edia agazine
Menglish and media centre issue 53M | september 2015
ELECTION 2015 Politics and Protest Kristen Stewart Star Study CATFISHED! TV Drama Podcasting MM MM
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MediaMagazine is Welcome to MediaMagazine 53, and hallo to new readers and a new academic year. published by the English and Media This issue involves lots of politics, prompted of Centre, a non-profit course by the role of the media in May’s General making organisation. Election results. Nick Lacey considers the influence The Centre publishes of the press in determining the majority outcome, while Steph Hendry looks at the history of televised a wide range of electoral debates, and Harry Cunningham explores classroom materials how feasibly a popular TV drama can actually be and runs courses for accused of representing BBC bias. Mark Ramey’s case study of Pussy Riot and teachers. If you’re the ‘commodification’ of protest culture is thought-provoking too; and all these studying English articles are well worth archiving for next Summer’s A2 exams, where they at A Level, look may come in handy. out for emagazine, Elsewhere, you’ll find lots on TV drama, offering interesting takes on also published representation and identity, not least Kathy Oborne’s analysis of the global impact by the Centre. of Downton Abbey, our overview of EastEnders’ 30th anniversary, and a thought- provoking student article on representations of sexuality and lesbianism in US TV series. And Catfish the TV documentary series treads a tightrope between reality TV and fiction – a great read for those studying online and social media. For Film students, the controversial actress Kristen Stewart is the subject The English and Media Centre of an excellent star case study by Roy Stafford, giving us the long overdue 18 Compton Terrace London N1 2UN opportunity to reconsider theories of stardom, celebrity and performance, while Telephone: 020 7359 8080 the blossoming of Kenyan cinema is a good news story for global film study. In Fax: 020 7354 0133 terms of digital forms and technologies, Steve Connolly’s revelatory piece on Email for subscription enquiries: the Podcast Renaissance should whet your appetite, while if you’re a gamer, Ted [email protected] Lamb’s introduction to Let’s Plays raises interesting theoretical questions about Editor: Jenny Grahame the purposes and pleasures of gaming. Copy-editing: Andrew McCallum Finally, our news spread this issue is devoted to a review of our MediaMagazine Additional proofing and copy- Production Competition; we hope you’ll be inspired to enter next year by the editing: Joel Sharples winning entries on the MediaMag home page. And we hope also to see many of Subscriptions manager: Emma Marron you at our other annual event: The MediaMagazine Student Conference, on 5th November – see the box below for details of our sparkling line-up. Design: Sam Sullivan [email protected] Have a good term. Print: S&G Group
Cover: Pussy Riot by Igor Mukhin
ISSN: 1478-8616
MediaMag Conference 2015 – Thursday 5th November
• Bill Thompson: What Has the Internet Ever Done for Me? • Professor Natalie Fenton: Media Power and Life After Leveson • Rob Watson, with Pete Fraser: Film Production Masterclass – Top Tips for Students • Regina Moriarty: Making Murdered By My Boyfriend • Owen Jones: The Media, Democracy and Politics
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The Front Page Kristen, Kristen on the Wall, Cartoon by Goom: 04 The MediaMagazine 25 Who Is the Fairest of 48 Modes of Address Production Awards 2015 Them All? Serial(ising): The The Art of Protest: Roy Stafford reflects on 50 06 changing approaches to acting, Podcast Renaissance Pussy Riot performance and celebrity, Steve Connolly reports on Serial, using the always-interesting an internet podcast sensation Kristen Stewart as a case study in which has led to a whole new theories of stardom. wave of podcasting which might even, one day, make Downton Abbey and someone some money. 30 Collective Identity: Spot(ify) the Difference: Brand Britain? 54 What happens when radical Swift, Bragg and the Maths politics meets the capitalist of Making Money in the establishment? Mark Ramey Music Industry reflects on the story of the punk- So where do you get your music protest group Pussy Riot and its from? And who benefits from your implications for democracy. passions – a streaming service, the artist, or you? You may not have 12 The Press and the Prime thought much about this question Minister: Was It the Spin- in the past, but if you’re studying doctors Wot Won It? the music industry for A Level, it’s time to start. What can we learn about the What exactly is the appeal of media and democracy from the Downton Abbey for UK and global The Rise of Let’s Plays: a experience of the 2015 General audiences, and what can it tell 58 Election? Nick Lacey evaluates us about collective identity and New Genre and Its Fans the role of the national press in representations of Britishness? Let’s Plays – videos which determining the majority outcome Kathy Oborne provides a really document the playthrough of a of the 2015 General Election. useful case study for A2 students. video game via a commentary by the gamer – are rapidly becoming Election 2015 and EastEnders at 30 – a genre in themselves. Ted Lamb 16 the Media: the 35 Technology and the investigates what the growing popularity of Let’s Plays can Televised Debates Soap Opera teach us about genre, audience Steph Hendry analyses the history Caroline Birks explores the 30th and fan theories. and impact of televised electoral birthday ‘live’ EastEnders events debates, and wonders what part to ponder on the future of Out of Africa: What is they might have played in the the soap opera. 61 eventual outcome. Kenyan Cinema? Catfished! 20 The Beeb, the Mail and JKR: 39 Siobhan Flint explores a hugely the Politics of The popular reality TV show which Casual Vacancy exposes the realities behind the online identities we adopt on social media. Is Lesbianism the New There’s more to Kenyan cinema 43 than Out of Africa, argues Maggie Black? Representing Sexual Miranda, in this case study of a Identity in TV Drama thriving new film culture in search of a global audience. An Interview with Jon Snow: Leftist propaganda or a biting 65 Shining a Light on social portrait of Coalition Britain? Dark Corners Harry Cunningham explores Harry Cunningham speaks to the the polarised responses to J. K. BAFTA-winning journalist and Rowling’s The Casual Vacancy, and Student Lauren Fletcher compares legendary anchor of Channel 4 questions whether we should LGBT representations in two News about the role of the media ever read too deeply into the contrasting TV drama series, and in a world plagued by scandal, politics of a text. discovers that sex still sells. corruption and despair.
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Filmmakers of the future: The MediaMagazine Production Awards 2015
Transport yourself back to the heady days of last summer. It’s Wednesday 8th July Film Openings, judged at BFI Southbank, and the BFI Annual Schools Residency is under way, with 100+ by Ian Wall, Director of students from Lambeth and Tower Hamlets developing a multimedia promenade The Film Space performance. They’re using dance, drama and spoken word, music and film to Film Openings have finally diversified explore ideas about London on film, to tie in with the current BFI Southbank from the conventional stalker and season of the same name and it looks wonderful! For more details of the season, gangster gore-fest genres of the last see http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/bfi-press-release- few years, setting up tense narratives, britain-film-bfi-player-national-2015-07-07.pdf often with dystopian or futuristic themes But meanwhile, students, parents and teachers are also gathering, booted and and disturbing twists, skillfully using suited, in the BFI foyer for the MediaMag Production Competition awards. This editing, titling, effects and graphics to article is about them, and one of the highlights of MediaMag’s year. keep the viewer riveted. Judge Ian Wall commented on the difficult balance Every year, your entries to the competition get better and better, both technically between setting up atmosphere and and in terms of imagination and creativity. This year with 160+ entries, from 40 different schools and colleges UK-wide, the quality was so breathtaking that shortlisting was a real challenge, let alone deciding on our winners. It’s interesting year-on-year to see different trends and issues emerging, and the enormous difference it makes seeing your work on the big screen – a different experience altogether, which adds a powerful cinematic impact. Here’s an overview of the judges’ impressions across the range, category by category.
Documentary, judged by Mark Reid, BFI Education Documentary still remains under-represented, but we saw some highly individual and beautifully crafted explorations of place, pastimes and passions. All four narrative and creating a coherent shortlisted entries offered entirely different takes on the genre; ‘Pueblo’, Eli sequence which leaves you wanting to Beristain’s evocative film of her grandmother’s recollections of life in her now- know more; he also marvelled at some dying Spanish village, was superbly shot and framed, and a model of (apparent) real technical achievements – amongst simplicity, while Ami Vadi’s ‘Memories’ offered a deeply personal and heartfelt them Latymer’s ‘Payoff’, shooting a montage of reminiscence and meditation. And ‘Vision’, Dunraven’s breathtaking sophisticated beautifully-lit round-table representation of the joys and terrors of parkour, won’t win any prizes for Health noir sequence which amazingly avoided and Safety, but literally put us inside the points of view of free-runners on London breaking the 180-degree rule; the rooftops. Riveting stuff. creative use of the TV screen backstory of Claremont Fan Court’s ‘PSA’s’ disturbing The Winner: London mystery-virus narrative; and the futuristic and the Blues, by Lulu strangeness of costuming and makeup in Senft and Ed Day Ashbourne’s ‘The Visioner’. These were all A simple but ambitious openings of films we’d actually want to montage of archive images, go and see – a very tall order! live performance, and some great interviews from a The Winner: Bastion of Blood, Scarlett renowned Soho blues venue. Murphy, Gabriell Jackson, Khalil Masterful sound, crucial in a Seyidor. music doc – well paced and Someone’s watching. But who – and have they really atmospheric. got the right person? A superb opening drone shot, great graphics, excellent use and control of sound, and a clever enigmatic twist which sets up narrative expectations. As all good openings should, it sets the story rolling. Excellent all round.
4 MediaMagazine | September 2015 | english and media centre MM Music Videos, judged Short Films, judged by So what have we learned by video director Ian Wall from this year’s awards? Lindy Heymann This year many more short films were Firstly, how passionate you and your This year, we submitted, reflecting a growing interest teachers are about production work. It’s saw fewer in this increasingly significant form. clear the quality of your work need not music videos, The form permits greater flexibility and depend on your access to specialist or but drawn experimentation, and the opportunity expensive technology; drones and state from a wider to play games with unconventional of the art software create impact, but it’s range of visual storytelling, whether exploring a still the thinking, research and analysis styles and particular state of mind (Issy Stoker’s ‘Itch’, behind your ideas that differentiates genres, and with less emphasis on the and Kitty Eaton-Kent’s ‘Distractions’), or a the brilliant from the average. We’ve gendered, sexualised studio performances more elliptical romance narrative with a also learned that genres once seen as of previous years. Performance elements twist, as Graveney’s ‘None of Kind’). Split- limiting or ‘factual’ can be as creative, were particularly strong, as with the screen and post-production effects were original and pleasurable to audiences charismatic singer of Great Baddow’s frequently used sparingly but effectively, as fiction. We’ve seen that your parents ‘Fast in My Car’, but also notable was as in ‘Night Sky’ and ‘Day In Day Out’, or and teachers are supporting you all the the attitude, style and confidence of the way, and that, like MediaMag, they value staging and mise-en-scene. Many showed production work not only as a way of outstanding attention to detail – quirky demonstrating your media knowledge set-ups, colour, atmospheric lighting and technical skills, but also as a vehicle and humour, which suited the songs for your creativity, self-expression, down to the ground. We loved Long and independence. Road’s ‘Smokey Joe’s Café’, which really ‘got’ the tone and style of the song, while This year’s Awards were inspirational. Mulberry’s ‘We Get By’ used urban graffiti, Huge thanks and congratulations are due not only to our winners, shortlistees central London lights, split screen and Ringwood’s mysterious ‘Left Overs’. One and their teachers, but also to everyone black and white footage to foreground outstanding short, Sam Hunt’s ‘Desperate who entered – your work is amazing, an empowering emotional performance. Abyss’, blew us away with its spectacular and next year you could be up there Visual imagery included boxing evocation of a heroin overdose. Overall all too. Next year we hope to open out the metaphors, cages, masks and chains, our judges agreed that flames, fantasy forests and mysterious event to wider audiences, and we hope landscapes, but always used with restraint The quality and imaginative approach shown in to see many more of you there – and and purpose. Lindy Heymann commented the short film category were of an extremely high we can’t wait to see what next year’s that these would provide stiff competition quality. All films showed aspects of excellence’. entries look like. for the professionals such as herself! The winner: Borderville, by Chris And finally, massive thanks to Mark The Winner: Hunger of the Pines, by Bailey and Dominic Berry: Reid and BFI Education, to Ian Wall, Alexander Day A story of chess and war. Excellent mise-en- Lindy Heymann and, as always, to Immediately captivating, with intriguing and scène and well-controlled chess-game conceit. A Pete and Ben Fraser for their fantastic understated imagery which builds really well very strong opening, and well-handled editing organisation and putting together with the music. Incredibly strong visually – very between game and action. Excellent control such a great afternoon. Meanwhile the cinematic, with a great Nordic Noir look. Well- of sound mix and music editing to ensure winning entries are already available for considered camera moves, terrific locations, noir that appropriate music was used in exactly you to watch online via the MediaMag lighting, unusual framings, and shots held long the right place. home page, and, along with the and atmospherically. shortlisted entries, in the online Student area on the MediaMagClips page. Enjoy. Creative Awards Two further awards were given for particularly creative Read more at: https:// productions from any category. They were: southbankculturalcampus.wordpress. com/2015/07/09/media-magazine- Loot Geekin awards-ceremony-bfi-2015-part-1-2/ Hannah Gautrey’s Cameron Perry’s wonderful animated hilariously eccentric https://southbankculturalcampus. short film Loot – a take on Will. wordpress.com/2015/07/09/ lovingly visualised I.Am’s equally media-magazine-awards-ceremony- story of a beggar and eccentric track, bfi-2015-part-2-2/ his resourceful dog, here illustrated in which told its simple a celebration of all story concisely and things nerdy, with The Front Page was compiled by imaginatively through telling details, such as the some fabulous locations and twists. Jenny Grahame. dog’s twitching nose and quizzical expression.
