January mock 2023 - TV industry

You need to read each and every word of this post to get the most from your feedback. If you have any questions after reading this post, please ask me and I'll help you out!

Stat block

Depending on your teacher, you may get your result and feedback in different ways. However, everyone will get marks, a grade, and feedback.

Michael will send you a 'stat block'. From left to right, this is your mark for q1, mark for q2, mark q3, total mark, fine grade and feedback numeral. 

A fine grade is your grade (A, B, C) etc followed by a number. 1 is 'high' and 3 is 'low'. So C3 is 'scraping a C'.

The colours relate to your target minimum grade. This grade is based on your GCSE grades. Simply put: green = better than expected. Yellow = exactly what we expect. Red = less than we expect. 

Mark scheme

1 - Explore how Humans and The Returned both target and maintain a specialised audience [30, 50 minutes]

 

Band	AO1 1a and b Demonstrate knowledge and understanding of the theoretical framework of media	AO2 3 Apply knowledge and understanding of the theoretical framework of media to make judgements and draw conclusions
5 - 26	13-15 marks • Excellent knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is perceptive, insightful, and critically informed by a detailed knowledge and understanding of the television industry and consideration of audience.	13-15 marks • Excellent application of knowledge and understanding of the theoretical framework to make judgements and draw conclusions. • Judgements and conclusions are perceptive, insightful, and fully supported with detailed reference to specific aspects of the set products.
4 - 20	10-12 marks • Good knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is logical, coherent, and informed by a secure knowledge and understanding of the television industry and consideration of audience.	10-12 marks • Good application of knowledge and understanding of the theoretical framework to make judgements and draw conclusions. • Judgements and conclusions are logical, coherent, and well supported with reference to relevant aspects of the set products.
3 - 14	7-9 marks • Satisfactory knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is reasonable and straightforward, demonstrating a generally sound knowledge and understanding of the television industry and consideration of audience.	7-9 marks • Satisfactory application of knowledge and understanding of the theoretical framework to make judgements and draw conclusions. • Judgements and conclusions are reasonable and supported in a straightforward manner with some reference to relevant aspects of the set products.
2 - 8	4-6 marks • Basic knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is likely to be undeveloped, demonstrating a partial knowledge and understanding of the television industry and consideration of audience. There may be a tendency to simply describe.	4-6 marks • Basic application of knowledge and understanding of the theoretical framework to make judgements and draw conclusions. • Basic judgements are made, and some conclusions are drawn, but these are undeveloped and only partially supported by relevant examples.
1 - 1	1-3 marks • Minimal, if any, knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is likely to be superficial and generalised, demonstrating little or no knowledge and understanding of the television industry and consideration of audience.	1-3 marks • Minimal application of knowledge and understanding of the theoretical framework to make judgements and draw conclusions. • Any conclusions drawn are superficial, generalised and lacking supporting evidence from the set products.
0 marks Response not worthy of credit.

 

 

Answers may include…

 

• ·        Distinguishing between maintaining and targeting as concepts, both of which are essential in ensuring long term success and profitability for a media franchise
• ·        The differences between the two shows in terms of how they target and maintain audiences
• ·        The importance of specialised audiences, and how specialised and general audiences can be simultaneously targeted
• ·        Cult appeal of genre - ‘speculative ethics’ (Humans), ‘The New French Extreme’ (The Returned
• ·        Fandom, audience communities and participatory ways of interacting with these media products
• ·        Modes of address, and the utilisation of specific elements of lexis, generic conventions and so on to appeal to audiences
• ·        The value of genre. Both shows use generic conventions of genres that are historically associated with fans as opposed to generalised audiences. More sophisticated answers will discuss the importance of balancing core generic elements, for example the MES of cybernetics and technology in Humans, with more generalised and relatable elements, for example the cast of relatable character archetypes, that ensure broader financial success
• ·        Utilisation of narrative elements, eg The Returned’s preponderance of hermeneutic codes to construct an unrelenting atmosphere of mystery
• ·        The importance of ‘cult television’, for eg how The Returned has many stylistic similarities to other texts such as Lost, Twin Peaks and so on
• ·        The use of niche, atypical characterisation, and narrative elements, especially in The Returned singles this out as a cult show
• ·        The heavy use of intertextuality in Humans (eg ECU establishing shot of eye makes explicit reference to Blade Runner (1982) appeals to specialised audience
• ·        Intertextual references in The Returned include Switchblade Romance, The Texas Chainsaw Massacre, and (less explicitly) Let The Right One In
• ·        The use of problematic and thought-provoking representations
• ·        Deliberately challenging and uncomfortable representations of sex and sexuality
• ·        Lots of opportunities to challenge the idea of a preferred reading, as both shows provide lots of examples of radically different audience interpretations
• ·        Both texts simultaneously challenge and cultivate dominant hegemonic ideological perspectives
• ·        The use of cult, post-rock band Mogwai in Les Revs targets and maintains a pre-sold cult audience
• ·        Humans’ synth pop/techno soundtrack
• ·        Humans’ highly atypical and digitally convergent marketing campaign
  
