Videogames: Horizon Forbidden West - Language & Representations

Our second videogames CSP is Horizon Forbidden West (2022).

This is another in-depth CSP so will require two detailed blog tasks over the next couple of weeks. We'll start with an introduction alongside language and representation contexts.

Horizon Forbidden West: introduction

• Released in February 2022 as a sequel to the highly successful Horizon Zero Dawn (2017). 
• Available on PS4, PS5 and Windows platforms.
• Horizon Forbidden West sold over 8 million copies in its first year.
• Excellent reviews including 9/10 on IGN.
• Developed by studio Guerrilla Games which is based in Amsterdam and owned by Sony. 

 

Background and media language

• Genres: Action adventure / Action role playing / Sandbox / Open world
• Protagonist/avatar (character player controls): Aloy 
• Setting: Post-apocalyptic future version of USA following extinction event caused by a robot swarm. 
• Gameplay: Exploring open world, completing quests using weapons against hostile machine creatures.

Official release trailer: 

Official gameplay trailer: 

Representation: social and cultural contexts

Horizon Forbidden West has been both praised and criticised for the representations of different groups. Driven by a strong, independent female protagonist in Aloy, the game has been held up as an example of how gender in videogames is changing.

Horizon Forbidden West also has an LGBT storyline which can be seen as further evidence of Gauntlett’s view of the liberalising influence of the mass media, particularly in recent years.

However, the game has also been criticised for its representation of indigenous populations and Asian Americans with the accusation of lazy stereotypical tropes.

Key scene analysis

Watch the key scene where Aloy’s love interest storyline develops and think about how representations of gender and sexuality are constructed:

Edward Said: Orientalism 

Edward Said (1935-2003) was a Palestinian-American cultural theorist and academic best known for his 1978 book Orientalism.

In it, he argued that the west – particularly colonising Europe – constructed a meaning of the east that suggested it was exotic, dangerous and uncivilised.

East v West

Edward Said argues that the Europeans divided the world into two parts: the east and the west or the civilized and the uncivilized. This was a totally artificial boundary; and it was laid on the basis of the concept of ‘them and us’ or ‘theirs and ours’.

The Europeans defined themselves as the ‘superior race’ and they justified their colonisation by this concept. Media to this day contains particular tropes associated with these views.

Horizon Forbidden West & racial tropes

Videogames website Polygon has highlighted racial tropes in Horizon Forbidden West: 

“A plethora of racist tropes emerge within Forbidden West’s world. There’s a stereotypical angry Black woman named Regalla, for example, who leads a rebel army and would rather die than seek peace. There’s also constant belittling between tribes, who call each other “savage” or “uncivilized” — terms loaded with racial undertones. There’s also plenty of Orientalism.”

Horizon Forbidden West: Language and Representation blog tasks

Create a blogpost called 'Horizon Forbidden West: Language and Representation' and work through the following tasks.

Language

Introduction

Read this review of Horizon Forbidden West in the Financial Times (should be non-paywalled but you can read the text of article here if needed). Answer the following questions:

1) Why does Guerrilla Games have 'a serious case of bad timing'? 

2) What is the narrative for the original game Horizon Zero Dawn? 

3) How is the central character Aloy described? 

4) What is the narrative and setting for sequel Horizon Forbidden West?

5) What does the review say about animation and graphics?

6) What do we learn about the gameplay and activities in Horizon Forbidden West? 

Close textual analysis

Watch the trailer for Horizon Forbidden West:

Answer the following questions:

1) How is narrative, character and setting introduced in the trailer?

2) How is the game's open world / sandbox genre shown in the trailer? 

3) What representations can you find in the trailer? 

AQA recommends watching the following gameplay trailer in their CSP booklet:

Watch the gameplay video and answer the following questions:

1) How does the game use media language to communicate ideas about narrative and genre?

2) What representations of people, places or groups can you find in the gameplay video?

3) What audience pleasures are suggested by this gameplay trailer?

Narrative and genre

Read this excellent Den of Geek article that addresses elements of narrative and genre. You can find the article text here if the link is blocked. Answer the following questions: 

1) Read the opening to the article. How can we apply Steve Neale's genre theory to Horizon Forbidden West?

2) How many copies did the Horizon Zero Dawn sell and why did this influence the design of the sequel?

3) How does the article criticise the story in Horizon Forbidden West? 

4) What do we learn about the gameplay? 

5) What is the article's overall summary of the game?

Representations

Race representations in Horizon Forbidden West

Read this fascinating Polygon feature on why Horizon Forbidden West isn't post-racial and answer the following questions: 

1) How does Horizon Forbidden West use narrative to create a fully diverse cast of characters?

