Broadcast News
Contemporary Issues and Debates
Digital news technology has revolutionised news broadcasting, by providing sharper pictures, increasing the volume of programmes, live news streaming of breaking news stories while also allowing audiences to interact with news institutions. The BBC, ITV, Channel Four and Channel Five all use text and e-mail voting and opinion polls as a tool to measure audience interest and participation. ITV also have a section in their afternoon news that relies on viewers voicing their opinions via mobile video messages. News is now available 24 hours a day on both the internet and digital channels. Terrestrial channels offer 24 hour news on TeleText services and their optional digital news stations. Because of its accessibility 24 hour news has made breaking news and current affairs a regular event in everyday life.
Cross Media Case Studies
Film and TV
Traditionally film trailers were seen by cinema audiences and then, as the film was released, television audiences. Trailers for TV programmes were limited to broadcasts in carefully selected television slots. The introduction of home video and, more recently, DVD gave promoters another outlet for trailers which act to increase the number of viewers reached. DVD technology went one better than video. It was possible for the video viewer to fast-forward through a set of trailers to get straight to the feature film. Some DVDs, however, are coded so this is not possible. This effectively forces the viewing of the trailers. It is now common for a television
series to be bought and viewed as a box set so television production companies have a new outlet for the promotion of other television programming. E-media also allows trailers to reach more people. Trailers are often released via official websites and community sites such as MySpace and YouTube have also been used to release trailers to the public. Many major films now have long running media campaigns where several trailers are released over a period of time with each trailer acting to raise and maintain interest in the forthcoming film.
What is New Media?
New Media and Institution
Developments in technology have proven both beneficial and problematic for the industry. In terms of distribution costs digital format is much cheaper and more easily transported older formats. Take for example the cost of distributing film reels as opposed to a disc or the ability to target huge numbers of people on the internet without distribution costs. Institutions like the B.B.C intend to be completely digital by 2010 and this will mean huge reductions in tape costs as well as better quality productions. Some cinemas are also experimenting with both showing digital film on screen whilst streaming live on the internet, which would change the whole cinema-going experience.
Lady Gaga and The Music Industry
Lady Gaga offers a new business model by successfully combining traditional industry practices (being signed to and financed by a major record label) with new media forms. She utilises the power of a major conglomerate whilst embracing the development of digital technology. Since the Gaga phenomenon began, her music has been available to access for free via streaming on her many online profiles, including those on Vevo and Myspace. Rather than reduce record sales, this move has proved financially beneficial for the institution as fans are also paying to download the music via iTunes.
The rise in digital technology has seen an increase in online video consumption. This can create free word of mouth for producers, with the number of viewings per video providing a sign of audience engagement with a product. Fans can view videos on YouTube and share clips with other fans by embedding them into blogs, Facebook or MySpace. Fans can leave video comments, post a video response or spoof and upload music to their own social network profile. These forms of user generated content illustrate the changing relationship between producers and audiences in a move towards a ‘demand led’ music industry where fans themselves have the power to influence what is produced.
HBO Case Study – How funding models
impact the construction of texts
US TV Institutions: Network and Cable Broadcasting and Production
1. Network Broadcasters:
These are broadcast and production companies that are freely available across America. They produce their own shows and also buy in shows produced by other production companies. They broadcast a range of programmes including movies, entertainment, sports, game shows, reality television and news. The US Networks broadcast across the whole of America and the ‘big three’ are NBC, CBS and ABC. Their main funding is through advertising and in this way they are similar to the UK commercial channel ITV. Mass appeal is crucial to the success of a network programme as large viewing figures help sell advertising space at a higher price. Successful network programmes will be sold internationally which generates more income and a secondary income comes through the advertising attached to streaming ‘on demand’ programming and, in some cases, DVD sales.
Film Regulation
The Future
While the certificates issued by the BBFC are relatively easy to enforce at the door of the cinema or over the shop counter, the internet presents a huge problem for the regulation of film. The rise of online streaming sites, illegal downloads and the increased ease with which film can be bought mail order from abroad though the internet, mean that it will be increasingly difficult to stop audiences watching unregulated films in the future. In addition, genre films need to develop and change to maintain audience interest. The horror genre has now become so extreme in its depiction of violence and gore that films are being produced that test the limits of acceptability.
The recent development of the so-called ‘torture-porn’ sub genre of horror is a case in point. Such films are criticised as little more than extended depictions of torture with little in the way of narrative to provide context and meaning to the horror. Examples of the genre could be said to include Hostel (2005), Saw (2004) and Captivity (2007) although many of the film makers would deny that their films deserve the label. Defenders of A Serbian Film (passed at 18 by the BBFC in 2010, albeit with over 4 minutes of cuts) have argued that the film uses metaphor to explore the nature of man’s existence in a post war society and that the film can also be read as a parody of the Serbian film industry. Critics of censorship would argue that films have always tested the limits of acceptability of society at the time they were made and can often look tame after time has passed. However, the sheer weight of graphic imagery in the film has lead to accusations that the film is depraved and likely to cause harm. As with many films, the fact that the film will carry different meanings for different audiences makes working out how to treat it a very difficult decision.