  
  

2- To what extent do the representations in Humans reflect the time in which it was made? [15 marks, 25 minutes]

 

Band	AO1 2a and 2b Demonstrate knowledge and understanding of contexts of media and their influence on media products and processes
5	13-15 marks • Excellent knowledge and understanding of historical context and its influence on the set TV show product • Links drawn between the representations in the set TV show product and the historical context in which it was produced are perceptive and insightful • A detailed understanding of the significance of representations in the set TV show is shown
4	10-12 marks • Good knowledge and understanding of historical context and its influence on the set TV show product • Links drawn between the representations in the set TV show product and the historical context in which it was produced are logical • A secure understanding of the significance of representations in the set TV show is shown
3	7-9 marks • Satisfactory knowledge and understanding of historical context and its influence on the set TV show product • Links drawn between the representations in the set TV show product and the historical context in which it was produced are generally sound • A reasonable understanding of the significance of representations in the set TV show is shown
2	4-6 marks • Basic knowledge and understanding of historical context and its influence on the set TV show product • Links drawn between the representations in the set TV show product and the historical context in which it was produced are undeveloped • A basic understanding of the significance of representations in the set TV show is shown
1	1-3 marks • Minimal knowledge and understanding of historical context and its influence on the set TV show product • Any links drawn between the representations in the set TV show product and the historical context in which it was produced are superficial and generalised • A very limited understanding of the significance of representations in the set TV show is shown
0 marks Response not worthy of credit

 

 

 

Answers may include…

 

• ·        It is likely that students will argue ‘to a great extent’, and ultimately this is the expectation here. However, all answers should be considered equally valid when supported by explicit reference to key scenes and media language
• ·        Humans, produced in 2015, broadly reflects the here and the now, and answers should reflect how the show draws attention to contemporary issues
• ·        Students may choose to focus on how Humans functions as an allegory, and captures the zeitgeist of contemporaneous UK socio-political issues
• ·        The value of the sci-fi genre as allegory
• ·        Clear allegories of racism, slavery and so on
• ·        Anita as a hyperreal simulacrum
• ·        Issues of sex, sexualisation, consent and power
• ·        Issues of immigration, race, ethnicity, slavery, and power
• ·        The Hawkins family as a hyperreal metonymy of a British middle-class family
• ·        Use of stereotypes, which may ultimately be more damaging than positive
• ·        Anita’s gender performativity and the radically different ways she affects the Hawkins family
• ·        Niska both fulfils the notion of the heterosexual male gaze, and deliberately positions the audience in an uncomfortable mode of address
• ·        Many opportunities for audiences to explore and to relate to a diverse and conflicting range of identities
• ·        Postcolonial readings: Anita’s representation as an Asian ‘other’ draws attention to Britain’s uneasy relationship with its colonial past

 

3 - Explore how The Returned has been shaped by the contexts of its ownership [15, 25 minutes]

 

Band	AO1 1a and b Demonstrate knowledge and understanding of the theoretical framework of media
5	13-15 marks • Excellent knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is likely to be perceptive, insightful, and critically informed by a detailed knowledge and understanding of the TV industry.
4	10-12 marks • Good knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is likely to be logical, coherent, and informed by a secure knowledge and understanding of the TV industry.
3	7-9 marks • Satisfactory knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is likely to be reasonable and straightforward, demonstrating a generally sound knowledge and understanding of the TV industry.
2	4-6 marks • Basic knowledge and understanding of relevant aspects of the theoretical framework.
1	1-3 marks • Minimal, if any, knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is likely to be superficial and generalised, demonstrating little or no knowledge and understanding of the TV industry.
0 marks Response not worthy of credit.