2) What is orientalism? 

3) How does the article suggest orientalism applies to Horizon Forbidden West? 

4) Who is the player encouraged to identify with in the game and how does this influence how representations are constructed?  

5) Finally, what did the writer of the article (an Asian American) feel when playing the game?

Gender and videogames

Focusing on Aloy and the representation of women in videogames, read this Forbes feature on the topic. Answer the following questions:

1) What is the debate regarding Aloy in Horizon Forbidden West? 

2) What examples are provided of other female characters and representations in videogames?

3) What are the issues facing the videogame industry in terms of gender?  

Due date: on Google Classroom

A/A* extension tasks

Read this interesting CBC article on indigenous representation in Horizon Forbidden West. How does it present issues regarding representations of Indigenous people both in terms of in-game and in the inudstry?

Videogames: Women in videogames & Further feminist theory

Our second CSP gives us the opportunity to explore the representation and role of women in videogames.

Women in videogames: an introduction

The representation of women in videogames has long been considered sexist. Female characters are rarely playable and usually reinforce traditional gender stereotypes. Games that did feature female characters presented them as damsels in distress or sex objects.

Lara Croft of the Tomb Raider series is one of the most iconic characters in videogame history. But while she is a strong, independent playable character, her appearance and costume turned her into a digital sex object. In contrast, the character of Aloy in Horizon Forbidden West could be a sign of progress.

Tropes vs Women in Video Games

Vlogger and gaming expert Anita Sarkeesian has produced two series of YouTube videos documenting the representation of women in videogames.

Vlogging as Feminist Frequency, the series are an important example of digital feminism (and a superb resource for Media students). However, as a result, she has been a target for online abuse and threats – most notably as part of the #gamergate controversy.

Further feminist theory

We have looked at a range of feminist ideas earlier in the course including Laura Mulvey, Judith Butler, Liesbet van Zoonen, the concept of post- or fourth-wave feminism and more. We now need to explore this further with a deeper understanding of bell hooks and van Zoonen.

Notes from the lesson

Watch this short extract from Orange is the New Black star Laverne Cox interviewing bell hooks at The New School in New York:



bell hooks is a highly influential radical black feminist.

She sees feminism as a struggle to end patriarchal oppression - it should be a serious political commitment rather than a fashionable lifestyle choice: “Feminism is a movement to end sexism, sexist exploitation and oppression”.

bell hooks also points to the importance of race and class when studying oppression.

Intersectionality

Intersectionality is defined as the common point of two forms of oppression and how they work against a particular group of people. For example, black feminism addresses both gender and race discrimination.

bell hooks suggests that race is so significant that the experiences of gender, class or sexuality-based discrimination cannot be fully understood without also considering race.

This is important when analysing power in society. For example, men generally have more power then women – but white, middle class western women generally have much more power than women from non-white backgrounds.

Liesbet van Zoonen

Liesbet van Zoonen is an influential feminist academic and linked gender roles and the media explicitly in her 1994 book Feminist Media Studies. Some of her key ideas:

• Gender is constructed through media language
• These constructions reflect cultural and historical contexts
• The objectification of the female body is a key construct of western culture (building on Mulvey – male gaze)
• If women have to be like men to be treated equally, then equality itself is repressive

You can find the further notes on van Zoonen in this Google document (you'll need your Greenford Google login to access).

Women and videogames: blog tasks

Work through the following blog tasks to complete our work on women in videogames and further feminist theory.

Part 1: Background reading on Gamergate

Read this Guardian article on Gamergate 10 years on. Answer the following questions:

1) What was Gamergate? 

2) What is the recent controversy surrounding narrative design studio Sweet Baby Inc? 

3) What does the article conclude regarding diversity in videogames?

Part 2: Further Feminist Theory: Media Factsheet

Use our Media Factsheet archive on the M: drive Media Shared (M:\Resources\A Level\Media Factsheets) or here using your Greenford Google login. Find Media Factsheet #169 Further Feminist Theory, read the whole of the Factsheet and answer the following questions:

1) What definitions are offered by the factsheet for ‘feminism ‘and ‘patriarchy’?

2) Why did bell hooks publish her 1984 book ‘Feminist Theory: From Margin to Center’?

3) What aspects of feminism and oppression are the focus for a lot of bell hooks’s work?

4) What is intersectionality and what does hooks argue regarding this?

5) What did Liesbet van Zoonen conclude regarding the relationship between gender roles and the mass media?

