The preliminary exercise is a brilliant opportunity to learn or refresh the basics of filmmaking before creating your actual coursework project.
After the screening of the preliminary exercises in class, you need to create a blogpost called 'Preliminary exercise learner response' and embed the video from YouTube. Then, complete the following tasks as your feedback and learner response:
1) Type up your teacher's feedback in full plus a summary of the comments you received from other students in the class.
2) Using a combination of your own reflection on the preliminary exercise and the feedback you were given, write three WWW bullet points and three EBI bullet points for your TV drama scene.
3) How effectively did you complete the objective you laid out in your mini preliminary exercise statement of intent?
4) What have you learned from the preliminary exercise that will help you in the actual coursework project?
5) Now you have completed the preliminary exercise, will you change anything in your actual music video? This could include the narrative or performance element or technical elements such as mise-en-scene, camerawork or editing.
The deadline for these feedback and learner response tasks will be set by your coursework teacher and on Google Classroom.
Monday, October 12, 2020
Sunday, October 11, 2020
OSP: Paul Gilroy - Diasporic identity
There are several important theories we need to learn and apply to our Online, Social and Participatory media unit.
These include Clay Shirky's End of Audience theories, Stuart Hall's work on representation and reality and Paul Gilroy's postcolonial theory of black diasporic identity.
Notes from the lesson
Stuart Hall: representation and reality
Reflective approach: the media simply mirrors (or reflects) the real world. This is a limited approach that minimalises the power or complexity of the media.
Intentional approach: the producer of the text constructs the world as they see it and the audience accepts those values encoded in the text. This is effectively the dominant or preferred reading (reception theory) and leaves no room for the negotiated or oppositional reading.
The constructivist approach: this was Hall’s preferred approach and closely matches reception theory with preferred and oppositional readings. This suggests concepts and signs do have some shared meanings but they are not all inherent and can be interpreted by the audience in a number of ways (dependent on their own ‘conceptual map’).
Go to our Media Factsheet archive on the Media Shared drive and open Factsheet 170: Gilroy – Ethnicity and Postcolonial Theory. Our Media Factsheet archive is on the Media Shared drive: M:\Resources\A Level\Media Factsheets or you can access it online here using your Greenford Google login.
Read the Factsheet and complete the following questions/tasks:
1) How does Gilroy suggest racial identities are constructed?
2) What does Gilroy suggest regarding the causes and history of racism?
3) What is ethnic absolutism and why is Gilroy opposed to it?
4) How does Gilroy view diasporic identity?
5) What did Gilroy suggest was the dominant representation of black Britons in the 1980s (when the Voice newspaper was first launched)?
6) Gilroy argues diaspora challenges national ideologies. What are some of the negative effects of this?
7) Complete the first activity on page 3: How might diasporic communities use the media to stay connected to their cultural identity? E.g. digital media - offer specific examples.
8) Why does Gilroy suggest slavery is important in diasporic identity?
9) How might representations in the media reinforce the idea of ‘double consciousness’ for black people in the UK or US?
10) Finally, complete the second activity on page 3: Watch the trailer for Hidden Figures and discuss how the film attempts to challenge ‘double consciousness’ and the stereotypical representation of black American women.
Due date: confirmed by your exam class teacher and on Google Classroom.
Make sure you've also got the last sections of your Teen Vogue case study complete:
Teen Vogue - audience and representation
Teen Vogue - industry and social media
These include Clay Shirky's End of Audience theories, Stuart Hall's work on representation and reality and Paul Gilroy's postcolonial theory of black diasporic identity.
Notes from the lesson
Stuart Hall: representation and reality
Stuart Hall suggests individuals each have their own conceptual map – effectively what we use to decode and understand media texts.
Building on this, Hall outlines three approaches to understanding the relationship between reality and representations:
Intentional approach: the producer of the text constructs the world as they see it and the audience accepts those values encoded in the text. This is effectively the dominant or preferred reading (reception theory) and leaves no room for the negotiated or oppositional reading.
The constructivist approach: this was Hall’s preferred approach and closely matches reception theory with preferred and oppositional readings. This suggests concepts and signs do have some shared meanings but they are not all inherent and can be interpreted by the audience in a number of ways (dependent on their own ‘conceptual map’).