 

 

Answers may include

 

• ·        It is highly likely that successful answers will start with the show’s producer, Canal+, an established, prestigious vertically and horizontally integrated media conglomerate
• ·        Answers are likely to focus on the balance between presenting a niche, unique experience, and the necessity of financial successes
• ·        The seemingly non-commercial and highly atypical nature of this show is typical of a prestige, subscription-based channel
• ·        Surprisingly high budget and production values
• ·        Broadcast contexts, streaming, franchising, and international distribution models that are only made possible through its funding model
• ·        Unique funding model
• ·        Graphic themes of sex and violence, which can only be achieved through an independent and commercially adventurous producer
• ·        1.91 million views for the first episode, which is significant for a niche show
• ·        2 seasons of 8 episodes demonstrates high production costs (8-episode model as opposed to tradition, US style 24 episode ‘season’)
• ·        Funded through grants from Creative Europe and The French Alps Tourist Board. A diverse range of funding, typical of an independent production
• ·        Shot in Haute-Savoie, in the French Alps
• ·        US distributor: Sundance TV, a premium US subscription channel
• ·        Grant of 450000 euros for 1st season and 1000000 euros for the second, which indicates a return on the investment
• ·        Aired at 2050 on Canal+. Prime time! Indicates strong producer confidence

Feedback legend

i - You must include more media language. Shot types, camera angles, mise-en-scene, lexis, colour, setting, whatever, if you're not using these words, you're not getting marks!

ii - You must focus on analysis and suggesting meanings. What do the de-saturated colours mean? How does the lexis target a working class audience? Don't describe... analyse!

iii - Focus on theory. You don't use enough. You should use more. Make sure to properly revise at least three theories for the next mock!

iv - Focus on presenting a clear argument or point of view. You've ticked every other box, so what do you think? Get argumentative! Get angry! And make a big conclusion!

v - Avoid colloquialisms and find your academic tone. Check out the detailed feedback below for more information on this. This one will take time: there's no quick fix!

Grade boundaries 

This assessment didn't have a lot of questions, so the grade boundaries are really close together! That's life!

A* - 81% - 48

A - 71% - 42

B - 61% - 36

C - 52% - 31

D - 43% - 25

E - 35% - 21

U - 20 or below

General feedback

In addition to the 'indicative content' included above, please pay close attention to this more general feedback, which detailed things we saw students doing time and time again... good and bad!

Missing intros

A surprising amount of you didn't include an introduction. I can only assume this is because you feel it will waste time. Well, let me tell you, a good introduction will SAVE you time! You use it to DEFINE the key term, present your ARGUMENT and then detail a bit of CONTEXT about (in this case) the TV shows. This means you can just jump in to the analysis for the rest of the essay! ALWAYS DO AN INTRODUCTION FOR EVERY QUESTION IN COMPONENT 2!

Short industry answers

A less surprising number of you wrote very little for the last question, on industry and Les Revs. This is for one of two reasons. 

One, you run out of time. You need to make sure to spend the right amount of time on each question. This means doing past paper questions under timed conditions. 

Two, you hadn't revised the industry context for Les Revs. You need to visit this post and this post, and cram this information in your head, probably using flash cards!

"Anyone can watch it/the audience is everyone!"

This isn't true. This is never true. Please don't say this. Especially when the question is about a specialised audience (see below)

Use the question to answer the question

The first thing you should do is underline the key terms of the question. This is because you are going to be using them over and over and over again. For example, TARGET, MAINTAIN, SPECIALISED, AUDIENCE. A straightforward technique is to use these words at the start of every paragraph, for your POINT. For example, "Another way in which Humans maintains a specialised audience is through it's use of extremely specific science fiction genre conventions. The opening scene is the perfect example of this...". There we go: a simple, straightforward, yet clear and sophisticated way of structuring your response!

Specialised audience

A specialised audience can be interpreted as niche, small, cult, active, involved. The first question required you to discuss and explore how this specialised audience was targeted and maintained (i.e, what techniques were used to keep them watching). However, WAY too many of you just wrote about audience in general. This wasn't a tragedy, but essentially it means you were not answering the question. See above for more advice on using the question to answer the question.

Audience theory in an audience question

The big 30-marker here was an audience question. There's no issue with using non-audience theory in this question. Someone (let's call him James) effectively used Barthes' semiotic theory to talk about how hermeneutic codes appeal to a niche audience in Les Revenants. Perfect! However, when the question uses the word 'audience', that should be your cue to include audience theories. Here's a couple of examples:

Stuart Hall - Reception theory - "Hall argues that audiences can decode media products in a variety of different ways, and Les Revs takes this to an extreme level. In fact, I would argue that the show has no one preferred reading, and encourages infinite audience negotiation. For example, the scene where Camille comes home..."