6) Liesbet van Zoonen sees gender as socially constructed. What does this mean and which other media theorist we have studied does this link to?

7) How do feminists view women’s lifestyle magazines in different ways? Which view do you agree with?

8) In looking at the history of the colours pink and blue, van Zoonen suggests ideas gender ideas can evolve over time. Which other media theorist we have studied argues things evolve over time and do you agree that gender roles are in a process of constant change? Can you suggest examples to support your view?

9) What are the five aspects van Zoonen suggests are significant in determining the influence of the media?

10) What other media theorist can be linked to van Zoonen’s readings of the media?

11) Van Zoonen discusses ‘transmission models of communication’. She suggests women are oppressed by the dominant culture and therefore take in representations that do not reflect their view of the world. What other theory and idea (that we have studied recently) can this be linked to?

12) Finally, van Zoonen has built on the work of bell hooks by exploring power and feminism. She suggests that power is not a binary male/female issue but reflects the “multiplicity of relations of subordination”. How does this link to bell hooks?

A/A* Extension tasks: TED talk

Finally, if you’re interested in some of these ideas, there is plenty more reading and watching you can do. For example, watch this TEDx talk by renowned Nigerian/American novelist Chimamanda Ngozi Adichie ‘We should all be feminists’:

A/A* Extension tasks: Anita Sarkeesian Gamespot interview

If you're interested in this topic and aiming for a top grade, read this Gamespot interview with Anita Sarkeesian of Feminist Frequency (this link may not open at School) and think about some of the following questions:

What reaction did Anita Sarkeesian receive when she published her videos on women in videogames? You can find more information on this on Sarkeesian’s Kickstarter fundraising page.

How does Sarkeesian summarise feminism?

How has the videogame landscape changed with regards to the representation of women?

What is the impact of the videogames industry being male-dominated?

Finally, to find out more about the online backlash and #gamergate, this Guardian feature links the online abuse to the American alt-right movement also credited with electing Donald Trump.

Deadline: Complete for homework - due date on Satchel One.

OSP: Assessment learner response

Your Online, Social and Participatory media assessment was a great opportunity to test yourself on two key aspects of Media Paper Two - an unseen question and a 25-mark synoptic style essay.

The first part of your learner response is to look carefully at your mark and grade and comments from your teacher. If anything doesn't make sense, ask your teacher - it's crucial we're learning from the process of assessments and feedback as we move towards your mocks and exams at the end of this year. The second focuses on using the mark scheme as a learning resource and developing our skills in essay planning and structuring.

Your learner response is as follows:

Create a new blog post on your Media 1 Exam blog called 'OSP assessment learner response' and complete the following tasks:

1. Type up your feedback in full (you don't need to write the mark and grade if you want to keep this confidential).

2. Read the whole mark scheme for this assessment carefully (posted on your Google Classroom). Identify three specific aspects from Figure 1 (the Bioshock Infinite game cover) that you could have mentioned in your answer (e.g. selection of images, colour scheme, text etc).

3. Now use the mark scheme to identify three potential points that you could have made in your essay for Question 2 (Jenkins - participatory culture or Curran and Seaton's - concentration of ownership).

4. Write down two other CSPs from across the course that you could have referenced in your essay which link to digital convergence in relation to production, distribution and consumption and how they have impacted their products.

5. Use your exam response, the mark scheme and any other resources you wish to use to write a detailed essay plan for Question 2. Make sure you are planning at least three well-developed paragraphs in addition to an introduction (thesis statement) and conclusion.

6. Finally, identify three key areas you plan to revise from the OSP unit before the January mock exams (e.g. CSP elements of media theories) having looked at your feedback from this assessment.

If you do not finish your learner response in the lesson your work is returned, this needs to be completed at home by your next exam lesson. Do not forget to tag this assessment in your folder.

Videogames: The Sims FreePlay - Audience and Industries

The second aspect of our in-depth case study on The Sims FreePlay focuses on the audience and industries key concepts.

We need to know how videogames audiences have changed, how the industry is regulated and also the companies behind the game. However, the most significant aspect of this concept is the 'freemium' model that The Sims FreePlay uses.

Notes from the lesson: Audience

The Sims FreePlay: Audience

• The Sims franchise has demonstrated there is a strong and lucrative market in female gamers.
• When The Sims was first pitched by creator Will Wright he described it as a ‘doll house’. 
• The development company Maxis weren’t keen because ‘doll houses were for girls, and girls didn’t play videogames’. EA then bought Maxis, saw potential in the idea and one of the most successful ever videogame franchises was born.
• Expansion packs available for The Sims FreePlay reinforce the view that the target audience is predominantly female.

