world – full speech

Values of the BBC ..


  • They can be informed, entertained, educated – and, I would add, inspired
  • Anyone in this country who has a television, a radio, a computer, a smart device, has the best seats in the house for the Olympics, a front-row ticket for the best concerts, a box at the theatre for the greatest drama
  • Because no other public service is used quite the way the BBC is. Our service reaches 96% of the population in the UK every week. Every week.
  • Twenty years ago, the BBC received nearly 40% of all the revenues in broadcasting. Now the figure is around a quarter – 25% – a much smaller part of the media market.

Efficiency of the BBC ..


  • Between 2008 and 2013, the BBC delivered savings at an average rate of 3.7% every year. The plans inherited seek another 20% annual savings by 2016/17 – that's an extra 4%, on average, we have to find every year
  • We've made the most of our commercial income from BBC Worldwide, with returns to the BBC for investment in programmes reaching over £150m last year.

The licence fee ..


  • The BBC's mission is to inform, educate and entertain. The licence fee means we must do this for all, not just for some.
  • Universal access and the licence fee support each other. Because nearly everyone in the country uses us every week, we are not asking people who do not use the service to pay for it.
  • Support for the licence fee is at 53% – way ahead of subscription on 17% and advertising on 26%. It's the top choice for funding the BBC across all ages, all social-economic groups and whether you're in a Freeview, Sky or Virgin household.
  • Yet having no advertising is one of the characteristics that people most value about the BBC
  • It's not just the interruption that people dislike. Advertising would also narrow the range of content on the BBC. And by taking advertising money away from ITV and Channel 4 it would make public service broadcasting much worse across the board.

9- Consider the effects so far, and possible effects in the future, on media institutions involved in your case study (media production).


Consider the effects on the BBC so far and the possible effects in the future because of BBC iplayer?


The BBC haven't been effected that badly because BBC iplayers controlled and owned by the BBC and is paid for through the License Fee. In the future it can only get better for the BBC because Tony Hall wants to increase the License Fee so that it covers the online bases of the BBC, at the moment the BBC charge 55p per month which doesn't really cover the amount of people that use BBC iplayer, now that it's become more popular than the traditional way of watching TV.  

There’s also been lots of talk about the availability of iPlayer, there’s news about plans for the Mac version and a US version too is apparently on the way. We, though, can give a different perspective, a bit of insight on things and maybe explode a few myths. Here’s just a few headlines:

  • 5% growth in total average usage since 1st December
  • 66% growth in volume of streaming traffic since 1st December
  • 2% growth in the number of customers using their connection for streaming since 1st December
  • 72% growth in the number of customers using over 250MB of streaming in a month since December
  • 100% growth in the number of customers using over 1GB of streaming in a month since December
  • Cost of carrying streaming traffic increased from £17,233 to £51,700 per month

At the moment the majority of this growth in traffic will be down to iPlayer (with some 4OD and Sky Anytime thrown in) and likely most people will be watching it on their PCs. We can only imagine what the growth will be like when that majority shifts from the PC to the TV.

Monday 31 March 2014

NDM Case Study ..

How has the impact of new and digital media allow the audience to time shift and watch their programmes online such as BBC Iplayer and 4OD instead of following scheduled timing.


7- What concerns/ considerations are there (if any) for the media institutions involved in your case study as a result of the impact of new and digital media? 


What concerns are there for the BBC traditional television as a result of the impact of new and digital media (BBC iplayer)?


The traditional ways of watching television is slowly dying, there's a concern that people will no longer need TV because everything's online, being able to watch something whenever and wherever they want. However, is the BBC really effected? No, because of the TV license, the audience having to pay £145.50 annual which covers BBC iplayer. The BBC don't suffer as much as, for example ITV because they rely on adverts to make their money and if the audience no longer watch their channels, advertising will go somewhere more popular. At the BBC, the proportion of public service expenditure attributed to online activities (including mobile) has gradually increased over time and reached 5.8 per cent in 2007–8.


Its Time To Break Up BBC iPlayer


Steve Hewlett published an article in the press last week that suggested Tony Hall’s big challenge was to sort out the BBC’s ‘digital’ strategy. Steve was onto something in latching onto ‘digital’ as a key area requiring attention, but we think he erred in thinking that ‘digital’ was somehow a separate problem to core strategy. This article makes the case that you can’t separate ‘digital’ from the rest of BBC strategy. More importantly, it makes the case that there is a fundamental flaw in the way new media, and iPlayer in particular, are organised and managed within the core of the BBC. We believe that this flaw is now having a significant impact on the arguably more important BBC broadcast brands. BBC announcements in the last month have highlighted the need for a fundamental re-think.