Henry Jenkins - fan theory - "Producers must ensure that their product appeals to a generalised audience in order to ensure financial success. however, producers must balance the needs of a general audience with a specialised audience. Perhaps the most significant example of a specialised audience is what Jenkins refers to as fans; active, participatory audiences who engage with media products in a variety of different ways. Humans provides fans a significant number of ways in which to heavily engage with the show. For example, the opening montage..."

Use explicit examples

Question 2 was all about historical representations in Humans, or rather how the representations in Humans reflect what is happening in the UK, RIGHT NOW. So it's a great opportunity to rake in two or so key scenes, and then explore how media language constructs representations! Yet while many of you correctly identified Humans functioning as an allegory, a surprising amount of you included basically no textual analysis, which was a BIG SHAME, as you really should have rinsed this question for tonnes of marks. Here's a few examples of key scenes you could have analysed, the media language you could have referred to, and the issue it represented:

Buying Anita- montage, ECU, reaction shot, setting, MES - the fetishistic close ups not only refer to the fetishization and sexualisation of women in society, but also the issue of slavery and postcolonial attitudes

The brothel scene - tracking shot, POV, lighting, montage, diegetic sound - the threatening combination of bassy diegetic music and low key lighting reinforce the dangers that women face in society, dangers that the producer argues are perpetrated by men

Reflecting the time it was made

The Humans 25 marker was a representation question. But that doesn't mean you can just bang on about sexism and the nuclear family and everything we talked about. Instead, the question is asking you how these representations 'reflect the time in which it was made'. Once more, that time is NOW. This is (just about) a modern show. So everything needs to be linked to contemporary issues. Sexism, the nuclear family and even postmodernism are all good, but this must be related to answering the question!

I feel that I was VERY generous with some marks I gave for this question. Some examiners would give a zero for general representation answers that don't attempt to engage with the 'reflect the time it was made' aspect. Please, UNDERLINE KEY TERMS AND USE THEM CONSTANTLY!

Don't lead with theory

Some students leaned way too hard on postmodernism for the representation question. First of all, this is a media language theory, but if used appropriately it can back up points about representation. But spending an entire essay mainly trying to define it is not appropriate. Generally, theory should be saved for the 'A' of a PEA paragraph. So after making your point and providing detailed evidence of Anita's highly sexualised/fetishised representation, you could add to your 'A', 

"...through these highly sexualised and even fetishistic establishing shots, Anita is not only presented as an object of desire for a heterosexual male audience, but also a hyperreal representation of a hegemonically ideal woman. Simply put, Anita is perfect because she is NOT real and can never exist. This postmodern ideological perspective not only constructs a confusing and compelling mode of address to the science fiction fan target audience, but it also allegorically presents a highly challenging and problematic issue affecting women today..."

Woman magazine: initial response and analysing the front cover

 For this session, you will be getting to grips with Woman Magazine, a UK women's lifestyle magazine published weekly for the best part of a century now. The edition we are exploring is from August 1964. Even just reading these basic facts will probably allow you to guess the main argument we'll be making in lessons:

The representation of women has changed significantly in the almost 60 years since this edition was published

Task one - familiarise yourself with the magazine

You can find the pages of Woman we have to study by clicking here. 

Look through it. You don't need to read every word. Briefly answer the following questions in your notes, using SPECIFIC EXAMPLES TO BACK THEM UP. Yes, I know that Woman magazine is targeting women. But how do you know? And what demographic of women?

• Who is the VERY SPECIFIC target audience for this magazine? How do you know?
• What stereotypical representations can you find?
• Who is not represented or is underrepresented in this magazine?
• What genre is this magazine? Is it typical of it's genre?
• What examples of lexis in this magazine may strike you as interesting, or strange?
• What message is the producer of this magazine presenting to its audience?
• Why might a woman in 1964 actually read this magazine?
• What messages about woman are presented in this magazine?
• How might a woman react to this magazine in 1964? How might a woman react to this magazine in 2023?
• How could this magazine be appealing to audiences?
• What uses and gratifications does it provide to it's audience?

Task two - analysis of the front cover

The front cover is the most important page of a magazine. It sits on a shelf in the newsagent and it screams BUY ME! But it doesn't scream to everyone. For example, Woman magazine is not 'talking' to a male audience. 

