MEDIA KNOWLEDGE ORGANISER
PUBLIC KEY TERMS FUNDED BY TV LICENSE Conventions– what we expect to see in a TV crime drama CRIME DRAMA Hybrid Genre – some programmes share the conventions of more than one genre e.g. Jonathon Creek Crime drama is a sub-genre of drama that focuses on crimes, PRIVATE/COMMERCIAL Sub-Genre – programmes that share similar conventions e.g. detective FUNDED BY TV & ONLINE lead shows the criminals that commit them and the police that catch ADVERTISING Watershed – After 9pm them. Prime time– The most popular programmes shown between 7pm8pm Enigma code – something within the narrative raises questions for TA There are many formats of Crime drama such as detective, REGULATION: Luther and The Sweeney were both Inverted Narrative— The criminal is identified to the audience early on, forensic/medical, procedural etc… there is no mystery around who the villain is and the story focuses on given a 15 certificate and were broadcast at 9pm – how the detective is going to catch the criminal. The Sweeny features elements of the action genre, while Lu- post watershed due to the violence and adult Action codes– progress the story quickly e.g showing a character packing ther includes conventions of different genres such as Thrill- themes which revolve a suitcase means they are leaving er…. around the serious crime Diegetic sound – natural sound that hasn’t been added unit settings for the drama. Non – diegetic sound– soundtrack that is added over the action Key Conventions of TV Crime Drama: High key lighting – bright light used Committing and solving of crime Low key lighting – dark light used Cliff hanger – the narrative is left un- solved Medical/ Forensic/ Procedural Mise-en-Scene—What’s in a scene? Props, costumes, settings, composi- Fictional accounts of real life stories tion, lighting etc. Titles of the shows are regularly eponymous e.g. Verisimilitude –The believability or realism of a film or TV show. “Luther” Main character has conflict with authority or their part- WATERSHED ner in crime There are strict rules about what can be shown on TV Set in the city before the 9pm watershed. Typical character types inc. villain The watershed means the time when TV programmes Disequilibrium – discovery of a crime leads to equilibri- which might be unsuitable for children can be broadcast. um – solving of a crime The watershed begins at 9pm and material unsuitable for children should not, in general, be shown before 9pm or Continuing narrative arc over multiple episodes after 5.30am. Unsuitable material can include everything from sexual content to violence, graphic or distressing imagery and swearing. For example, the most offensive language must CONVERGENCE: Luther was initially broadcast on BBC1, not be broadcast before the watershed on TV or, on ra- then made available to download or stream via iPlayer. It dio, when children are particularly likely to be listening. was then available to buy on DVD boxset and then later sold to Netflix. LUTHER uses social media & the BBC website to connect with audiences, provide entertainment through streaming options, clips and information. Social media was specifically used to market and promote new series to audiences. MEDIA KNOWLEDGE ORGANISER
OPENING SCENE MEDIA LANGUAGE: REPRESENTATION & CONTEXT:
ETHNICITY: Luther challenges stereotypical representations of black men in crime drama which is typically negative. This is further reflected in Luther's highly educated, successful mixed race wife. This reflects the diverse, multi cultural setting of this contemporary drama.
GENDER: Masculinity is represented in a very complex way; Luther is
represented as an aggressive, alpha male, yet also vulnerable through
his psychological instability. Typical masculine stereotypes are chal-
Luther is a British crime drama television series lenged through characters such as Justin who is openly admirable of
starring Idris Elba as the title character DCI Luther; and Mark who is gentle and represented as a ‘sensitive’ contrast ESTABLISHING SHOT –industrial setting, implies ‘gritty’ John Luther. to Luther. The representation of femininity challenges stereotypes in all Prior to Luther Elba was well established in the TRACKING SHOTS on Luther pursuing Henry Madsen lead female characters; Alice subverts expectations as a manipulative, US crime drama The Wire and the US version of LOW ANGLE SHOTS –intimidating, powerful intelligent villain, Rose Teller is a powerful, authority figure, and while The Office. CROSS CUTTING: Between scenes at the crime scene and the Written by Neil Cross. Zoe Luther is by far the most typically ‘feminine’ representation chase implying they are happening simultaneously, the music The first series comprised six episodes which (vulnerable, weak, lead by love), she is also represented as a highly suc- is used to convey a sense of urgency –a race against time ran in May 2010 on BBC1 in the 9pm timeslot cessful humanitarian lawyer. These female representations reflect the Our initial impression is that Luther is the villain –dark, hood- BBC Studios handles the distribution of the contemporary context of the setting. series. ed figure pursuing the smart businessman. We initially don’t The series has been highly successful receiving see Luther's face creating enigma. CRIME & THE POLICE: Crime is represented as dark & sinister and Lu- numerous awards and critical acclaim for the ther is represented as a vigilante, rule breaker who will stop at nothing production, writing and the stars of the show. MEETING ALICE MORGAN MEDIA LANGUAGE: to stop criminals. Rose is the calm, steady influence who encourages STYLE: him to stay on the right track. SETTING: At Alice's family home , environment creates high 50s Noir conventions are borrowed e.g. dark level of verisimilitude. PROPP CHARACTER FUNCTIONS: lighting and long overcoat Alice Morgan is pale BODY LANGUAGE & GESTURE: Creates a sense of vulnerabil- and wears red lipstick – ‘femme fatale’ again bor- ity, she is in distress and represented as the victim when we HERO: John Luther, troubled but brilliant detective; a rule breaker who rowed from the 50s . This is noted in the opening first meet her. She waits for the police to rescue her, a will do anything to bring criminals to justice. credit sequence, with its use of reds, blacks and ‘damsel in distress’. VILLAIN: Alice Morgan, femme fatale, highly intelligent, manipulative crime drama genre iconography. Reinforced by and an obsession with Luther. enigmatic silhouettes and the whispering, secre- HELPER: Justin Ripley, faithful side kick who idolises Luther and is eager tive theme tune. to learn. Ripley asks questions that the audience need to follow Lu- ther's thoughts and processes of detection. DISPATCHER: Rose Teller, Luther’s boss, keeps him focused , tough but fair –see’s Luthers brilliance and willing to put her job on the line for him. DONOR: Both Ripley and Benny provide Luther with the means to achieve his goal MEDIA KNOWLEDGE ORGANISER
MEETING JACK REGAN: (Hero) SIMILARITIES WITH LUTHER: Medium close up –close to him –focus. Implies he is important. Troubled male lead, aided by faithful, professional side-kick. Closeness creates personal connection. Gritty London settings, filmed on location to create verisimil- Introduced in a ‘personal’ location suggesting that personal life may be a relevant aspect in the narrative itude. Haggard –hungover –on a work night!!!! Hints to a rebellious Genre iconography lifestyle perhaps? Opening title sequence –grainy editing & silhouettes Heavy drinker –issues? In lady’s dressing gown –ads an element of humour and sug- CONTEXT: gests he doesn’t take himself to seriously, might be a bit of a Genders were less equal in the 1970s; there were very few fe- ‘character’ –particularly given the era and the overtly masculine males in the police. This is clearly reflected in The Sweeney. The stereotypes of men. BACKGROUND INFORMATION: only female in the episode is not involved in the investigation and is sent to look after Regan’s girlfriend, Jenny, who has been Sweeny Todd is the cockney rhyming slang for “flying threatened by Kemble’s men. squad” (a division of the police who dealt with serious, Minority groups weren’t reflected or were misrepresented in violent crime) The Sweeney. Produced by Talkback Thames This contrasts significantly with representations of gender & Main star is John Thaw as Regan; this show established ethnicity in Luther. him as a television star First broadcast 1975-1978 in the 9pm timeslot. MEETING KEMBLE: (Villain) Filmed all around London Mid shot/over the shoulder shot allows us to see him in his ‘lair’. MEETING CARTER: (Helper/side-kick) Setting –red connotes danger. Opulent –ornate mirrors, leather Long shot –allows us to see the smartly dressed professional wingback chair, suggests wealth. man. Costume –Suit clearly connotes authority figure/incharge, an- Clean cut, smart –good attitude, pride. STYLE: chored by the two henchmen who sit listening to him, trying to Lighter coloured suit/coat implies he is the good guy links to The Sweeney was produced in the 70’s and looks very dated; impress him. His patterned silky tie a reference to his wealth as hero character. opposed to the plain ‘work’ wear of the police. this is dues to both the production values and the costumes & Introduced in a professional setting suggesting he takes his Props –Pipe is reflective of the era, plans/maps suggestive of his work seriously and this will be the focus of the character in the props. ‘cunning’ attitude. narrative The production is grainy, poor quality image in comparison to todays high-definition digital film, this is also reflected in the sound quality. The costumes and styling is from the 70’s and looks very dat- ed, the props such as phone boxes, cameras and typewriters also reflect the lack of technology at the time. These reflect the historical context of the time in which the production was made