The announcement of poor BBC2 viewing figures spoke a broadcaster that is losing sight of its core broadcast function. Our research indicates that poor scheduling and weak brand support for BBC2 has played its part in the audience decline, but the failure to support broadcast brands online, in favour of iPlayer is a big factor – particularly with young audiences. It is instructive that iPlayer has become a more recognisable brand than the BBC’s second most important TV brand, even though it delivers a fraction of the total viewing time.

-But What Is The Flaw and Why Does It Matter?


The central flaw that concerns us is that the iPlayer team control not only innovation and future developments of iPlayer, but they retain operational control of day-to-day delivery of BBC online output. They also control, and have dramatically reduced the wider web presence of the channel brands and restrict their ability to express themselves and build connections with their viewers.

The same applies to YouView, which should have been a broadcast centric platform, designed to maximise the interests of the channels. Unfortunately, it was colonised early by iPlayer people and went ‘platform-centric’. It is possible to spend an evening watching BBC3 content, and come away with the YouView and iPlayer logos lodged in your brain. The emphasis on iPlayer has also robbed the broadcast channels of the tools to build audience relationships on the web and mobile. 

What people appear to have forgotten is that iPlayer was designed and created as an alternative destination to broadcast, at a time when people still feared that the internet would beat TV and not the other way round. It most certainly wasn’t designed as a support component of a broadcast centric organisation. It was created by a team led by Anthony Rose who declared at a conference that year that ‘broadcast is dead’. Its look and feel, was created to sit outside the core branding of BBC channels and genres, and it was intended to eventually develop its own content strategy. It was effectively set up as the ‘anti-BBC’The world of TV has changed significantly since iPlayer’s inception.

-Why Does This Matter?


Decipher make the case that this matters for two reasons: Firstly, this is our licence-fee money that is being used to prop up personal fiefdoms, and fund huge amounts of over-lapping or unnecessary activity. The current structure reflects the personal egos of Eric Huggers and Ashley Highfield, not the current needs of the BBC. To have a separate Head of FutureMedia and BBC R&D while claiming poverty under the DQF process is iniquitous.

Secondly, and more importantly, it hampers the proper evolution of the BBC as a broadcast centric organisation. In 1997, the BBC was 3 years ahead of any other UK broadcaster. It is now well behind the curve with ITV and Channel4 having done a much better job of integrating new media into a wider broadcast operation. The BBC like to hold themselves up as a template for other broadcasters. Not only can they no longer do this, but unless this flaw is rectified, they will fall further behind in defining the 21 century role for broadcasters.

-Recommendations

We would make the following recommendations:

  • Clarify the key centre of gravity for TV and Radio in the BBC – We believe that this should be the broadcast channels and their brands, with new media distribution strategy rebuilt to support not compete with them. The BBC is, at heart, a broadcast organisation and it needs to be communicated clearly internally and externally.

  • Retire the black and pink iPlayer branding completely- It is a divisive brand livery and the BBC should unify the branding and presentation of on-demand content with the broadcast genres (TV and radio) that its meant to support. This means there should be a single brand architecture for TV at the BBC, with individual channel identities built within it. BBC iPlayer look and feel should reflect this TV brand architecture not compete against it as present. This is what ITV have successfully done with the recent ITV Player re-design.

  • Stop trying to build iPlayer as a BBC ‘platform’. However hard you want it to be true, no consumer views content that way any more. It is a strategy that will eventually isolate the BBC, not help it retains its position as the dominant beast in the broadcast TV pack. It is a strategy that works well in the export market, as a US iPlayer demonstrates.

Saturday 29 March 2014

Case Study Digital Media Story ..

Google: 80% of news organisations are targeted by state hackers

http://www.theguardian.com/technology/2014/mar/28/google-news-organisations-targeted-state-hackers


More than four-fifths of the world's top media organisations, including the Guardian, have been the target of likely state sponsored hacking attacks, according to research from two Google security engineers. Presented at the ongoing Black Hat Asia 2014 conference in Singapore, Shane Huntley and Morgan Marquis-Boire's research shows that journalists are "massively over-represented" among the targets of state-sponsored hackers. While the pair didn't go into detail about their methodology, they confirmed to Reuters that Google "tracks the state actors that attack our users". Those who the company suspects have been the target of such attacks are notified by a banner across the top of their webmail login, such as this displayed to Guardian staffers since mid-Mar:

Huntley told Reuters that "if you're a journalist or a journalistic organisation we will see state-sponsored targeting and we see it happening regardless of region, we see it from all over the world both from where the targets are and where the targets are from." Google's advice to those it suspects of being a state target is simple. "Be careful about where you sign in to Google.