Paul Gilroy: black diasporic identity
We first explored Paul Gilroy’s theories of black diasporic identity when studying music video.
This is the idea that black identity is informed by diaspora – literally the ‘scattering of people’ across the world. He suggests this creates a “liquidity of culture” that means black identity is formed by journeys across seas, not the solid ground of a home country or culture.
Importantly, Gilroy sees this identity as impossible to reverse – there can be no return to the place of origin as the experience of slavery and displacement can never be “rewound”.
Gilroy: black British identity
The Voice newspaper was formed in 1982 to create a voice for the black British community. Gilroy wrote of the dominant representation of black Britons at that time as “external and estranged from the imagined community that is the nation”.
Gilroy suggests diaspora challenges national ideologies and creates “cultural tension”. This tension helps to create the diasporic identity but often comes with negative experiences such as exclusion and marginalisation.
More succinctly, Gilroy sums this up as the white racist’s question to BAME people: “Why don’t you just go home?”
BBC controversy
Gilroy wrote about this in the 1970s and 1980s but it's been in the news much more recently with Brexit and Trump bringing debates about race and immigration to the fore. Last year, the BBC found itself embroiled in a controversy regarding BBC Breakfast presenter Naga Munchetty's response to Donald Trump suggesting congresswomen should 'go home' to the countries in which they or their parents were born. The original clip and full article can be found below:
Paul Gilroy and Russell Brand
In 2017, Paul Gilroy took part in Russell Brand’s Under The Skin podcast, exploring ideas and modern culture. Watch the following two extracts and consider how Gilroy’s ideas reflect recent events and media culture.
Extract 1: 17.50 – 25.45
Extract 2: 44.30 – 48.08
BBC controversy
Gilroy wrote about this in the 1970s and 1980s but it's been in the news much more recently with Brexit and Trump bringing debates about race and immigration to the fore. Last year, the BBC found itself embroiled in a controversy regarding BBC Breakfast presenter Naga Munchetty's response to Donald Trump suggesting congresswomen should 'go home' to the countries in which they or their parents were born. The original clip and full article can be found below:
Paul Gilroy and Russell Brand
In 2017, Paul Gilroy took part in Russell Brand’s Under The Skin podcast, exploring ideas and modern culture. Watch the following two extracts and consider how Gilroy’s ideas reflect recent events and media culture.
Extract 1: 17.50 – 25.45
Extract 2: 44.30 – 48.08
Paul Gilroy - blog task
Go to our Media Factsheet archive on the Media Shared drive and open Factsheet 170: Gilroy – Ethnicity and Postcolonial Theory. Our Media Factsheet archive is on the Media Shared drive: M:\Resources\A Level\Media Factsheets or you can access it online here using your Greenford Google login.
Read the Factsheet and complete the following questions/tasks:
1) How does Gilroy suggest racial identities are constructed?
2) What does Gilroy suggest regarding the causes and history of racism?
3) What is ethnic absolutism and why is Gilroy opposed to it?
4) How does Gilroy view diasporic identity?
5) What did Gilroy suggest was the dominant representation of black Britons in the 1980s (when the Voice newspaper was first launched)?
6) Gilroy argues diaspora challenges national ideologies. What are some of the negative effects of this?
7) Complete the first activity on page 3: How might diasporic communities use the media to stay connected to their cultural identity? E.g. digital media - offer specific examples.
8) Why does Gilroy suggest slavery is important in diasporic identity?
9) How might representations in the media reinforce the idea of ‘double consciousness’ for black people in the UK or US?
10) Finally, complete the second activity on page 3: Watch the trailer for Hidden Figures and discuss how the film attempts to challenge ‘double consciousness’ and the stereotypical representation of black American women.
Make sure you've also got the last sections of your Teen Vogue case study complete:
Teen Vogue - audience and representation
Teen Vogue - industry and social media
Tuesday, October 06, 2020
OSP: Teen Vogue - Industry and social media
The final aspect of our work on Teen Vogue involves an industry case study and textual analysis of the magazine's social media presence.