Created by THAMES for ITV –a commercial channel MEDIA KNOWLEDGE ORGANISER Knowledge Organiser for Pokémon GO Production Context The Target ience Aud The Funding Model Produced by Niantic and It was aimed young at boys but appealed to a much wider Funding was provided by Nintendo, Google ibutor and App distr for Nintendo. Uses augmented audience. In the first average month the player was a highly Apple and Android -‐ each would benefit if the game was successful. reality and is playable on iOS educated, well paid 25 white women. Now the average player The game generated a lot of in revenue via -‐app purchases and Android devices. Uses (according to YouGov) is aged -‐ 18 34, male, likes Kinder, Smirnoff (pokecoins), in -‐game events like Halloween where ghost Pokémon the same tech as Google and fa st food especially Domino’s Pizza and is ‘more likely to be and candy (to upgrade and evolve) were more available and Maps (GPS). Had an unmotivated’. This information was used to help market the film distances were shorter. Sponsored Location (Pokestops) -‐ companies extended release: 6th July e.g. MacDonald’s, movie theatres and pubs were a Pokestops. pay to show up as prominent locations in helped the game. This 2016 USA, Australia and NZ businesses to increase/ attract customers then later in other countries The Impact of technologies and convergence Regulation (e.g. South Korea in Jan For an industry to survive need they to constantly evolve Video games are rated by PEGI and based on an age rating 2017). Free to download and especially video . games Virtual reality and augmented are reality system with key areas of focus (e.g. violence, drug use, online). play but there is the ability the ‘next big thing’ and the game uses both. More and more The Video Standards Council uses PEGI to rate all games in the to spend real money by people are gaming casual ( gamers) because of mobile devices, purchasing PokeCoins which UK. In the UK Pokémon Go was awarded PEGI 3+ but the Apple Pokémon takes advantage of this and the way phones have many store states it is suitable for those 9 and over (mild fantasy allow you to get extra items technologies in them convergence ( ). The mobile gaming market violence) and the group Commonsense Media recommends and enhancement took in an estimated $38 billion in 2016 -‐ Pokémon Go was part of this (and is still popular now with regular updates). 13+ due to privacy and personal safety concerns Cultural Context Issues around Audiences Part of a very popular global Core fan is base those who grew up with the franchise but it has more fans because of its innovative nature. franchise. Many different Within the first few days of release there were issues. Every time the game was released in a new place there were issues with parts e.g. films, TV, downloading it (due to demand), safety concerns included players getting injured while play due to being distracted, or playing and merchandise, theme parks. driving, trespassing and players being targeted by criminals due to people being unaware of their surroundings. There was also concern Given the success of the about the risks associated with online social media -‐ not knowing who you are chatting to, keeping personal information safe and franchise it was safe to concerns around arranging to meet strangers offline. Pokémon character could also be placed in dangerous places as the game just used assume it would be GPS and did not consider where the -‐ location were it just made them a certain distance from players. successful. Use and Gratifications Theory The Pokemon Franchise Entertainment/Diversion -‐ can play the game for fun, Started in 1995 and the trademark is owned by Nintendo. It began as a pair of video games for easy to play, can play anywhere, can easily progress and the Gameboy but now includes more video games, an animated TV series, a trading card game, feel good about this 17 films, comics, books and toys. Social Interaction -‐ can interact with other players online It is the second best-‐selling video franchise game behind Mario and is one of the highest esp via Twitter and Facebook, they challenge each other grossing media franchises of all time. to battle, meet in ‘gyms’ to train, meet up at events etc. It has a huge fan base because of its long history and the way in which it has adapted to include new technology and a changing fan base
MEDIA KNOWLEDGE ORGANISER Knowledge Organiser for: ‘The Archers’
Production Context The Target Audience Messages and Values Produced by the BBC, publicly funded Original audience was agricultural workers. Strong community values. Set in fictional village where everyone broadcaster. Aired on Radio 4 the main Now audience mainly female knows each other. spoken word station. ABC1 demographic Family values: based round the Archer family Convergence with other technologies. Older demographic 40 plus listeners who are Specific messages delivered through storylines. For example Available on I player and has presence on targeted with storylines which they can relate to introduced gay marriage and surrogacy and issues of drug supply in social media with websites/Twitter etc. rural communities Social/ Cultural Context Uses and Gratifications Covers contemporary issues which are in Simple entertainment – Story lines are gned desi to entertain the audience with trivial events like the ‘Flower and Produce’ the news. Helps shape national debate show, they would be engaged on by the -‐going storylines, reflect that their relationship was better than Rob and Helen’s on issues such as domestic abuse with Information and education – Many story lines are designed to inform the public about current issues in agriculture such as the Helen & Rob . story intensive farming. The plots educate the audience about issues like domestic violence. Gave information out about domestic Would include real events like the death abuse -‐ warning signs and , helpline inf about ‘Battered Syndrome’ Women’s of Princess , Di foot and mouth outbreak, Personal identity – The audience relates their own lives to those of the characters, see Helen as a role model as she stood up and 9/11. They would often re-‐record to Rob episodes to do this. In the 1950s it was Social Interaction – By using social media outlets, the audience can share their reactions to the programme with other seen as a way of bring people together listeners and even now people will discuss it but Escapism – Many listeners wish they lived in an ‘idyllic’ English village and use the programme to imagine that they live in now that happens mostly online Ambridge. Historical/Political Context Representation Oldest ‘soap opera’ has been running for The tag line of ‘An everyday story of country life’ positions the listener to believe that the characters are typical of those 65 years. Originally for farmers to gain found in rural communities. information on crop developments. A number of stereotypical representations are used. The large scale farmer, the small contractor, the village busybody. Broadly neutral politically but covers These simplify the characters for the audience issues of political interest to rural Increasing representation of minority gay and ethnic characters used to increase audience and to reflect the diversity of communities British life Clear use of victims and villain following gender stereotypes Key Terms and conventions Industry Information Radio Soap Opera, Public Service The radio industry was under considered threat from digital media like Youtube but has embraced change and found new Broadcasting, Convergence, OFCOM, ways of attracting listeners through digital platforms. The BBC especially has been ction at the forefront with introdu of licence fee, remit, omnibus, market the Radio I Player which The Archers can be . accessed on Radio 4 has maintained its position as the UK’s flagship spoken share, brand identity. cliff-‐hangers, word station. Radio is regulated by OFCOM. There are two type -‐ of radio commercial (has adverts) and Public Service (govt money, licence fee), not for profit, to benefit people and this is BBC Radio 4. BBC remit -‐ education, inform and entertain. on going narratives, multi strand There is a tight production schedule that includes biannual meeting (pre-‐production) monthly recording session that last for 6 narratives, melodrama day (production) and the shows go to air 3-‐6 weeks after recording -‐ (post production/ distribution)