It does not, however, share information about what specifically prompted the warning, in order "to help defend the integrity of these systems". Instead, the company explains that "it's likely that you received emails containing malicious attachments, links to malicious software downloads, or links to fake websites that are designed to steal your passwords or other personal information."

In April 2013, the Guardian was the victim of a hacking attack by the Syrian Electronic Army, activists linked to Bashar al-Assad's regime. The Twitter accounts for Guardian Music, Guardian Film and Guardian Books, as well as a number of staffers, were taken over by the group following a "spear phishing" attack: targeted emails designed to trick users into revealing their passwords.

NDM Case Study ..

How has the impact of new and digital media allow the audience to time shift and watch their programmes online such as BBC Iplayer and 4OD instead of following scheduled timing.


5- Who are the primary target audience now and has this changed? Who was it before and how do you know?


Who are the primary target audience that use BBC Iplayer and watch the BBC, has it changed from before? Who was it before and how do you know?

BBC One has the highest reach of all the BBC channels with nearly 80 per cent of the UK population (4+) tuning in for seven and a half hours each week on average. Certain BBC television channels (BBC Three, CBBC and CBeebies) have specified target audiences. For example:

  • BBC Three is targeted at 16-34 year olds. Those 16-34 year-olds who view BBC Three watch, on average, for longer per week than the average viewer of the channel (2h 02m vs. 1h 43m). 
  • The target audience of CBeebies is 0-6 year olds. As BARB measures 4+ year olds only, the CBeebies target audience’s viewing is captured by measuring the viewing of 4-6 year-olds and housewives with children up to 3 years old. 45 per cent of this group watches 
  • CBeebies and in January – March 2011 they spent 4 hours 54 minutes with the channel on average per week.



The BBC is a major media provider for younger audiences, with more than 9 out of 10 young people using BBC services each week.  The BBC delivers some of its public purposes well to young people but faces challenges to deliver news to them, and to serve teenagers on television. Despite the huge growth in choice of media, the BBC remains a very important part of young people’s media consumption. The BBC reaches around 92 per cent of 15-34 year olds each week and BBC television remains successful at reaching younger audiences, although its usage has declined significantly in recent years.

BBC Online has become an important part of the BBC’s offering to young people. More than one-quarter (28 per cent) of all 16 to 34 year olds use BBC Online each week, the same proportion as all adults, making BBC Online the fifth most popular website for this age group in the UK, behind Google, MSN, Facebook and Yahoo. Reach to BBC Online among younger audiences has risen by around 9 percentage points since 2003. Some sections of BBC Online have particularly strong appeal to younger audiences, notably the formal learning websites for children and young adults. BBC Online reached an average 42 per cent of teenagers per month, compared with 51 per cent of all individuals

6- How have the audience responded to the changes? Is there more customer choice? Is there evidence of a more pluralistic model? What evidence do you have to support this?


How have the audiences responded to the changes (the development of digital media)? Is there more customer choice? Is there evidence of a more pluralistic model? What evidence do you have to support this? 


I would say the audiences have adapted to the changes of the development of digital media by giving them a better choice. The audiences are given more choices, they have a range of programmes and they're enabled to watch their programmes whenever and wherever they want. The audiences are allowed to time-shift, using the red button, online services, on-demand or the plus channels. People would argue that the world has changed to a more pluralistic view, people being in control of everything, having the power and not being controlled by the media because of all the options they have now. 

Case Study Digital Media Story:


MORE CONTROL AND MORE CHOICE: PICTURING THE TV AUDIENCES OF TOMORROW

http://www.redbeemedia.com/blog/more-control-and-more-choice-picturing-tv-audiences-tomorrow


Expect a media revolution.

The way we consume media is changing forever, driven by new technologies that are turning traditional thinking on its head. At the same time, viewer attitudes and behaviours continue to evolve at a pace, with the great experiences from BBC iPlayer and Sky Go stimulating an increasing desire for “anywhere, anytime” viewing. With these seismic changes taking place, we’re hoping to shed some light on the needs and wants of the TV audiences of tomorrow at our second Tomorrow Calling event, when we will reveal and discuss findings from an in-depth consumer survey.