Industry is the final key concept to address in this in-depth study. It's important to remember that the exam question could cover anything from how Teen Vogue makes money to what attracts audiences to their social media pages. This means we need comprehensive knowledge across the board.
Notes from the lesson
Industry: Conde Nast
Teen Vogue is owned and published by Condé Nast, an American media organisation that publishes around 20 magazines including Vogue, GQ and Wired. The company targets a wide range of different audiences – 164 million consumers across its brands.
In March 2018, Condé Nast announced the launch of Influencer Platform Next Gen, a digital campaign that links advertisers and content creation. The goal is to “connect to a new generation of audience”.
Income sources
Teen Vogue’s main source of income is through selling advertising space online – adverts that are targeted using browsing history.
However, they also monetise their customer data and loyalty, encouraging readers to register online for updates, offers and access to the ‘Insider’ area of the website. This data can then be sold to other companies or used to attract ‘advertorial’ or sponsored content.
Teen Vogue also makes money through YouTube with plenty of 1m+ views on their video content. This is an example of digital convergence – a traditionally print-based product moving into multimedia and accessible on one device.
Finally, they run events such as the Teen Vogue summit and US tour.
Teen Vogue: fashion industry player
Although Teen Vogue has been creating headlines for its political content in recent years, it is also an important part of the fashion industry. Both editorial content and advertising is designed to create a strong desire in their audience for products featured. This links to Condé Nast’s role as a major media company interested in maximising profit.
Some argue that Teen Vogue’s more diverse coverage offers a form of public service through its political coverage. But are features criticising capitalism hypocritical when the brand is owned by a media giant like Condé Nast?
Create a new blogpost called 'Teen Vogue Industry and social media' and work through the following tasks to complete the final aspects of your Teen Vogue case study:
Industry: Condé Nast
1) Research Teen Vogue publisher Condé Nast. What other magazines do they publish and how much money did they make last year?
2) What are Teen Vogue’s main sources of income?
3) How are traditionally print-based products like Teen Vogue diversifying to create new income streams?
4) Why is sponsored content and ‘advertorial’ particularly important in media linked to the fashion industry?
5) Do you view Teen Vogue’s content as a form of public service media or is Condé Nast simply interested in clicks and profit?
Closure of print edition research
Read the following short articles to learn the background to Condé Nast's decision to close the print edition of Teen Vogue in 2016 and then answer the questions below:
BBC: Teen Vogue: How will going online-only affect readers?
New York Times: Condé Nast Ends Teen Vogue’s Print Run
Folio: Your Teen Vogue Hot Takes Are All Wrong
1) Why does the BBC suggest “Teen Vogue’s digital game is strong”?
2) What does the BBC suggest is responsible for the Teen Vogue website’s success?
3) How did Teen Vogue justify the closure of the print magazine?
4) In the BBC article, David Hepworth suggests there is a risk to going digital-only. What is it?
5) How do online-only publications make money?
6) What does Sarah Penny suggest regarding audience consumption for print and digital – and how might it be changing for Generation-Z?
7) What does the New York Times say Conde Nast is known for?
8) The New York Times states that Conde Nast expects to bring in less revenue in 2017 than 2016… by how much?
9) The Folio article also looks at the switch from print to digital. Pick out a statistic that justifies the digital-only approach.
10) Finally, Folio also highlights some of the aspects we have studied elsewhere. Pick out two quotes from the article that link to our work on the Teen Vogue audience, representation or design.
Social media analysis
Work through the following tasks to complete your textual analysis of Teen Vogue's social media presence:
1) Look at the Teen Vogue Twitter feed (you don’t need to sign up to Twitter to see it but may need to log in at home). How many followers does Teen Vogue have?
2) Now look at the content. Classify the first 20 tweets you can see using the sections on the Teen Vogue website: News & Politics, Fashion, Entertainment, Beauty, Lifestyle, Wellness and Homecoming. What does the Twitter feed focus on most? Does this differ to the website?
3) How are the tweets and headlines written? Can you find examples of clickbait?
4) How does the Twitter feed use videos and images?
5) Analyse the Teen Vogue Facebook page. How many ‘likes’ and ‘follows’ do they have?