english and media centre | September 2015 | MediaMagazine 5 MM The Art of Protest: Pussy Riot
What happens when radical politics meets the capitalist establishment? Mark Ramey reflects on the story of the before the male-only altar. Suddenly five young women dressed in neon punk-protest group Pussy day-glow balaclava helmets, tights, Riot and its implications dresses and boots start an impromptu punk rock concert on the altar itself, for democracy. singing a loud discordant song: Jesus Christ, son of God, banish Cameron I Protest! we pray thee! Picture this: as Tower Bridge lifts up to Freedom’s phantom’s gone to heaven; Russia. I’ve anglicised these versions let a ship sail through, a giant penis Gay Pride’s chained and in detention. of the proceedings to translate them painted illicitly on its tarmac roadway MI5’s chief saint descends to guide the punks into a more familiar context. They are rises erect into the air, pointing straight to prison vans. all examples of Protest Art: shocking, at Scotland Yard. The implication is as Be a feminist we pray thee. confrontational, provocative and subtle as a giant penis can be – ‘You’re often very funny moments of artistic all male pricks!’ Archbishop Welby* believes in Cameron. Better believe in God, you vermin! and conceptual expression aimed to And this: as the Human Biology Fight for rights, forget the rite. raise consciousness and critique the Department of the Natural History Join our protest, Jesus Christ. dominant ideology. Museum opens for another educational day, ten people strip and start an orgy (*Justin Welby Archbishop of Canterbury The Long History of for all to see, creating a living exhibit and head of the Church of England.) Protest Art of fornication. The implication is, again, The message has the finesse of a These Russian protests (of which clear for all to see: ‘Sex is absent from sledgehammer swung in a greenhouse. more later) are by no means exclusive museums devoted to our biology. This It argues that religion and the to Russia. Indeed many significant is what sex looks like!’ government are sinful bedfellows, a protest movements have used art to And finally let your imagination corrupt patriarchy at the spiritual and help promote their message. There’s loose in St Paul’s Cathedral where a political heart of our land. no space to explore them in detail reverential posse of Chinese tourists are All of the above imaginings have in fact here, but Picasso’s ‘Guernica’ (1937) rounding up their last photos and a few taken place, though not in the UK, but is a good starting point: a painting churchgoers are whispering prayers in an even more conservative country: commissioned by the Spanish
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Republicans criticising the Nationalists the international Occupy Movement, Protest and Punk and depicting the horrors of the world’s which in the UK colonised the square Punk music would be one such mode first aerial bombardment of a civilian outside St Paul’s Cathedral in 2011 and of performance with its DIY ethos, town in Northern Spain in 1937. re-appropriated the Guido Fawkes mask aggressive energy, love of chaos and from the film V for Vendetta (2005). Then we have the hilarious attack dislike of the establishment. This was on the conventional art world by The essence of such protests was famously seen in the UK when The Sex Marcel Duchamp (a founder of the crystallised in the work of French Pistols took on the UK monarchy with art movement Dada) who submitted intellectual Guy Debord (1931- their protest anthem ‘God Save the and exhibited in a New York gallery in 1994) and his Marxist ‘Situationist Queen’ (1977) – released as an antidote 1917 a male urinal, titled ‘Fountain’ and International’ (1957-1972). The theories to the Silver Jubilee celebrations of signed R. Mutt. It caused outrage. More of the Situationists are complex; but Queen Elizabeth 2nd, and shamelessly recently we have the graffiti artwork of essentially they argued for artists to re-released for the 2012 Golden Jubilee Banksy, and the masked protestors of engage politically and to resist the (see MediaMag 41). commodification of their work by Rage Against the Machine is less the (Capitalist) establishment. They punk, more USA alternative metal, but endorsed ‘Spectacles’ (politicised equally provocative and angry. They happenings) as useful ways to perform are notorious for their politicised lyrics, art and protest. performances and CD cover art, and have been defined by two key stunts. Firstly, in collaboration with satirist and documentary filmmaker Michael
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of the more recent musical antics of museum stunt took place in 2008 in punks, Pussy Riot. Moscow’s State Biology Museum on the eve of Prime Minister Medvedev’s The Story of Pussy Riot election and was provocatively Pussy Riot are a Moscow-based feminist titled ‘Fuck for the heir teddy bear.’ punk rock protest group founded in (Medvedev’s name can be punned 2011 who stage guerrilla performances with the Russian for bear and the in unusual public locations which are group sex acts took place in front of a then edited into music videos and stuffed bear.) posted on the internet. In 2009 Pussy Riot members split Moore, they organised a protest from Voina, a schism typical of many against capitalism which took place They have their origins in a Moscow extremist factions; Monty Python fans on the steps of the Wall Street Stock performance art group called Voina may fondly recall ‘The Judean People’s Exchange in 2006, and for a time closed Front’ taking a real dislike to ‘The the money market. Secondly, they led People’s Front of Judea’ in Life of Brian. a hugely successful attempt in 2009, Thus the stage was set for the event orchestrated through Facebook, to stop that would present their cause and art Simon Cowell’s X Factor reaching No 1 to a global audience and recruit the in the Christmas charts for the fifth year sympathy of numerous high-profile in a row. The campaign asked its million celebrities such as Madonna and supporters to buy Rage’s classic 1993 Paul McCartney. tune, ‘Killing in the Name of’, which powered it to the top of the charts. At a free concert in London in 2010, Rage who were the instigators of the bridge Punk Prayer: Virgin Mary, handed over their substantial royalties and museum pranks mentioned earlier. Put Putin Away (£160,000) to charity: radical art had The former took place in 2010 with In February 2012, in protest at Vladimir crushed the hegemony of corporate Voina painting a 65-metre phallus Putin’s re-election, five female Pussy music. As Rage themselves say in (entitled ‘Giant Galactic Space Penis’) Riot members entered the Cathedral of the song: ‘Fuck you I won’t do what on the roadway of a bridge in St Christ the Saviour in Moscow. Dressed you tell me!’ The Situationists would Petersburg, leading to the headquarters in their signature colourful balaclavas, have approved, as they would have of the Federal Security Service. The they approached the male-only altar,
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were highlighted in some of the court transcripts, where one witness claimed that ‘feminism’ was a swear word if it was said in church, and seen as an obscenity by orthodox believers. In October 2012 Samutsevich was released on parole but the remaining members served 21 months of their sentence until their release in December 2013 after vociferous campaigning by Western groups and celebrities. Madonna in particular made statements at her concerts in support and began their punk performance said the church is a ‘weapon in a dirty of Pussy Riot, and at an Amnesty of the song ‘Punk Prayer: Virgin Mary, election campaign’ and called Putin International benefit gig in New York in Put Putin Away’. After less than a a man who is as far as can be from God’s truth. February 2014, she appeared on stage minute they were evicted from the with Tolokonnikova and Alyokhina. building; but a two-minute film of Sputniknews.com 27/03/12 The same day the remaining members the performance (cut with footage This performance incensed the of the Pussy Riot group published a shot earlier at another church) soon authorities, and led to the arrest and blog effectively sacking Tolokonnikova made it onto YouTube, and currently subsequent high-profile trial of three and Alyokhina, and accusing them of sits at nearly 3 million hits. Aside from Pussy Riot members: Maria Alyokhina, subverting the criticising Putin (a leader notoriously Nadezhda Tolokonnikova and disapproving of dissent or alternative Yekaterina Samutsevich. In August 2012 ideals of our group – feminism, separatist ideologies) the song also attacked the all three were sentenced to two years in resistance, fight against authoritarianism and Russian Orthodox Church’s views on prison on the grounds of ‘hooliganism personality cult…our performances are always women, calling its head, Patriarch Kirill, motivated by religious hatred’ – a illegal, staged only in unpredictable locations a ‘bitch’, and accusing him of believing farcical charge given the anti-Putin and public places not designed for traditional more in Putin than in God. After the feminist background of the group. entertainment. cathedral performance, Pussy Riot Institutional misogyny and patriarchy
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Tolokonnikova and Alyokhina responded: Anybody can be Pussy Riot, you just need to put on a mask and stage an active protest of Johnny Rotten (lead singer of the Sex something in your particular country, wherever Pistols) made adverts for Anchor butter; that may be, that you consider unjust. Iggy Pop (the American grandfather of punk) helped sell car insurance; all from Time.com Dan Kedmey Feb 7th 2014 Banksy’s murals (not least some of http://time.com/5570/those-two-pussy-riot-girls- those on the wall separating Palestine theyre-not-actually-in-the-band-anymore/ from Israel) have been removed and sold for a fortune. The Commodification of This is the process by which the Protest Art Capitalist hegemony is preserved; the The ex-Pussy Riot members radical energy and message of the (Tolokonnikova and Alyokhina) have The Madonna concert highlighted artist and their work is undermined themselves now featured in a photo- a problem faced by any successful by turning both into something to shoot for Vogue (July 2014) and have protest art: the bogeyman of be consumed and sold in the market just made a cameo appearance in an commodification. place for profit. Examples are sadly rife: episode of the American political TV
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Mark Ramey teaches Film and Media MoreMediaMag Studies at Richard Collyer’s College, from the archive Horsham, West Sussex. Screening Injustice, MM11 Follow It Up Music and Politics, MM36 Rebranded: The (R)Evolution of Pussy Riot! A Punk Prayer. 2013. Russell Brand, MM52 The Feminist Press http://uk.businessinsider.com/house- of-cards-pussy-riot-2015-3 Spoiler drama House of Cards (2015, season 3, for episode but link to video of end episode 3). The cameo continues their credits and song ‘Don’t Cry Genocide’ critique of Putin in an episode explicitly about Russia; they also play out the Pussy Riot tried to perform at the end credits dressed in their now- 2014 Sochi Winter Olympics. The iconic Pussy Riot outfits with a song performance was violently broken they wrote for the show – ‘Don’t Cry up by Cossack guards. See the video Genocide’ (see link below). of the planned song ‘Putin will teach you how to love’ on YouTube, along However, Tolokonnikova and with the now infamous performance Alyokhina are playing a dangerous of ‘Virgin Mary, Put Putin Away’: game – keeping their friends close https://www.youtube.com/ but their enemies closer. Indeed the watch?v=gjI0KYl9gWs). commodification of the art and artists of protest is evidence of just such http://www.vogue.com/946796/ a view by the hegemonic powers, taryn-simon-interview-pussy-riot- suggesting that if you can’t beat them image-atlas/ Vogue photo-shoot and at least you can sell them. In House of interview July 2014 Cards, Pussy Riot now has a truly global Pussy Riot: A Punk Prayer (Lerner/ and mainstream platform to present Pozdorovkin, 2013, UK) 90-minute their message – and that platform film documentary is up for sale.
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THE PRESS and the Prime Minister Was it the spin-doctors wot won it?
First up in our special Election Post-Mortem, Nick Lacey has been evaluating the role of the national press in determining the majority outcome of the 2015 General Election, an election which was expected to be the closest-fought battle for many years but which actually produced a Conservative majority. So what swung it for the Tories? Was it their policies, or was it the relentlessly negative representation of Miliband in the right-wing press? Or were darker forces at play? If you believe in the ‘hypodermic newspapers remain important sources class (C2DE) audience; the ‘qualities’ are theory’ of audiences, you may also of news, particularly as they tend to skewed toward a middle class (ABC1) think that readers will vote for a set the agenda for broadcast news. So readership. However, before looking at candidate simply because their did Britain’s national daily newspapers this sample, we need to consider the newspaper tells them to do so. affect the May General Election result? newspaper market as a whole. However, most Media students know In an attempt to answer the question I Five of the nine UK national that audiences understand texts in sampled two red-top newspapers, The dailies stated their support for the their own way, and are quite capable Mirror and The Sun, and two ‘quality’ Conservative Party, one for UKIP (both of rejecting the ‘preferred reading’. newspapers, The Guardian and The parties on the right wing of the political Nonetheless, it is likely that a reader’s Daily Telegraph. The Mirror and The spectrum), whilst only two supported understanding of political issues will be Guardian are left-of-centre; the other Labour (left wing); On the day of the formed by the information they receive two are on the right. Red-tops are election, The Independent stated it and, despite declining circulations, predominantly aimed at a working wouldn’t tell its readers which way
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goes without saying that the support of Murdoch’s newspapers (he also owns Times Newspapers) was not given for ‘free’. In 1997 it was clear that Labour would win and so The Sun, in switching allegiance, backed a winner. This explains why The Sun in Scotland backed the Scottish National Party (portraying Nicola Sturgeon as Princess Leia from Star Wars), while its London- based counterpart stated we should vote Tory to stop the SNP running Britain as part of a coalition. Murdoch knows that if politicians are elected with his support he is more likely to gain influence over them.
Polling Day: the Front Pages on 7 May 2015 The Sun’s front page urged its readers to ‘Make sure YOU vote today to stop to vote. So 75% of newspapers that publicly quoted company; its political Labour ballsing up Britain’. On the offered a recommendation were right stance is a consequence of its position other hand, the Daily Mirror suggested wing. This bias in favour of the right is in the marketplace, rather than ‘Send ‘Em Packing’ –‘them’ being even more pronounced if we look at ideological. In other words, its left-of- Cameron and Osborne. the readership of the newspapers, as centre perspective serves to distinguish the right-wing publications, overall, itself from The Sun. The Guardian is Whilst we would expect the front pages have the largest circulation. run by the Scott Trust, a not-for-profit of the ‘in-yer-face’ style red tops to organisation; its political perspective is directly urge readers who to vote for, it The National Readership Survey’s (NRS) enshrined in the trust’s constitution. is surprising that the Telegraph did the figures for 2014 (ignoring Scottish- same, even if more tastefully. Its lead only newspapers) show the right- Demographics headline stated ‘Don’t do something wing press had 78% of newspaper you’ll regret’; in terms of voting Broadly speaking, the Conservatives readership – three and a half times preferences, this in itself is ambiguous. are the party of the middle class that of left-leaning publications (if we However the standfirst stated assume The Independent to be leaning (ABC1s), while Labour traditionally towards the left, which is debatable). represent the working class (C2DEs). David Cameron warns that a protest vote It is no mystery as to why this is the However, as noted above, the red-top for UKIP today would result in a Labour case: most newspapers, with the Sun supported the Tories, and the government propped up by the SNP. notable exception of The Guardian, ‘quality’ Guardian plumped for Labour. The headline is aimed at UKIP voters, which is owned by a charitable trust, But because it has the largest daily rather than anyone considering are owned by organisations that are circulation in the country, it is possible voting Labour (very few, given its in the business of making money, that The Sun’s anti-Labour rhetoric readership). In an unprecedented and so support right-wing, business- might have an influence if it is able to move, The Telegraph even emailed its friendly parties. swing enough of its readers away from marketing database suggesting they their ‘natural’ party. Two-thirds of its vote Conservative. Ownership readers (6.6m) are classified as working class (source NRS, Jan-Dec. 2014) and The Guardian’s lead headline was more Newspapers also tend to give voice to yet the newspaper recommended neutral: ‘It couldn’t be closer’. As The their proprietors’ views; both Rupert voting Conservative this year, as it did Guardian’s headline stated, according Murdoch’s The Sun and the Barclay in 1979, 1983, 1987 and 1992. However, to the opinion polls it was too close to brothers’ The Daily Telegraph are right- in 1997, and two subsequent elections, call. That changed with the BBC’s exit wing. Rupert Murdoch reportedly the newspaper backed Tony Blair’s poll, announced at 10pm that evening, told his journalists during the election ‘New Labour’. When he became leader which suggested the Conservatives campaign that they weren’t giving of the party, Blair took great pains to would almost get a majority. In the Labour a hard enough time. The Daily woo Murdoch to support Labour. It event they won a majority of 12. Mirror is owned by Trinity Mirror, a
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Where Did the Opinion Polls Go Wrong? By the time you read this, there will have been many investigations into how the opinion polls before the election could be so wrong. Did the large newspaper bias towards the Conservatives influence this? Or did so many of the electorate actually decide to vote Conservative on the day itself? As I write, on the day after the election, I’d argue that this is extremely unlikely. The ‘Tory’ press maintained a consistent anti-Labour line throughout the whole campaign, focusing in the early part on representing Ed Miliband as incompetent and left wing: ‘Red Ed’. Indeed, Labour, and Miliband in particular, had been negatively portrayed as incompetent for many years. The middle-market Daily Mail was particularly virulent; on polling day its front page was still urging readers to ‘keep Red Ed out’. Research showed that the ‘leaders’ (editorial articles in his ‘monstering’, opinion polls showed both the Government and opposition which newspapers overtly express their an improvement in people’s opinion parties will be given a chance to viewpoint) of the daily national press of Miliband during the election period, comment on current issues. However, were mostly anti-Labour: presumably based on the fact that he newspapers, particularly the ‘quality’ The total number of pro-Conservative leaders wasn’t as bad as they had expected press, often determine what are the (217) was more than double the pro-Labour from the ‘Tory’ press. day’s important news stories. For example, the letter signed by business aggregate (87). Newspaper circulation has declined people mentioned above ran as the significantly over the last forty years, Plunkett 2015 lead story on the BBC’s website and suggesting that as a result the influence at least one radio news bulletin, It is unlikely, however, that these of the press is waning. For example, despite being organised by the leading editorials were particularly The Sun’s circulation has decreased Conservative Party. The ‘advantage’ to influential. Research suggests that by about 3m since 1992 when the the broadcaster is that it can claim it is a biased presentation of news is a newspaper infamously claimed It merely reporting what’s already news, more effective way of influencing was The Sun wot won it. That year and so it’s not biased. The BBC’s own attitudes than direct support, as opinion polls had suggested Labour economics editor, Robert Peston, has readers may consider news reports would win, but on the night itself the complained about the corporation’s to be factual rather than obviously Conservatives triumphed. The Sun’s reliance on right-wing newspapers opinionated. The Daily Telegraph, for claim was highly debatable even then; to prioritise the news (see Brown example, ran two lead stories based but with around 9m fewer readers its and Deans 2014). on letters signed by business people in influence is now clearly far smaller. support of the Conservatives that were actually organised by Conservative However, one way the built-in right- The Role of Social Media wing bias of the national newspapers Central Office (a fact the newspaper It is also possible that social media had may still have a significant impact is didn’t report). In effect these letters an impact as, in what is now ‘classic’ because broadcasters often let them were more propaganda than news Web 2.0 fashion, it enabled audiences set the news agenda. (Martinson 2015). to produce and distribute texts. For It’s possible that the coverage of example, The Sun’s front page the day Where the Press Leads, before the election has an unflattering Miliband was particularly negative Broadcasters Follow... because the Labour Party was picture of Miliband eating a sandwich. By law, British broadcasters must be committed to implementing Leveson’s A hashtag ‘#JeSuisEd’ encouraged impartial. This is usually achieved proposals on press regulation – and tweeters to share embarrassing through ‘balance’, where for instance, most newspapers oppose this. Despite pictures of people doing the same,
14 MediaMagazine | September 2015 | english and media centre MM making the point that anyone can look an idiot eating butties. In addition, @twcuddleston started #Milifandom, a Twitter-based fan club for the Labour leader. But whatever impact these memes had, they were overwhelmed by the pro-Tory press coverage. The information that you get via social media depends, of course, on your friends and on whom you follow. Their outlook is likely to be similar to your own, and so may reinforce your own viewpoint rather than challenge it. Hence it’s possible that social media won’t affect attitudes. Even Russell Brand’s last-minute support for Labour seemed to have little impact. By the evening of election day, there had been 1.75 million views of his 29th April interview with Miliband on YouTube; Brand also has his ‘Trews News’ videos on his own website, so even more would have seen it. It should be noted, however, that people who had taken Brand’s earlier advice not to vote may to the Tories by the right-wing papers Follow It Up not have been registered, so by polling over many years was responsible for day it may have been too late for them the Tory victory: M. Brown and J. Deans. 2014. to change their minds and do so. Available at: http://www.theguardian. The press’s role in the 2015 election requires com/media/2014/jun/06/bbc- In the end, most people were surprised more investigation. As so often, the coverage obsessed-agenda-daily-mail-robert- by the result of the General Election. over six weeks tells us little more than we could peston-charles-wheeler Maybe the heavily-biased, right-leaning have anticipated before the campaign began. press did have a decisive impact in its Agenda setting over a longer period is far R. Greenslade (2015) http:// portrayal of Miliband. The relentlessly more important. www.theguardian.com/media/ negative Conservative campaigning, greenslade/2015/may/11/yes-right- orchestrated by the political strategist Nick Lacey teaches Film and Media Studies, wing-newspaper-coverage-did- Lynton Crosby, focused on rubbishing is the author of several Film and Media cause-ed-milibands-downfall textbooks, and is a freelance writer. the opposition; it may just have swung J. Martinson. 2015. Available at: the vote. Respected commentator Roy http://www.theguardian.com/ Greenslade (2015) certainly thought media/2015/apr/27/telegraph-tories- so, suggesting that the support offered letter-election-david-cameron-mail J. Plunkett. 2015. Available at: http:// www.theguardian.com/media/2015/ may/06/sun-ed-miliband-neil- kinnock-murdoch-labour
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english and media centre | September 2015 | MediaMagazine 15 MM Election 2015 and the Media
The Televised Debates
It’s all too easy to draw a series of debates and put considerable conclusions in hindsight, but pressure on the Labour leadership to what can we learn about the take part. Eventually, the Prime Minister, media and democracy from Gordon Brown, agreed, even though the format is often seen to favour opposition the experience of the 2015 parties and to be potentially dangerous General Election? Steph Hendry for those in power. analyses the history and impact The US Model of televised electoral debates, Televised debates have long been a and wonders what part they part of American politics. The American might have played in the political system is very different to the UK one – voters may have a party eventual outcome. allegiance to either the Republican or the Democratic Party, but they vote for The UK held its first-ever televised an individual person for the position of political debates during the 2010 President. During a Presidential election General Election campaign. The leaders of the three mainstream parties met on three separate occasions to answer questions, discuss the policies in their party manifestos and address issues raised by questions suggested by the public. This was a new approach to electioneering, and one that had been resisted for some time by British politicians; Tony Blair, Prime Minister between 1997 and 2007, had refused to engage with the idea of introducing broadcast debates as a campaign strategy. In 2010, David Cameron, then Leader of the Opposition, pushed for
16 MediaMagazine | September 2015 | english and media centre MM there are many debates in the US; these issues of the day. However, Kennedy had used it extensively, and with the begin with debates between potential was the clear winner of the television decline of print media and the need to candidates (known as the Primaries), and debate. He presented his arguments in a attempt to engage more of the voting- culminate in a two-way debate between cool and confident way, and dealt with age population with the political process, the selected candidates – one of whom Nixon’s challenges well. He came across three television debates were broadcast will become President. Broadcast debates as a positive and assured man who was by (in turn) ITV, Sky and the BBC. allow the public to hear politicians charismatic and charming. Nixon, on the Each debate began with a specific theme explain their policies and justify their other hand, looked uncomfortable and (Domestic, International and Economic) ideological positions. The nature of a was sweating profusely under the hot and ended with the discussion of general televised debate brings the candidates studio lights, having refused the offer issues. Polls were taken after each debate, to the audience in a very personal way. of make-up. The different perceptions and a ‘yellow surge’ was declared as The camera introduces the candidates of the audience are not anecdotal; the the lesser-known leader of the Liberal into the living rooms of voters, and televised debates themselves showed Democrats, Nick Clegg, ‘won’ each debate foregrounds their visual images and the increasing importance of ‘image’ in by a substantial margin. The debates mannerisms. Facial expressions, clothing politics. Kennedy went on to win the were each watched by around 10 million choices and body language become Presidency, and many have identified his people, and generated a good deal of important aspects of the message being performance in the debates as being a interest. They even created a meme after communicated; and so the personality turning point in the election. Following the leaders of the Conservative and the and style of each candidate can the negative impact of the debates Labour party were heard to say ‘I agree become as important as the content of on Nixon’s campaign, the presidential with Nick’ several times though the their arguments. debate format was abandoned in the US debates. The leader of the Labour Party, for a while; but since 1976 it has become The very first presidential debate showed Gordon Brown, did not fare well. He was a staple part of the election process. immediately how visual presentation described by Jonathan Freedland in The influenced voters’ perception of the Guardian as being ‘tired and rumpled, politics. In 1960 the Republican Vice- But it’s Different Over Here... often glowering’ as opposed to the ‘fluent president, Richard Nixon, debated In the UK, the public vote for local and easy on the eye’ Cameron and ‘the with the Democrat challenger, John F. representatives who are (usually) star of the show’, a ‘young, boyish and Kennedy. Nixon was an older man with members of a political party. The party eager’ Clegg. The popularity generated by the debates translated into some additional votes; but the UK ‘first past the post system’ doesn’t always translate votes into seats. The Liberal Democrats received a higher percentage of the votes than in the 2005 election, but they won fewer seats, and went from 62 to 57 MPs. Despite this loss, they had enough MPs to go into a coalition with the Conservatives who had failed to achieve a clear majority in the election.