We are in no doubt that the appetite for TV viewing is growing. The way it is delivered, how content is watched and the way content is found are some of foundations of the media revolution. The ubiquitous uptake of connected TV sets will start to blur the boundaries of how TV is delivered. It is at this point where the audience will not care how their TV is being delivered, and the connected TV will enable them to seamlessly shift from a live linear viewing experience into a catch up or VoD environment. This will dramatically change the landscape of the content aggregator.

A different but equally important change to the future viewing experience is led by the explosion of companion devices, opening up TV to benefit from technical innovations. With this change there will be expectations of a “media grade” TV experience across all devices, no matter what piece of glass you are looking through.

The consumer wants more control and more choice and they get frustrated because they can’t find content they want to watch. Within this context the electronic programme guide (EPG) along with the remote control navigation is set to change dramatically over the next few years. A new and intelligent form of content discovery will help guide viewers through a potentially baffling array of content and give them more. Fast forward to 2020 and great TV content has an exciting future, the communal TV experience seems set to stay, but it will increasingly be in a virtual sense.

NDM Case Study ..

How has the impact of new and digital media allow the audience to time shift and watch their programmes online such as BBC Iplayer and 4OD instead of following scheduled timing.


4- Is the size of the audience any different now than before the impact of new and digital media (or has the pattern of usage changed)?


BBC Audience Information

January - March 2011 - BBC TV Research ..  

Average Weekly Research and Average Weekly Time Spent per User:

Television viewing in the UK remains strong, despite the wide range of media competing for viewers’ time. Across its nine television channels the BBC reached nearly 88 per cent (50 million) of the UK public aged 4+ on average in January – March 2011. And they spent over 11 hours a week on average watching BBC television


BBC Digital Media Services Research ..


How does the BBC measure research of BBC digital media services? 
Unlike Television and Radio, there is no industry standard for online measurement within the UK; therefore the BBC uses a wide range of sources to assess performance of BBC Online. The number of people consuming BBC digital media services (BBC Online and Red Button) is measured via bespoke surveys - in which people are asked which services they have used within a week. Time spent Online is not included due to the lack of an industry standard and a consistent methodology for online measurement

How many people consume BBC digital media services each week? 
January – March 1 2011 - Online & Mobile
41.8 per cent (20.2 million) of UK adults used BBC Online and BBC Mobile in an average week. This equates to 57.4 per cent of those who have access to the internet in the UK.

Red Button 
30 per cent of UK adults with digital TV (12million) pressed the Red Button to access a variety of BBC Red Button services in an average week.

From all this research, I can conclude that the size of the audience isn't different than before the impact of new and digital media because the audience viewers is still higher than the BBC iplayer. 

Thursday 27 March 2014

NDM Case Study ..

How has the impact of new and digital media allow the audience to time shift and watch their programmes online such as BBC Iplayer and 4OD instead of following scheduled timing.

3- What impact has there been on how the media institution now has to produce the texts and the way in which the texts/ products are distributed and exhibited? This should involve a detailed textual analysis of at least 3 texts to demonstrate the point.


What impact has there been on how the media institution now has to produce the text and the way the texts are distributed and exhibited? This should involve a detailed textual analysis of at least 3 texts to demonstrate the point.


Text One:

In terms of how the BBC produce a text is still the same as before because of the TV License, people having to pay £145.50 annual:

How the licence fee was spent in 2012/13:
Between 1 April 2012 and 31 March 2013 the cost was £145.50 – the equivalent of £12.13 per month or just under 40p per day. The BBC used its income from the licence fee to pay for its TV, radio and online services, plus other costs, as shown below.

TV
£7.69 per month per household

Graphic showing Licence Fee TV costs
Radio
£2.08 per month per household.

Graphic showing Licence Fee Radio costs
Online
£0.55 per month per household.



The BBC hasn't had to change a lot in the way they produce a text because people are still paying to use BBC iplayer - 55p per month. Hence the reason why Tony Hall wants to extend the license fee because people now rely much more on BBC iplayer and use it through their tablets or ipads. The normal channels - BBC One and BBC Two, people are charged £7.69 per month which before used to be effective but because new and digital media has improved over the years people have adapted to using BBC iplayer more therefore, taking more out of the website than the channels - Tony Hall believes increasing the License fee would be better because people now use it more.

In terms of distributing and exhibiting the text, in the past the only way to watch TV was on the Television but now TV is distributed through E-Media, BBC iplayer. BBC iplayer consists of all the BBC channels, from BBC One to CBBC and the website has now introduced the download button, so people can now watch their programmes offline for up to 30 days, no longer needing internet. Slowly, slowly people have changed the way they consume TV therefore changing the way the BBC distributed and exhibited their texts.