Participatory culture

• The Sims franchise is one of the best examples of Henry Jenkins’ concept of participatory culture.
• Since the very first game in the franchise, online communities have created, suggested and shared content for the game.
• ‘Modding’ – short for modifications – is a huge part of the appeal of the game. Modding changes aspects of the gameplay – anything from the strength of coffee to incorporating ghosts or even sexual content.

Notes from the lesson: Industries

Regulation: PEGI

• The videogames industry is regulated by PEGI – Pan European Game Information.
• In the UK, the Video Standards Council is responsible for regulating game content. In 2012, PEGI was introduced to UK law to make the age ratings legally enforceable.
• It is illegal to sell games to people below the age of the rating.
• The Sims FreePlay is rated 12+ due to mild references to alcohol, sexual content and similar adult themes.

Electronic Arts

• The Sims franchise is owned by Electronic Arts (EA), a huge name in the videogames industry.
• The Sims FreePlay was developed by Firemonkeys Studios, EA’s Australian subsidiary.
• The franchise was originally developed by Maxis after EA acquired the company.
• EA is famous for big-budget console games such as the FIFA series but has moved more into mobile gaming in recent years.

The 'freemium' model

• The Sims FreePlay uses the ‘freemium’ model – free to download and play but with in-app purchases. 
• Although initially more popular with smaller, independent game developers, the freemium model is now a huge revenue generator for major publishers like EA.

The Sims FreePlay CSP - Audience and Industries blog tasks

Create a new blogpost called 'The Sims FreePlay CSP - Audience and Industries blog tasks' and complete the following tasks.

Audience

Read this App Store description and the customer reviews for The Sims FreePlay and answer the following questions:  

1) What game information is provided on this page? Pick out three elements you think are important in terms of making the game appeal to an audience.

2) How does the game information on this page reflect the strong element of participatory culture in The Sims?

3) Read a few of the user reviews. What do they suggest about the audience pleasures of the game? 

Participatory culture

Read this academic journal article - The Sims: A Participatory Culture 14 Years On. Answer the following questions:

1) What did The Sims designer Will Wright describe the game as?

2) Why was development company Maxis initially not interested in The Sims?

3) What is ‘modding’? How does ‘modding’ link to Henry Jenkins’ idea of ‘textual poaching’?

4) Look specifically at p136. Note down key quotes from Jenkins, Pearce and Wright on this page.

5) What examples of intertextuality are discussed in relation to The Sims? (Look for “replicating works from popular culture”)

6) What is ‘transmedia storytelling’ and how does The Sims allow players to create it?

7) How have Sims online communities developed over the last 20 years?

8) What does the writer suggest The Sims will be remembered for?

Read this Henry Jenkins interview with James Paul Gee, writer of Woman as Gamers: The Sims and 21st Century Learning (2010).

1) Why does James Paul Gee see The Sims as an important game?

2) What does the designer of The Sims, Will Wright, want players to do with the game?

3) Do you agree with the view that The Sims is not a game – but something else entirely?

Industries

Electronic Arts & Sims FreePlay industries focus

Read this Pocket Gamer interview with EA’s Amanda Schofield, Senior Producer on The Sims FreePlay at EA's Melbourne-based Firemonkeys studio. Answer the following questions:

1) How has The Sims FreePlay evolved since launch?

2) Why does Amanda Schofield suggest ‘games aren’t products any more’?

3) What does she say about The Sims gaming community?

4) How has EA kept the game fresh and maintained the active player base?

5) How many times has the game been installed and how much game time in years have players spent playing the game? These could be great introductory statistics in an exam essay on this topic.

Read this blog on how EA is ruining the franchise (or not) due to its downloadable content. Answer the following questions:

1) What audience pleasures for The Sims are discussed at the beginning of the blog?

2) What examples of downloadable content are presented?

3) How did Electronic Arts enrage The Sims online communities with expansion packs and DLC?

4) What innovations have appeared in various versions of The Sims over the years?

5) In your opinion, do expansion packs like these exploit a loyal audience or is it simply EA responding to customer demand?

The ‘Freemium’ gaming model

Read this Business Insider feature on freemium gaming and multiplayer games. Answer the following questions:

1) Note the key statistics in the first paragraph.

2) Why does the freemium model incentivise game developers to create better and longer games?

3) What does the article suggest regarding the possibilities and risks to the freemium model in future?

Regulation – PEGI

Research the following using the Games Rating Authority website - look at the videos and FAQ section.

1) How does the PEGI ratings system work and how does it link to UK law?