The 2015 Debates The 2015 debates were almost considerable political experience, but who wins the majority of seats has the overshadowed by the problems had never been seen as a good public right to form the government, and its experienced in getting them organised speaker. He was, reportedly, shy and leader becomes Prime Minister. This in the first place. Perhaps stung by his suspicious of the media, and he was structure means that national debates own performance in 2010, and aware of not at all keen on appearing on the still do not have the same political purpose the negative impact they had had on the relatively new platform of television. His in the UK as they do in the US. Debates public perception of Brown, Cameron opponent, a confident, good-looking, featuring party leaders in the UK are not appeared to resist the idea of taking part young contender from a media-savvy offering the public a choice of Prime in election debates at all. In addition, family, was actively using the media to Minister, but the choice of governing the 2015 debates were taking place in create an image that aimed to make him party. This may explain why the Party a very different political context than appealing to voters. The debate between Leader debate format had been avoided those in 2010. the two was broadcast on both TV and until 2010: the personal, presidential style radio, and viewers/listeners were asked did not reflect the way the UK selects • No single party had won the to vote for a ‘winner’. Radio audiences its government. 2010 election, resulting in a declared Nixon the victor, having listened coalition government between However, by 2010 social media had to the policy explanations and the way the Conservatives and the been seen to be a crucial part of modern the two candidates debated the major Liberal Democrats. politics. Obama’s US campaign in 2008
english and media centre | September 2015 | MediaMagazine 17 MM • UKIP’s profile and popularity had a head-to-head debate with Ed Miliband. Miliband or Sturgeon (for the SNP). An increased since 2010. More discussion, offers and counter offers analysis of social media showed that were made between the Conservatives Farage’s comments about immigrants • Debates about Welsh, English and and the broadcasters until the following with HIV were negatively received and Scottish governance had been format was agreed: the minor parties were tweeted about foregrounded by the referendum on most favourably, with Cameron least Scottish Independence in September 1. Leader interviews would take place, favoured of all the leaders. 2014, with Scotland voting to with Jeremy Paxman interviewing stay in the United Kingdom by a Cameron and Miliband separately – The third debate was dogged by very small margin. this was broadcast on 26th March on controversy. Cameron claimed he was Sky/Channel 4 – before the official start ‘not invited’ to the debate whereas the • The SNP had become more of the campaign. other parties, the broadcasters and popular in Scotland. many on social media were keen to 2. A Leaders’ Debate with leaders from • Membership of the Green Party had point out that the lack of governmental the main English, Scottish and Welsh increased and, in the run up to the presence was his choice. Nearly 9 parties – held on April 2nd and election, it had more members than million people watched this debate and broadcast by ITV. the Liberal Democrats and UKIP. Miliband appeared to have ‘won’ the 3. A third debate was to be broadcast on In this more mixed political climate debate, in both traditional polls and in the BBC on April 16th, featuring all the the broadcasters had offered four- online responses. leaders from the second debate apart way debates where the leaders of the The Question Time special attracted from those representing the coalition Conservatives, Labour, Liberal Democrats an audience of 4.3 million. As with the government, Cameron and Clegg. and UKIP would be included. When previous debates, the structuring of the announced, the inclusion of UKIP was 4. The final event (not a debate as such) programme created bad feeling in some controversial, especially given the fact was a special edition of Question quarters. One of the audience members on the show wondered why the leaders seemed unwilling to debate each other, and Nigel Farage complained that the BBC should have included him in the line- up for the main programme. The leaders of the minority parties were given airtime outside the main programme. The arguments about who would participate in the debates flagged up some interesting ideas about who could have a political voice on TV. The initial plans to include UKIP but exclude the Green Party attracted a lot of attention as people questioned how Ofcom defined a Time featuring Cameron, Clegg and ‘minority party’. UKIP’s television presence Miliband, broadcast on the BBC had been growing substantially in the on April 30th, in which each party years since the last election; perhaps leader was allocated 30 minutes to unsurprisingly, as Farage became a answer questions put to them by the more recognisable figure so his party’s studio audience. popularity grew. The Greens on the other hand, with more grassroots members and What Happened Next? with an MP since 2010 (and an MEP since The first leader interviews received 1999), received far less publicity within complaints that the two leaders mainstream political programming. that the Green Party and the Welsh, were treated differently, and that the Ofcom cited UKIP’s success in recent Scottish and Irish parties were excluded. programme was biased against Miliband. European elections and the growth in David Cameron said he would only take Polls taken afterwards showed no clear their popular support as the reason part if the Greens were included. The winner – YouGov took two polls that why they were included in the debates broadcasters came back with proposals gave contradictory results. Surveys of and the Green Party were not. Both that included the Greens, the SNP and social media responses seemed to favour members of the public and politicians Plaid Cymru; Cameron countered by Miliband. The interviews were watched challenged this decision. saying he would only take part in this by about 3 million people. more inclusive debate if it were held Televised debates, accessible online before the official start of the election About 7 million people watched the ITV via on-demand and video streaming campaign, and he refused to commit to debate and the winner of the debate, services, allow the public to hear depending on the poll, was either the party leaders engaging with the
18 MediaMagazine | September 2015 | english and media centre MM issues and policies that will impact on A voter from the marginal seat of their lives. They are, of course, heavily Nuneaton was asked on BBC Radio 4 controlled, and so public interaction post-election how Labour could attract with the leaders is kept to a minimum. more votes; he laid the blame firmly on Modern politicians no longer engage Ed Miliband’s shoulders saying that ‘as in the kind of public debates that were a front man, he doesn’t appeal to the once central to election campaigns. public’. When asked what ‘kind of person’ Local debates are often controlled and might be better for Labour he replied: occasionally heavily policed, and party someone charismatic, someone with a bit leaders’ interaction with the general of personality and someone that can hold public is limited to travelling around in themselves well in front of other people. secure campaign buses, coming out only for choreographed ‘meet and greets’ For this voter at least, personality and and photo opportunities with carefully charisma is important; it would appear selected people. that party leaders’ performances on TV, in interviews and debates clearly has some John Harris reported in The Guardian on bearing on the choices people make. a debate between Nick Clegg and local challengers to his Sheffield seat. This Steph Hendry is a Media lecturer at debate was held in a local school with Runshaw College, and a freelance writer. an audience of selected 6th formers. Follow her on Twitter @albionmill Questions were pre-selected, and the press were excluded. Meanwhile, the Follow It Up intimate image of Cameron meeting http://www.theguardian.com/ workers in Cornwall (right) was shown commentisfree/2010/apr/16/leaders- to be stage-managed and wider tv-debates-jonathan-freedland shots show the Prime Minister in a cavernous warehouse rather than a http://news.bbc.co.uk/1/hi/uk_ genuine workplace. politics/1122468.stm So, whilst politicians remove themselves http://www.telegraph.co.uk/news/ further from engagement with the politics/margaret-thatcher/10011227/ public, televised debates give voters a Margaret-Thatcher-wanted- chance to hear what the party leaders to-take-on-Callaghan-in-1979- have to say to one another on the big South West of England. Politics is now leaders-TV-debate.html issues of the day – a chance that they looking more fragmented; 33% of those http://blogs.spectator.co.uk/ may not have otherwise. who voted did not vote for either of coffeehouse/2015/04/how-election- the ‘big two’. campaigning-works/ Postscript No-one can say for sure what impact http://www.independent.co.uk/news/ The 2015 election proved to be more the televised debates had on the results. uk/politics/generalelection/george- dramatic than expected. Despite all the The minor parties definitely benefited galloway-plays-it-safe-at-bradford- polls predicting there would have to from being able to get their messages west-hustings-as-police-keep-the- be another coalition government, the out, and Cameron’s distancing from the peace-10185509.html debates was perhaps an astute strategy. country now has its first Conservative http://www.theguardian.com/ The majority of the mainstream press majority government for 18 years, the commentisfree/video/2015/may/06/ supported the Conservatives, both in the near-decimation of the Lib Dems across nuneaton-election-2015-scottish-get- election and in reports on the party and the UK, and near-wipeout for Labour in-with-labour-were-done-for in Scotland and the South, East and its policies over the past few years.
MoreMediaMag from the archive TV Theories, MM22 Your Country Needs You: The Scottish Referendum 2014, MM51
english and media centre | September 2015 | MediaMagazine 19 MM The Beeb, The Mail AND JKR
The Politics of The Casual Vacancy
Leftist propaganda or a biting plot is nonsense and the left-wing breast- beating is infantile. social portrait of coalition Britain? Harry Cunningham explores I am, would you believe, describing the reaction to a TV drama based on the polarised responses to J. K. a novel by J. K. Rowling. The Casual Rowling’s The Casual Vacancy, Vacancy is the BBC’s adaptation of Rowling’s first post-Potter novel the three-part mini-series argue that and questions whether we should about an idyllic country town and a Rowling heavily promotes left-wing neighbouring council estate brought ever read too deeply into the values by ridiculing the wealthier low by the hypocrisy, bigotry and politics of a text. residents and shaming them for their general narrow-mindedness of plot to sell off the local food bank and its residents. rehab centre Sweetlove House. For a writer held in such high esteem In interviews J. K. Rowling has stated by the nation and the world, the her disapproval of benefit cuts and the reaction to JKR’s latest project feels withdrawal of public services, having slightly unreal. However, when lived on benefits herself for several unpicking the criticisms made against years whilst she raised her daughter The Casual Vacancy, it becomes clear and wrote the first Harry Potter book. that the commentary has little to She is also very good friends with, and do with the merits of the story or The Guardian compared it to the work was a vocal supporter of, former Labour how well it had been adapted from of one our greatest classical writers. leader Gordon Brown. the novel. Instead many newspaper In scope, themes and setting it reviews focus on the left-wing political Many of the newspapers which resembled Middlemarch ideology which they claim dominates have criticised The Casual Vacancy – particularly The Daily Mail – disagree wrote Suzi Feay. The Sunday Times the narrative. with Rowling’s view. They support described it as ‘virtually unwatchable’, broadly Conservative views that food whilst The Daily Mail left none of their The BBC and JKR: Too Cosy banks, rehab centres and a larger readers in any doubt as to its view: for Comfort? state do little to foster personal Indeed many of the newspapers that The characters are cut from plywood, the responsibility; and, moreover, that have lavished scathing criticism on
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beyond simply pointing out their disagreement with the overall political message of The Casual Vacancy. Many leading commentators have suggested very explicitly that in broadcasting the drama the BBC has broken its own impartiality guidelines, and implicitly gave support to the Labour Party just two and a half months before the 2015 General Election. This, they argue, was a deliberate plot. In their view, BBC executives, commissioners, programme-makers and scriptwriters all have an inherent left-wing bias and this is reflected in most of its output. It is worth noting that, although much has been said about the bias of the BBC, the most conclusive study of the BBC’s output (conducted by Dr closing down such projects would Mike Berry of Cardiff University and help reduce the need to pay taxes, and commissioned by the BBC Trust itself) mean more money for those that work, found that, if anything, the BBC veered which in turn would create more jobs more to the right than to the left. for the unemployed. Bias or Balance? Given this clash of ideology, it is Nevertheless, in a Mail article entitled ‘Is perhaps unsurprising that The Casual the BBC too cosy with Vacancy received poor reviews J. K. Rowling?’, Sebastian Shakespeare from some quarters. But journalists, questioned the relationship between particularly at The Mail, have gone the BBC and J. K. Rowling, pointing
english and media centre | September 2015 | MediaMagazine 21 MM out that Danny Cohen, BBC Director latest series of The Apprentice until of Television, is also a director of after the election because Lord Sugar Rowling’s charity Lumos. Furthermore, was a Labour Peer and Enterprise in a comment piece entitled ‘Has spokesperson for the Government at the BBC license fee become part of the time. This came despite the fact Labour’s election budget?’, Christopher Ofcom had previously ruled there was Stevens argued that no conflict of interest between Lord Sugar’s government role and his work the BBC is rushing to screen Tory-bashing shows as host of The Apprentice. like [...] The Casual Vacancy [...] because very soon we’ll be in the countdown to a General But not only was The Casual Vacancy Election, when the Corporation must remain shown outside the Purdah period, it neutral, fair and balanced. is a fictional drama. At no point does any character explicitly state a political He refers to the period known as allegiance, or mention any specific Purdah, after the dissolution of Labour party policy, for example the Parliament (30th March 2015) when mansion tax. So just what is it about politicians must not refer to themselves The Casual Vacancy that has got so as MPs, are locked out of their offices, many people on the political right and broadcasters must follow special in such a tizz? stricter rules about their programming, being careful to give equal air time to the views of all major parties. Thus Barry Fairbrother: a a docu-drama such as Channel 4’s Mouthpiece for Rowling? recent UKIP: The First One Hundred It is clear right from the start that Days, which painted a bleak picture J.K. Rowling and Sarah Phelps, who of Britain under a UKIP government, adapted the show, are steering viewers could not be broadcast during Purdah to believe that it is wrong to close without similar efforts to represent the down Sweetlove House, and to the other parties. wider conclusion that it should be the responsibility of the state to rehabilitate Such is the care taken by the BBC drug addicts and offer assistance to that in 2010 it decided to delay the those in need.