MEDIA KNOWLEDGE ORGANISER
6.2 Media Language 6.3 Representations 6.5 Key Terminology How the cover communicates ETHNICITY with the audience Brand Identity • Dwayne Johnson is half Samoan and half African the image of a particular product or company, and American - so using a successful mixed race the values associated with it. Layout and Design cover star as their dominant image, suggests GQ • The red, black and white colour palette used connotes is keen to present a diverse role model for its Metrosexual the idea of power. Red is associated with strength and the readers, someone to aspire to be like. a heterosexual urban man who enjoys shopping, black is also a strong, bold statement. fashion, and similar interests traditionally • Johnson’s success as a wrestling character associated with women or homosexual men. • Cover star ‘The Rock’s image fills the page, with his name allowed him to cross over into more over the top and his actual name below, suggesting the mainstream culture, most importantly an actor. Spornosexual magazine are trying to promote strength over the man Black actors have, historically, always been paid men who are extremely body-focused, who spend behind the persona. The size of the font used for ‘The less than their white counterparts and so for all their time at the gym and make their bodies Rock and the bull symbol on the exclamation mark suggest their best accessory. his persona is more famous than the man himself. Johnson to be considered one of the most bankable Hollywood stars is an achievement Colour Palette • The cover lines conventionally frame the star’s face with and his success is even greater than perhaps you the set of colours used as part of the house the masthead over the image, suggesting the branding is might consider. important and powerful at drawing readers. style to create a particular theme or tone to the MASCULINITY+BODY IMAGE magazine. • A conventional ‘Z-line’ is used to draw the reader’s eye from left to right and across the content of the page. • The use of Johnson’s iconic bicep with its Cover Star Brahma bull tattoo reinforces the stereotype of an attractive, often famous person who appears on • A mixture of serif and sans serif fonts denote the tones of the front cover of a magazine. the articles men as having to be hyper-masculine, strong and muscular. Persona Images - Visual Codes • For modern men, there is a societal expectation the aspect of someone’s character that is that they have to ‘have it all’: health, wealth and presented to or perceived by others. • Dwayne ‘The Rock’ Johnson was a professional wrestler - his strength and the image of Johnson supports this wrestling name has connotations of strength and stability. ECU - Extreme Close-Up The ECU of his face and huge bicep reinforce these as he epitomises all three. a very tightly framed shot on a subject. The subject 6.1 GQ Magazine qualities - his muscle is almost the same size as his head! • Just like their female counterparts, the takes up the majority or even all of the frame. • Johnson uses direct address making eye contact with the very essence of men’s lifestyle magazines is Direct Address Production context: reader, building a relationship and following conventions of consumerism and so the images and cover where the product seems to speak directly to the magazine front covers. It also suggests he expects to be lines will always seek to support this, informing audience, for example by using personal pronouns “The leading fashion and lifestyle brand for men, the taken seriously. magazine for men with an IQ” men of what they supposedly need, ‘the essential such as ‘we’ and ‘you’, or by making eye contact. • Johnson’s arm tattoo is a Brahma Bull, known for its wellness gadgets’ and also showing them things British GQ is the only brand in Britain dedicated muscular body. Johnson earned the nickname when they should want to possess, ‘your ideal beach Demographic to bringing together the very best in men’s fashion, wrestling in the WWE. It also links to his star sign of Taurus, watch’. data information used in media marketing to style, investigative journalism, comment, lifestyle & connotative of strength and power. classify an audience by age, gender, race, social entertainment. • The focus on Johnson’s wealth reinforces the status and income. capitalist ideology that for a man to be Launched in 1931, it began its life as a quarterly publication Language - Verbal codes considered successful you must be wealthy and Aesthetics called Gentleman’s Quarterly, aimed at those in the fashion earn lots of money! concerned with beauty or the appreciation of industry - it became very popular and re-branded as GQ • Cover line “Your ideal beach watch. The best for under £300” beauty. in the 60s. appeals to the higher demographic of the audience. It • Cover lines such as ‘Man Up! How to be a man seeks to advertise products and sell readers things they in 2016’ suggest that the reader cannot possibly Skyline The brand identity is built around the more traditional didn’t even know they wanted! – a £300 watch specifically already know this and will need the magazine to additional information at the top of the magazine ideas of masculinity, targeting an older more professional for the beach implies a certain level of wealth. help show him the way. to catch the eye of the reader. This often also gives and serious minded reader. an idea of what will be in the magazine. • ‘The Style Guide’, links to the competitive nature of society, focusing on aesthetics. Having the ‘right’ look is important, • This is similar to the Social, Cultural + Historical Context: women’s lifestyle Hyper-masculine so the magazine markets itself as a ‘how to’ guide when it a psychological term for the exaggeration of male In 1994, author and journalist Mark Simpson invented comes to being a man. magazines that tell stereotypical behaviour, such as an emphasis on the word ‘Metrosexual’ after he attended Britain’s first their readers how physical strength, aggression, and sexuality • A more newsworthy topic is addressed in “The Viola to be beautiful, get GQ style exhibition. He is famously quoted as saying “I Beach tragedy” which references the band who died in had seen the future of masculinity and it fit and dress well. Consumerism a car crash and the speculation about how it happened. an obsession with buying goods - ideas that it was moisturised.” This term gained global This cover line helps to broaden the range of content popularity in the early 2000s, epitomised by • The importance is necessary to buy products and other goods, for readers, as it diverts from fashion, wealth and usually to achieve a particular lifestyle. men like David Beckham, when it became entertainment. of body image more socially acceptable for men to openly and consumerism Epitomise care about their looks, clothing and skincare • Skyline of “Mind, Body & Masculinity” tells readers in magazines to be a perfect example of something. regime. the focus of the special issue. doesn’t change Capitalist ideology Men’s magazines embraced this through their content • ‘HOLLYWOOD’S MOST BANKABLE STAR’ links to the focus just because of gender. a political and economical belief that prioritises and advertising as it fit perfectly with the consumerist on wealth as a measure of success, reinforcing the messages money and wealth over social good. messages of their media platform. and values of the magazine. MEDIA KNOWLEDGE ORGANISER