6) Click on the Videos link on the left-hand menu. What type of content do the videos feature? Does this differ to the website or Twitter feed?
7) Now look at the Events tab to explore past events. What are these events and what do they tell us about how audiences interact with the Teen Vogue brand?
8) Go to the Teen Vogue Instagram page. How many followers do they have on Instagram?
9) How does the Instagram feed differ from other social media channels?
10) What examples of digital convergence and synergy can you find on Teen Vogue social media including the Teen Vogue YouTube channel? (E.g. opportunities to engage with the brand across different platforms).
Industry is the final key concept to address in this in-depth study. It's important to remember that the exam question could cover anything from how Teen Vogue makes money to what attracts audiences to their social media pages. This means we need comprehensive knowledge across the board.
Notes from the lesson
Industry: Conde Nast
Teen Vogue is owned and published by Condé Nast, an American media organisation that publishes around 20 magazines including Vogue, GQ and Wired. The company targets a wide range of different audiences – 164 million consumers across its brands.
In March 2018, Condé Nast announced the launch of Influencer Platform Next Gen, a digital campaign that links advertisers and content creation. The goal is to “connect to a new generation of audience”.
Income sources
Teen Vogue’s main source of income is through selling advertising space online – adverts that are targeted using browsing history.
However, they also monetise their customer data and loyalty, encouraging readers to register online for updates, offers and access to the ‘Insider’ area of the website. This data can then be sold to other companies or used to attract ‘advertorial’ or sponsored content.
Teen Vogue also makes money through YouTube with plenty of 1m+ views on their video content. This is an example of digital convergence – a traditionally print-based product moving into multimedia and accessible on one device.
Finally, they run events such as the Teen Vogue summit and US tour.
Teen Vogue: fashion industry player
Although Teen Vogue has been creating headlines for its political content in recent years, it is also an important part of the fashion industry. Both editorial content and advertising is designed to create a strong desire in their audience for products featured. This links to Condé Nast’s role as a major media company interested in maximising profit.
Some argue that Teen Vogue’s more diverse coverage offers a form of public service through its political coverage. But are features criticising capitalism hypocritical when the brand is owned by a media giant like Condé Nast?
Teen Vogue: Industry and social media blog tasks
Create a new blogpost called 'Teen Vogue Industry and social media' and work through the following tasks to complete the final aspects of your Teen Vogue case study:
Industry: Condé Nast
1) Research Teen Vogue publisher Condé Nast. What other magazines do they publish and how much money did they make last year?
2) What are Teen Vogue’s main sources of income?
3) How are traditionally print-based products like Teen Vogue diversifying to create new income streams?
4) Why is sponsored content and ‘advertorial’ particularly important in media linked to the fashion industry?
5) Do you view Teen Vogue’s content as a form of public service media or is Condé Nast simply interested in clicks and profit?
Closure of print edition research
Read the following short articles to learn the background to Condé Nast's decision to close the print edition of Teen Vogue in 2016 and then answer the questions below:
BBC: Teen Vogue: How will going online-only affect readers?
New York Times: Condé Nast Ends Teen Vogue’s Print Run
Folio: Your Teen Vogue Hot Takes Are All Wrong
1) Why does the BBC suggest “Teen Vogue’s digital game is strong”?
2) What does the BBC suggest is responsible for the Teen Vogue website’s success?
3) How did Teen Vogue justify the closure of the print magazine?
4) In the BBC article, David Hepworth suggests there is a risk to going digital-only. What is it?
5) How do online-only publications make money?
6) What does Sarah Penny suggest regarding audience consumption for print and digital – and how might it be changing for Generation-Z?
7) What does the New York Times say Conde Nast is known for?
8) The New York Times states that Conde Nast expects to bring in less revenue in 2017 than 2016… by how much?
9) The Folio article also looks at the switch from print to digital. Pick out a statistic that justifies the digital-only approach.
10) Finally, Folio also highlights some of the aspects we have studied elsewhere. Pick out two quotes from the article that link to our work on the Teen Vogue audience, representation or design.