22 MediaMagazine | September 2015 | english and media centre MM Barry Fairbrother – the hero of Pagford If we vote for this then what we’re really – is dead by page 2 of the novel. doing is removing any reason for the people However, in the television adaptation of Fields to come into Pagford because they’ve he is instrumental in making the case got problems. Yeah, keep ‘em on the estate, for continued investment in Sweetlove away from us because they’re not picturesque House. In Episode 1, he makes a [...] that’s, that’s social engineering! That’s highly provocative and compassionate apartheid. Herding people into ghettos speech at the Parish Council meeting because they don’t fit the aesthetic, there’s where the Mollisons and their allies a name for that. attempt to gather support to have He points in comparison to a councillor it closed down. The residents rush who had been a soldier fighting to see what Sweetlove House could fascism in the Second World War. look like if it was sold off and turned Later he proclaims into a spa; meanwhile the viewers can clearly see Barry Fairbrother watching Parish councils are not here to make a on in disgust. quick buck for those who already have more than enough. Fairbrother gets angrier in the background as Shirley Mollison, a rather The Mollisons and the less sympathetic character, suggests ‘ruination of Pagford’? frivolously that the food bank operate out of the back of a van. Her husband, Perhaps the biggest concern to chairing the debate, tries to cut him the press appears to be the way in off, but Fairbrother launches into an which the better-off characters are emotional speech: portrayed. In Episode 1, we see Howard Mollison ranting at some children looking through the window of his bakery shop: ‘Field kids. Little sods,’ he exclaims, calling them ‘junkies and fat twats’. He goes on to link the kids to his own political views: ‘This is what I’m trying to save us from, the ruination of Pagford’. Later when he finds out that Barry Fairbrother – a character we already know he despises – has died, he is seen handing out pastries and coffees, bemoaning ‘what shall we do without him? It’s unbelievable I can’t believe it! He was so full of life’. The use of upbeat, mischievous music further enforces Howard’s hypocrisy, but also reveals that he can be read as a comedic figure rather than a particularly malevolent villain.
english and media centre | September 2015 | MediaMagazine 23 MM
Nevertheless, we are not positioned to feel remotely sympathetic towards his views, especially in the context of his performance at the Parish Council meeting.
Responsibility It is often unhelpful to read too much into the politics of a text, as authors and screenwriters very rarely sit down to write with a solid view in mind; doing so would lead to flat characters, endless political soap-boxing and predictable story-telling. The Casual Vacancy merely explores and highlights the social issues affecting Britain in 2015, such as what role should the state and the community play in supporting drug addicts and the unemployed, and how far should social workers and schools attempt to intervene in the Follow It Up lives of teenagers blighted by poverty Delingpole, James, ‘So will the and deprivation. BBC and Channel 4 screen pre- J.K. Rowling said a working title for election dramas mocking the Left? The Casual Vacancy was ‘Responsibility’ In your dreams!’, The Daily Mail, and perhaps that is the wisest way (17 February 2015) to read the text: as an exploration of Shakespeare, Sebastian, ‘Is the BBC social, governmental and personal too cosy with J.K. Rowling?’, The Daily responsibility in twenty-first Mail (14 March 2015) century Britain. Stevens, Christopher, ‘Has the BBC Harry Cunningham is a freelance writer. licence fee become part of Labour’s He has contributed to The Guardian, The election budget? Christopher Stevens Independent, The Leicester Mercury and reviews last night’s TV’, The Daily Mail Writers’ Forum Magazine. (18 February 2015)
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ON THE WALL, WHO IS THE FAIREST OF THEM ALL?
Roy Stafford reflects on across different genres, always listed high in the credits, and sometimes in changing approaches to acting, the lead. For many audiences she was performance and celebrity, using a new face as Bella in Twilight; but by the always-interesting Kristen then she was a considerably experienced actor. Her move from child to teen to Stewart as a case study in adult roles had a similar trajectory to theories of stardom. earlier child actors growing up within the artificial world of Hollywood celebrity, Just a few days before the 2015 Oscar especially those with parents involved ceremonies, Kristen Stewart became the in the entertainment industry. In many first American actress to win a César, the cases interest in these stars is fuelled by French Oscar equivalent film award, for personal problems, often drug addiction. Best Supporting Actress. Stewart won for Stewart grew up in Los Angeles with her performance in Clouds of Sils Maria, parents who worked in film and in which she plays a personal assistant television, but with little scandal in her to a film and theatre star played by teenage years. However, the press dug Juliette Binoche. Many commentators for something to ‘fit’ the conventional agreed that Stewart more than story of the ‘troubled young star’. In matched Binoche. 2012, photographs of Stewart with her and the vexed question of what Kristen Stewart was nervous, and the director on Snow White and the Huntsman constitutes ‘good acting’. YouTube clip of her acceptance speech were used to create suggestions of her attracted both positive and negative ‘infidelity’ to Twilight co-star Robert comments. This young woman has A Familiar Story for a Pattinson. This created a backlash from thousands of followers on social media Young Star? some of the ‘Twi-hards’ – the franchise but also many detractors. Her status as Aged just 10 Kristen Stewart began fans – and also resulted in extensive both the star of the Twilight franchise work as Jodie Foster’s daughter in David sexist journalism. which earned more than $3 billion Fincher’s Panic Room (released in 2002 worldwide, and as a young female when she was 12); by the release of the celebrity, makes her career an interesting first Twilight film in 2008, when she was case study for work on stars, celebrities 18, she had appeared in thirteen features
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Theorising Stars and other two star categories relate more to at one end, and much lower-budget Celebrities acting in films than to their appearances independents at the other. The ‘squeezed ‘outside’ films. The professionals are middle’ means that it is difficult for many Discussion of stars and celebrities in Film those that do a job in a role associated of Geraghty’s ‘professionals’ to find the and Media Studies took off in the 1980s, with their star image (which might be kinds of roles in mainstream films that mainly as a result of the groundbreaking related to a familiar type as discussed enable them to maintain a consistent star work of critic Richard Dyer in Stars, first by Dyer). Fans go to see their films image. The ‘performers’, however, have published in 1979. knowing what to expect and enjoying been able to showcase their acting skills Dyer drew on earlier work in different the star’s performance in a familiar role. in a range of different kinds of films (and disciplines to conceive of stars as both The performers are those stars whose to enjoy a higher profile on TV talk shows economic commodities used in the acting prowess – their ability to ‘become’ and at film festivals/fan conventions). production of films, and as the carriers Geraghty has always been most of a ‘star image’ – an identifiable image interested in female film stars. Her for audiences that signified specific 1990s research suggested that female social ‘types’ and was also the site for stars are more likely to have developed ideological struggle about identities. a star image constructed, at least Crucially this image was constructed partially, through celebrity. The focus both in film performances and in on the female body – the ‘spectacle’ of ‘secondary circulation’ across the press, female stardom – and the interest in the TV and other media. One recent example personal and social lives of high-profile of the strength of such star images was women are very familiar. Geraghty the social media circulation of mash- quoted the 1990s battles of former child ups of Ed Miliband’s face onto the body star Drew Barrymore, of various celebrities, including Dyer’s unique characters in memorable roles, to ultimate ‘rebel’ figure, James Dean in enhance aspects of unusual characters, or an actress whose film appearances are set in the characteristic pose. to demonstrate their talent in other skill context of a turbulent private life. Christine Geraghty (2000) developed areas (e.g. martial arts) – is the basis for The cinema’s ‘gaze’ (whether male or Dyer’s ideas in suggesting three their star appeal. female) on the physical appearance of possible categories of stars – celebrity These three categories offer a useful female stars is likely to have a significant stars, professionals and performers. way in to star study. Geraghty did her impact on the ‘starpower’ of older female Celebrity stars are those whose star research in the 1990s, and the enormous stars; contemporary Hollywood still image is heavily determined by their growth of social media forms since echoes the complaint that there are appearances in interviews, paparazzi then has certainly changed the way fewer roles for women over 50, or that images, tabloid news stories and now celebrity is utilised (and contested) in lead roles start to disappear after 40. social media. Fans are attracted to their film distribution. The film industry itself However, some older actresses have films because of their celebrity status and has also changed, with greater focus on surmounted whatever difficulties may the stories about their personal lives. The ultra-high budget franchise productions still be faced. Geraghty analysed Meryl
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as we might expect, and the gossip media have struggled to paint her into sensationalist tabloid narratives beyond her break-up with Pattinson and her current ‘gal pal’ Alicia Cargile. Outside of her franchise commitments to Twilight she has only taken one other mainstream film role. Instead she has chosen to work on low-budget independents in the US and now, with Clouds of Sils Maria, a French production. At the age of 25 she has already been seen in 32 films, of which perhaps 12 have found a significant audience. The other 20 have not been commercial projects as such, but have enabled her to work with Streep as ‘performer star’ in the 1990s, noted the number of young female a diverse range of creative people on suggesting that despite Streep’s acting actors who appear to be trapped by their different kinds of films. Could it be that abilities, critics (mostly male) often celebrity images constructed around Stewart’s intention is to develop as a ‘star found her performances less convincing appearance and behaviour as viewed performer’ – confounding those who because she did not appear to ‘inhabit’ through social media. claim that ‘she can’t act’? a role, but rather ‘impersonated’ a Stewart’s role in Snow White and the character. This comment refers to Kristen Stewart as Female Huntsman was as a ‘re-imagined’ and method acting (discussed below). For Star more ‘realist’ princess forced to fight for example, Meryl Streep and Robert De How does Kristen Stewart’s ‘stardom’ her kingdom in a re-telling of the well- Niro (one of the male ‘method’ stars) in 2015 ‘fit’ Geraghty’s categories? known folktale as an action-adventure were both Oscar-nominated for The She is certainly a ‘celebrity star’ whose romance. It demonstrated the potential Deer Hunter (1978); in 2000 Geraghty appearances on TV talkshows are commercial success of combining noted that De Niro, after more than 25 circulated on YouTube, and whose private Stewart’s drawing power from Twilight years as a top ‘performer’, was more life is followed through tabloid journalism with the starpower of male action likely to retain his status than Streep. We and social media. In commercial terms, performer Chris Hemsworth as ‘The now know the reverse has happened. she is one of the best-paid young women Huntsman’ and a solid professional/ Streep has become not only one of the in the world, and a ‘brand personality’ performer in Charlize Theron as the most nominated award-winners ever, for major fashion houses Chanel and Evil Queen (as well as plenty of CGI but has remained a ‘bankable’ star. Yet Balenciaga. And yet... she doesn’t play the ‘wizardry’). A key aspect of Stewart’s Geraghty was not ‘wrong’ in her analysis. celebrity game (ostentatious spending, performance concerns her vocal delivery Although pleased for Streep, she also lifestyle endorsements etc.) as much – how she speaks her lines – and her
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use of facial and body gestures. This worked with critically-acclaimed directors highlights the contrast between Stewart and actors. She has also sometimes and the other leads, as well as the chosen to work with female directors, supporting cast which includes several and opted for scripts seen as ‘difficult’ in well-known British ‘character actors’ – or terms of selling seats. Recently she joined ‘performers’, in Geraghty’s categorisation. other young female actors in publicly Where the other actors enunciate clearly criticising Hollywood’s institutional and use gestures to support what they sexism. Producers might consider her star say, Stewart tends to swallow her words, How Do We Analyse status as a publicity bonus – but given lose parts of a sentence and sometimes Film Acting? the problems of low-budget productions to make only minimal gestures. This There are several possible perspectives she must also be acceptable to other might be construed as ‘bad acting’ – but on film acting. For the audience, actors. Diva-like performances could it could also be seen as more ‘naturalistic’. identification with a character is arguably severely disrupt low-budget productions. It suggests that Stewart has a different the most important consideration. Do Early in her career Kristen Stewart acting style. Unlike the other actors we recognise the character through the became aware of the method school of (virtually none of whom are American) portrayal? Is the character credible? Do acting. In 2007’s Into the Wild she has a she doesn’t have the theatre training or we understand what might be going on short but important cameo appearance the background in the ‘classics’. She does inside their head? For the film’s director directed by Sean Penn, an actor-director however have a great deal of experience and producer, other considerations are who has won many international prizes in film acting. also important – is he/she punctual and (including two Oscars) and is often reliable? Can they respond to direction, described as a ‘method actor’. In simple camera movement, script interpretations? terms the ‘method’ derives from the Can they work well with other actors work of Constantin Stanislavsky in Russia and crew, and talk to the press? For in the 1920s, and later the American Lee critics and fellow actors who vote in Strasberg who founded the New York awards competitions there may be more Actors Studio in 1951. Strasberg taught forensic questions about techniques – actors how to ‘internalise’ a character, and they will make professional judgements. how to discover aspects of performance Evaluating acting is not straightforward. which represented the character’s Kristen Stewart’s star image is built thoughts or feelings. Sometimes these around audience identification with external ticks and mannerisms become an ‘ordinary American girl’ who has an so exaggerated that they take over the extraordinary adventure in the Twilight role (e.g. Marlon Brando’s mumbling films. But her performance style and through padded cheeks in The Godfather, her approach to acting have developed 1971). The method may also be through her involvement in several small responsible for the incoherent delivery independent films in which she has of dialogue afflicting several American
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film actors. But what seems clear is that Stewart’s other major 2014 performance Winter’s Bone (2010) and first gained well-known method actors tend to was in Still Alice, opposite an international stardom through a fantasy win prizes – perhaps because they are internationally-acclaimed female actor, franchise based on a ‘young adult’ novel, visibly ‘performing’. Julianne Moore (who won the 2015 Best The Hunger Games. Her later selection of Actress Oscar for her role). Again Stewart roles has followed a different trajectory Kristen Stewart seems to fall part way plays a version of herself as Moore’s to Stewart’s, and her celebrity image is between a form of method acting, and daughter, a young drama student seen different. What would happen if she were what might be considered as ‘playing performing in a Chekhov play. to take Stewart’s roles and vice versa? Try versions of herself’ – the intelligent it for yourself. young Los Angeles woman she clearly is. In both roles Stewart seems to be These two approaches are both visible deliberately playing with her own Roy Stafford is co-author of The Media in Clouds of Sils Maria, in which, with the celebrity while ‘testing’ herself against Students’ Book and author of The Case for acknowledged ‘performer stars’. She Global Film at http://itpworld.wordpress.com appears to be experimenting with a new kind of star image – a brave References venture perhaps, because she risks The work of Dyer, Geraghty and losing visibility among her previously Thompson is discussed in Star Studies: loyal Twilight audience and exposes A Critical Guide, Martin Shingler, herself to her detractors. On the other London: BFI/Palgrave Macmillan 2012 hand she is already a rich woman, and her recent performances have attracted Kristen Stewart’s César speech and considerable critical acclaim. Conan appearance can be found using any search engine. aid of a pair of heavy-framed glasses, she is convincing as Valentine, a young The Commutation Test One way of evaluating Kristen Stewart’s woman who understands contemporary MoreMediaMag film stardom. Director Olivier Assayas attempt to create her new star image from the archive has said that when they discussed the is to employ the ‘Commutation Test’ as How to be Gorgeous – George possibility that she might play Valentine, suggested by John O Thompson (1978). Clooney as Hollywood Icon, MM41 Stewart seemed to understand the role This proposes substituting one star for better than the director himself (Sight another to analyse what is then changed The Decline of the Film Star, MM51 & Sound 2015). On the Conan show in how a particular star performance British Stars in Hollywood, on US TV, Stewart animatedly explains works in a particular film. MoreMediaMag 2007 why she would be so good as a PA, and Kristen Stewart’s contemporary is Stars Past and Present, MM26 also how she got so nervous she could Jennifer Lawrence. Born in the same not hold the César award when it was year as Stewart, Lawrence found Bond and Beyond: What presented to her. Throughout the chat success as a teenager in TV, had an early Sean Connery Did Next, MM29 we can see that her leg is constantly breakthrough in an independent film, shaking from nerves.
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and Collective Identity: Brand Britain?
What exactly is the appeal of and references to Downton Abbey are everywhere. The New Yorker magazine Downton Abbey for UK and global recently described the UK election audiences, and what can it tell campaign as having ‘more storylines us about collective identity and than Downton’. What is it about the series that is so appealing to audiences representations of Britishness? at home and abroad? What might Kathy Oborne provides a really an investigation into this appeal tell useful case study for A2 students. us about collective identity, a key component of the new AQA A2 syllabus of that reality, continually open to debate and change. In March, the team behind the hit series and an established topic for OCR? Downton Abbey announced on Twitter that the final episode of the show What Is Collective Identity? Representing Britain? would be broadcast on Christmas Day. Collective identity is a key term Discussions of Downton in the media The reaction from fans was passionate: when we consider how groups have focused on the way it represents are represented or represent ‘Britishness’ to its domestic and global Season 6 is going to be the last series of themselves in the media. audiences. National identities are Downton Abbey!! Noooooooooo. Devastated constantly being argued over and Collective identity refers to the shared For those few who don’t know, the re-defined – what does it mean to definition of a group that derives from its show is a period drama that tells the be British? Could you easily describe members’ common interests, experiences, story of the aristocratic Crawley family, the history and values that British and solidarities. Collective identity is neither their friends and servants. The rights to people share? Who is included and fixed nor innate, but rather emerges through broadcast the programme have been excluded from British identity? The struggle as different political actors, including sold to 220 countries and the show Scottish Independence Referendum, the movement, interact and react to each other. has an estimated global audience of David Cameron’s promise of an English 120 million people. In 2011, Amazon Blackwell Encyclopaedia of Sociology parliament and UKIP’s warnings of a national identity under threat from reported that Downton had become In any discussion of collective identity, immigration have all called into the best-selling box-set of all time. At it is crucial to remember that media question what it means to be British in home, key episodes have attracted representations do not reflect an the 21st century. What role does a show an audience of over 9 million viewers, existing reality, but are a version
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like Downton play in this struggle for a would dismantle the established class Downton Abbey and British collective national identity? system. The new confidence of the Heritage working classes is voiced by a female As this article will demonstrate, writing Many aspects of Downton’s content member of staff; ‘I can’t just stand about collective identity is a tricky and style could be linked to ‘Heritage here following orders for the rest of business. Let’s start with some textual Cinema’. This term refers to costume my life’. The trailer interweaves social analysis of a Downton international drama made in the 1980s and 90s but context with melodrama; secrets are trailer for series 5 (see page 33). You can set in pre-World War 2 Britain – for uncovered, a couple caught in bed see the trailer at http://www.imdb.com/ good examples see Chariots of Fire together, a child born illegitimately. video/imdb/vi1146727449/ and Howards End. Like Downton, these Characters gallop past the camera on films were popular in the United States, horseback, or talk to each other against Reading Downton promoting a nostalgic but narrow a backdrop of oil paintings framed In the opening shot, the camera pans vision of Britain. The appeal of such slowly towards a stately home as if we films lay in their foregrounding of UK are approaching along a sweeping history and tradition. Writers such as driveway. The audience is led into an Andrew Higson claimed these films aristocratic lifestyle foreign not only diverted attention from the reality to the global audience but also to of a socially divided Britain. Similar modern British viewers. The house is criticisms have been made of Downton. surrounded by wooded parkland and Polly Toynbee, writing in The Guardian, bathed in sunlight. These shots are describes the 2014 Christmas special as: accompanied by a classical score. The in gold. A new character, played by a two-hour wallow in heritage visions of our car is met by two uniformed staff and Richard E Grant, declares; ‘Everything feudal yesteryear, as glimpsed through rose- the camera cuts inside, positioning about Downton is beautiful’. The tinted decanters. the audience behind the aristocratic surface beauty of the series is at odds Toynbee goes on to compare the welcome party. A shot of cocktail with the unpalatable attitudes of the realities of life as an Edwardian servant glasses carried on a tray is placed characters. When advised that servants with the sanitised version presented by next to the two head staff, Carson and are also human beings, Lady Grantham the programme: Hughes, stony-faced in front of an (Maggie Smith) jokes enormous ornamental fireplace. These What we never see is bedraggled drudges Yes, but preferably only on their days off. two shots are linked by a voiceover rising in freezing shared attics at 5.30am; as Carson says ‘I feel a shaking of the The trailer ends by reinforcing its main slopping out chamber pots, heaving coal, ground I stand on’. This sound bridge theme: ‘Downton is catching up with black-leading grates, hauling cans of hot water creates a tension between aristocratic the times we live in’, housekeeper Mrs with hands already made raw by chilblains life continuing as normal, and the Hughes warns Mr. Carson the butler, and caustic soda. prospect of change. This series is set in before bustling out of shot. ‘That is Class tensions in Downton are defused 1924 against the backdrop of the first exactly what I am afraid of’, replies through aristocratic kindness and Labour government, who some feared Carson, rooted uneasily to the spot.