Audiences in the Digital Age
Audience Behaviour
Digital media has provided more choice in terms of how and when media products are accessed. Live TV viewing and attendance at cinemas is in decline. Social networking has replaced institutional based media for some whilst others access media products in alternative ways, such as streaming on-line, downloading or DVD/ Blu-ray. iPlayer allows BBC television programmes to be downloaded to a mobile device which can then be viewed anywhere and at any time. Viewers are no longer tied to schedules or locations. In addition, digital media has allowed audiences to have a more proactive relationship with institutions and they can be seen to be much more active than in the past. Audiences can be seen to have more of an impact on production and can even be part of the production process themselves. Some see this as a positive move that reduces the amount of power held by institutions.
For example:
• Audiences have easy access to the means of production. Videos can be made and edited at home and uploaded to YouTube. Music can be produced at home and made available via social
networking where it can be sold or offered for free download.
• Audience interactivity in reality programming can be seen as being part of the production process. Audience votes select who stays and who is eliminated from programmes such as Big Brother and The X Factor. Audience choices can be seen to be casting choices and these selections direct the narrative direction of the programme. I’m a Celebrity Get me Out of Here allows the audience to select who from the cast ‘deserves’ punishment and they control the celebrities’ experiences in the jungle.
Netflix: an Internet Television Network
They were not launched in the UK as a service until 2012, although awareness of the brand grew as a result of their success in streaming original programming and support of independent film distribution. They describe their institution as “the world’s leading internet television network” and much of their development has impacted audience consumption of television.
Like Northern Europe’s LOVEFilm, Netflix requires users to subscribe to the service via the company website. The user pays a monthly fee, and can then stream unlimited films and TV programmes instantly. Netflix offer the streaming across a range of devices, including TVs and tablets. Netflix also allows users to log into multiple devices, meaning that login details can be shared within family or friendship groups. Netflix also encourages users to rate the programmes and films they stream, enabling Netflix to make recommendations to the user.
What makes Netflix different?
The streaming market is increasingly competitive, as the technologies used to stream VoD become ubiquitous within society. DVD rental shops have lost their market share, with many going into administration (Blockbusters being a notable recent case). Alongside Netflix, users have various options including LOVEFilm, Amazon Instant Streaming, NOW TV (Sky TV’s offering), as well as the more independent Mubu and Curzon On Demand. Netflix seeks to maintain its popularity with subscribers through increased personalisation.
Future of Television?
Netflix have established a new and secure model for on-demand internet streaming of television products. Netflix have made it known that they are keen to develop their own content rather than bulk-buying in existing content; current contracts with Nickelodeon and MTV do not look as if they will be renewed. The bulk of British television on-demand is focused on catch-up, although there have been some forays into online exclusive premieres – namely Bad Education and Some Girls, both BBC3 – and the comedy Impractical Jokers was commissioned by BBC3 following an online pilot. In this way, it may seem as if on-demand streaming may offer an extension to the viewing experience, as opposed to its immediate death.
Television and Social Media
In recent years, it has become widely accepted that audiences for live broadcast TV are in permanent decline. The increased popularity and ubiquity of Sky+, DVD, video on demand, internet streaming, BBC’s iPlayer, amongst other new media and technological developments, has enabled audiences to consume across many institutions and platforms. These platforms also offer audiences to “time shift” their viewing, and construct their own TV schedule. That is to say that they can watch their favourite shows at a time of their own choosing, not when the schedule dictates.
However, while it is unlikely to reverse the downward trend towards live broadcasting, recent developments in emedia have forced us to look again. Social media sites such as Facebook and Twitter are having a big impact on the way audiences consume and relate to television programmes, especially in the reality TV genre. Viewers are increasingly turning to social media to enhance their viewing by sharing the experience with other users via phenomena such as the “tweetalong” or “live-blogging”. Social media is also an important way for shows to market themselves and build an audience in the face of increased competition.
Broadcast Fiction Case Study: Breaking Bad
In the UK audiences found it was difficult to watch the show. The first season was broadcast on FX - a cable channel - and it was later picked up by Channel 5 but the later seasons were never shown by a UK broadcaster, so British audiences grew through the purchase of DVD box sets in the first instance and then later via Netflix. Whilst audience anticipation grew for the final episodes of the series, Netflix made all previous seasons available to stream, allowing the existing audience to remind themselves of past events and, most importantly, allowing new audiences the opportunity to catch up. By the time the final season was broadcast in the US, Netflix were reporting that many people were subscribing to the streaming service primarily to have access to the show. The success of Breaking Bad was being assisted by Netflix and in turn the streaming service was promoted by the show.
Identity and Film
Multiple Identities
In the modern world, where we have so much ready access to films through DVD collections, streaming and TV, it is possible for audiences to consume a wide range of films and to identify with a huge variety of role models. We could suggest that film audiences are unlikely to use film as a way of constructing one single unified identity. Rather, people will use different films at different times to construct multiple identities. For example, a civil rights campaigner who identifies with a film such as 12 Years A Slave may also be a keen singer and identify with the
characters in School of Rock who are using music as part of their identity. The audience for these films need not be separate groups of people, but the same people who have a range of aspects to their identity. (Think back to your answers to the TST earlier). A productive area for a research case study may be to research the audiences for films, rather than investigate the representations in films themselves to find out what different films mean to different audiences.
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