Text Two:

Channel 4 is a publicly-owned, commercially-funded public service broadcaster. They don't receive any public funding and have a remit to be innovative, experimental and distinctive. Channel 4 works across television, film and digital media to deliver our public service remit. The media institution being Channel 4, is predominantly funded by advertising and sponsorships, the main source for consuming Channel 4 programmes is through E-Media therefore channel 4 has to provide more content online which means loosing money from adversing and sponsorships

In terms of the way the texts are distributed and exhibited, the website is targeted at the younger audiences, the way the website is exhibited is quite stylish and modern. Because people don't watch the traditional programmes it loses revenue and the money made through advertising. Unlike other broadcasters such as ITV, Channel 4 is not shareholder owned. In addition to the main Channel 4 service, their portfolio includes E4, More4, Film4 and 4Music, as well as an ever-growing range of online activities that includes channel4.com, Channel 4's bespoke video-on-demand service 4oD and standalone digital projects. Through its film arm Film4 Channel 4 is also a key supporter of British film making talent.

Text Three:

ITV Player is an online video on demand service accessible though the main ITV website itv.com. The service offers a variety of programmes from homegrown programming to imports across ITV, ITV2, ITV3, ITV4 and CITV. Some sports programming is available to watch again via the service, the 2010 FIFA World Cup and highlights being examples. Programmes are available for 30 days on the site after being first shown on ITV. The service was originally called ITV Catch Up but was then rebranded 'ITV Player' on 5 December 2008 as part of ITV’s aim to create a recognisable and consistent brand for video-on-demand content across the web and TV. This shows that the media institution ITV player has changed the way they produce the text because the E-Media side is more popular, they have to keep up with the new and digital improvements.  

In terms of distributing and exhibiting the text, they've changed the website to make it look more modern and interesting. They've made it easier to use which would attract more people. New and digital media's made the impact because people no longer use the traditional way of consuming a text, through television. They now want more from the website. This loses money in terms of advertising because ITV relies heavily on the money from advertising.

Saturday 22 March 2014

NDM Case Study ..

How has the impact of new and digital media allow the audience to time shift and watch their programmes online such as BBC Iplayer and 4OD instead of following scheduled timing.

1- Has new and digital media had an impact upon ownership and control of the media institution(s) involved in your case study area? Explain in detail any impact and what exactly has changed.


Has New and Digital media such as BBC iplayer, had an impact upon ownership and control of the media institution (The BBC)? 


My main focus is Television and the BBC, so the new and digital media aspect would be BBC iplayer, in terms of control and ownership - The BBC still have full control and ownership because of the TV license. However, BBC iplayer's main source is the internet therefore the BBC can't charge people to use BBC iplayer. In order to have full control and ownership, the BBC have considered to extend the license fee so it covers BBC iplayer. 

Tony Hall: extend licence fee to cover BBC iPlayer


BBC director general Tony Hall wants the licence fee extended to include the estimated 500,000 UK homes where viewers do not have a TV set but watch corporation programmes on-demand on the iPlayer. The move would enable the BBC to start charging the estimated 2% of households – 500,000 – in the UK which only consume on-demand TV content, rather than watching programmes live. Hall used a speech at the Oxford Media Convention on Wednesday to mount a robust defence of the BBC and the licence fee, saying it was "one of the finest broadcasting organisations in the world" and "great value for money" reaching 96% of the population ever week.

Far from the licence fee being abolished, as some critics have argued, Hall said it should be extended to take account of the different ways in which people consume TV and radio in the digital age, on their computer, iPad or smartphone. "One of the advantages of the licence fee is that it's flexible and has adapted over the years," said Hall. "When and how best to take the next step is, of course, a matter for the government. "Our view is that there is room for modernisation so that the fee applies to the consumption of BBC TV programmes, whether live on BBC 1 or on-demand via the iPlayer or other devices."

  • Hall said the BBC's latest research showed that the public was prepared to spend an average of between £15 and £20 for its services, beyond the £12 a month (or £145.50 a year) households currently pay.
  • He said the accusation that the licence fee was a "dinosaur from a pre-digital age, doomed to inevitable extinction" was inaccurate.
  • "Around 90% of all television viewing is still live. Well under 2% of households consume only on-demand TV content. And this number is growing only slowly," he said.
  • "Funding by licence fee therefore remains practical and sustainable."

Hall described the licence fee as "not a compromise, least-bad option. It underpins the success of the BBC".
Questioned about the statistic that 10% of magistrates' court cases are taken up by non-payment of the licence fee, Hall said: "Of course I'm not content [with that statistic]. "I go back to what I was saying: what better system could there be than a licence fee and if you remove any penalty on it then, you know, more people will say they won't pay … That is the system we've got."