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Like Carson, the audience ‘feels the The show is more than just a soapy world shaking under their feet’ and diversion [...] it’s a guidebook for living in a is afraid. This need for nostalgic stratified society. distraction may also account for the http://www.vanityfair.com/ appeal of Downton abroad: Chinese fans are using the world of Downton is just the latest in a long line Downton as a template for a new of conservative cultural phenomena that exclusive lifestyle – a collective identity get lapped up internationally and end up the use of humour. Maggie Smith’s built around consumption of the representing Brand Britain. snobbish retort about the servants’ ‘best’ British products and traditions. ‘non-human’ status is presented Antony Giddens has described how as a joke – there are now Twitter Identity Building in today’s society individuals are free conversations and Facebook pages So far, I have focused on how to some extent to choose a lifestyle. dedicated to her witty one-liners. Downton has been ‘read’ as a limited This is especially pertinent to affluent The visual impact of immaculate representation of what it means to be Chinese who want to move away from uniforms, decoration and costume British. This analysis of the show relies their Communist past. The Chinese also detract from the inequalities of love of Downton demonstrates the role Edwardian life. This sanitised vision that media products can play in this of the past (‘Everything at Downton is process. Downton is a showcase for beautiful’) can be reassuring to a UK a particular brand of British identity. audience faced with the complexities of Like many successful British TV modern British life. exports (think Sherlock’s London) the programme helps to support the British What is being promoted in a show tourist industry – see the ‘Downton like Downton Abbey is a very limited Abbey Village, Blenheim Palace and and specific representation of British the Cotswolds Tour’ offered at the Visit and Western identity for modern Britain online shop. audiences, who are increasingly on the idea of a collective, passive living in multicultural communities audience who need to be taught the and societies (https://overland.org. ‘real’ message of the programme. With Downton Online au/2013/04/downton-abbey-and-the- audience members all over the world There is a vast range of online heritage-industry/). with different experiences, needs and communities based around different desires, this reading clearly doesn’t tell aspects of Downton. Go to Pinterest Downton represents an imagined the whole story. Let’s shift from the to find out more about Edwardian Britain before ethnic diversity. Writing show to its fans. fashion (you can also source your own in The Huffington Post, Malory Nye vintage Downton look). You might compares the ‘soft nationalism’ of For Chinese audiences the luxurious lifestyle depicted in the series seems to want to arrange a Downton-themed Downton to the message of UKIP, led party, or even a wedding – what better by Nigel Farage: act as a guide to upper-class life. With over 1 million millionaires, wealthy cake to serve than Martha Stewart’s The appeal of Farage is the idea that Chinese are looking for symbols of enormous Gingerbread Abbey, devised somehow we can reverse time and go back to their new status. Last year, Vanity Fair to celebrate the launch of series 5. those ‘happy days’. reported a huge rise in the number of Facebook and Twitter host lively debates about Downton’s characters, The Huffington Post butlers being employed in China:
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and creative fans can develop their Follow It Up Kathy Oborne is a former Media Studies own fan-fiction story-lines to cater for teacher, a researcher and freelance niche interests. There are great user- http://www.theguardian.com/ journalist. generated Downton videos on YouTube, commentisfree/2014/dec/22/ for example the Uptown Funk/Downton downton-abbey-truth-about-britain Abbey Mash-Up, which pokes fun at the http://www.vintagedancer. MoreMediaMag from the archive show’s class snobbery. And fans have com/1920s/1920-downton-abbey- used social media to make more serious inspired-clothing/ Low Budget Auteur: Shane Meadows criticisms of the show, for example and This is England, MM21 http://www.buzzfeed.com/ when an episode featured a rape scene. arielknutson/how-to-throw-a- Representations in British TV Drama: British Social History, MM29 Conclusion historically-accurate-downton- abbey#.au72bk9Nk Icons in the Hood: How Working Downton Abbey is a great starting Class Youths Became Chavs, MM41 point for an investigation into the Ideas for Further Is It Cos I Is British? Issues around relationship between the media and Discussion collective identities in the way it Black Britishness, MM42 represents Britishness both at home • Many British television show and abroad. Online communities have formats (Shameless, The Office etc) formed based around shared responses have been adapted to reflect local to the show; and its narratives and identities. What can we learn from representations may be read from this process about globalisation and very different perspectives. Elements cultural imperialism? of the programme may take on a new • How has immigration as a threat to significance in the construction of national identity been represented individual and group identities. across different media platforms? In today’s globalised world, • Many popular representations identity is a tricky subject. As David of British identity are focused on Gauntlett puts it: the past. Explain why this might be, with reference to at least two Identity is complicated – everybody thinks media platforms. they have got one. • How have the internet and As an A Level Media Studies student, digital technologies allowed the it’s now no longer enough merely to construction of a new, more diverse, analyse the values and representations British identity? embedded in texts; we now need to explore the ways we use them as markers of our own diverse identities. As David Buckingham explains: A focus on identities requires us to pay close attention to the ways in which media are used in everyday life and their consequences for social groups.
34 MediaMagazine | September 2015 | english and media centre MM EastEnders at 30 technology and the soap opera
30 years young and still scoring record figures for the BBC, EastEnders has adapted a highly conventional genre to the different viewing patterns of the digital age. How has it done it – and will the bubble last? Caroline Birks explores the 30th birthday ‘live’ EastEnders events to ponder on the future of the soap opera.
Earlier this year EastEnders turned 30, and celebrated with a week of high-
english and media centre | September 2015 | MediaMagazine 35 MM profile storylines and live broadcasts. Norton EastEnders special, it is unlikely alongside these dramatic events were Being of a certain age, I remember that routine was the only reason other, less sensationalised storylines watching the very first episode people tuned in. In fact, in an era such as Lauren’s pregnancy, Stan’s gathered in the living room with my when audiences can easily timeshift terminal illness and Kat’s drinking. family. I also remember the soaps their viewing, routine seems like a less The melodramatic storylines provide that have come and gone – Brookside, convincing argument. So why else a chance for escapism – another Albion Market and the infamous might someone watch a soap? reason to watch, and one of the many Eldorado. But audiences don’t watch pleasures for soap opera audiences. Another reason suggested by TV in the same way they used to, and Livingstone is the personal relationship But irrespective of these pleasures, with there is more competition than ever viewers develop with characters. so much quality TV available to us via for our free time. Soap operas can also Soap opera characters are easy to platforms such as Netflix, Now TV and seem like an outdated format. So when relate to; they face social problems Amazon Prime, it is increasingly unlikely the audience is becoming increasingly and issues that the viewer may be that audiences will continue to follow fragmented, how has EastEnders experiencing themselves. Seeing a traditional schedule, watching four maintained its appeal, attracting over those events on screen may provide episodes at set times throughout the 20 million viewers during its live week? some comfort or guidance. During week, no matter how much escapism According to research conducted by Live Week there were a number of they may provide. Sonia Livingstone in the late 1980s melodramatic storylines that might The television industry (unlike the there are a number of reasons why be less relevant to the viewer’s life but music industry) has been pro-active people watch soaps, one of which is habit. The narrative of soaps mean that storylines need to be followed over several episodes and sitting down to watch the show may be part of the viewer’s daily routine. In the case of EastEnders Live Week, a ten- month long storyline which had seen audiences speculating for weeks built to a conclusion – a very persuasive reason to tune in. However, with lots of extended episodes and extra programmes – including a Graham
36 MediaMagazine | September 2015 | english and media centre MM social interaction. Today those social interactions have also moved online. You may not know anyone at school who enjoys Danish Science Fiction films as much as you do; but you can guarantee that online there are hundreds of people who do. During Live Week, Twitter, Facebook, the EastEnders website and Instagram brought fans of the soap together; and even those who aren’t regular viewers were able to take part in the conversation, with over 1 million tweets being sent on the Thursday and the official BBC EastEnders Twitter account reaching 43 million globally. The Uses launch it has grown considerably in and Gratifications theory talks about popularity. Figures show that iPlayer the need for personal relationships had its biggest ever week during which develop through our discussion EastEnders 30th anniversary, so perhaps of the media. This is Uses and the flexibility of the service is another Gratifications on a global scale, with reason why audiences tuned in that people connecting through media like week, requests to view EastEnders- never before. But, of course, if you want related content reaching 75 million. to be part of the conversation, you The soap’s first-ever flashback episode, need to have watched the episodes. revealing the killer of Lucy Beale in the culmination of a year-long story- arc, saw EastEnders move away from traditional generic conventions. It had over 2 million requests, with 1 million in the first 24 hours after its original broadcast. iPlayer has proven in acknowledging the challenge that audiences want flexibility and from the internet and the shift of the chance to view again, especially audiences to online. The BBC was when it’s Event TV. quick to provide an online viewing When I was a teenager, many of my service which allowed audiences to school days would regularly start with timeshift their programmes and watch the phrase ‘Did you see EastEnders them when they preferred. BBC iPlayer last night?’ and although there went live on Christmas Day in 2007 wasn’t a real watercooler in sight, and since then, has been ‘making EastEnders was definitely a part of my the unmissable, unmissable’. Since its The EastEnders production team also recognised the importance of the online community, and in particular Twitter, by using the hashtag #EELive to indicate which sequences were live and which were pre-recorded. Many of us ‘dual screen’ whilst we’re watching TV, so establishing a hashtag allowed audiences to tweet along with the action. Some of the audience responses were hilarious (especially when Jo Joyner aka Tanya made a slip-up on screen – another reason for viewers to tune in) but the responses also recognised the quality of performance, with particular praise for Adam Woodyatt (Ian Beale) and the seamlessness of the drama.
english and media centre | September 2015 | MediaMagazine 37 MM #TamwarTweets was another innovation during Live Week where the actor Himesh Patel made history by tweeting during the live elements of the show. As a guest at the Beale wedding, Tamwar was able to tweet exclusive pictures and updates throughout the show, which were then retweeted and favourited by many. The character’s unique brand of dry humour meant the tweets were funny and intelligent and allowed the audience to get to know more about what was going on beyond the boundaries of the episode. This perhaps further blurred the boundaries between fantasy and reality, making the world of Walford difficult it is to imagine it ending. With more engaging than ever. new developments and a combination Media theorist David Gauntlett has of simple and sensational storylines, spoken for many years about the ‘active EastEnders may well be around for audience’ who choose the parts of the another 30 years. media that interest them the most. Caroline Birks is Head of Media and Film at More recently, he has spoken about Hills Road Sixth Form College. the ‘sit-forward audience’ who actively participate creatively in the media and connect with others whilst doing it. Follow It Up One of my favourite things about Live http://downloads.bbc.co.uk/ Week was the audience response to mediacentre/iplayer/iplayer- the storylines, in particular ‘Dot Memes’ performance-feb15.pdf which featured actress June Brown’s intense storylines may not help ratings http://www.EastEndersultra. slightly odd live moment when she was in the long run, as they may attract the co.uk/news/news-stories/14084/ taken away in a police car. The image intermittent viewer at the expense of EastEnders-live-week-grips-an- (and others like it) was used to create the regular one. Despite this, Geraghty audience-of-20-million a range of memes that spread around defends the importance of the http://www.theguardian.com/tv-and- the internet and established another soap, saying that radio/2013/oct/01/soap-operas-has- hashtag #freedot. without soap a great deal of the best British TV the-bubble-burst EastEnders Live Week offered wouldn’t exist, so we need to nurture them. something for everyone, including nostalgia for its established audience Overall, EastEnders 30th anniversary felt MoreMediaMag who recognised many references like a real celebration, which pushed from the archive to the first-ever episode, along with the boundaries and engaged audiences From A Levels to Albert new technology and interaction for in new and different ways. Soap Square: Behind the Scenes at younger viewers who are more likely to operas may feel like a dated form; but EastEnders, MM5 EastEnders has shown that by taking engage with the media in an entirely The Darker Side of the Square: advantage of new technology and different way. But whether EastEnders EastEnders and Melodrama, making slight changes to the format, it can maintain its viewing figures is yet MM February 2004 to be seen. Many critics have suggested is possible to keep the genre fresh and Plus 50+ further articles on soaps the soap bubble has burst. In a 2013 exciting, ensuring that audiences tune and TV drama article in The Guardian, Professor in. As Christine Geraghty argued in her Christine Geraghty suggests that big earlier work Women and Soap Opera (1990), the longer a soap runs, the more
38 MediaMagazine | September 2015 | english and media centre MM catfished!
Siobhan Flint explores a hugely defines MTV’s core demographic. It also offers an interesting, if sometimes popular reality TV show which disturbing, examination of the perils exposes the realities behind of engaging in online relationships, the online identities we adopt and the length to which people will go to both maintain these relationships on social media. and conceal their true identity in the process. A catfish is someone who pretends to be someone they’re not using Facebook Catfish the Reality Text or other social media to create false As a reality text, Catfish: The TV Show identities, particularly to pursue deceptive discovers that the person he has been adheres to many of the usual genre online romances. speaking with bears no resemblance conventions. Shot with a small Canon to the beautiful twenty-something Urban Dictionary Powershot S110 in a ‘Gonzo verite’ style, ‘Megan’ and is, in fact, a 40-year-old the show creates a visual aesthetic Catfish: The TV Show is an American married mother named Angela. reality-based docu-series which which offers authenticity for the evolved from the controversial feature- In an age dominated by social media audience. It is, we are led to believe, length 2010 documentary of the same and online relationships, Catfish: The unscripted and involves real people name. Premiering at the Sundance TV Show seems an obvious spin-off. in real situations. Each episode has Film Festival, the award-winning film Broadcast in the UK on MTV and Five*, its own discrete narrative which is follows the growing online relationship it premiered on MTV on November resolved. This means that the audience between Yaniv (Nev) Shulman and his 12, 2012, and is currently in its fourth are able to watch one-off episodes online love ‘Megan’. The twist comes season. The show has been hugely rather than needing to commit to at the end of the film when Shulman successful, particularly with the young the whole series. 15-to-34 media-savvy audience which
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40 MediaMagazine | September 2015 | english and media centre MM Shulman explains, the show: the audience become privy these in terms of class, gender and to the intimate details of some online sexuality. As an American text exploring I think the story starts very much like mine, relationships. Together with the conflict the lives of American people, there is a which is with an online relationship. Obviously, and ultimately the ‘confession’ at the definite shift in terms of representation. there’s always an element of mystery and end of the show when the Catfish Instead of bombarding us with affluent curiosity. There’s certainly an element of love is revealed and the deceit is clearly celebrity types who live in palatial and longing. That’s where it starts. Where evident, this serves only to further houses surrounded by the materialistic it goes is very much with the insecurities pleasure the audience. trappings of their good fortune (Real of teenagers. This actually dives headfirst Housewives/Keeping Up with the and explores, in a real and emotional way, In episode 2 of Season 1: ‘Trina and Kardashians) this show exposes the what people are feeling. When you do Scorpio’, 23-year-old exotic dancer desperate, lonely, individual seeking that, you almost always find interesting ‘Shawnise’ (Trina) falls for 27-year- solace in adopting the persona of compelling truths, and that’s what this someone who doesn’t really exist in show ends up doing. order to validate their own existence. The text offers a variety of pleasures for When the Catfish is revealed to us, the audience. The premise of the text they are often from impoverished itself is gratifying – revolving around neighbourhoods, overweight or have online relationships. Audiences discuss been mercilessly bullied at school. reality TV more than any other format; The Catfish is usually very far removed and so being able to identify with the from the real person, and merely a subject-matter and heavy inclusion of projected construct of the fantasy they social media and digital technology wish they were. such as Facebook and Skype proves old model and dancer ‘Scorpio’ What is most disturbing is the sense very engaging. The investigative nature (Lee) following a year-long online of schadenfreude this creates for the of the narrative means that there is a relationship. Trina is keen to meet the audience, who are hoping the person real mystery to be solved. Blurring the man she has only seen in pictures, hiding behind the mask of social boundaries at times between the reality and thinks he might be ‘the one’. media is indeed a fantasy and that the and crime genres, the show cleverly However, after investigation by Nev ‘Catfishee’ will be left disappointed. incorporates enigmas, cliffhangers and and Max, ‘Scorpio’ is revealed to be an Nev Shulman and Max Joseph (See delaying tactics before unmasking the overweight 32-year-old father of four Fig. 2 overleaf) take on the role of identity of the ‘Catfish’ (a word that has and bears no resemblance to his online both investigators and therapists as now made it to the dictionary) at the persona (Fig 1) Trina is left disappointed they attempt to discover why the end of the show. Perhaps even more and confused, whilst the audience find Catfish feels the need to assume an appealing is the voyeuristic nature of it hard to believe that she fell for the ‘online persona’, and seek some sort deceit in the first place. of repentance. Identity and Of course, this creates a difficult and Representation uncomfortable situation, as they are in no way trained to deal with the The show raises some interesting deep-rooted self-esteem issues that debates about identity and the Catfish often possesses. This is representation, often skilfully exploring Fig 1: Trina discovers the truth about ‘Scorpio’. conveyed in episode 5 of Season 1:
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Fig 3: Nev Shulman talks to Melissa about her fake online persona ‘Abby’.
