Audience negotiation and A Grenfell Story
Preferred, negotiated, and oppositional readings
- Oppositional; disrespectful to the people who have died. Audiences may be angry that George is taking this event and narrativizing/dramatizing it, potentially for financial gain
- Preferred reading: relatable to the inner city black educated target audience. Takes a difficult and highly politicised event and uses dramatic techniques to make it more impactful and relatable.
- Negotiated: however, even though this episode clearly raises awareness of the Grenfell incident, some audiences may still find it disrespectful. Additionally, some audiences may be engaged by the narrative, yet may find the poetry off-putting or even annoying. However, even though this clearly is targeting a niche audience, it helps the BBC to achieve plurality
General analysis - how is audience response anchored through media language?
- Main character is a teacher who died in the event. However, she did not, strictly speaking, exist. However, by using a fictitious character, George is able to better show the impact of the event on real people
- “I had to move to a better reality” - George constantly questions stereotypes, and seeks to make characters and issues more relatable and even more complex
- A stereotypical representation of a teacher, using maths to change the lives of her students. Using an anecdote about real life issues, she expertly engages her students, although her approach is not appreciated by the headteacher. Therefore, not only does this episode address systemic racism and housing, it also considers systemic racism in the teaching system
- By using the example of a single person and killing her within the narrative, when we hear her student cry at the end of the narrative, we are able to contextualise the sheer loss of life that has happened though identifying with an individual
- The poetry may take certain audiences out of the narrative and be frustrating. However, another negotiation may be the poetry is essential to stopping the narrative from feeling staged and flat
- The music is often dramatic and orchestral, which anchors the audience which anchors a deep and complex set of emotions
- A complete shift in genre, from documentary to drama/social; realist/tragedy
- George self represents as confident, competent and even somewhat arrogant. This could allow for a greater connection with him, yet could be self obsessed
- Educational context. Not much about Grenfell in particular, but lots of contextual information about institutional racism and issues affect black business owners.
- The use of music throughout the episode adds to the atmosphere, and helps anchor emotions, and reinforce the ideology of the producer, that this is a tragedy…
- …however there are also moments of silence, referencing symbolically the lives that have been lost.
- Undeveloped characters. All we know about George's girlfriend is that she’s a teacher, and that she is able to relate to her students. A positive representation?
- Yet certain scenes, for example the massage scene help audiences to identify and to feel aligned with the characters. Yet this scene may provoke negotiated responses. The scene is intimate and even explicit, and is written by George himself, representing himself as a great lover. Some audiences may find George egotistical and self-obsessed
Francophone part one
- A discussion of black culture, in particular African music genre, in particular francophone/french speaking countries. Starting off his discussion with the Ivory Coast, he discusses music related to this country. A cheerful mode of address is constructed through the cheerful music and the tone of voice. A highly entertaining mode of address.
- However, George’s tone of voice and lexis becomes more formal and sophisticated . Suddenly an educational mode of address is implemented. He moves on to a conversation about colonisation (French colonisation), and he discusses the international success of Francophone. He discusses how the French language is essential in order to make African music internationally popular. He then goes on to discuss breakout American/Senegalese artist Akon. The Francophone music ends up being sampled, covered and remixed by other artists from America. Suddenly, much of this music is now in English, which is a symptom of colonisation. In addition, this is also an example of cultural appropriation.
- The complexity of the episode has therefore completely exploded. A complex topic is made engaging, relatable and more easy to follow through a mixture of monologues, poetry, music and sound clips. The episode discusses former British and French (anglophone and francophone) colonies gradually accepting more western values and culture in their music . In particular, the episode discusses Afrobeat, and how African artists have been westernised and exploited. This episode therefore focuses on cultural appropriation, taking culture from another culture and distorting it in their own view.
- At the start of the episode George positions the audience with the lexis “let’s go to the ivory coast”, and plays an afrobeat song in French from the Ivory Coast with a cheerful and upbeat rhythm. George’s analysis of the song is simple and straightforward, making him a relatable equal
- A sudden change in tone, with a digital echo added to the song, symbolise a change in mood
- The episode considers colonisation, the act of dominating a country and forcing ideology on it in exchange for power and profit.
Quotes and further examples of lexis
“No African was as big as Akon” - a social and escapist mode of address. Brings up issues in terms of representation, which can be discussed with friends, and provides an escapist fantasy about fame
“He made his money off an English-Speaking audience”
“Capitalism is a numbers game”
“Colonisation made us the wrong template”.
“Black people love Ed Sheeran” - George is black, and is talking and addressing a black audience. Constructs a relatable mode of address for his target audience
“I feel like they were taking the piss” - Rude and informal, fits the with the lexis and mode of address of the episode, providing audiences with comfort and entertainment
“Both of these verses were very… average” - a comedic mode of address makes George more amusing and relatable
“Does every feature help the song or help the music industry move along?”
“Western Capital emerging into an emerging market only benefit certain artists”
“The type of economy that isn't kind to monopoly”
“In a lot of ways we are kept apart”
“Guess which one I hear over here more often? The remix” - in depth conversation about colonialism and international media in Africa. Perhaps broadening appeal to international audiences?
“I used to think only Africans knew about this song” - a reference to George and his community and the community listening to this community. Constructs a complex and diverse representation of being black and British. A complex representation of ethnicity.
“He’s like ‘au revoir’”
“Me, I should be biased as a Ugandan, but even I can admit this is an African anthem” - constructs a representation of black British people as complex and subject to a rich history
“Black people love Ed Sheeran” - a stereotypical statement, yet constructs a generalised sense of community among black audience listening to this podcast
“I feel like they were taking the piss” - young, relatable and informal lexis. Forms a parasocial relationship
“Both of these verses were very… average” - dry and sarcastic humour, makes George relatable to his audience
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