The Android version of the BBC's iPlayer mobile app can now download TV shows for offline viewing, a year after the feature was added to the iOS version of the application. Android iPlayer users can now store shows on their devices for up to 30 days, watching them for seven days after the first time they start playing the video. The new feature will work on Android devices running the Ice Cream Sandwich and Jelly Bean variants of Google's Android software.

"This is because these devices are able to provide the appropriate level of protection for our programmes," explained senior product manager David Berlin in a blog post. "Our figures show this will mean 70% of Android app users with compatible devices will be able to use this functionality from today – and over the coming months we will be extending this to include new Android devices as well as some older ones." The BBC has faced vocal criticism from Android users since it added video downloads to the iOS iPlayer app in September 2012 – criticism that will have been particularly sensitive given the BBC's public broadcasting remit.

For now, the new video download feature will work on devices including Amazon's 8.9-inch Kindle Fire, Google's Nexus 7 and Nexus 10 tablets and Nexus 4 smartphone, HTC's One, Sony's Xperia Z and Samsung's Galaxy S2, S3 and S4 smartphones and its Galaxy Tab 2 tablet. This shows that you no longer need the internet to watch catch up tv because once it's downloaded your able to watch it offline. So, the idea of Tony Hall extending the tv license is actually effective in terms of keeping control of their audiences. 


2- What impact has there been on the way in which the audience now consume the media products/ texts involved in your case study? How does it differ from what went before? Consider (SHEP)


What impact has there been on the way in which the audience now consume Television? How does it differ from what went before? Consider (SHEP)


Before BBC iplayer, catch up TV and on demand, people had to adapt their everyday lifestyle around the programmes they watched. It also caused a dilemma, in the sense that if a programmes showing on one channel and another on a different channel, people wouldn't be able to fully enjoy themselves. Now, new and digital media allows the audience to enjoy their programmes when they want, wherever they want. New and digital media has opened up a new flexible lifestyle, being able to "time-shift" instead of watching time scheduled programmes. Pluralist believe that people now have the power and are in control of the media, they decide because they now have the power to do so. However Marxist believe we're controlled by hegemonic leader and they still have all the power. 

Social: 

Socially, the audiences don't loose out with time out with their friends, audiences now don't need to worry, they can spent all their time out, knowing that they can catch up they're TV programmes once they do go home. Television has become more flexible and easier for people to socialise with friends and family.

Historically:

This shows and highlights the development of the world, from the beginning where there was only 5 channels, having to watch programmes during the time of the showing to now being able to watch and catch up TV online, when it suits you. Being able to have full control of your own TV. Time-shifting, being able to watch the programme wherever, on the train or in the car.

Economically:  

Economically, because people can now watch their programmes on BBC iplayer, eventually they'll get used to watching they're TV online, no longer needing to pay the license fee. The BBC will loose all control, also the discussion that's been going on about decriminalizing the license fee only provokes people to stop paying at all.

Case Study Digital Media Story ..

BBC licence fee: decriminalising evasion review delayed

http://www.theguardian.com/media/2014/mar/21/bbc-licence-fee-decriminalisation-evasion-delayed


The BBC is claiming victory in its bid to delay a review into decriminalizing* licence fee evasion, which it claims would lead to reduced revenue and force it to axe services such as BBC4. Tory MP Andrew Bridgen, who has been pushing for legislation to make non-payment a violation rather than a criminal offence via an amendment to the forthcoming deregulation bill, has made additional amendments in which he calls for ministers to spend up to a year reviewing the issue. The timing will bring the issue into forthcoming negotiations with the government over the renewal of the BBC's royal charter and licence fee agreement.

*"decriminalizating" usually means that it is no longer a "crime" but a "violation" to do the act.

A BBC spokesman said: "The BBC is content that this proposal balances a timely examination of this issue with a proper review of the options, while not taking any decisions prior to charter review." This is something the BBC has been pushing for since it first emerged last month that justice secretary Chris Grayling was looking into the issue of decriminalisation of licence fee evasion. Bridgen's first amendment was backed by more than 150 MPs. On Wednesday, he told Radio 4's The Media Show that he realised making the change in legislation to make non-payment a civil offence could not happen immediately, as the corporation has no alternative enforcement system yet and cannot switch off its programmes to households, but that he had made his proposal to "test the sentiment of the House of Commons."