Fig 2: Nev Shulman and Max Joseph
‘Jarrod and Abby’, in which Jarrod proposes to his beautiful blonde online-love ‘Abby’, following an online relationship spanning 18 months. However, ‘Abby’ is revealed to be obese 19-year-old Melissa, with low self- not what he/she professes to be – Siobhan Flint teaches Media at Colchester esteem and a history of being bullied. particularly when the relationship has Sixth Form Centre. Jarrod is left feeling heartbroken and spanned some time with no physical foolish, whilst Melissa attempts to meet-up or use of Skype. The excuses MoreMediaMag explain her motives for the deceit. are not plausible, but the need to from the archive believe that this person is genuine We’re All in This Together: Structured creates a sense of desperation on both Moral Panic, or Justified Reality TV and Social Class, MM42 Concern? sides. This is what makes the show both interesting and compelling. It also Fac(eBook)ing the Changes, MM34 There has for some time been growing reinforces a disturbing message: the concern about the dangers of using the anonymity of social media provides us internet and social media sites. Both the with a sophisticated toolkit to create a Catfish documentary and TV show have whole new persona: a world in which heightened this sense of fear and moral we can change our age, gender, marital panic by exposing the potential reality status, job – in essence, our whole life. for users – that the online world is not And if this wasn’t disturbing enough – what it seems. It reinforces the ugly it highlights the fact that the internet is truth that the internet allows people to plagued with people willing and able deceive each other. Whilst the narrative to utilise this toolkit and that others are of the text unfolds, the audience are desperate enough to fall for it. all too aware that the online love is
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Is Lesbianism the New Black? Representing sexual identity in TV Drama
Student Lauren Fletcher compares of recent legislation supporting gay perceived to be equal; there are still marriage. Following a Supreme Court five countries (and parts of two others) LGBT representations in two ruling in June 2015, same-sex marriage where homosexuality is punishable by contrasting TV drama series, and is now legal throughout the US, and in death, and seventy further countries discovers that sex still sells. the notoriously conservative Republic where sexual orientation can lead of Ireland, 62.7% voted in favour in to imprisonment. its recent referendum. Nevertheless The representation of sexual identity On-screen representations of gay it would be hard to argue that gay is particularly challenging and topical relationships – at least, in the West – and straight relationships are now at the moment, given the coverage have blossomed in recent decades, but
english and media centre | September 2015 | MediaMagazine 43 MM and attitudes; this typically appeals Tokenism or Normalisation? to a female target audience. Piper The L Word has been described as a Kerman, on whom the main character ‘token’ programme, because almost Piper Chapman was based, has come all of its characters are lesbians. out as bisexual, which also gives the The term tokenism is used here to show a gay gaze. The show has been describe a perfunctory or symbolic very well received critically, winning gesture towards the inclusion of a Golden Globe, two Emmys, and two members of minority groups by Gay and Lesbian Entertainment Critics using a small number of an under- Association awards. represented group to purposely give The L Word (2004-2009) was a drama the appearance of equality. It’s been about a group of lesbians living in LA, argued that a programme solely about broadcast on Showtime, the American and mainly for lesbians will continue cable channel that also broadcast to marginalise them and emphasise the highly successful shows Dexter their social exclusion because they (Showtime, 2006-2013, USA) and Weeds seem different from straight characters. (Showtime, 2005-2012, USA). The L This marginalisation means that the the emphasis, particularly in TV drama, Word was produced by Ilene Chaiken characters are seen as different and has been on male homosexuality, and directed by Rose Troche, again therefore seem less important. both gay women, which creates a increasingly sanctioned as values and In contrast, Orange is the New Black female, gay gaze. The Huffington Post moralities have changed. But with a features women of many different described it as ‘ground-breaking’. few exceptions, lesbianism has never sexual orientations, from gay and achieved comparable status onscreen, Media representations are hugely straight to a transgender character either in diversity of representations, or influential in shaping the public’s ideas played by Laverne Cox. The concept in terms of air-time. Now, however, two and attitudes. Minorities of all types of lesbianism is normalised, as it is highly-successful long-form TV dramas are frequently marginalised in TV; this shown as just one among many equal have addressed questions of lesbian means that they are excluded and sexual orientations. Orange is the New identity, both featuring key lesbian therefore seen as less important. This Black led to Laverne Cox’s rise to fame, protagonists, and it seems timely is especially true for less visible groups and gave her a platform to talk frankly to consider how far such characters such as lesbians. There is therefore about transgender equality and rights. and their sexualities have become huge pressure on those shows brave Her success in the show enabled her to normalised. Welcome to the worlds enough to tackle alternative sexualities become the first openly transgender of Orange is the New Black (Netflix, to represent them as accurately and woman to be nominated for an Emmy 2013- present, USA) and The L Word with as much complexity as possible. in an acting category. She described (Showtime, 2004-2009, USA). For this reason, Orange is the New Black her transgender character, Sophia, as and The L Word were both seen as ‘just another woman in Litchfield’ – Made by Women for major TV events. This was especially which suggests that Orange is the New Women? true for The L Word, which was a niche Black is also attempting to normalise Orange is the New Black is a critically- programme and the first of its kind, transgender representation. acclaimed Netflix drama about created at a point where lesbianism The L Word was scheduled at 9pm on Litchfield women’s prison. Lena was less accepted and normalised in Sunday in the US on subscription cable, Dunham, writer and star of HBO’s hit society. Thus it had more of a shock and broadcast after the watershed due series Girls, said factor than Orange is the New Black. to the raunchiness of its sex scenes. Yet I recently watched all of Orange is the New Black, which I adore. It’s a very sexy, cool, smart show that’s great for women This suggests that the representations seen in Orange is the New Black are positive for a wide range of women, not just lesbians. Orange is the New Black (2013-2015), written and produced by women (Piper Kerman and Jenji Kohan respectively), offers a uniquely female gaze. In other words, the show is produced and perceived through a woman’s point of view, and tends to reflect female views
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in the UK, it was screened on Living TV, The Kinsey Scale is a scale created by contrast medium shot to introduce the available only to Sky subscribers, while sexologist Alfred Kinsey whose studies characters and is accompanied by non- Orange is the New Black was viewed caused controversy in the 1940s- diegetic music and a voiceover by Piper. through a Netflix subscription. Both 50s. The scale ranges from 0-6 and This medium shot shows partial nudity, shows are also available as box sets. It includes a range of options between which sexualises them further and seems as if these programmes are still completely homosexual to completely would potentially appeal to the lesbian tucked away and hidden, especially target demographic. This scene is in the UK – yet another aspect of quickly followed by a shot of Piper and marginalisation. her male fiancé sitting in a bath. Here, the shot has bright, vibrant lighting; In the past, it was assumed that if an the bath and the surrounding mise-en- actor/actress came out their career scène are clean and white, connoting would inevitably be harmed. For perhaps that their relationship is clean example, well-known gay comedian and innocent, in comparison to the Ellen DeGeneres was the main ‘dirty’ lesbian sex previously seen. The character in the successful sitcom Ellen heterosexual. This again shows that shot of the straight couple is much less (ABC, 1994-1998, USA) long before she Orange is the New Black and its modern sexualised than the shot of two women, publicly declared her sexuality. Her audience accept that there is a range of as it is shot at an angle in which you character’s coming out as gay coincided sexualities which are all a normal part cannot see either the male or female’s with her own public, personal coming of being human, and therefore that naked bodies. This represents straight out; this created a media frenzy, and lesbians shouldn’t be marginalised and couples as more positive and romantic resulted in the broadcaster placing put into a box. and less blatantly sexual than lesbian a parental advisory warning at the couples. Also, the inclusion of many beginning of every episode. The Sex, Sex and More Sex? green plants in the mise-en-scène of criticism the show received after this the shot of Piper with her male fiancé eventually led to its cancellation. Both programmes sexualise lesbianism from the start by including explicit connotes that this is a more natural At one point in Orange is the lesbian sex scenes in the pilots. Within pairing, with an underlying hint at the New Black, Piper references the the first 30 seconds of Orange is the story of Adam and Eve. Does this then Kinsey Scale saying, New Black there is a minor shower sex- suggest that Piper’s female lover is her You don’t just turn gay. You fall scene between main characters Piper sinful ‘forbidden fruit’? Both scenes are somewhere on a spectrum. and Alex. This provides a high-key, low- part of an introductory montage with
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slow cuts, to establish the character of foley in post-production, adding to the It doesn’t bother me that men will watch to be Piper. This scene represents lesbianism erotic nature of the scene. titillated, as it’s part of life. as sexual from the get-go, which The use of these scenes at the arguably immediately objectifies the very beginning of the narrative Butch Broads and Lipstick characters. An article from The Guardian automatically introduces lesbians Lesbians comments upon watching the pilot of as stereotypically sexual. It also Many of the lesbians featured in these Orange is the New Black, foreshadows the many sex scenes shows are represented as familiar In that first minute, I saw: breasts, to come later on in both shows. It stereotypes, in particular drawing breasts, more breasts. seems as if both shows give way to on the familiar images of butch and the common belief that sex sells. And femme (or ‘lipstick lesbian’) women. The show may offer this because it from the popularity and success of Two characters demonstrating strong is conforming to the stereotype of both shows, it appears to be correct: representations of butch lesbians are sexualising lesbianism: a theme that sex does sell. Shane from The L Word and Big Boo seems to stem from pornography. This from Orange is the New Black. As butch could be used to entice either a lesbian It seems as though lesbian lifestyle women, they are more masculine in audience or a heterosexual male and culture is not enough of a hook physical appearance and behaviour. audience to the show. for viewers so in order to make the In the pilot episode of The L Word, programmes more interesting the Similarly, in the opening moments of Dana says to Shane makers have offered something to The L Word pilot we see Jenny watching catch everyone’s attention: sex, sex, Do you have to dress like that all the time? [...] Shane (a female character) having sex and more sex. But aren’t there plenty Every single thing about the way you’re dressed with a girl in her neighbours’ pool. of programmes about straight couples like screams dyke. This is shot in high-key, low-contrast and lifestyle which avoid this level of lighting from a high angle, connoting She has short messy hair and wears sexualisation? that they are inferior, sexualised and mostly men’s clothes. Big Boo, played sexual objects. This scene is also seen The L Word’s producer, Ilene by openly gay actress Lea DeLaria, is through a POV shot from Jenny’s Chaiken, says, also shown as butch through her short perspective, showing her looking hair but she wears a prison uniform like Sexuality is part of life and there is plenty of through the fence panels. This could be every character in the show. sex in the show. seen as a voyeuristic female gay gaze, The majority of lesbian characters She discusses the different audiences as it feels as if the audience is secretly in The L Word are femme or lipstick The L Word is targeting by saying that watching their rendezvous. The only lesbians. This means that they appear she assumes the show’s core audience sound is the diegetic sound of water more conventionally feminine. This is lesbians, but also that in the pool and the women’s moans. is probably due to the fact that it These sounds were probably added as
46 MediaMagazine | September 2015 | english and media centre MM was made in the early 2000s when again limiting their potential to rare that a TV drama features multiple on-screen lesbianism was less become rounded, individualised lesbians, or looks beyond explicit sexual acceptable, in contrast to 2013, when characters. By reducing characters to behaviour. Indeed, studies show that in Orange is the New Black was first these two formulaic butch or femme the 20 most popular TV shows watched released. The strong use of stereotypes archetypes, lesbians are marginalised by young people, only 4.5% of the in The L Word may have been necessary by these series, as they are made to total programme time includes LGBT for the show to get the funding and seem fundamentally different from characters. For this reason, when shows distribution it needed. Without these straight people. feature multiple lesbian characters they stereotypes the representations of are seen as a TV ‘event’, and this may At first sight, Orange is the New lesbians shown on TV might have been immediately estrange audiences. There Black and The L Word seem very is still a long way to go. similar: they both begin with a lesbian sex scene, showing that Lauren Fletcher is an A Level Media and they are raunchy, and reduce the Film Studies student at Collyer’s College sense of riskiness by immediately conforming to expectations and stereotypes, representing lesbianism MoreMediaMag as exclusively sexual. The L Word from the archive proves to be more stereotyped and Sugar Rush: Sexual Freedom, MM28 sexualised, whilst Orange is the New Representations of Sexuality in limited to token characters in soap Black arguably offers a more diverse Science Fiction. MM51 operas and dramas. Piper from Orange range of representations. The L Word Self Image and the Media: Selling us is the New Black is also a femme lesbian, marginalises and tokenises lesbianism, Our Selves, MM41 as suggested by her long blonde hair, whilst Orange is the New Black attempts and the lacy, feminine underwear to represent lesbianism as normal and she wears in sex scenes. The use of equal to all other sexual orientations. the femme stereotype reinforces the It may appear, with the success of these idea that you don’t have to be a ‘dyke’ series, that lesbianism is becoming to be lesbian, and therefore makes more normalised in TV drama, as the lesbianism more ‘normal’ and relatable. shift between The L Word and the more Unfortunately, however, femme recent Orange might suggest. However, lesbians are far too often represented it’s important to note that lesbianism negatively as over-sexualised, once is still very much marginalised. It is
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(ISING)
THE PODCAST RENAISSANCE
Steve Connolly likes listening – if I like listening to the radio. I like it and 1Xtra and its competitors (Kiss, because you can do other things Rinse etc.) for ‘the young people’; he can find any interesting stuff while you’re listening, such as Radio 2, Magic and Heart for those of to listen to. His solution is the driving, washing up, falling asleep or us who’ve long since kissed goodbye podcast, and in particular Serial, writing articles for MediaMagazine. to 30; 6 Music and XFM for the indie The problem with the radio is that kids... the list goes on. But actually, an internet podcast sensation there’s actually a lot of content you’ll notice that the output of a lot of which has led to a whole new that I don’t like. these radio stations is music or music- related. If you are after speech radio wave of podcasting which This may appear to be an entirely – programmes that aren’t about music self-contradictory position to take, might even, one day, make and involve people talking about but bear with me a minute. Radio in things, or doing drama, there’s actually someone some money. the UK seems quite varied – Radio 1 not a lot of choice. From the BBC we
50 MediaMagazine | September 2015 | english and media centre MM have Five Live (a lot of sport, a lot of now, but a number of recent events phone-in ranting and a lot of quite have suggested that the podcast is patronising news coverage) or Radio 4. experiencing something of a golden age. The first of these is the sudden Now I do like Radio 4. Or perhaps more surge in popularity of a podcast about specifically I like bits of it; some of the a fifteen-year-old murder case. comedy, like Dead Ringers and Brian Cox’s science show, The Infinite Monkey Cage, and... err, that’s it. Commercial The Serial Effect talk radio is even more polarising, being Serial is a phenomenon. If podcasts dominated by LBC in London, and were like movies, Serial would be nationally by TalkSport, both of which Titanic or Avatar – a raging behemoth seem to be swamped by even more that eats up audiences and becomes phone-in ranting than Five Live! a talking point for people all over the English-speaking world. Serial is a spin- Aware that I may be sounding like off from a podcast from NPR (National someone who phones in to talk radio Public Radio) called This American Life. programmes at this point, I make the NPR is America’s nearest equivalent to above observations to explain why I have become part of the rapidly expanding number of people who are forgoing live radio listening in favour of listening to podcasts. It is worth saying initially, that podcasting – the practice of making a programme of music or talk available in digital format for automatic download over the internet according to the dictionary – is obviously not a new phenomenon. People in radio have been providing programmes for download over the internet for more than a decade
BBC Radio; and This American Life is a journalistic radio programme which has been broadcast for 20 years over a network of public radio stations in the US. Both This American Life and Serial focus on what has come to be known as ‘long-form journalism’; imagine a sort of audio essay, with a narrator telling a story intercut with interviews, sound clips and incidental music all designed to make that story more compelling. In Serial that story is about – at least partly – a young Asian-American man called Adnan Syed, who in 1999, was charged with the murder of his Korean- American girlfriend Hae-Min Lee in the American city of Baltimore. Syed was tried and convicted of the murder and sentenced to life imprisonment. A decade or more later, This American Life’s producer Sarah Koenig, who used to be a court reporter in Baltimore, was approached by a friend of Syed’s family and asked to look again at the evidence in the case to see if she could
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draw public attention to some of the inconsistencies in the case. Koenig’s resulting investigation was recorded in Serial, a podcast that unfolded over 12 weeks; in each week’s episode, Koenig would look at a different piece of evidence in the case against Syed and talk to people involved in the case, including Syed himself, and attempt to establish a clear picture of the events surrounding the murder. The subsequent success of something that was, at one level, an old fashioned radio serial – albeit a non-fiction ‘podcast renaissance’, to describe listeners to Fighting Talk or Kermode and one – was phenomenal. Serial broke the phenomena of even quite long Mayo to come from America, Finland, the record for the fastest podcast to established podcasts, such as Kermode Australia and everywhere in between. reach five million downloads, and as of and Mayo’s Film Podcast (the BBC’s self- Similarly, those UK listeners who have February 2015, had been downloaded proclaimed ‘flagship film programme’) downloaded Serial are also quite likely 68 million times. Perhaps more from Radio 5, observing increased to have listened to Criminal, Reply interesting though, was the effect that numbers of downloads in the light of All and Start-Up; all shows started by the show had on the podcast world the Serial effect. people who worked in NPR at some more generally. point. All of which begs the question – In fact, the BBC’s radio output has why now? Why have podcasts suddenly done rather well out of this renewed The Effect of Serial become a format that people have enthusiasm for the podcast format; the Serial’s success sparked a wave of started to engage with? The answer aforementioned Infinite Monkey Cage, interest in the podcast format, not to that question undoubtedly lies in The Now Show and Fighting Talk now only in America, but round the world. that most important of Media Studies all reach bigger audiences than ever Harvard University’s Nieman Journalism concepts: audience. before. The global nature of podcasting Lab noted this with its use of the term means that it is quite common for