Social media analysis
Work through the following tasks to complete your textual analysis of Teen Vogue's social media presence:
1) Look at the Teen Vogue Twitter feed (you don’t need to sign up to Twitter to see it but may need to log in at home). How many followers does Teen Vogue have?
2) Now look at the content. Classify the first 20 tweets you can see using the sections on the Teen Vogue website: News & Politics, Fashion, Entertainment, Beauty, Lifestyle, Wellness and Homecoming. What does the Twitter feed focus on most? Does this differ to the website?
3) How are the tweets and headlines written? Can you find examples of clickbait?
4) How does the Twitter feed use videos and images?
5) Analyse the Teen Vogue Facebook page. How many ‘likes’ and ‘follows’ do they have?
6) Click on the Videos link on the left-hand menu. What type of content do the videos feature? Does this differ to the website or Twitter feed?
7) Now look at the Events tab to explore past events. What are these events and what do they tell us about how audiences interact with the Teen Vogue brand?
8) Go to the Teen Vogue Instagram page. How many followers do they have on Instagram?
9) How does the Instagram feed differ from other social media channels?
10) What examples of digital convergence and synergy can you find on Teen Vogue social media including the Teen Vogue YouTube channel? (E.g. opportunities to engage with the brand across different platforms).
This is your final set of blog tasks for Teen Vogue and will complete your comprehensive case study for this in-depth CSP. Complete for homework - due date set by exam class teacher and on Google Classroom.
Sunday, September 27, 2020
OSP: Teen Vogue - Audience and Representation
Teen Vogue offers a huge amount to discuss and write about for the concepts of audience and representation.
The exam could focus on anything from the changing nature of digital audiences to how certain groups or issues are represented in Teen Vogue online.
Notes from the lesson
Audience
Although the brand name suggests a teenage audience, the typical Teen Vogue reader has evolved in recent years. The move to more political content has broadened the appeal and changed the genre – young women now expect more from their media.
The ‘Campus Life’ section in Lifestyle also suggests an older readership. However, the audience is still interested in celebrity content and beauty – which Teen Vogue addresses by featuring the ‘opinion leaders’ (two-step flow) of social media.
Generation X: Born between 1965 – 1980
Millennials / Generation Y: Born between 1981 – 1995
Generation Z (or iGen): Born 1996 – 2010
Representation
Changing representations
Feminist bloggers and websites such as Rookie and liberal blog Jezebel have been credited with changing the representation of women and feminism in the digital age.
This can be linked to Clay Shirky’s ‘end of audience’ theory with digital influencers changing the media landscape for women – and established mainstream brands like Teen Vogue are following to stay relevant.
Create a new blogpost called 'Teen Vogue Audience and Representation' and work through the following tasks to complete the audience and representation aspects of your Teen Vogue case study:
1) Analyse the Conde Nast media pack for Teen Vogue. What is the Teen Vogue mission statement and what does this tell us about the target audience and audience pleasures?
2) What is the target audience for Teen Vogue? Use the media pack to pick out key aspects of the audience demographics. Also, consider the psychographic groups that would be attracted to Teen Vogue: make specific reference to the website design or certain articles to support your points regarding this.
3) What audience pleasures or gratifications can be found in Teen Vogue? Do these differ from the gratifications of traditional print-based magazines?
4) How is the audience positioned to respond to political news stories?
5) How does Teen Vogue encourage audiences to interact with the brand – and each other – on social media? The ‘tentpoles and editorial pillars’ section of the media pack may help with this question.
The exam could focus on anything from the changing nature of digital audiences to how certain groups or issues are represented in Teen Vogue online.
Notes from the lesson
Audience
Although the brand name suggests a teenage audience, the typical Teen Vogue reader has evolved in recent years. The move to more political content has broadened the appeal and changed the genre – young women now expect more from their media.
The ‘Campus Life’ section in Lifestyle also suggests an older readership. However, the audience is still interested in celebrity content and beauty – which Teen Vogue addresses by featuring the ‘opinion leaders’ (two-step flow) of social media.