This process is called modes of address, because the magazine uses very specific elements of media language to address or talk to its target audience. 

Media language is everything on the toolkit. Shot type, camera angle, colour, mise-en-scene, lexis.... all of this is media language. And it CONSTRUCTS MEANING.

This is the front cover of Woman. Know it well. You WILL be talking about it in the final exam!

How does the front cover of Woman magazine make meaning and address it's audience? Make reference to: 

• Codes and conventions – changes over time? 
• Layout and design
• Composition - positioning of masthead/headlines, cover lines, images, columns 
• Font size, type, colour 
• Images/photographs - shot type, angle, focus
• Mise-en-scene – colour, lighting, location, costume/dress, hair/make-up 
• Graphics, logos 
• Language – headline, sub-headings, captions – mode of address
• Copy 
• Anchorage of images and text
• Elements of narrative

Here are a couple of more leading questions if you are feeling uninspired:

What does the purple background symbolise? 

How old is the model? Why is this important?

How can we describe the mise-en-scene of her facial expression?

Why has the producer chosen this particular font for the masthead?

What assumptions does the lexis of the coverlines (coverlines are headlines but on a maazine!!!!) make?

If you do not make notes, this information is lost, forever! Please don't waste your precious time!

Explore how ownership shapes media products. Make reference to The Returned to support your response

Example introduction

Shaping refers to how a media product is formed by the contexts in which it was created. In this essay, I shall argue that Les Revenants was shaped to a significant degree through its ownership. In fact, Les Revenants is a show which could only be made by Canal +. Canal + is an established premium subscription channel that appeals to a predominantly middle-class audience.

What kind of TV programme is Les Revenants?

• Zombie
• Supernatural
• Mysterious
• Weird
• Exciting?
• Boring
• Confusing
• Unconventional 
• Spooky
• Unexplainable 
• Atypical
• Emotional
• Violent
• Dramatic 
• Depressing 
• Sexually explicit 
• Triggering
• Big issues
• Uncommercial 
• Slow paced 

Research

• What other shows does Canal + put out?
• Budget
• Funding
• International distribution
• Production: how was it made? Who made it? Etc
• Revenue: earnings!
• Advertising: both nationally and internationally

Findings

• 1.91 million views for the first episode, which is fairly significant for a show like this
• 2 seasons of 8 episodes demonstrates high production costs 
• Funded through grants from Creative Europe and The French Alps Tourist Board . A diverse range of funding, typical of an independent productions
• Shot in Haute-Savoie, in the French Alps
• US distributor: Sundance TV, a premium US subscription channel
• Grant of 450000euros for 1st season and 1000000euros for the second, which indicates a return on the investment
• Aired at 2050 on Canal+. Prime time!

Paragraph starters

• One way in which Les Revenants was clearly shaped by the context of it’s ownership is through the highly non commercial and highly atypical nature of this show
• Another way in which Les Revenants was shaped through its ownership is through the surprisingly high budget and production values
• Yet another way in which Les Revenants was clearly shaped through ownership is it’s unique funding model
• A final way in which Les Revenants was shaped through the context of it’s ownership is through the shows graphic themes of sex and violence, which can only be achieved through an independent and commercially adventurous producer

The television industry is a specialised industry. Explore how The Returned is a product of a specialised industry

Example introduction

When an industry is specialised, this means that it does one thing extremely well. In this essay, I shall argue that Les Revenants is the product of a specialised industry, and could only be made by a producer that specialises in TV production. Les Revenants is a French language, highly atypical horror TV show that first broadcast in 2012.

What kind of TV show is Les Revenants?

• Niche audience 
• Flexi-narrative multi strand narrative, typical of TV show
• Complex
• Stereotypically French 
• Slow paced
• Weird 
• Atypical
• High Budget
• Polysemic
• Dark
• Depressing
• Washed out colour palette
• Mysterious
• Hermeneutic
• Unsettling
• Confusing
• Complex

Questions

• What is Canal +?
• What other shows does Canal + put out?
• Budget
• Funding
• International distribution
• Production: how was it made? Who made it? Etc
• Revenue: earnings!
• Advertising: both nationally and internationally

Findings - what kind of organisation is Canal +?