3.2 Media Language 3.3 Representations 3.5 Key Terminology How the advert communicates • Bond is represented as suave, sophisticated with the audience and highly skilled - presenting the version of Male Gaze (Laura Mulvey) what a man should aspire to be the act of depicting women and the Layout and Design world, from a masculine, heterosexual • Flanked by semi-naked women connoting perspective - representing women as • Central mid-shot of Bond in his trademark that they are drawn to him and are attracted sexual objects for the pleasure of the suit, holding his gun across his body. He is the to him. heroic protagonist, calm and collected to fix male viewer. the chaos going on around him. • Indicative of the differences between men and women in society at the time. Men were • Layered images creates a sense of action Objectification linking to genre. in dominant and women were objectified / sexualised. the action of degrading someone to the • Actor’s name is placed above the character status of an object. and brand identifying ’007’ to anchor the • Male Gaze theory image at the top of the poster - conventional can be applied here as of poster layout. the audience have no Oil Embargo choice but to see the restrictions on the transport of oil from • Title is at the bottom, suggesting that the actor and character are more important in women in bikinis and the Arab countries to the US and the engaging audiences than the name of the film the accentuated shape of UK for political gain itself. their bodies. • Two of the three women are wearing make Minority groups Images - Visual Codes up and jewelery with long hair conforming to typically based on differences in • Serious expression and confident body feminine stereotypes. observable characteristics or practices, language, shows an intensity to the character • The Asian woman leading the group of such as: ethnicity, race, religion, sexual and a sense of professionalism - he is able to orientation, disability, or gender identity. 3.1 The Man with Golden stay calm under-pressure martial artists is of a different ethnicity with Gun: Context darker hair and darker skin tone (without • ECU of the golden gun (connoting wealth) facial features) = Exotic/different/other - she and the bullet enscribed with 007 suggest it is Extreme close-up (ECU) Production context: meant for Bond - this is the villain! doesn’t conform to the dominant streotype of what is attractive, i.e. slim, white, women. an unnaturally close camera angle that • Released Dec ‘74 - the 9th Bond in the • Explosions, lasers, death defying stunts and draws audience attention to an object or person identifying the subject as franchise - with Roger Moore as 007 violence signify the action-adventure genre as well as being clear links to the Bond franchise. important. • Produced by EON (Everything or Nothing) • Power plant and energy beam being directed 3.4 Narrative - Characters + Events in association with United Artists (an MGM at Bond are suggestive of the social context of Iconography company) who also distributed the the energy crisis • Hero = Bond - centralised, controlling the the use of images or symbols to film • Asian iconography (buildings and martial arts) narrative communicate meaning around a subject, • Budget = $7m indicate the setting of the narrative • Villain = The hand holding the gun, loading the in this case genre. • Global box office = $97m+ • The positioning and body language of the 007 bullet. women suggets their roles in the narrative Distributor • Illustrated film poster reflects limited - one is directing the villain to Bond and the • Sidekick/Helper = Woman in red bikini - other is trying to protect him. protecting Bond the company/s responsible for the technology in 1970s marketing of a film. • False Hero = Woman in black bikini - she is Social and Cultural Context Language + mode of address pointing towards Bond, directing the villain holding the gun, but it is likely she will use her Suave • The Kung Fu scenes in the • Use of direct address connects the audience to the narrative, drawing them in. femininity to get close to Bond. (especially of a man) charming, narrative reflect the popularity of confident, and elegant. martial arts films at the time • Credit block is small and tucked away at the bottom of the poster to ensure it doesn’t Enigma codes • Set during the ‘oil embargo’ distract from the main image Enigma Codes which caused a global energy crisis, • the women’s roles in the narrative - are any element of the story that is not fully effecting politics and the economy • Use of logos and producer names to help they friend or foe? explained and hence becomes a mystery sell the film with a sense of quality from their to the audience. both short and long-term. reputation. • who is holding the gun? MEDIA KNOWLEDGE ORGANISER
5.2 Media Language 5.3 Representations 5.5 Key Terminology How the cover communicates ETHNICITY with the audience • Black Pride encouraged natural ideals Consumerist Message of beauty among black women, such as ideas that it is necessary to buy products and other Layout and Design Afro hair which came to symbolise pride goods, usually to achieve a particular lifestyle. and power - contrasting the artificial Civil Rights Movement + Black Liberation • Some of the masthead is lost behind the star’s head, hairstyles of wigs or relaxed hair. an organised effort to end racial discrimination & gain suggesting a strong brand identity as well as a sense of equal rights under the law. Black Pride was a response confidence from thecover star. • The cover line ‘The wig revolution is to the dominant white cultures & ideas in society, here!’ contradicts this symbol of black pride encouraging black people to celebrate their African • Red and black colour palette suggest importance, despite being in this magazine - this is likely to be heritage. strength and power - suggests the magazine has important due to the consumerist nature of the magazine, information to share with its readers. which is probably filled with adverts about hair and beauty products conforming to westernised Black Lives Matter (BLM) • Range of cover lines surrounding Naomie Harris suggest ideas of beauty. international movement originating in African American that as a black British woman she too is affected by the communities in the US in 2013, in response to racism & issues/topics. • Naomie Harris was raised in a single- violence against black people, particularly by the police. parent household and a working- • Variety of font styles and sizes is conventional and class background. As a successful Brand Identity suggests there is a hierarchy of importance/relevance black British woman she presents a the image of a particular product or company, and the among them - i.e. bigger and bolder = more important. role model from the readers own values associated with it. community. She epitomises the aspirations of Cover Star Images - Visual Codes the ‘outgoing, confident and ambitious’ readers of an attractive, often famous person who appears on the PRIDE. front cover of a magazine. • Cover star Naomie Harris’ hand on her hips, connotes confidence & ‘sass’. It’s also a trick to lengthen the torso FEMININITY+BODY IMAGE Colour Palette and suggest a model is taller & slimmer than they are - • Women constantly strive to meet the societal the set of colours used as part of the house style to suggests these things are important to women. expectations of holding down a job, whilst also create a particular theme or tone to the magazine. • Her costume isn’t too revealing but is tight to her body. looking good and dressing fashionably - messages Cover Lines Bare shoulders and slight glimpse of thigh promote her and values that are constructed by the media and the short headlines on a magazine cover that give femininity, whilst maintaining professionalism. reinforced time and time again through women’s readers a brief insight into the content of the articles. lifestyle magazines. 5.1 Pride Magazine • Use of direct address, making eye contact - conventional Conventions of magazine front covers to develop a personal • The slim, attractive image of Harris and cover rules of constructing media forms or products that relate Production context: relationship with the reader. Her facial expression lines such as “How far would you go to be to particular genres or styles. suggests she wants to be taken seriously in her work. beautiful?” suggest the reader cannot already BE “For the aspirational woman of colour” beautiful, there is always room for improvement; Direct Address • Fairly natural makeup but straight hair shows conflicting and - “objectified., sexualised, mocked. Black women’s where the product seems to speak directly to the Pride markets itself as the lifestyle bible of women of representations of what it means to be beautiful for a bodies examined” reminds readers that they will be audience, for example by using personal pronouns such colour. A unique blend of multiculturalism and modern black woman. Relaxed hair is not natural, but instead judged on their appearance. The subtext here is as ‘we’ and ‘you’, or by making eye contact. UK living. It sees itself as the ‘face of black Britain’. conforms to white/European notions of beauty. no different from any other lifestyle magazine: Masthead First published in 1990 it offers readers advice and content ‘you are inadequate. Spend money on the name of the magazine, usually positioned prominently based on careers, health, hair & beauty, as well as issues Language - Verbal codes products advertised in this magazine to at the top of the front page. make you better!’ such as cultural racism, but also updates on the latest braid Strapline sprays – issues not found in any other lifestyle title. • Masthead has connotations of self respect, self esteem, dignity and strength, as well as a sub-text of resistance or ISSUES a subheading linked to the title of the magazine and the brand. Usually found just above or below the masthead. It is the only black media company that remains in black defiance in the face of challenges to ones identity. • FGM - this is a bold and brave cover line British ownership. • Strapline “celebrating 24 years at the top” indicates the which addresses a serious issue among black Hyperbole popularity of the product and encourages the reader to communities - but when readers see the link exaggerated statements not meant to be taken literally. Social, Cultural + Historical Context: feel a part of something great. to Harley St. (an area of London associated with cosmetic surgery) it connotes that the Rule of 3 The cultural shift in the 50s/60s away from homemaking • Use of hyperbole in the use of exclamation marks, magazine is linking this abuse to beauty and the principle that threes are funnier, more satisfying, or to consumerist messages meant a greater focus on capitalisation and exaggerated language. body image! more effective than other numbers of things. The reader fashion+beauty in women’s mags, which is still defining the is more likely to remember the information. genre today. • Rule of 3 - Objectified, Sexualised, Mocked to hammer home the hard-hitting messages to make them Alliteration The term PRIDE, is now most closely emotionally respond. the occurrence of the same letter or sound at the beginning of closely connected words. linked to a celebration of gay pride, but • Alliteration - Failed by Feminism and Bond 5.4 Theoretical perspectives originally stems from Black Pride born out and Beyond grab the attention of the reader. Both Epitomise • Stereotyping, selection and perhaps how, in some ways, of the Civil Rights Movement and black statements create enigmas to encourage the audience to be a perfect example of something. liberation movement of the 1960s. to explore the issue inside the magazine. this magazine seeks to move away from the typical representations of ethnicity and gender, but in other ways Female Genital Mutilation (FGM) Black Lives Matter (BLM) has had a • Abbreviation - FGM - assumes the audience cannot help but reinforce them. powerful influence on pride within black already know about the issue, suggests cultural an illegal procedure where female genitals are cut, injured understanding and an informed audience. • Most of the images used on a women’s magazine cover or changed, with no medical reason. There are usually communities and has encouraged more are produced to sell and advertise the magazine. If there cultural, religious and social reasons for this within people to follow products like PRIDE on social media. • Rhetorical Question How far would you go to be beautiful? wasn’t an attractive figure on the front, the magazine may communities that believe it is beneficial. - encourages reflection on body image. not stand out and sell as many copies. MEDIA KNOWLEDGE ORGANISER
1.2 - Media Language 1.3 - Representations 1.5 - Key Terminology How the advert communicates with the audience STEREOTYPES Anchorage = MAN as DOMINANT + PROVIDER When a piece of media uses another piece Layout and Design • The man’s CHOICE suggests a male of media to guide the audience to the dominated (patriarchal) society preferred meaning • Man is positioned in the middle of the image surrounded by women - shows dominance • Women flank (on either side of) him placing Slogan him in the centre and as the main focus for • Anchorage of the frame provides a halo the advert. A memorable phrase that signifies effect for the man - their eye line guides something about the brand or product audience down towards the product. • He holds the product in his lap which has possible phallic connotations and links to his Alliteration • Hierarchy of class demonstrated through ‘manhood’ positioning - chocolate brings them all Occurrence of the same letter or sound together • Costume positions the man as a provider at the beginning of adjacent or closely in his business suit - connotes that he is the connected words Images - Visual Codes one who earns money • Major Quality is in army uniform suggesting Persuasive Language • Hand drawn design and rich colour palette of a position of authority Use of words to convince the reader to do reds, golds and purples indicate richness or agree with something • One reading of the ‘dilemma’ • Costume suggests formality and wealth, is the man’s choice between Patriarchal Society perhaps placing the characters in a higher which woman he will choose A male dominated society where men are class - reinforced by the gold frame - connotes that the women have no say in it! in control and women are seen to be less • Women dressed in the same colours as the important chocolates - connotations of them being ‘consumable’ and objectified. Mise-en-scene 1.1 - Quality Street: context STEREOTYPES Everything in the scene or shot, i.e. costume, • Women kissing the man suggests affection = WOMEN as SUBMISSIVE props, setting, lighting, makeup/hair, colour towards him as a distraction - so they can get palette and performance Historical: (+ NEEDING CHOCOLATE) the chocolate? OR is he offering them out • The women are shown distracting and • Made by chocolate makers Mackintosh in and they are thanking him? manipulating the man to get to the chocolate Nostalgia the 50s - post-war era of rationing ending - a common stereotype of women that is An enjoyable yearning of some past period and people spending money on luxury items Language - Verbal codes still used today. of time again. • Typography is bold - takes up the bottom • POLYSEMIC reading - the women could Mode of address • Comparative to the Regency period with third of the advert suggesting it has be seen to be controlling the situation Tone of voice adopted by a product, i.e. importance. significant cultural focus development - with their feminine appeal - possibly taking direct/indirect, formal/informal control of their position to get what they indicated by Major Quality and Miss Sweetly • Use of alliteration and persuasive language ‘delicious dilemma’ and ‘delightfully want. Typography looking on over the other characters from a The style of font used, i.e. serif/sans serif different’ to encourage the audience to • Submissive body language compared to the gold frame in Regency costume. remember the phrasing man - both sat behind him. Polysemic • Emotive language and superlatives are Multiple meanings or interpretations of Social and Cultural Context indicative of a well-read educated audience; meaning in a product • ‘High culture’, i.e. theatre and art was being • Bold, serif font styles connote luxury and 1.4 - Narrative - Propp’s theory made more accessible to the masses rather wealth Intertextuality The referencing of one media product in than just the upper classes. Hero Male protagonist, centralised and in control of another • Advert was designed for working class the narrative - he holds the item the women families with an aspirational messages want. Superlatives through the construction of mise-en- an adjective or adverb that expresses that scene. Princess/Damsel the thing or person being described has Women either side of the man, suggesting a more of the quality being described than • Gender roles in the 1950s were different to anything or anyone of the same type. the present day. patriarchal narrative of him in control. MEDIA KNOWLEDGE ORGANISER
4.2 Media Language 4.3 Representations 4.5 Key Terminology How the poster communicates • Character of Bond originates from the 1960s and the franchise still reflects the attitudes Codes and Conventions with the audience and stereotypes associated with this time... The expected elements that will be included in Layout and Design BUT it is getting better! products from particular media forms and genres • Masculinity in the franchise has been • Centralised medium long-shot of Bond showing his Binary Oppositions importance as the protagonist. constructed through ideas of strength, Pairs of opposites that come into conflict in a independence, sexual prowess, etc. narrative, e.g. good/evil, young/old • Bond uses direct address, making eye contact with the audience, making a connection and drawing • Craig’s Bond is not as sexist and reflects Intertextuality attention to the poster. some more modern notions of masculinity, Where one media text includes reference to • Use of white tux against the dark background he even shows signs of vulnerability in the another media product causes Bond to appear dominant in the image later films Skyfall and Spectre Feminist Movement • Subverts poster layout conventions by not • Represented here as strong, confident and prioritising the actor’s name - shows confidence The move towards women gaining equal rights in that the brand is easily recognisable (007) handsome. Key-light used to emphasis his society and greater freedom chiselled features - stereotypically handsome. • Uses the producer name (Broccoli) original Bond Franchise author (Fleming) to show they are iconic in the • His body language is confident but relaxed A series of films based on an original idea or history of the franchise - these are small so as not when holding the gun, suggesting a an adaptation of, for example a book, i.e. Bond, to detract from the images. nonchalant attitude