Generations
Generation X: Born between 1965 – 1980
Millennials / Generation Y: Born between 1981 – 1995
Generation Z (or iGen): Born 1996 – 2010
Teen Vogue: political positioning
Teen Vogue generally takes a liberal, left-wing political stance and positions its readers to become active in their support:
- Pro-feminist
- Pro-gender fluidity and gender identity
- Supports LGBT equality
- Pro-multiculturalism
- Supports Black Lives Matter
- Pro-environment (accepting science on climate change)
- Pro-choice (abortion)
Teen Vogue: audience interaction
How does Teen Vogue encourage audience interaction?
- Activism
- Social media
- ‘Clickbait’ and first-person headlines
- Events – Teen Vogue summit
Representation
Changing representations
Feminist bloggers and websites such as Rookie and liberal blog Jezebel have been credited with changing the representation of women and feminism in the digital age.
This can be linked to Clay Shirky’s ‘end of audience’ theory with digital influencers changing the media landscape for women – and established mainstream brands like Teen Vogue are following to stay relevant.
Teen Vogue: Audience and Representation blog tasks
Create a new blogpost called 'Teen Vogue Audience and Representation' and work through the following tasks to complete the audience and representation aspects of your Teen Vogue case study:
Audience focus
1) Analyse the Conde Nast media pack for Teen Vogue. What is the Teen Vogue mission statement and what does this tell us about the target audience and audience pleasures?
2) What is the target audience for Teen Vogue? Use the media pack to pick out key aspects of the audience demographics. Also, consider the psychographic groups that would be attracted to Teen Vogue: make specific reference to the website design or certain articles to support your points regarding this.
3) What audience pleasures or gratifications can be found in Teen Vogue? Do these differ from the gratifications of traditional print-based magazines?
4) How is the audience positioned to respond to political news stories?
5) How does Teen Vogue encourage audiences to interact with the brand – and each other – on social media? The ‘tentpoles and editorial pillars’ section of the media pack may help with this question.
Representations
1) Look again at the Conde Nast media pack for Teen Vogue. What do the ‘tentpoles and editorial pillars’ (key events and features throughout the year) suggest about the representation of women and teenage girls on teenvogue.com?
2) How are issues of gender identity and sexuality represented in Teen Vogue?
3) Do representations of appearance or beauty in Teen Vogue reinforce or challenge traditional stereotypes?
4) What is the patriarchy and how does Teen Vogue challenge it? Does it succeed?
5) Does Teen Vogue reinforce or challenge typical representations of celebrity?
Teen Vogue: Factsheet Part 2
Read Media Factsheet #205 Teen Vogue Part 2 - Application of theory. You can find the Factsheet in our Factsheet archive on the Media Shared drive in school or download it here using your Greenford Google login. Answer the following questions:
1) How does the Factsheet apply David Gauntlett's ideas about gender and identity to Teen Vogue?
2) David Gauntlett has also written about the importance of role models. How can this be applied to the Teen Vogue CSP?
3) bell hooks suggests that profit-seeking media industries reinforce patriarchal values and power structures. How can these ideas be applied to Teen Vogue? Try and argue both sides - that Teen Vogue both empowers women but also arguably reinforces some hegemonic gender stereotypes.
4) List the key points on van Zoonen's gender theories in the Factsheet. How can we apply some of these ideas to Teen Vogue?
5) Read the Greta Thunberg case study on pages 3-4. How does the Factsheet use media theories in the analysis of the special 2019 print edition of Teen Vogue?
A/A* Extension feature: how Teen Vogue represents the changing nature of media aimed at women
Read this Quartz feature - The true story of how Teen Vogue got mad, got woke, and began terrifying men like Donald Trump - and answer the following questions:
1) How was the Teen Vogue op-ed on Donald Trump received on social media?
2) How have newspapers and magazines generally categorised and targeted news by gender?
3) How is this gender bias still present in the modern media landscape?
4) What impact did the alternative women’s website Jezebel have on the women’s magazine market?
5) Do you agree with the writer that female audiences can enjoy celebrity news and beauty tips alongside hard-hitting political coverage? Does this explain the recent success of Teen Vogue?
6) How does the writer suggest feminists used to be represented in the media?
7) What is the more modern representation of feminism? Do you agree that this makes feminism ‘stereotyped as fluffy’?