2) What are the age ratings and what content guidance do they include?

3) What is the PEGI process for rating a game? 

A/A* extension tasks

Read this New York Times feature on freemium gaming - you may need to create a free account to access this. Think about the influence of Temple Run and why the bigger gaming studios like Electronic Arts used to avoid the freemium model. Why are they now embracing it?

Complete for homework: due date on Satchel One.

Videogames: The Sims FreePlay - Language & Representations

Our first videogames CSP is The Sims FreePlay (2011).

This is another in-depth CSP so will require significant work and research to complete your case study.

Background: mobile gaming

• The videogames industry has changed massively since the emergence of the smart phone and app store distribution model.
• Mobile gaming has changed the audience demographics for gaming and brought the industry into the mainstream.
• The app store model means tech giants such as Apple and Google are making significant sums from mobile gaming but mobile hits can still earn developers millions.
• Angry Birds made developer Rovio $200m in 2012 and broke 2 billion downloads in 2014. This paved the way for the market we see today.

The Sims FreePlay

• The Sims FreePlay is a spin-off from the hugely successful Sims franchise first published by Electronic Arts (EA) in 2000.
• The game is a strategic life simulation game (also known as the sandbox genre). 
• The Sims FreePlay takes the game on to phones and tablets and uses the ‘freemium’ model that makes money via in-app purchases.
• The game has seen more than 200 million downloads since 2011 – remarkable success.

Representations

The Sims franchise offers range of representations on gender, age, race/ethnicity, sexuality, capitalism and even reality itself.

One aspect of The Sims is the values and ideologies that the game reinforces. Although it has been praised for its liberal values over, for example, LGBTQ+ representation, it could also be argued that the game reinforces dominant American capitalist ideologies.

Expansion pack trailers

A useful way to analyse representations in The Sims FreePlay is to study the trailers produced by EA to promote expansion pack DLC. For example: 




Using these expansion pack trailers, we can study the representation of gender, age, race/ethnicity and much more.

The Sims and postmodernism

Watch this introduction to Baudrillard from 8-Bit Philosophy:


Baudrillard argued that our culture now perceives the ‘copy’ (media representation) as more real than the ‘original’ and stated that we live in a culture where the ‘fake’ is more readily accepted than the ‘real’ – therefore creating hyperreality. This blurs the line between fiction and reality.

The Sims franchise is a perfect study in hyperreality as it allows players to create an entirely constructed life through the game.

The Sims FreePlay social media channels also provide an example of simulacra – they are situated in the real world and interact with real players but feature entirely constructed fictional content from the game. Here, they also make intertextual references to real celebrities. Where is the line between fiction and reality?

You can read more on Baudrillard, Hyperreality, postmodernism and The Sims in these notes - you'll need your Greenford Google login. 

The Sims FreePlay CSP - Language & Representations blog tasks

Create a new blogpost called 'The Sims FreePlay CSP - Language & Representations' and complete the following tasks.

Language / Gameplay analysis

Watch The Sims: FreePlay trailer and answer the following questions:

1) What elements of gameplay are shown?

2) What audience is the trailer targeting?

3) What audience pleasures are suggested by the trailer?

Now watch this walk-through of the beginning of The Sims FreePlay and answer the following questions:

1) How is the game constructed?

2) What audience is this game targeting?

3) What audience pleasures does the game provide?

4) How does the game encourage in-app purchases?

Representations

Re-watch some of the expansion pack trailers and answer the following questions:

1) How do the expansion pack (DLC) trailers reinforce or challenge dominant ideologies?

2) What stereotypes have you identified in The Sims FreePlay?

3) What media theories can you apply to representations in The Sims FreePlay?

Representation reading

Read this Forbes article on gender and racism in The Sims franchise and answer the following questions:

1) How realistic does The Sims intend to be?

2) How has The Sims tried to create more realistic representations of ethnicity?

3) How has The Sims responded to racism and sexism in society?

4) What is The Sims perspective on gender fluidity and identity?

5) How does The Sims reinforce the dominant capitalist ideologies of American culture?

Due date: on Satchel One

Videogames: Henry Jenkins - fandom and participatory culture

Our first lesson in Videogames explores the work of Henry Jenkins -  a named audience theorist and an expert in fandom and participatory culture.

We need to apply Jenkins's ideas to our upcoming videogame CSPs but also think back to where his ideas are relevant with other media texts we have studied. His work on participatory culture links with Clay Shirky in places and the concept of fandom is important to many media texts - from TV drama to Taylor Swift in particular.