to the dangers which he Harry Potter, Star Wars, etc. may face. This connotes bravery and perhaps Images - Visual Codes arrogance. Credit/Billing Block The list of main cast and crew members, such as • Costume and pose = intertextual reference to previous Bond film, ‘Goldfinger’ -used to appeal to ------start actors and director fans of the franchise. • Lack of women in the poster Star Appeal • White tuxedo and gold lettering link to aspirational reflects a feminist perspective The use of celebrity (stars) to sell a product 4.1 Spectre: Context lifestyle of Bond = women, Martinis, fast cars, of women being under-represented casinos, etc. within the genre of action films, despite Brand Identity The image of a particular product or company, Product Context: • Red carnation flower = passion/ their being key female characters in the romance but also danger - suggestive of film. and the values associated with it • Release in Oct 2015, Spectre is the 24th Bond the genre and narrative conventions. film in the franchise • Gun is intertextual, recognisable as • ‘Bond Girls’ in the franchise have Aspiration Bond’s gun of choice (Walther PPK) - silencer = been conventionally represented as The desire for a higher level of success or • Produced by EON (everything or secret, spy. Also signifies action and violence the ‘love interest’ or ‘damsel in distress’ material wealth. nothing) productions in association - insignificant and disposable - (not with Columbia and MGM studios • Skeleton behind Bond is suggestive of the Long shot antagonist for audiences unaware of the narrative - shown here but relevant for context) possible foreshadowing? Camera shot showing the subject from head • Distributed by Sony Pictures to toe - used to focus attention on setting or • Budget = $245m (most expensive Bond film so • Serious facial expression and confident body costume far) language shows experience and character. 1.4 Theoretical Approaches Direct Address • Box Office = $880m Hero = Protagonist of the franchise - 007 is Bond’s Product seems to speak to the audience through agent number and he is centralised in the image. All language ‘we’/‘you’ or non-verbal cues such as • Global marketing campaign Language - Verbal codes positioning + visual codes highlight him as the hero. eye-contact White tuxedo against the dark background also • Title appears above the iconic 007 logo linking the Social and Cultural Context presents him as a ‘good’ character - using binary Foreshadowing image and title to the franchise. opposites of light/dark. • Skeleton symbolises the Mexico City Be a warning or indication of a future event in • SPECTRE = the organisation in the film, the narrative festival ‘Day of the Dead’ shown but also has connotations of ghosts from The ‘hero’ archetype is typical of the action genre in the opening sequence - Festival the past - this further anchors the skeleton and audiences are led to believe, through this representation, that this is how a man should be, Symbolism didn’t exist until the film came out but has since in the background and suggests these may be Bond’s ghosts as it is positioned behind him. The use of signs and symbols to represent ideas become very popular Villain = Antagonist appears to be the figure in or qualities. • Credit block = industry information of cast, crew the background - the mask covers identity and the • The white Tuxedo worn here and companies involved in production. It is small skeleton has connotations of death and evil. He is Producer became popular with celebrities and tucked away so as not to detract from the behind Bond suggestion his he lurking in the shadows. Person who oversees film production; planning at the time of the film’s release image. The villain appears male, reflecting the male dominant and coordinating various aspects, scripting, (Beckham and Benedict Cumberbatch) - this • COMING SOON = This teases the audience nature of the franchise - both characters driving the filming, finance, etc. shows the cultural significance of the franchise. about the release date and sparks their interest. narrative here are male. MEDIA KNOWLEDGE ORGANISER
• Special feature and behind-the-scenes vlogs released on the official 007 YouTube page giving audiences 4.7 Industry Info insight into the new film and building anticipation. 4.8 Key Terminology • Sony released an advert, ‘Made for Bond’ for its The Production Process new smart-phone to tie-in with the release of the • With such a large budget the film had to film, featuring an action sequence Media Institutions demonstrate high production values: where Moneypenny retrieves Bond’s organisation or company, public or privately phone. This intertextual product owned that produces media products • Filming around the world, i.e. Mexico, is an example of synergy as Sony Austria, Morocco were able to advertise two of their Conglomerate products at once! a large organisation that owns a number of • Casting high profile stars as the main different types of companies across a range characters and using a very large cast • Releasing the film in IMAX and using the logo on of different areas, e.g. Disney owns films, TV (approx 1500 extras) in the opening marketing material helped to encourage fans through channels, theme parks, etc. Maximising their Day of the Dead Parade. promoting the high quality experience. opportunities to reach audiences and make profit! • Creating several spectacular action • The theme song is an iconic part of the Bond brand sequences, i.e. the collapsing buildings and was written by popular artist Sam Smith. The Production Company and helicopter crash at the start and the video was released 2 weeks before the film to plans, films and edits the film or media product car chase through the snow later on further the excitement among audiences. It went on to reach No.1 and win an Oscar for ‘Best original Distribution Company • Large scale ‘live’ special effects & stunt Song’. organises the marketing, sale and transport of the sequences like the explosion to film or media product to retailers, exhibitors How might the music video help to market destroy the Spectre headquarters - Exhibition Company this broke the world record for the the film to a wider audience? shows the final or media product, i.e. TV channel ‘largest film stunt explosion’ Digital Convergence (Netflix/Prime) or Cinema (Odeon, Showcase) • Some use of digital technology and CGI (computer • The official 007 website brings together many Parent Company generated imagery) to increase realism and important elements to promote the franchise ans a company that has a controlling interest in spectacle, i.e. the opening ‘all one shot’ sequence reinforce the brand: another company. was stitched together in post-production. • Latest news, about the film’s release Horizontal Integration Distribution and Marketing • Links to marketing materials, i.e. trailers, posters a company owns multiple companies at the same and music videos stage of the film industry. • The build-up to the release of a major film takes months with distributors using many marketing • 007 shop merchandise selling products such as Vertical Integration 4.6 Spectre - Industry Context and promotional activities to raise awareness and model cars, clothing, towels, and figurines the parent company owns multiple companies engage audiences: • Galleries of screen-shots from previous films and across different stages of the film industry, i.e. focus features on characters/actors SONY Industry Context • A series of trailers were released starting with a • Links to other James Bond social media ‘teaser’ and building to a full trailer closer to release Revenue • Hollywood is the oldest and most famous film pages the income from ticket sales after a film release industry in the world. It is dominated by a small • A range of posters, including teasers and • Pop-up Snapchat channel in the ‘Discover’ more detailed theatrical releases. Box Office number of major film studios, such as Universal section for 24hrs a week before the film’s number of tickets sold or amount of money and Sony. • Promotional tie-ins and sponsorship deals release - offering Bond coverage from around the raised with long-term partners like Aston Martin, globe. All snaps were interactive, contains facts • Sony Pictures produces and distributes films and new ones with Heineken who paid £28m for and bonus trivia, etc. Product Placement and owns other brands in the film industry their product placement in the film and the Regulation technique where references to specific brands such as Columbia and Tristar. It is vertically TV ad featuring Bond characters. This money helped or products are incorporated into a film or TV integrated, owning the production and make up over 1/3 of the overall production budget! • Sony had to cut some violence from the film in program, with specific promotional intent. distribution stages of the process, and is part order to secure a 12A UK rating from the BBFC What other products were featured