8) What contrasting audience pleasures for Teen Vogue are suggested by the writer in the article as a whole?
9) The writer suggests that this change in representation and audience pleasures for media products aimed at women has emerged from the feminist-blog movement. How can this be linked to Clay Shirky’s ‘end of audience’ theory?
10) Is Teen Vogue simply a product of the Trump presidency or will websites and magazines aimed at women continue to become more hard-hitting and serious in their offering to audiences?
There is plenty to work on here as this needs to cover two of the key concepts for this in-depth CSP. Complete for homework - due date set by exam teacher.
Thursday, September 24, 2020
Coursework: Preliminary exercise
We are starting Year 13 coursework with a preliminary exercise: a chance for you to refresh your technical production skills prior to creating your actual production.
This is a vital element of the overall coursework as it gives you the opportunity to make mistakes and learn from them without it impacting on your grade. However, we also strongly advise you to create a preliminary exercise that is linked to your real coursework concept - this may give you additional material to edit into your trailer later in the year.
Preliminary exercise: Music video extract
Task: Create a short extract of the music video you plan to make for your video production coursework.
Length: 30-60 seconds
Equipment: Your own camera or phone OR sign out a Canon SLR Media kit from Mr Shepherd. Please note due to quarantining equipment availability may be low and you must return the camera the next school day after signing it out.
Groups: None. You MUST work individually. However, other people can act in the music video or operate equipment (e.g. camera operator) as long as they are directed by the candidate submitting the work. Keep a note of who you use and how you directed them.
What your music video needs to include
Content: Your extract must include at least one character/performer that either reinforces or subverts stereotypes.
Camerawork: You must include an establishing shot, long shot, medium shot, close-up, extreme close-up, over-the-shoulder shot and either a high or low angle shot. You also must include both fixed camera (tripod) shots and camera movement (e.g. handheld, tracking, pan etc.)
Editing: You must edit at least two cuts to the beat of the song.
Sound: You must use the song you plan to use for your actual coursework (remember this needs to be a radio-edit or clean version if the original has explicit lyrics).
Mise-en-scene: iconography to establish the genre of the music or the atmosphere you are trying to create. Only one setting should be used for this preliminary task.
Filming deadline: Monday 5 October
Final deadline: Friday 9 October
Research and planning tasks
Create a blogpost called 'Preliminary exercise: Research and planning' and complete the tasks below. First, watch this clip on how to make a music video on your phone - it works as a great introduction to music video making:
There are loads more tips and tutorials on YouTube (either from the same channel CrackaLack TV) or others (such as 5 Things I WISH I knew Before I Started Filming Music Videos!) that we would recommend watching as part of your research and planning.
Now complete the following tasks:
1) State the song and genre you have chosen for your music video.
2) Choose at least three music videos similar to your song or concept and watch them several times. Make bullet-point notes on everything you watch, commenting on camerawork, editing and mise-en-scene.
3) Write or edit your treatment just to include the 30-60 seconds you will make for this preliminary exercise.
4) Write a shot list containing EVERY shot you plan to film AND additional shots to create flexibility when editing. These additional shots are often close-ups, cutaways, alternative angles or similar. I advise using a simple table on Microsoft Word to set out your shot list - you can find an example here.
5) Plan your mise-en-scene: what iconography are you including to ensure your audience understands the genre or narrative? Plan your cast, costume, make-up, props, lighting and setting. For this preliminary task, use just one location to keep it simple.
6) Plan a shooting schedule that will ensure everything is filmed by the deadline. Include when, where, who is required and what shots you will complete at each time/location. Remember: social distancing!
Research and planning deadline: Wednesday
This is a vital element of the overall coursework as it gives you the opportunity to make mistakes and learn from them without it impacting on your grade. However, we also strongly advise you to create a preliminary exercise that is linked to your real coursework concept - this may give you additional material to edit into your trailer later in the year.
Preliminary exercise: Music video extract
Task: Create a short extract of the music video you plan to make for your video production coursework.
Length: 30-60 seconds
Equipment: Your own camera or phone OR sign out a Canon SLR Media kit from Mr Shepherd. Please note due to quarantining equipment availability may be low and you must return the camera the next school day after signing it out.