• Canal + is a multinational conglomerate. It owns a number of different channels, including Canal +, Cine Grande, Canal + Series, Canal + Foot, Canal + Kids, which indicates that it is horizontally integrated. However it also produces films, and has its own international digital streaming services, which means that it is also vertically integrated. In short, it is absolutely massive. A show like Les Revs is only possible to be produced by an enormous company like Canal +
• International distribution: in order to minimise risk and to maximise profit, Canal + chose to distribute and licence this show internationally. It was first broadcast in the UK on Channel 4, a channel with a reputation for edgy and experimental television. Channel 4 is funded through a mixture of traditional advertising and the UK TV licence. It was distributed in America on the Sundance channel, an independent, small US channel that specialises in international films and TV shows. By distributing this show internationally in a variety of different contexts, it allows the producer to minimise risk and to maximise profit, something that is only possible for the TV industry. 
• The first series of Les Revenants cost $11million, which categorises this show as a surprisingly high budget. It was funded through a variety of sources, including a funding grant from Creative Europe, which amounted to 45000 euro for the first series, and a million for the second. This varied form of funding is typical for less commercially successful TV shows. In doing so, this promotes French national culture, and presents France in a positive light. This can ultimately increase foreign tourist investment. The show features many montages of attractive scenes of the beautiful French countryside 

Paragraph starters

1. Les Revenants is a niche show that targets a niche audience, and this is reflected in the funding of the show, which is highly typical of the television industry…
2. Les Revenants is produced by Canal +, French based, internationally minded conglomerate that charges a monthly subscription fee for its premium service. This means that Les Revenants reflects the high production values of it’s producer…
3. While the primary audience for Les Revenants is a domestic, French audience, the show also targets an international audience. This is typical of a specialised, multinational media conglomerate…

Audience responses to Les Revenants

Cultivation theory - the idea that being repeatedly exposed to an ideological perspective or representation will cultivate or grow an ideological perspective in the audience.

What stereotypical representations does Les Revs perpetuate?

• Stereotypical representations of French women. For example, the representation of Adelle being hegemonically attractive and stylish from  a French perspective.
• Stereotypical representations of teenagers. Obsessed with sex, socialising, and rebelliously defying their parents
• Stereotypical representations of children. Victor is represented as confused, but ultimately creepy, which is a representation of children that is cultivated time and time again in the horror genre. It is uncanny to see a small person doing things that they should not do, for example standing in the garden in the middle of the night, or taking the bus by himself 

Conclusion: the representations in Les Revenants are highly stereotypical to present a simple and straightforward ideology to the target audience. While the narrative may be complicated and confusing, at it's heart, the ideological messages of this shows are very simple indeed!

Stuart Hall - Reception theory - how the audience receive ideology encoded in the media product by the producer

The ideology of the producer isn’t completely clear, and the result is that Les Revs presents a complicated, confusing, yet potentially rewarding set of messages which will polarise audiences.

Preferred - audience agrees with the ideology - the audience would understand that Les Revs is an atypical horror show, and would take pleasure from the horror conventions, and the way the show subverts them. The audience will take pleasure with how confusing the show is, and the use of hermeneutic codes. The show is emotionally involved, and says something about our own lives. The characters are highly relatable and appeal to many target audiences. Audiences will take pleasure in the intellectual combination of sex and death. They will also take pleasure in the symbolic encoding of adolescent problems. The unconventional characters may delight audiences. The show also presents a complex representation of teenagers, who are usually not represented at all in TV shows. the audience agrees with the ideology of the producer. The show has a highly confusing atmosphere, and some audiences may find this compelling. The show is completely constructed from hermeneutic codes, which can be compelling. Additionally the audience should feel highly unnerved by what they are seeing. In order to find this show creepy, the audience must accept the narrative, and must accept the reactions of the characters that something impossible has happened. However, the show focuses on the characters and their personal lives, which infers we are supposed to find the characters relatable. Audiences might also relate to the narrative, and may be able to empathise with certain events, for example, sneaking off to the pub, or the death of a loved one.

Oppositional - the audience disagrees with the ideology - the show is boring, it makes no sense, it is frustrating to watch, and it is smug and pretentious. It’s too slow, and not exciting enough. The characters lack any emotion that makes them relatable. Audiences may find the combination of sex and death disgusting, confusing, and just plain offensive. the audience disagrees with the ideology of the producer. The audience may find the show confusing in an unsatisfactory and distracting way, which means they miss out on the show’s creepy atmosphere. Audiences may not relate to any of the characters in this show. This is especially true of children, and working class audience. Audiences may not find the show unnerving because is subverts genre expectations, which the audience may not understand. Audiences might also be put off by the melodramatic performances, which take them out of the narrative

Negotiated: a combination of agreeing and disagreeing with the producer:

• Intrigued by the mystery but hate all the characters
• Really like the characters but hate the supernatural elements 
• May feel conflicted about certain characters, eg Mr Costa
• May enjoy horror conventions, but absolutely are not scared by the show…

Issues with representation

Argument: Les Revenants is highly progressive in many ways, especially in its representation of age and gender. However, it is also extremely lacking in other regards.