52 MediaMagazine | September 2015 | english and media centre MM Koenig’s co-producer, Dana Chivvis, has observed that …radio shows and podcasts are sort of rethinking the business side, and how to organise around podcasting versus radio, so it’s kind of the wild West. What these quotes tell us is that at the moment, media businesses are unclear as to how podcasting can turn a profit. But it’s clear that with Serial getting 68 million downloads, it won’t be too long before someone works it out. Most of the NPR output uses programme sponsorship (‘This programme is brought to you in association with...’) Podcasts: Putting the rather than direct advertising to raise Audience in Charge money, but there are other interesting And so we return to the point with ways that podcasters have found which I started this article. There’s a lot of raising money. Serial’s second of stuff on the radio that I don’t like. series is being funded by donations Originally, I had two choices in respect from listeners, but Gimlet Media, of this state of affairs. I could listen who produce tech-focused podcasts to it, even though I didn’t like it, or I Start-Up and Reply All have taken a could switch it off and do something matters into their own hands. Similar more ‘advertorial’ approach, creating else instead. Now, I can choose the fan podcasts for football teams, film advertising features which explore tech podcasts that I want to listen to, setting genres and video gaming all appear in products made by their sponsors as my phone or PC to update the feed the iTunes top 200, all suggesting that a way of introducing their listeners to from each show so that I never miss an the podcast is the medium of choice them. For the BBC, imminent charter episode. I can stack episodes so that for fans who don’t feel that mainstream renewal may well change the way that I can listen to a whole series in one broadcasters are meeting their needs. podcasts are produced; right now, they hit (like Netflix) or I can listen to an are free at the point of use, paid for out For us as Media students then, episode at a time. The point is that I am of the licence fee. It will be interesting podcasting shows us the changing in control of what I listen to; selecting to see if this, or indeed any of the BBC’s relationships between audiences from thousands of podcasts uploaded exclusively online content, will remain and institutions in the radio world. to the internet from all over the world, so after 2016. While big broadcasters like the BBC and the power of my smartphone or and NPR can use their resources Finally then, it remains to be seen tablet means that I can listen to them to make a high-quality podcast whether this resurgence in the wherever I want. product, smaller organisations (like podcast form is a long-term trend Perhaps more importantly though, Alex Blumberg’s Gimlet Media, who or just a temporary fad. For those the proliferation of digital technology produce the excellent Start-Up and MediaMag readers who have not means that not only can I listen to the Reply All) can also produce output that dabbled in listening, there is a lot to be podcast that I want, but I can also make audiences want to listen to, alongside recommended in doing so, particularly the podcast that I want if I think that purely fan-generated output. The as the medium highlights many of nobody out there is doing that for me. interesting question that follows on those key ideas that your teachers will This situation of ‘producer-as-consumer’ from the observation that podcasting be reminding you of, like proliferation, is particularly prevalent in the podcast is a mixed economy then is: can this convergence, platform and content. world, where podcasting software is rejuvenated media business actually Even if you don’t like what you hear, relatively cheap (and in some cases make any money? you will be thinking about technology, free). A look down the top 200 podcasts audiences and institutions, all of which demonstrates how widespread The Future of Podcasting: will probably benefit you in the end! the tendency for fans to become Follow the Money Steve Connolly has taught Media for many broadcasters is: the Eggchasers Rugby Sarah Koenig, the producer of years and is now a Lecturer in Education at Podcast for example, is made by three Serial, has said of the podcasting the University of Bedford. rugby fans who all felt that mainstream business model: broadcasters weren’t really making a programme as knowledgeable or Everyone’s saying ‘It’s podcasting! It’s internet! entertaining about their sport as they Of course there’ll be money somewhere.’ We’re could be, so they decided to take not exactly sure yet.’
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the Difference
Swift, Bragg and the maths of making money in the music industry
54 MediaMagazine | September 2015 | english and media centre MM So where do you get your music Late last year, a sudden outburst from I’m not willing to contribute my life’s work to an firebrand Billy Bragg about country- experiment that I don’t feel fairly compensates from? And who benefits from pop singer-songwriter Taylor Swift’s the writers, producers, artists, and creators your passions – a streaming attitude to streaming music services of this music. And I just don’t agree with service, the artist, or you? You may have seemed to many like a perpetuating the perception that music has no storm in a teacup. But the story briefly value and should be free. may not have thought much shed light on a real issue: how the Swift had already written in a piece development of these new platforms is about this question in the for the Wall Street Journal back in revitalising parts of the music industry, past, but if you’re studying July 2014 that: and changing the playing field once the music industry for A level, again for artists. Music is art, and art is important and rare. it’s time to start. Important, rare things are valuable. Valuable Handbags things should be paid for... The value of an album is, and will continue to be, based on the It was announced in early November amount of heart and soul an artist has bled into that Swift would be withholding a body of work, and the financial value that her new album, 1989, from music artists (and their labels) place on their music streaming service Spotify. Shortly when it goes out into the marketplace. thereafter, she pulled her entire back catalogue from the site. Spotify Enter Billy Bragg, singer-songwriter and retaliated quickly by publishing a socialist activist. Incensed by what he blogpost declaring their continued perceived as hypocrisy on Swift’s part, love for Swift and their hopes that he took to Facebook: she’d return. They also presented What a shame that Taylor Swift’s principled some astonishing statistics illustrating stand against those who would give her music her popularity on the platform: 16 away for free has turned out to be nothing million of the site’s 40 million users more than a corporate power play. had streamed her songs in the previous 30 days. Bragg took umbrage at the news that Swift would apparently be Referring to Spotify, and indeed ‘anything new’ as feeling like ‘a grand making her new album and back catalogue experiment’, Swift said to Yahoo available on Google’s new Music Key streaming service [...] which also offers listeners a free service alongside a premium subscription tier.
english and media centre | September 2015 | MediaMagazine 55 MM paid tier – 25% – looks to have stayed roughly the same. So if users aren’t paying in droves to access streaming music, that must be bad for the artists, right? Not necessarily so. As Spotify explains, the free tier that 75% of users are experiencing contains adverts, all of which advertisers have paid to place there. This revenue all goes into Spotify’s coffers, as do the subscription fees for the paid tier, and it pays 70% of the overall revenue they collect to rights holders – in other words, to the artists. According to its figures, the amount of royalties that Spotify pays to artists doubled from 2013 to 2014, from half a billion to a cool billion US dollars. It’s not as simple as that though. As reported by The Trichordist’s blog (‘Artists For An Ethical and Sustainable Internet’), 80% of the revenue Spotify pays out comes from the 40% of streams made via the paid tier. In terms of collecting royalties for artists, the free tier is still very much the ‘gateway drug’ of the whole platform. However, there’s no denying that, after a long period in which the music industry seemed filled with inertia about how to combat piracy, Spotify has finally seized upon a working business model that does return some real money to artists and rights-holders. What Spotify has realised is that audiences in 2015 are less concerned In fact the (widely-reported) story of Spotify’s 60 million users worldwide with owning music than having access that Swift’s music would be available (up 20 million in a month!) were using to it, and are willing to pay for that on Music Key turned out not to be the free tier, with just 25% paying privilege. It presents a variety of figures true, and Bragg apologised quickly. the subscription of £9.99 per month. on their website illustrating how all Meanwhile, 1989, incidentally, went Spotify’s user base has doubled since this translates into pay for artists, and on to sell almost 1.3 million copies 2013 but the proportion of users on the it also claims to have turned many in its first week of release alone, downloaders of pirated music into legal becoming the only Platinum record of 2014 in the US.
Do the Maths So does Spotify fairly recompense artists? Its model, combining both a free and a paid tier, was certainly a first (and it makes a case that the former drives the latter – claiming that more than 80% of users on the paid tier started as free users). Users can avail themselves of the feature-limited free tier, or pay subscription fees to be rid of ads and in possession of a greater feature set. As of December 2014, 75%
56 MediaMagazine | September 2015 | english and media centre MM year. Other players in the streaming field include Pandora, who came early to the internet radio game and has an enormous user base, and Apple’s Beats Music with its unique human-curation element. Even Amazon is trying to carve out a bit of this new territory with Amazon Prime Music. But in his initial statement, Bragg pointed out the big red elephant in the room: If Ms Swift was truly concerned about perpetuating the perception that music has users of its free tier – no doubt as part drew out the major difference between no value and should be free, she should be of the shift away from owning, towards Spotify and Music Key, one which will removing her material from YouTube [...] The simply accessing media. be crucial to the industry going forward de facto biggest streaming service in the world, — transparency: Dissenting Voices with all the content available free, YouTube is As artists, rather than resist them, I believe it the greatest threat to any commercially-based It was reported by TechCrunch, is in our long-term interest to engage with the streaming service. however, back in 2009, that the major streaming services – which is what I am trying With the news that 50 million songs labels had received an 18% equity to do with my talking playlist. This approach were streamed in January 2015 (double share in Spotify, and were receiving has borne some fruit with Spotify – their the previous January’s), and that from more favourable terms than indie royalty system is relatively transparent. They February 2015, the UK album chart (as labels. In a complex unpicking of the will let an artist see how many plays they have well as the singles chart) now factors way streaming services work, legendary had and show them how much they have paid in streams, the business models of Talking Heads musician David Byrne to their record company for those plays. The platforms like Spotify, and indeed asked in The Guardian: artist can then look at how much they have YouTube, will be incredibly important – received from their label and do the math[s]. Are these services evil? Are they simply a and increasingly under scrutiny – as the legalised version of file-sharing sites such as It’s important to make the landscape changes permanently and Napster and Pirate Bay – with the difference streaming becomes the norm. Whether being that with streaming services the big distinction between internet all artists and all labels – majors and labels now get hefty advances? [...] What’s at radio sites, like Pandora, indies – get fairly recompensed is a stake is not so much the survival of artists like question that lingers. me, but that of emerging artists and those who and on-demand services like have only a few records under their belts. Christopher Budd is a writer, music teacher, Spotify, especially if you’re media composer and bassist, who writes In creating its platform, has Spotify regularly for MediaMagazine and blogs at simply restored the business model of an artist. The on-demand christopherbudd.blogspot.com the pre-digital music industry, where services negotiate their rates major labels wield all the power and with rights holders, while artists get short shrift? Might we end MoreMediaMag up looking back on the MySpace the radio services distribute from the archive years as a golden age in which talent revenue in the more Changes in the Music Industry – From could – briefly – bypass the corporate Labels to Laptops, MM34 world and come straight to us? Over traditional radio method – Independent Radio, the last few years, some artists have via rights agencies (such as Independent Music, MM43 been less than enthusiastic about what they perceive as the restoration of the PRS in the UK). Copyright Regulation (Remix), MM51 status quo. Radiohead’s Thom Yorke, Deconstructing Taylor, MM51 for example, has described Spotify The Bigger Picture and its position as ‘gatekeeper’ in an In fact, Taylor and Bragg, Spotify interview with Sopitas.com as ‘like and Google, are all just playing the last fart, the last desperate fart of pieces in a massively complex game a dying corpse’. unfolding as we speak. Bragg himself, however, has been a Neilsen SoundScan’s global figures long-time Spotify advocate – he began reveal that 70% of the music consumed hosting a monthly series of ‘talking in the first half of 2014 was streamed playlists’ for the platform last year. In his or downloaded – with streaming up second, apologetic Facebook post, he a staggering 52% from the previous
english and media centre | September 2015 | MediaMagazine 57 MM Let’s Plays – videos which document the playthrough of a video game via a commentary by THE RISE the gamer – are rapidly becoming a genre in themselves. Ted Lamb OF THE investigates what the growing popularity of Let’s Plays can teach us about genre, audience and fan theories.
‘Who would want to watch teenagers just clicking away, playing their computer games all night?’ asked BBC Newsnight’s Jim Reed in July 2014. LET’S A year on and the answer is clear – lots of people. Millions, in fact. The rise of the ‘Let’s Play’ video has been a phenomenon that appears alien and confusing to those outside the gamer community. So what is a Let’s Play and why are they so popular?
A New Genre PLAYS A Let’s Play video is simply this: a gamer records themselves playing a game, usually with a running commentary. They A new genre put the video online, and other gamers watch it. The concept is simple, and and its fans. has established a set of generic codes and conventions in order to make the production and viewing process as easy and efficient as possible. Let’s Plays often begin with the title- screen of the game and a voiceover as the host introduces themselves. As with typical YouTube vloggers, many Let’s Players have created their own ‘signature’ introductions. Felix Kjellberg, known on YouTube as ‘PewDiePie’, begins his with ‘How’s it goin’ bros? My name’s PewDiePie!’ Swedish gamer Robert Öberg or ‘Robbaz’ begins his with a more conservative, ‘Robbaz here’. Some Let’s Players have become online celebrities, and their signature openings create a sense of brand identity around their channel.
58 MediaMagazine | September 2015 | english and media centre MM The Live Stream Thanks to streaming services such as TwitchTV, hosts can live-stream their games to thousands of viewers at a time. They will prompt discussions, ask for viewers to leave comments and encourage them to talk to each other Felix Kjellberg plays Grand Theft Auto V: The 4:55 long video has 2,866,855 in a chat box. The social aspect of these views (as of 13th May 2015) features or identifying flaws. Others will videos has helped to create a community The majority of Let’s Play videos will simply use it as a visual distraction as of gamers who chat, share ideas and consist only of captured game footage, they talk about unrelated things. Gamers communicate whilst watching their with the host narrating as they play. This often subscribe to hosts that they relate favourite streamers. is practical, as it allows the viewer to focus to, whether because of a serious passion on what is happening in the game; the for analysing and discussing games as host will be either providing information works of art, or because they find the about what they are doing as they play, host funny and down to earth. or sometimes just talking about their life The Speedrun or telling anecdotes. Here, the host will attempt to complete a game, or a section of one, in a Some hosts will choose to feature Viewers watch ‘Syndicate’ play Minecraft. They use the chat box to suggest footage of themselves playing the specific amount of time. These videos what he should do in the game. game, often as a picture-in-picture draw heavily on the viewers’ need for As with many audiences, gamers in the corner of the screen. This has entertainment. They are often fast- themselves are a diverse bunch. Within become increasingly popular as Let’s paced, exciting, and have the added the realms of Let’s Play videos are smaller, Players become internet celebrities and bonus of a narrative hook to draw in the more niche fanbases, often centred on a establish a fanbase who wish to see their audience and keep them engaged: will particular game, host or company. reactions, expressions and, occasionally, they finish in time? their beautiful, flowing blonde hair (yes, there is PewDiePie fanfiction and no, I Audience Identities – haven’t read it). Fandom, Let’s Plays and Rooster Teeth We’ve already identified how viewers will choose to watch hosts who they relate to How did this get here? I must have a virus or something… or find entertaining. As a mini case study on audience identity, let’s look at the So it Really Is Just Watching GDQ (Games Done Quick) hosts a live speedrun of Kaizo Mario World. Fans popular YouTube gaming channel and watched via TwitchTV and donated money to the charity ‘Prevent Cancer’. The Other People Play Games? video was later uploaded to YouTube production company, Rooster Teeth. Yes. However our concern isn’t just Currently, Rooster Teeth (RT) has The Tutorial that people watch them, it’s why approximately 21 million subscribers Here, the host will teach the viewer they watch them. across their several YouTube channels. how to complete a certain section of a Their growth can largely be attributed to There are a variety of sub-genres of Let’s game, or how to perform a particular their fans. They have created an online Plays that attract different audiences for skill or move. These videos are extremely community who discuss videos, interact different reasons. Since we are discussing popular with Minecraft players, who want with employees/hosts and create their audiences, we can see how Blumler and to know how to build or create particular own content for the company to use. Katz’s Uses and Gratifications Theory mechanisms or tools in what is a rather can be applied to the different types of complicated game. Gamers use these RT’s website features community Let’s Play videos. videos for informative purposes. They message boards which allow fans to The Playthrough want to know how to do something, and discuss games, films, videos uploaded by The host will play a game from start to this ‘expert’ gamer will show them how. the channel and pretty much anything finish, often spreading out the content else. It has become a social hub for fans over several videos released over a few who know that they all have at least days or weeks. Viewers tune in to see how one thing in common. The website also others play a game differently to them, features a store that is well stocked with to check out a game they are considering T-shirts, mugs, hoodies, keyrings, stickers buying, or simply because they enjoy and many other pieces of merchandise the way that the particular host plays for fans to buy. or narrates the game. Some hosts will RT has three main gaming-related narrate the game as if they are critically Let’s Player xBuzzerman teaches us how to make a lovely wooden house in YouTube channels: Let’s Play, reviewing it, picking out their favourite Minecraft. Achievement Hunter and the newly
english and media centre | September 2015 | MediaMagazine 59 MM could see a rise in YouTube celebrities and commercial interests. Maybe in the future, Let’s Players will be up there with footballers and actors in terms of fame and fortune. They certainly have the fanbase for it. Ted Lamb teaches Media Studies at Belvedere Academy in Liverpool.