His latest proposals give more detail, saying the review should start within three months of the deregulation act being passed and complete it "no later than" a year after it began. He also calls for a move "to replace the TV licensing offences with civil monetary penalties payable to the BBC." All three of Bridgen's amendments will be discussed by the deregulation bill committee on Tuesday.

Basically, Tory MP Andrew Bridgen believes payments towards the BBC license fee shouldn't be a crime but just a violation, by decriminalizing this law. 

Weekly NDM Story ..

Paul Dacre's old Leeds university newspaper facing closure

http://www.theguardian.com/media/greenslade/2014/mar/21/universityofleeds-newspapers


Leeds Student, the university newspaper that Daily Mail editor Paul Dacre cut his teeth on, may close due to a funding shortfall. According to an article on the paper's website, it cannot afford the printing costs. The allocation from the student union, the Leeds University Union, has fallen short by £5,200. It states: "Despite numerous attempts by student volunteers to save the publication through external advertising, proposals were turned down on the grounds that it poses a threat to the union's own services." 

Leeds Student is published free every Friday during term-time. The only paid position is that of the editor, who is elected yearly. Some students have organised a petition, Save Leeds Student newspaper. And on the site are several heartfelt pleas from current and past students. One former student, Jennifer Hearn, writes of the paper being "one of the country's best student newspapers with investigative journalism rivaling some of the national media." 

She continues: "It is important not just for the student body, but the local area too. It also campaigns for some fantastic causes and social changes, as well as raising the profile of students clubs, societies and activities." Leeds Student has won several awards down the years. In 2012, it was nominated in two categories of the Guardian student media awards as publication of the year and website of the year. Maybe Mr Dacre will step in to save his old paper from closing. Meanwhile, I wonder if Leeds Student is the only university paper facing life-threatening funding problems.

Case Study Digital Media Story ..

Worst timing ever! Line Of Duty fans left wanting – and fuming – after iPlayer’s livestream disappears

http://metro.co.uk/2014/03/19/line-of-duty-fans-left-wanting-and-fuming-after-iplayers-livestream-disappears-4658821/


It’s been one of the most talked-about series finales since Broadchurch – but when it came to Line of Duty’s climactic episode, the main concern of some viewers was that they weren't actually able to watch it. While events in the acclaimed cop drama unfolded on BBC Two without incident from 9pm, those trying to watch the episode on the BBC’s iPlayer were out of luck, instead being greeted by a message which read ‘This content does not seem to be working. And it became fairly obvious fairly quickly, as they took to Twitter to vent their frustrations, that the evening’s viewing had been ruined.


‘Last episode of Line Of Duty, iPlayer not working. WOE,’ commented one annoyed fan. Another added: ‘It’s like BBC iPlayer knows I should be doing a million other work things and so is denying me Line Of Duty,’ while a similarly frustrated viewer said: ‘Why oh why does iPlayer go on the blink just as #lineofduty’s about to start? Too cruel.’ Others suggested that ‘overloaded servers’ were responsible for the site crashing as people tuned in to watch the finale, leading one person to comment: ’The show that broke the BBC iplayer” is a pretty good publicity line for series three of #LineofDuty.’ However it was simple ‘technical issues’ which appeared to be the problem, with iPlayer saying on its own Twitter page that they were dealing with a ‘known fault’ on the service and that its team was working to resolve the problem.

This shows that BBC Iplayer is very popular and everybody relies on it, because the site was down for a little while everyone had a panic, I think it's obvious that BBC iplayer is a popular website and overall, I think if people didn't have BBC iplayer, they'd struggle. 

Thursday 20 March 2014

Learner Response ..

Mock Exam Response .. 

Grade: D+ (15/32)

WWW: Range of texts referenced in Q2.  

Learner Response: Include specific theory - narrative theory (eg. Todarov) in question 1; representations (eg. Perkins) in question 2; NDM Quotes for question 3. Write an extra paragraph for each.


Question One:

Todarov's theory can be applied to this exam question because both trailers show a clip of the equilibrium and quick shots of the dis-equilibrium which is very effective as it attracts the audience to watch the rest of the film. The fact that the trailer shows short clips of the dis-equilibrium creates the sense of enigma, as the audience don't understand or know what's going to happen. Both trailers highlight the chaos that's occurred in the middle of the film which is when the dis-equilibrium is taken place, because the film doesn't show any of the new equilibrium it leaves the audience with so many questions thus attracting them to find out thus feeding their curiosity.