• There is an almost total lack of representation of people of colour. France is an ethnically diverse country. Some parts of France are more diverse than others, however, it is unlikely to find an area which is exclusively white. This is almost certainly an attempt to appeal exclusively to a perceived white and middle class audience. We could argue that this approach is highly short sighted, and means Les Revenants is not only missing an opportunity to present atypical representations of POC, but also to appeal to wider audiences. Almost every character in the show is white, which presents a narrow and straightforward representation of ethnicity. This is an example of something that George Gerbner refers to as ‘symbolic annihilation’ 
• It could also be an attempt to represent an area that is predominantly white. 
• Additionally, the producer was clearly making a horror TV show, and has chosen to deliberately not tackle racial issues
• For every positive representation of women, there is also a highly stereotypical one. Two women are murdered in this first episode, in both cases by men. In the scene with the bartender who is murdered in the underpass, the use of low key lighting constructs a stereotypical and threatening mode of address, that reinforces the ideology that women should not walk home alone at night. The POV shot of the murderer stalking the bartender down the ally is an explicit reference to the slasher genre, and once more reinforces and ideological perspective where women are vulnerable. The hooded jacket of the killer symbolically encodes a world in which powerful men attack women. This reinforces stereotypical and patriarchal hierarchies of power. Finally the setting of the abandoned underpass constructs a stereotypical representation of poor and working class areas. The sexualisation of teenage girls. Lena is hegemonically sexually attractive, and by being represented as overtly sexually available, she reinforces a patriarchal hegemonic stereotype, and appeal to a heterosexual male fantasy.
• The show is targeting and almost universally represents a middle class audience. The show asks the audience to not only identify with the middle class characters, but also assumes a certain level of intelligence and education. It assumes a certain knowledge of French culture, French geography, horror film conventions, and the conventions of art films.
• There are a number of stereotypical representations of gender. For example, Claire is a stereotypical gendered representation of a caring mother. Additionally, two women die in this first episode, in both cases at the hands of a male character!

Les Revenants: industry questions

Which question scares you the most out of these four?

Why?

What can you do about it?

• Media products are shaped by regulation. To what extent do you agree with this statement? Make explicit reference to The Returned to support your answer
• Explore how economic factors influenced the production and distribution of The Returned
• The television industry is a specialised industry. Explore how The Returned is a product of a specialised industry
• Explore how ownership shapes media products. Make reference to The Returned to support your response

Considering the marketing campaign for Humans within an economic context

Marketing and advertising 

The following task looks at a pivotal element of Human's advertising campaign, and uses it to answer two different exam questions: one on audience, and one on media industries 

Persona Synthetics commercial: industry and audience approach

How significant are economic factors in the TV industry? Refer to Humans to support your answer.

Knee jerk reaction: Economic factors are essential to the TV industry

Plan

MES

Target audience

Representation

Camera angles

Preferred reading

Narrative

Polysemic

Metanarrative 

Allegory 

Multi-strand narrative

Archetypes

Construction

Intertextual readings 

Editing

Fast paced editing

Montage

Semiotics (roland, codes)