Videogames: an introduction

Videogames is our final in-depth media topic. Our Videogames CSPs are The Sims FreePlay and Horizon Forbidden West.

These are in-depth CSPs and need to be studied with reference to all four elements of the Theoretical Framework (Language, Representation, Industries, Audience) and all relevant contexts. This will then be tested in the Media Two exam with a 25-mark essay question.

The videogames industry is a huge media market – bigger than video and music combined. It is worth more than £4bn – more than double its value in 2007. Remarkably, these figures do not include mobile and free games such as Fortnite (which has over 600 million players worldwide).

With games like FIFA/FC, Red Dead Redemption and Call of Duty each selling millions of copies, it is important to consider the influence games can have on audiences and society.

Henry Jenkins: participatory culture

Henry Jenkins is an expert in fandom and participatory culture. Key to this idea is the concept of the ‘prosumer’ – audiences that create as well as consume media. This culture has revolutionised fan communities with the opportunity to create and share content. It also links to Clay Shirky’s work on ‘mass amateurisation’.

Fandom is now big business – with Comic-Con events making millions. More importantly, the internet has demonstrated the size of fan communities so it is no longer a minority of ‘geek’ stereotypes but mainstream popular culture (such as Marvel, Harry Potter or Doctor Who).



Jenkins defends fan cultures and argues that fans are often stereotyped negatively in the media because they value popular culture (e.g. films or games) over traditional cultural capital (high brow culture or knowledge). The irony is fan culture is often dominated by middle class, educated audiences.

Jenkins discusses ‘textual poaching’ – when fans take texts and re-edit or develop their meanings, a process called semiotic productivity. Fan communities are also quick to criticise if they feel a text or character is developing in a way they don’t support.

Henry Jenkins - fandom blog tasks

The following tasks will give you an excellent introduction to fandom and also allow you to start exploring degree-level insight into audience studies. Work through the following:

Factsheet #107 - Fandom

Read Media Factsheet #107 on Fandom. Use our Media Factsheet archive on the M: drive Media Shared (M:\Resources\A Level\Media Factsheets) or log into your Greenford Google account to access the link. Read the whole of Factsheet and answer the following questions:

1) What is the definition of a fan?

2) What the different types of fan identified in the factsheet?

3) What makes a ‘fandom’?

4) What is Bordieu’s argument regarding the ‘cultural capital’ of fandom?

5) What examples of fandom are provided on pages 2 and 3 of the factsheet?

6) Why is imaginative extension and text creation a vital part of digital fandom?

Henry Jenkins - degree-level reading

Read the final chapter of ‘Fandom’ – written by Henry Jenkins (note: link may be blocked in school - try this Google Drive link if you need it.) This will give you an excellent introduction to the level of reading required for seminars and essays at university as well as degree-level insight into our current work on fandom and participatory culture. Answer the following questions:

1) There is an important quote on the first page: “It’s not an audience, it’s a community”. What does this mean?

2) Jenkins quotes Clay Shirky in the second page of the chapter. Pick out a single sentence of the extended quote that you think is particularly relevant to our work on participatory culture and the ‘end of audience’ (clue – look towards the end!)

3) What are the different names Jenkins discusses for these active consumers that are replacing the traditional audience?

4) On the third page of the chapter, what does Wired editor Chris Anderson suggest regarding the economic argument in favour of fan communities?

5) What examples does Jenkins provide to argue that fan culture has gone mainstream?

6) Look at the quote from Andrew Blau in which he discusses the importance of grassroots creativity. Pick out a sentence from the longer quote and decide whether you agree that audiences will ‘reshape the media landscape from the bottom up’.

7) What does Jenkins suggest the new ideal consumer is?

8) Why is fandom 'the future'?

9) What does it mean when Jenkins says we shouldn’t celebrate ‘a process that commodifies fan cultural production’?

10) Read through to the end of the chapter. What do you think the future of fandom is? Are we all fans now? Is fandom mainstream or are real fan communities still an example of a niche media audience?

Due date: on Satchel One

OSP: Final index

Having reached the end of our Online, Social and Participatory media unit we need to create an index to ensure we haven't missed any of the content. 

Creating an index is a great way to revise for your upcoming OSP assessment as well as ensuring you haven't missed anything. 

Online, Social and Participatory media index

Your index should include the following:

1) OSP: Clay Shirky - End of Audience blog tasks
2) OSP: Influencers and celebrity culture

3) OSP: Taylor Swift CSP - Language and Representations

4) OSP: Taylor Swift CSP - Audience and Industries 

5) Baseline Assessment learner response

6) OSP: Postcolonial theory - Gilroy and diasporic identity

7) OSP: The Voice - blog case study

For your index, the text should link to YOUR corresponding blogpost so you can access your work on each aspect of the case study quickly and easily. This also means you if you have missed anything you can catch up with the work and notes and won't underperform in assessments due to gaps in your knowledge. 