in the instead of a 15 - to secure a wider audience. It Production Budget of the Sony corporation, a very large media film and how do these brands reflect the how much money will be spent on the entire film conglomerate that produces a range of media has been suggested that although this is high production values and luxury lifestyle a sensible decision in terms of profit, it project - not including marketing. and electronic goods. It also has its own record associated with the Bond brand? label and the Sony Playstation. could be considered compromising to the Synergy director Sam Mendes’ vision for the film. when a number of different institutions work What benefits does Sony have as a massive together for beneficial reasons media conglomerate? Regulation • Whilst Sony is a US company, EON is British and the process of protecting vulnerable groups from much of the film is shot in the UK with a British watching content that may harm them cast. Therefore the film is considered a UK-US Production values production. the lighting, sound, scenery and props used to improve a film - the better the quality, the higher • The James Bond franchise is hugely successful the value. global brand. Skyfall, the previous film to Convergence Spectre took over $1bn worldwide and became the merging of communications – print, TV, radio, the highest grossing film of all time in 2012 internet, social media, etc. along with portable at the British box office, so there were high and interactive technologies through digital expectations for the team to replicate this platforms, i.e. smart-phones! success. MEDIA KNOWLEDGE ORGANISER
2.2 Media Language 2.3 Representations 2.5 Key Terminology How the advert communicates • Dominant ideology about women in sport with the audience is directly challenged by the advert through a positive representation of a woman enjoying Simile herself/ comparison of one thing with another thing Layout and Design of a different kind • Positive representation of women through • Striking central image of confident woman media language construction Stereotype • Mantra over-layed, anchoring the image • Independent, confident and happy a widely held but fixed and oversimplified • TGC Logo positioned below and smaller but image or idea of a particular type of person centrally, to be noticed but not to overpower • Image has been constructed and selected to or thing. the other elements show its ‘rawness’, focusing on ‘real’ women • Sport England and Lottery logos are small • Challenges the representations Narrative and positioned out of main view so as not to of women in sporting brands elements of storytelling or an account of distract attention that seem unachievable events. Including how the story is told using characters and events. • Simple layout and limited text to prioritise the • The ad encourages audiences image to consider whether Protagonist the fear of judgement is The main character in a narrative; also the Images - Visual Codes appropriate when you hero in many narratives • Lack of celebrity encourages audience see how much fun these identification - women feel she is normal and women are having Hashtag are inspired a word or phrase preceded by a hash • Use of the word GIRL in the sign (#), used on social media websites to • Costume = mismatched and baggy gym branding is all-encompassing, thereby identify messages on a specific topic. clothes with messy hair tied back - relatable representing and targeting the whole of the for women female population no matter age, ethnicity or 2.1 This Girl Can: Context religion, etc. Enigma Codes • Sweating, eyes closed and slight smile on face A mystery or puzzle, through withholding information, thereby raising questions for Campaign context: suggest she is enjoying herself without fear of • challenges the negative stereotypes of judgement its use in sport, i.e. ‘throw/run like a girl’, the audience. • Part of a national campaign by Sport England etc • Body language and facial expression suggest Connotation to break down barriers that are holding she is lost in the moment • Arguably some older women may feel the underlying meanings or associations women back from sport. disconnected from the younger female constructed through the media language • Blurred background - shallow depth of field, connotations. • Campaign seeks to celebrate ‘active women focuses audience on the protagonist. Dominant ideology who are doing their thing, whatever that may values, beliefs, and morals shared by the be...’ Language - Verbal codes social majority, which frames how most people think • Non-commercial, lottery funded. • Mantra = “sweating like a pig, feeling like a fox” has connotations of transformation from Social and Cultural Context an undesirable animal to a more desirable Mantra one A word or phrase used to positively • Sport England found that 2 million fewer reinforce ideas for an individual or group of 14-40 year old women than men participate • sweating = unladylike people. in sport regularly • fox = young beautiful lady Call to action • Fear of being judged was the No.1 thing • Brand logo = THIS GIRL CAN - A device used in advertising to encourage 2.4 Narrative - Propp’s theory an immediate response, i.e. call now, visit the stopping women getting involved positive statement with connotations of determination and resilience. Hero = the dominant, central female is clearly store today, etc. • 1.6m women have started exercising as a • #thisgirlcan = enigma codes and link the protagonist in the advert and according to Propp also the hero. Imperatives result of the campaign and the number of to social media to encourage engagement. A verb used to communicate a suggestion active women is increasing faster than the Raises questions for the audience. Also She is embracing sport and doesn’t appear or command persuading someone to do number of men. encourages community through use of social something. media where women can communicate and to care what anyone thinks - inspiring other encourage like-minded people. women. MEDIA KNOWLEDGE ORGANISER
PRODUCTION CONTEXT GAMEPLAY SOCIAL & CULTURAL CONTEXTS • Players, in groups of 100, are • The global videogame industry has been growing since the early days of Atari • Produced by Epic Games, launched 2017 dropped via a flying bus onto a home entertainment in the 1980s. In recent years, the diversity of game genres and • Fortnite franchise is a series of multiplayer deserted island that is about to be platforms on which they can be played has meant an explosion in the gaming free to play battleground games available on a hit by a natural disaster. industry. Based on a 201 economic forecast videogame sales are expected to number of platforms and devices. • The aim of the game is to fight to reach 90 billion by 2020. • The franchise includes Fortnite: Battle Royale, the death, with the last player • In 2014, it was calculated there were 1.8 billion gamers in the world 2 of the Fortnite: Save The orld, and Fortnite: Creative standing the winner. Players seek global population. This challenges the stereotype of gamers as young geeky men. • Fortnite: Battle Royale is the most successful out weapons and other materials, In 2018 in the USA, 28 of gamers were under 18, but 2 were over 0 years old. free to play videogame ever, making 1.2 but are also able to demolish There was a 44 male female gender split. billion in the first 10 months of release. Initially, structures and rebuild them into • The range of genres from first person shooters to pu les and learning tools – players had to buy ‘battle passes’ to play, but in forts, towers etc. has varied the demographic for gamers. The variety of platforms not ust home September 2018 the Battle Royale version was • As the game continues, the consoles, but on tablets and smartphones that high quality, complex and offered for free. storm starts to encroach, driving engaging games can be accessed has also led to the growth of the industry. • The Fortnite franchise had revenue the players into smaller and • Gaming has increasingly become a social activity. In 1997 Ultima Online became of 2.4 billion in 2018 and the franchise has smaller areas and forcing conflict. the first on line multiplayer game, and since then socialising in the game world has helped make Epic Games a hugely successful • In terms of genre, Fortnite could become an everyday activity for millions of people, usually geographically far apart. company. In 2012 they were worth 82 million be considered as fusion of battle People develop alliances, friendships and even romantic relationships as their game in 2018 they were worth .8 billion. games (like Battlegrounds) and characters. ‘eSports’ live competitive gaming events between celebrity players has • Fortnite: Battle Royale won ‘Best Ongoing construction games (like also become popular, attracting millions of viewers through sites like Twitch and Game’ in the PC Gamer and IGN awards in 2018. inecraft). even packing huge stadiums like traditional sporting events.