Binary Oppostions 

Gender performativity

Postmodernism 

DAC

Definition, argument, context

• Economic factors refer to the financial implications of making and distribution a TV show. In this essay, I shall argue economic factors are essential to the production and distribution of TV shows, as the purpose of every TV show is to minimise risk and to maximise profit for it's producer. In order to explore this point, I shall refer to Humans, a sci-fi series first broadcast 2015 on Channel 4 in the UK, and AMC in America. This US/UK co-production conveys a variety of different meanings to different audiences, and was a remake of a Swedish TV show. 
• The marketing campaign for Humans was highly atypical and even controversial, breaking many of the so-called rules of advertising. An excellent example of this is the Persona Synthetics TV spot advert, which takes a highly unusual mode of address. 
• In a highly atypical move, the Persona Synthetics trailer choses to advertise the cyborg (or synth) from the TV show, as opposed to the TV show itself. None of the main characters appear at any stage, and there is even no reference to the title of the TV show itself. The advert accomplishes a fascinating feat: it is literally placing the audience in to the world of the Humans narrative, and demonstrating an advert that the Hawkins family is likely to have seen. This advert is an excellent example of the company apparently self-sabotaging. The advert completely lacks any information, such as the name of the TV show, any of the names of the characters, and even what time the show will be broadcast. However, this highly atypical mode of address will actively encourage audiences to engage with this advert, for example looking up the website, searching for the included hashtag. This will ultimately encourage audiences to engage with the product both online and in person, and is an excellent example of viral media. 
• It's mysterious nature functions as a hermeneutic code, creating a powerful sense of mystery for the target audience
• The advert constructs a highly shocking and manipulative mode of address, heavily inferring to the mass audience that synthetic lifeforms actually do exist. It is an example of augmented reality, and actively positions audiences within the world of the narrative. It uses many conventions of the advert, including the casting of a stereotypical family, the use of a stereotypical futuristic household , and the use of an upbeat song in a major key, as well as the link to a website and the on screen graphic 'Regent Street Store Open Soon'. All of these elements combine to construct and augmented reality where robots exist.
• While this trailer does not include footage or characters from the show, it does expertly introduce a range of important themes:
• Artificial intelligence "closer to humans than ever before"
• The obsolescence of humans - synths are represented as being more capable, more safe, more reliable 
• Foreshadowing many controversial and unpleasant themes of the TV show: the montage of the kid coming downstairs/reaction of mother /synth walking kid upstairs is absolutely wonderful 
• Sale of merchandise, for example DVDs etc...
• Middle class science fiction fans are a desirable target audience, and advertisers will potential pay a premium for this
• MES of the nuclear family is anchored through the depiction of a mother, a father, and two children. They are white, and extremely middle class, a fact which which is anchored through the highly middle class setting
• The MES of the clean and extremely modern family household constructs a clear ideology of a middle class family. However, the household does not resemble a 'real' house, but instead functions as a hyperreal simulation. It resembles a house that we may see in an advert or in a high end showroom. This advert is clearly trying to resemble an advert. 
• The Persona Synthetics commercial is an advert for a synth, a synthetic human, or cyborg. However, they clearly do not exist. This is a highly convincing advert for a fictitious product. Other elements which make this a highly conventional product advert include the generically appropriate soundtrack, which features a positive, major key piano motif.  It's convincing nature is further anchored through montage of the synth carrying out a range of stereotypically 'feminine' tasks, such as cooking, cleaning, and childcare. It's conventions are similar to that of a kitchen appliance advert, functioning as a highly complex system of intertextual relay, creating a satisfying mode of address for the target, niche sci fi audience
• This highly convincing advert actually convinced a small minority of audience members that cyborgs do in fact exist. This is partly due to it's highly convincing genre conventions. The trailer ends with a title card/on screen graphic with the Persona Synthetics logo. This diegetically situated element of mise en scene essentially communicates to the target audience that Persona Synthetics is a real corporation, and wonderfully positions the audience not as a potential audience for the TV show Humans, but actually in the world of the narrative. 
• AR - augmented reality. Through it's highly convincing set of generic conventions, the trailer forces the target audience to answer the question: is this real? This proairetically brings up one of the main themes of humans, 'what is reality? What is humanity? And other extremely complicated, and highly postmodern. The advert is deliberately creating a sense of anxiety, confusion, and a nightmarish atmosphere. This is a highly atypical way of selling a new TV show! This indicates that Humans is clearly targeting a niche audience.
• The use of the hashtag hashtag humans functions as an example digitally convergent media, encouraging the niche target audience to engage with the show online before ever actually having seen it
• However, the advert also incorporates a highly problematic proairetic code, foreshadowing the themes of the collapse of the nuclear family.
• While the trailer for Humans radically does not include any traditional trailer conventions, it does include it's own self contained an highly effective narrative. The final montage of shots constructs a highly effective deconstruction of the nuclear family. A low angle mid-shot sees a young boy walking down dark stairs in a position of distress. He directly addresses his parents, However, the mother's expression is one of annoyance. This highly effective montage explores the deconstruction and the problems facing the nuclear in the early 21st century. This raises a range of problematic and highly polysemic issues for the niche target audience, and reinforces the complexity of the show before audiences are even aware that it exists