Assessment - after half-term

You will have an assessment on OSP after half-term (first single lesson back) - a 25-mark essay plus unseen text question. This is excellent practice for Media Paper 2.

Index due date: see Satchel One.

Coursework: Statement of Intent

Our coursework projects are developing well with filming underway and rough cut edits due before Christmas. We now need to update our Statement of Intent with our projects fully planned. 

This week, we need to write and submit a second draft of our Statement of Intent that will be marked and given feedback in terms of a current level and approximate grade. The Statement of Intent is worth 10 of the 60 marks so if we want A/A* we'll need something close to full marks on this component. 

 
One important point to remember is that your Statement of Intent is what you are planning to do - so it must be written in the future tense ('I will...' rather than 'I have...') This is not an evaluation but instead a written account of what you intend to produce.

You need to submit the second draft of your Statement of Intent as a NEW blog post AND email or share a version from Microsoft Word / Google Docs with your coursework teacher. Statement of Intent guidance is provided by AQA in their NEA Student Booklet but we strongly recommend you also look at our Statement of Intent questions to consider document too (you'll need to log in with your Greenford Google account to open these documents). 

Finally, here's an example Statement of Intent from a previous year (note different brief - TV drama) to give you some ideas on how you can use layout and bullet points to include a large amount of information while keeping close to the 500-word limit.

Statement of Intent deadline: see Google Classroom

Mark scheme

A few of you have requested the mark scheme for the Statement of Intent. You can find it in the A Level Media specification document here - on pages 21-22 (if you keep scrolling you can also find the mark scheme for the remaining 50 marks for your productions).

Your statement of intent is a vital part of the project so make sure you are demonstrating your excellent knowledge of media concepts, terminology and theory.

Due date: see Satchel One

OSP: The Voice CSP

Our second Online, Social and Participatory CSP is the Voice newspaper website - a niche publication targeting the black British community.

The Voice has a significant place in the social and historical context of race relations and representation in Britain, launching in 1982 in the wake of the Brixton race riots. It is also the perfect case study to further develop our understanding of Paul Gilroy's postcolonial theory we studied last lesson.

The Voice - background and notes

The Voice, founded in 1982, is the only British national black weekly newspaper operating in the United Kingdom. It is owned by GV Media Group Limited, and is aimed at the British African-Caribbean community. The paper is based in London and is published every Thursday. 

The first issue of The Voice was printed to coincide with the Notting Hill Carnival in August 1982. Its cover price was 54 pence, and was only sold in London.

You can read more of this background from the original source - the Voice website About Us page.

The Voice: social and historical context

In 1981, the Brixton race riots shone a spotlight on race relations in Britain. 

The Voice emerged in 1982 partly as a result of these riots – both due to the need to offer a voice and representation to black Britons and also due to a business loan from Barclays Bank. The bank was keen at the time to improve their reputation with the black community due to investments in Apartheid South Africa.

Social context - The Battle for Brixton documentary

The Voice analysis: production values

Despite being an important part of the British media landscape, The Voice arguably offers low production values across its digital operations – website design, video content and social media. 

Watch this video on influential black women in business and analyse the production values (note the view count too):

The Voice: representation

The Voice was launched to cater for the interests of British-born black people. Applying Gilroy’s work on “double consciousness”, it could be argued that the Voice was launched to give black audiences an opportunity to see media through their own eyes rather than through the prism of white, often-biased (or even racist) mainstream British media. This also links to Hall's work on representation and the idea of individuals having their own 'conceptual map'.

The Voice: industries

The Voice is owned by Jamaican media group the Gleaner company and published in Britain by GV Media Group. It is a significant contrast to international giants such as Conde Nast (GQ).

In a similar move to The Guardian's request for donations, The Voice asks its readers to support the publication by paying donations via PayPal. This raises interesting questions regarding the financial viability of online news media and particularly niche publications such as The Voice (or indeed Oh Comely).

The Voice CSP: case study blog tasks

Language and contexts

Homepage

Go to the Voice homepage and answer the following:

1) What news website key conventions can you find on the Voice homepage?

2) What are some of the items in the top menu bar and what does this tell you about the content, values and ideologies of the Voice?

3) Look at the news stories on the Voice homepage. Pick two stories and explain why they might appeal to the Voice's target audience. 