TECHNOLOGICAL CONVERGENCE FUNDING AND REVENUE • One of the things that have made Fortnite Fortnite is an example of the ‘Games as a Service’ so popular is the ability to access the game (GaaS) model where there is a constant revenue from consoles, PCs, laptops, smartphones or stream from ‘in game purchases’ after the initial tablets. ou can also download it for a range purchase (or providing the game for free) of operating systems. Not only this but you • Some of these are ‘micro transactions’ where KNOWLEDGE can move, mid game, between devices without players pay for weapon, costume and game upgrades ORGANISER interrupting gameplay. This means it can be played rather than ‘grinding through’ the gameplay to score at home, or on the move, on a tiny screen or a video them. In Fortnite, players use bucks to purchase pro ector. This is a good example of technological these items, and these can be earnt in the game or convergence. bought using ‘real world’ money. Another game that • Epic Games use an operating system called does this is Candy Crush. Unreal Engine to develop Fortnite. They have made • Unusually in Fortnite the upgrades are purely this available on their website, and encourage their REGULATION ‘cosmetic’ i.e. they don’t actually affect the gameplay. audience to use it to develop their own games. They often consist of new ‘skins’ (to alter your • Age ratings are systems used to ensure that Unreal Engine has also been used by professional character’s appearance) and ‘emotes’ (victory dance entertainment content, such as computer games, are game developers to create titles like Batman: moves after a kill). These are only available for a short clearly labelled by age according to the content they Arkham City and Infinity Blade. period of time, increasing their value and contain. encouraging players to pay rather than ‘grind’ for • Age ratings provide guidance to consumers them. SYNERGY (particularly parents) to help them decide whether or • Another revenue stream for GaaS titles is to offer • Epic Games has a good relationship with various not to buy a particular product. ‘season passes’ like a subscription that allows you non gaming celebrities such as Drake and • The rating on a game confirms that it is suitable for to access new content over the course of a period of basketball star Ben Simmons. This helps to promote players over a certain age. gameplay (the ‘season’) that play for free users can’t the game beyond the traditional gaming market. • In 2012 the PEGI system was incorporated into UK law access. and The ideo Standards Council was appointed as the • Fortnite offers players ‘battle passes’ and then drip statutory body responsible for the age rating of video CROSS-MEDIA CONVERGENCE feeds limited edition and exclusive content to these games in the UK using the PEGI system. • Fortnite is also a good example of cross media players over the course of the season. convergence, where more than one media brand or • Fortnite has the PEGI rating of 12 for “frequent scenes form oins to promote each other. Fortnite is the of mild violence”. It seems that parents are more most viewed game on ouTube, and has also used concerned with issues surrounding addiction than the levels of violence. HISTORICAL & POLITICAL CONTEXTS streaming platforms like Twitch (owned by The relationship between videogames and audiences Ama on) to broadcast live competitions. has been a controversial area, with many moral • It has also incorporated other media brands TARGETING AUDIENCES panics. These ranged fears that violent games and franchises. In collaboration with arvel Fortnite has used a combination of addictive gameplay, encourage copycat behaviour, to worries about Studios, there was a special Avengers: Infinity media technological convergence and marketing to addiction and the amount of ‘screen time’ that is ar segment and recently a tie in with God illa. The target a diverse and varied audience. 78 are male, 22 healthy. Fortnite, when compared to other successful format of Fortnite means that any kind of costumes, are female, are 10 2 , and 42 are in full time titles like Grand Theft Auto or Call Of Duty contains weapons and games can be introduced to keep the employment. very little explicit or realistic violence, and the game fresh. Films T sports can promote their • The unrealistic violence and cartoon style graphics, cartoon like graphics also make the game suitable brands to over 20 million of players, whilst famous along with the emphasis on construction as much as for younger players. collaborations keep Fortnite in the news and social killing, make it appealing to a younger audience. In addition, there seems to be little racism or media. • The rise of ‘eSports’ stars, mainly consumed via misogyny expressed by the players compared to streaming platforms like ouTube and Twitch (where other videogames perhaps because free players are INSTITUION: EPIC GAMES Fortnite is the most watched game) has led to players randomly assigned race and gender ‘skins’ at the Epic Games was started by Tim Sweeney in 1991 becoming ma or celebrities. Nin a, the most famous start of each round. Critics have also praised the and was originally run from his parent’s house. Fortnite player has over 10m subscribers and earns over collaborative nature of the gameplay that These humble beginnings may explain Epic’s half a million dollars a month. Nin a ranks highest in the encourages players to work together and protect decision to make the Unreal Engine available to world for social media interactions (i.e. people posting or each other (until the finale). amateur games designers. sharing using their name no.2 is Christiano Ronaldo The main concern seems to be about addiction: with • In 2014, the Guinness Book Of Records named • This creates gamer celebrities that have become reports from teachers and parents that children are Unreal Engine as the ‘most successful videogame aspirational role models for some audiences. distracted from school work due to their engine’ • The use of non traditional gamer celebrities such as engagement. One psychologist even compared it to • Epic Games owns video game developer Chair rappers and NBA athletes widen the appeal of the game. heroin There have been reports that Premier eague Entertainment and cloud based software developer The popularity of ‘Twitch Girls’ (female streamers like footballers were being treated for addiction, and Cloudgine, and has substudios in the UK, apan, and KatyPlaysGames) has also appealed to women. Prince Harry said the game is dangerous’. Germany. • Fortnite’s use of ‘seasons’ with rumours and gossip • Tencent a Chinese investment company about future seasons follows the cable T on line focused on internet and AI development ACTIVE AUDIENCES subscription style of long form T drama. The basic gameplay of Fortnite: Battle Royale is interactive bought a 42 stake in Epic in 2012. and collaborative, encouraging players to work together. By THEORIES being able to deconstruct and rebuild the game • Uses & Gratifications: Fortnite along with many videogames – could relate to the ‘escapism’ and ‘catharses’.• environment, players are encouraged to be creative. • Fortnite: Creative is a different format that allows even more The collaborative nature of the gameplay could also provide social interaction. • The use of gamer and non creativity in designing ‘skins’, ‘emotes’ and landscapes. • In gamer celebrities could also relate to the search for role models that contribute to personal identity. This could addition, Epic Games have made their operating system be linked to Dyer’s ‘Star Theory’. Unreal Engine available (at a price) to encourage the next COMPONENT 1: SECTION B: VIDEO GAMES : AUDIENCE – INDUSTRY - CONTEXTS generation of games developers.