Question Two:

Perkins discusses the idea of "Rethinking Stereotypes" the idea that not all stereotypes are wrong and offensive. He also believes most stereotypes are actually true. In terms of the representation of outsiders such as vampire films are popular, it can be argued that people enjoy films that have outsiders because it's something new, the representation of outsiders isn't always seemed as a wrong thing, Perkin believes that stereotypes aren't always bad, the idea that the representations of outsiders isn't wrong because it still attracts the audiences, it creates a escape for the audiences (Uses and Gratifications).  

Question Three:

Official and unofficial websites contribute to the films success in terms of promotion, the fact that everyone uses social networking and the internet to get their news, the best way to promote would be through the internet. The idea that print is dying and the audience have adapted to online news sources. New and digital media had changed the way people work, from newspapers to tablets. The best way to promote a film is through official and unofficial websites because it's more popular. The target audience (teenagers) also are always using socialy networking and the internet so of course it would be stupid for compaines to promote their films using print because their audience has adapted to how new and digital media has changed the world.   

Monday 17 March 2014

New Case Study ..

Case Study ..

Area of Investigation ..  

How has the impact of new and digital media allow the audience to time shift and watch their programmes online such as BBC Iplayer and 4OD instead of following scheduled timing.

Reason .. 

The reason I've chosen this topic is because audiences now have greater power to watch their programmes whenever they want by simply going online to BBC Iplayer or 4OD. People no longer have to stay indoors to watch their shows because they have the option to record their programmes using Sky Plus and to then come back and catch up later. My main focus is BBC iplayer and 4OD and the impact is's has on Television, it also raises the question whether Television is dying because people rely on online TV such as BBC iplayer and 4OD

3 examples ..

Key Theorist ..  

  1. Marxist and Pluralism 
  2. Tony Hall (BBC Director)
  3. Rupert Murdoch 

Sunday 16 March 2014

Judith Butler - Gender Performance ..

Gender Roles 

Traditional Females in Print:

The cosmopolitan magazine cover reinforces the traditional stereotypes of females, the over exposed woman with her cleavage hanging out is a typical representation of how women should look, having big boobs and curves is the look that the media and the society over exaggerate. The media and the society pressure women from a very young age that they should have that cetain look. 

Alternative Female in Print:

This magazine subverts the typical representation of women in the media, the certain look that the media exaggerates. However it can be argued that in some ways she's been portrayed as a typical female through the outfit she's wearing, the top brings out her chest and highlights the curves therefore appealing to men, backing the point of the male gaze.     

Traditional Males in Print:

This magazine cover highlights the typical portrayal of men, the built muscles brings out his macho and masculinity. This backs Judith Butlers argument of Gender Performance, that a man plays a certain role in the media to fit in with the requirements of the society. 

 Alternative Males in Print:

This magazine cover subverts the typical representation of men because of the way hes posed and the clothing. He's represented exactly the way women are portrayed, in terms of Gender Performance, this man plays the role of a female. 

Traditional Females in Broadcast: 

This advert is a traditional representation of women, cooking and cleaning in the kitchen, the power of this advert is amazing, over time her role as the domestic house wife doesn't change, the daughter also is portrayed in the same way, in the sense that she too will grow up to have the same role, the domestic house wife. This backs Judith Butler through the idea that women play the domestic house wife role in order to follow the society.

Alternative Females in Broadcast:


This advert is so powerful in terms of challenging Judith Butler theory of Gender Performance because the whole idea was to subvert the typical stereotypes. The women are represented negatively and the men are represented positively. 

Traditional Men in Broadcast:



This advert reinforces male gender performance through the fact that he acts very manly with his friends. This reinforces Judith Butlers idea of playing a certain role to fit in.

Alternative Men in Broadcast:

This advert subverts male gender performance because father and son are both portrayed washing the dishes  and cleaning the kitchen while the women sit back and watch. This subverts Judith Butlers's theory of gender performance because they're not playing the typical role in the media.

Traditional Females in E-Media:
This website is a typical representation of how women are pressurized from a young age, they're taught to play their gender role from a young age thus being able to fit in with the media's requirements. This also relates to Judith Butler because little girls are taught to care about their looks and their appearance.

Alternative Females in E-Media:
This subverts the typical representation of women because it's all about women being body builders therefore subverting the typical gender role of women,

Traditional Men in E-Media: 
This is a typical representation of how men should be portrayed in the media, body builders which is the role they're supposed to play to fit in with the media and the society.  

Alternative Men in E-Media:
This subverts the typical representation of men as it's all about gay men, men that act like females. This role doesn't fit the typical gender role, being a gay person isn't how males are brought up and sometimes looked down on in the society.