4) How is narrative used to encourage audience engagement with the Voice? Apply narrative theories (e.g. Todorov equilibrium or Barthes’ enigma codes) and make specific reference to stories on the homepage and how they encourage audiences to click through to them.

Lifestyle section

Now analyse the Lifestyle section of the Voice and answer the following:

1) What are the items in the sub-menu bar for the Lifestyle section and what does this suggest about the Voice audience?

2) What are the main stories in the Lifestyle section currently?

3) Do the sections and stories in the Voice Lifestyle section challenge or reinforce black stereotypes in British media?

4) Choose two stories featured in the Lifestyle section – how do they reflect the values and ideologies of the Voice?

Feature focus

1) Read this Voice opinion piece on black representation in the tech industry. How does this piece reflect the values and ideologies of The Voice?

2) Read this feature on The Black Pound campaign. How does this piece reflect the values and ideologies of The Voice?

3) Read this Voice news story on Grenfell tower and Doreen Lawrence. How might this story reflect the Voice’s values and ideologies? What do the comments below suggest about how readers responded to the article? Can you link this to Gilroy’s work on the ‘Black Atlantic’ identity?

Social and cultural contexts - 40 Year of Black British Lives

Read this extract from The Voice: 40 Years of Black British Lives on rapper Swiss creating Black Pound Day (you'll need your Greenford Google login to access the document). Answer the following questions:

1) What is Black Pound Day?

2) How did Black Pound Day utilise social media to generate coverage and support? 

3) How do events such as Black Pound Day and the Powerlist Black Excellence Awards link to wider social, cultural and economic contexts regarding power in British society?  

Audience

1) Who do you think is the target audience for the Voice website? Consider demographics and psychographics.

2) What audience pleasures are provided by the Voice website? Apply media theory here such as Blumler and Katz (Uses & Gratifications).

3) Give examples of sections or content from the website that tells you this is aimed at a specialised or niche audience.

4) Studying the themes of politics, history and racism that feature in some of the Voice’s content, why might this resonate with the Voice’s British target audience?

5) Can you find any examples of content on the Voice website created or driven by the audience or citizen journalism? How does this reflect Clay Shirky’s work on the ‘end of audience’ and the era of ‘mass amateurisation’?

Representations

1) How is the audience positioned to respond to representations in the Voice website?

2) Are representations in the Voice an example of Gilroy’s concept of “double consciousness” NOT applying?

3) What kind of black British identity is promoted on the Voice website? Can you find any examples of Gilroy’s “liquidity of culture” or “unruly multiculturalism” here?

4) Applying Stuart Hall’s constructivist approach to representations, how might different audiences interpret the representations of black Britons in the Voice?

5) Do you notice any other interesting representations in the Voice website? For example, representations or people, places or groups (e.g. gender, age, Britishness, other countries etc.)

Industries

1) Read this Guardian report on the death of the original founder of the Voice. What does this tell you about the original values and ideologies behind the Voice brand? 

2) Read this history of the Voice’s rivals and the struggles the Voice faced back in 2001. What issues raised in the article are still relevant today? 

3) The Voice is now published by GV Media Group, a subsidiary of the Jamaican Gleaner company. What other media brands do the Gleaner company own and why might they be interested in owning the Voice? You'll need to research this using Google/Wikipedia or look at this Guardian article when Gleaner first acquired The Voice.

4) How does the Voice website make money?

5) What adverts or promotions can you find on the Voice website? Are the adverts based on the user’s ‘cookies’ or fixed adverts? What do these adverts tell you about the level of technology and sophistication of the Voice’s website?

6) Is there an element of public service to the Voice’s role in British media or is it simply a vehicle to make profit?

7) What examples of technological convergence can you find on the Voice website – e.g. video or audio content?

8) How has the growth of digital distribution through the internet changed the potential for niche products like the Voice?

9) Analyse The Voice’s Twitter feed. How does this contrast with other Twitter feeds you have studied (such as Taylor Swift)? Are there examples of ‘clickbait’ or does the Voice have a different feel?

10) Study a selection of videos from The Voice’s YouTube channel. What are the production values of their video content?


A/A* Extension tasks

Read Factsheet #272 on Nationhood, Britishness and Identity. This explores the work of Paul Gilroy in more detail and will be very useful in writing about The Voice. It also has an excellent example of how to apply these ideas to a media text.


Homework and deadlines

There is plenty of work here - at least four hours - but this is the only blog task on the Voice and covers all four of the key concepts.

Finish for homework - due date set on Satchel One.