Follow It Up Reed, J. 2014. What is Twitch?. https://www.youtube.com/ watch?v=OPLool1mCvU with each other could be classed as Fiske, J. 1992. ‘The Cultural Economy semiotic productivity. of Fandom’, in Lisa A. Lewis (ed.), The Enunciative Productivity Adoring Audience: Fan Culture and This is when fans express their fandom Popular Media. to the outside world. Wearing an Hills, M. 2013. Fiske’s ‘textual Achievement Hunter t-shirt, or drinking productivity’ and digital fandom. from a Funhaus mug at work is a way Participants Vol 10 Issue 1, 2013 for fans to do this. They can also share Katz, E., Blumler, J. G., & launched Funhaus. All three feature or retweet content onto their own social Gurevitch, M. 1974. The uses Let’s Play videos that focus largely media feeds in order to express their of mass communications: on comedy and entertainment. The fandom to those who are not necessarily Current perspectives on company also manage a channel called members of the RT community. gratifications research Achievement Hunter Community, Textual Productivity allowing fans to send in their own videos Kjellberg, F. 2014. PewDiePie (www. This is when fans create their own texts and have them uploaded onto a channel youtube.com/user/pewdiepie) based on the object of their fandom. officially run by RT. The Achievement Hunter Community Oberg, R. 2014. Robbaz. channel allows RT to provide an outlet (www.youtube.com/user/robbaz) for fan-made videos. The Achievement OreoBlizz. 2013. A Game of Love: A Hunter office/studio also features a PewDiePie Fanfiction. (http://www. notice board covered in fan-art (usually wattpad.com/story/3789044-a-game- portraits of the hosts) that is sent in of-love-a-pewdiepie-fan-fiction) to the company. Rooster Teeth Productions, LLC. Fans often express a desire to work for (2014). www.roosterteeth.com.
Merchandise for the Achievement Hunter YouTube channel the company, and see the hosts and creators of the videos as role models. This Fiske and Fan Theory dream came true in 2014 for two fans MoreMediaMag who were made full-time employees at One way of understanding the idea of from the archive the company due to the high quality of fans buying merchandise, discussing Capture the Objective: their community-made videos. content and creating their own texts Postmodernism, Creativity and might be to consider John Fiske’s model Call of Duty, MM33 What’s Next? of semiotic, enunciative and textual The Great(est) Escape: Why Audiences The ability to create and watch Let’s productivity in fandom (1992). Fiske Really Play Videogames, MM40 identified three ways that fans can Play videos is becoming easier and Plus many case studies, including GTA, ‘react’ to a text, person or company easier for producers and audiences. Dead Space, Limbo, MarioKart, The of their choice: Microsoft’s Upload app for the Xbox One console allows gamers to use Twitch to Last of Us, Rockstar Games, etc Semiotic Productivity stream their games live from their sofa, This is when fans use the object of their with the press of a button. Tablet and fandom as a way to create meaning in smartphone apps also make it easy for their own lives. In terms of RT, this could audiences to access and adapt Let’s Play mean fans subscribing to the channels content. As younger audiences become because they feel that they relate to the less and less dependent on traditional hosts. Social aspects of texts also play a forms of media such as television, we role here, so fans discussing the videos
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OUT OF AFRICA What is Kenyan cinema?
There’s more to Kenyan cinema Yet surprisingly the film was not a of annual film productions. South Africa Kenyan production. It was very much has an established film industry with than Out of Africa, argues Maggie a Hollywood product, with a budget of professional crews available for big Miranda, in this case study of over $30m, directed by the legendary budget productions such as Pirates of a thriving new film culture in Sidney Pollack. So from the landscape the Caribbean; its locations and cheaper of Out of Africa, what does the production costs offer an alternative search of a global audience. landscape of Kenyan film look like now? to shooting in USA. Egypt has had a How much does anyone know of the successful film industry targeting Arab- Out of Africa (1985), the most emerging national cinema from Kenya? speaking countries for many decades. commercially successful film ever FESPACO, the largest film festival on shot in Kenya, featured A-list stars What Is ‘African Cinema’ the continent, is held in Ouagadougou, (Streep and Redford), won Best Picture and Where Does Kenya Burkina Faso, and features many films Oscar and many other awards, and Fit In? from the Francophone countries. But profiled Kenya as a destination for film. what about Kenya? Can the Kenyan Thirty years later the film still draws The Nigerian film scene, ‘Nollywood’, film scene offer something different tourists to the country, and its title is now outstrips the USA, and is second to the films being produced as part used as a brand across the continent. only to India (Bollywood) in its number
english and media centre | September 2015 | MediaMagazine 61 MM of Nollywood and other African film industries?
Nairobi Half Life: a Case Study The history of Kenyan film has been characterised by foreign crews and film companies shooting here. But this is changing. Nairobi Half Life, seen by many to be a turning point, was screened internationally, and was also the first film shot in Kenya since Out of Africa to gain so much international critical acclaim. It won the Golden Alhambra at the Granada Film Festival (2013), the Best of Festival Award in the New Directors Competition at the Nashville Film Festival (2013), was nominated for Best Feature at the São Paulo International Film Festival, and won Best Festival Feature at Take One Awards, UK. Nairobi Half Life is engaging, entertaining and with high production values. Of course, there have been other good Kenyan films; this is simply the first to gain so much recognition. But few Western audiences outside of film festivals will have seen it. Why?
Nairobi Half Life was produced through One Fine Day Film Workshop; its director Tosh Gitonga was mentored by established film director Tom Tykwer (Run Lola Run, Cloud Atlas). The result is a gritty authentic Kenyan story, filmed on location using both Swahili and local Sheng languages. Nairobi Half Life is a classic story-tale similar to familiar Hollywood vehicles. Its central character, Mwas (played by award- winning Joseph Wairimu, who carries the film), has a dream of a better life; he wants to be an actor. It’s clear from sees ‘the city in the sun’ through rose- meets Oti, a local small-time crook, a the start that Nairobi means trouble; tinted glasses and is initially attracted turning point for him. And once out of but Mwas goes off to seek his fortune to the allure of the capital. Robbed jail he gets involved in Oti’s gang and is anyway. We are invited to like him – on arrival in Nairobi, he ends up in jail quickly caught up in the darker side of perhaps for his endearing naivety; he after a misunderstanding. There he Nairobi life, its ‘sleazy’ side. represents the tourist/outsider who
62 MediaMagazine | September 2015 | english and media centre MM Director Tosh Gitonga is young, ‘The future of Kenyan cinema is also spiritually instituted. talented, and currently the hero of With our position at the border of northern Arab and the Kenyan film industry: Nairobi Half Life made people look at Kenyan film northern Islamic countries, we are stationed to mitigate in a new light. He is not alone; actress peace for the whole region’. (Mukhele Were, East Africa Lupita Nyong’o won an Oscar for her performance in 12 Years a Slave, and Documentary Network) is currently the ‘poster girl’ for the industry’s future success. But few will have seen her earlier Kenyan films, Ultimately all films need a good story For some, Nairobi Half Life offered such as The Roadside (Willie Owuso), (usually revolving around universal no fresh perspective of the capital which she both produced and acted themes of money, sex and death), a city, but simply reinforced the in, shot in the vast, rocky Magadi strong narrative and well-developed conventional stereotypes of crime, landscape, with its trademark savannah characters with back-stories and poverty and corruption; yet most will and acacia trees. Other successful conflicts, through which we learn of praise it as the best Kenyan film they Kenyan productions include PickPoint a character’s desires and fears. We have seen to date. Often, films from Production Studios’ award-winning want Mwas to succeed on his journey. new directors fail to engage, due drama Strength of a Woman, premiered Encouragingly, he doesn’t give up to issues with sound, poor lighting, in Kenya during International Women’s on his dream of acting; somehow he or weak acting, but the production Day weekend: a powerful film manages to get a part in a play and values in Nairobi Half Life are high. So advocating women’s empowerment ends up living alternately acting/ might this be a sign of change in the and education, with an ability to speak rehearsing, and engaging in crime. Kenyan film industry? to audiences globally. The main problem facing Kenya’s emerging film industry is that with no big names and no reputation, few even know it exists! Films from other African countries are screened all over the world; so why not Kenyan films? Many question the future for Kenyan Film, and stress the importance of establishing a suitable distribution network.
What is the Future for Film in Kenya? Kenya now has its own annual Film and TV awards, Kalasha, and other developments afoot. There is the Riverwood scene, a low-budget digital film-hub making 20-30 movies every week; and an hour outside Nairobi, building has started on the Machawood TV and Film studios, hopefully the location for many future film crews. There is investment in the industry, and a real hope that in time it will develop and compete with the more established film scenes in Nigeria, South Africa and beyond. But what stories will these future filmmakers tell? Nairobi Half Life dares to reject the foreign ideologies consumed in most Hollywood blockbusters, and proudly offers a very Kenyan story. But is there an audience for films like this? Most Kenyan box office successes are Hollywood or Bollywood mainstream
english and media centre | September 2015 | MediaMagazine 63 MM films, such as the Fast and Furious series. ‘Western‘ films showing sex and nudity cannot usually get past the conservative Kenya Board of Film Classification. In fact there is very little written about Kenyan cinema beyond its bans; 50 Shades of Grey is the latest! In Kenya violence and car chases are OK, but nudity is not! Over time Kenyan audiences will need to embrace less mainstream movies, so that films like Nairobi Half Life can begin to compete with commercially-successful Hollywood blockbusters. Of course, film also plays a wider role in society. It can be a window on the rest of the world. It can present different world views, cultures and ideas. In terms of global culture, it’s interesting that many of the most popular ‘Western’ films screened in Kenyan I tell an African story to a global audience by Follow It Up multiplexes represent the materialism using a local story, local people and locations, that the middle classes aspire to; funded by ’no ulterior agendas’ and speaking to http://kenyafilmcommission.com ironically many people will not pay for the global audience in a language that they can http://www.filmkenya.co.ke a cinema ticket, opting instead for a connect to…The more a film has a premise of http://www.theguardian.com/ bootleg DVD – and that will have to a story that can travel, the more the world will world/2014/apr/10/nigeria-africa- change; the Kenyan industry needs open up to it because it relates. biggest-economy-nollywood revenue to thrive and survive. It can be done. Gavin Hood’s Tsotsi https://www.facebook.com/ took a local story, set in Alexandra EastAfricaDocumentaryNetworkEadn From African Stories to slum, South Africa, but delivered it, Global Audiences with a popular Kwaito soundtrack, to a Images: photos by Maggie Miranda; Kenyan directors can make good global audience. The film showed both Tsotsi poster thecia.com.au; Nairobi quality films – but can they appeal to sides of the country: its poverty and Half Life poster juntadeandalucia.es audiences globally? They are passionate unemployment as well as its wealthy black middle class professionals, part of the new South Africa. Tsotsi won many awards across the world as well as the coveted Academy Award for Best Foreign Language Film (2006). I’ve spent two years in Kenya establishing Film production courses and working with many industry professionals. And as I say ‘kwiheri’ (Swahili ‘goodbye’) I urge filmmakers to consider the balance between targeting local cinema-goers and also about telling an ‘African’ story; but can including universal themes in their African stories travel? Films in a local films that will be accessible to a wider language will be watched by a local audience. Once filmmakers produce audience; the same films with subtitles films that can be distributed globally, may be accessed by a wider audience. Kenya will be able take its place on the And if universal issues and themes world stage of cinema. are in the story then the film can be enjoyed globally. Maggie Miranda is a freelance contributor Mukhele Were, from the East Africa to MediaMagazine, currently based in Documentary Network, talks about Nairobi but about to relocate to S. E. Asia. what would make a good ‘African’ story for a global audience:
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AN INTERVIEW WITH JON SNOW SHINING A LIGHT ON DARK CORNERS
Harry Cunningham speaks to the BAFTA-winning journalist and legendary anchor of Channel 4 News about the role of the media in a world plagued by scandal, corruption and despair.
We are at the dawn of a golden age of journalism. This is the best moment ever to be a writer, to be somebody who’s investigating, somebody who’s reporting, because we have at our disposal more access to information than as the internet in the form we now scandal and corruption. At the time of humanity has ever had. understand it, and the idea that anyone writing, the murder of journalists from Jon Snow, MediaMag Conference, December 2014 could break a news story themselves the French satirical magazine Charlie from anywhere in the world on their Hebdo by Islamic extremists is still You can speak truth to power because you can phones was simply unthinkable. But fresh on the news agenda. Snow has to prove it as never before. though some would say the digital confront terrible events such as these Jon Snow, BAFTA, May 2015 revolution in communication has much more regularly than the ordinary changed the world for the better since man on the street; does this ever leave I wonder what it’s like to present Snow has been at the helm of Channel him feeling a sense of despair, that the news day in, day out for twenty- 4 News, others would argue that it has things will never get any better? He is five years? When Jon Snow began exposed the world today as a far more quick to deny pessimism: anchoring Channel 4 News in 1989, troubling, unsettling place than ever Margaret Thatcher was still clinging I definitely never feel despair. I think things are before. On a scale unlike any in history, on to power, there was no such thing changing constantly. When I started, the idea we are bombarded with images of war, of Islamic fundamentalism was almost unheard
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66 MediaMagazine | September 2015 | english and media centre MM is having a profoundly corrosive effect on democracy in the UK. It’s a sentiment many would find hard to fault. Snow agrees: I think we’re in a big crisis at the moment [...] people feel alienated from Westminster because it’s a strange antediluvian outfit and doesn’t appear to have anything to do with our lives, and yet of course it does have a great deal to do with our lives. But I don’t think we’re going to end up in extremism [as has happened in other Middle- Eastern countries that have tried to take a stand against corrupt dictatorships], though I do think we could do with some radical change: I hope we’re heading for revolution. Snow says he simply believes that the media’s job in all of this ... is to shine a light on the dark corners and give a voice to those who would otherwise get excluded. Surely one of the big perks of being a journalist is the huge variety of people you get to meet. So feeling that I’d quizzed him enough on the state of the world I thought I’d end my interview with Snow by asking him who has been his favourite person to interview. It depends whether you mean favourite in the sense of having a lot of trouble with them like Margaret Thatcher, or with Mandela with whom it was a joy to have a conversation with. of and everything was about communism. 2014 also saw the denouement to one Now communism is all but unheard of and it’s of the biggest media scandals of recent It should come as no surprise that all about instability [in the middle East] but memory: the phone hacking trial. Snow would pick Nelson Mandela. In I’m very optimistic about it in the end. If you 1970 he was expelled from Liverpool ... it makes it sound as if there’s something think about it, 500 years is not a very long University for protesting against the much worse about it today than there has been time. I’ve not been a journalist for 500 years university’s continued support and before but I think the difference is that actually but Mohamed was born 500 years after Christ investment in South Africa, then led by the media is much more effective, that we and 500 years ago we were burning people at an apartheid regime. actually know much, much more about what’s the stake so we can hardly say that we are not going on than we ever did, than our parents And with that I ask him to sign a copy making progress. ever did. So I think in a way the world is a of his book for me and then let him get That might be so, but surely even better place than it was, it’s just that we know back to work... Snow cannot deny that 2014 was a more about the bad things. Harry Cunningham has written for The monumentally terrible year for hope In particular, 2014 saw a focus on Guardian, The Independent, The Huffington and optimism? We saw an escalating the failings of the Westminster Post, Writers’ Forum and The Leicester crisis in the Ukraine, including the system that governs us, energising Mercury. He has just graduated in English shooting down of a Malaysian airlines pint-drinking self-styled man-of- from Loughborough University. plane containing British passengers, the the-people Nigel Farrage on the rise of extremist, anti-semitic parties in right, and the fiery Russell Brand and Europe and the creation of the brutal Owen Jones (the latter also a speaker MoreMediaMag Islamic State in Iraq. Closer to home from the archive at the 2014 MediaMag conference, we’ve seen the continued exposure of and due to speak again in 2015), on An Interview with Jon Snow, MM6 some of our best-loved entertainers as the left. Both Jones and Brand have prolific sexual offenders and allegations spoken passionately about how the of a paedophile ring involving former influence of wealthy people in politics members of the cabinet in Westminster.
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