Groups: None. You MUST work individually. However, other people can act in the music video or operate equipment (e.g. camera operator) as long as they are directed by the candidate submitting the work. Keep a note of who you use and how you directed them.
What your music video needs to include
Content: Your extract must include at least one character/performer that either reinforces or subverts stereotypes.
Camerawork: You must include an establishing shot, long shot, medium shot, close-up, extreme close-up, over-the-shoulder shot and either a high or low angle shot. You also must include both fixed camera (tripod) shots and camera movement (e.g. handheld, tracking, pan etc.)
Editing: You must edit at least two cuts to the beat of the song.
Sound: You must use the song you plan to use for your actual coursework (remember this needs to be a radio-edit or clean version if the original has explicit lyrics).
Mise-en-scene: iconography to establish the genre of the music or the atmosphere you are trying to create. Only one setting should be used for this preliminary task.
IMPORTANT: Currently, all video work needs to be socially distanced so while shooting and in any scenes with more than one actor/performer ensure you maintain social distancing throughout. You will also need to shoot video off-site as we do not have freedom to move around the school. If your music video requires a school location please discuss this with your Media teacher BEFORE filming anything.
Deadlines
Planning deadline: Wednesday 30 September
Deadlines
Planning deadline: Wednesday 30 September
Filming deadline: Monday 5 October
Final deadline: Friday 9 October
Research and planning tasks
Create a blogpost called 'Preliminary exercise: Research and planning' and complete the tasks below. First, watch this clip on how to make a music video on your phone - it works as a great introduction to music video making:
There are loads more tips and tutorials on YouTube (either from the same channel CrackaLack TV) or others (such as 5 Things I WISH I knew Before I Started Filming Music Videos!) that we would recommend watching as part of your research and planning.
You can also check out Darius Britt's Film School (D4Darius on YouTube) on YouTube in case you are planning to make a narrative music video more like a short film. He has tutorials such as:
- How to brainstorm ideas for a short film
- How to write a short film - principles of drama
- Nine things to check before pressing the record button
Now complete the following tasks:
1) State the song and genre you have chosen for your music video.
2) Choose at least three music videos similar to your song or concept and watch them several times. Make bullet-point notes on everything you watch, commenting on camerawork, editing and mise-en-scene.
3) Write or edit your treatment just to include the 30-60 seconds you will make for this preliminary exercise.
4) Write a shot list containing EVERY shot you plan to film AND additional shots to create flexibility when editing. These additional shots are often close-ups, cutaways, alternative angles or similar. I advise using a simple table on Microsoft Word to set out your shot list - you can find an example here.
5) Plan your mise-en-scene: what iconography are you including to ensure your audience understands the genre or narrative? Plan your cast, costume, make-up, props, lighting and setting. For this preliminary task, use just one location to keep it simple.
6) Plan a shooting schedule that will ensure everything is filmed by the deadline. Include when, where, who is required and what shots you will complete at each time/location. Remember: social distancing!
Research and planning deadline: Wednesday
Friday, September 18, 2020
Coursework: Ignite presentation learner response
There have been some excellent Ignite presentations with some brilliantly creative responses to the coursework brief.
Hopefully, the presentations and Q&A sessions that followed have highlighted the strengths and weaknesses of your coursework proposal and may indeed have prompted re-drafts of your statement of intent.
Your learner response is as follows and will take some time to do properly:
Create a new blogpost called 'Ignite presentation learner response'
1) Type up your feedback in full including the ratings out of five for each of the six categories.
2) Use this feedback, comments from peers and your own reflection on your presentation to self-assess and write a detailed WWW and EBI for your own coursework concept and presentation as a whole.
3) Write a paragraph discussing how your presentation will lead into your actual coursework production. Do you need to update your statement of intent? Does your concept/treatment offer enough clarity? Is it appropriate for the audience specified in the brief? Is it achievable to film in the midst of a global pandemic? Can you add media terminology or theory to your statement of intent now you have reflected on your presentation and seen others?
REMINDER: You also need to ensure that ALL your research and planning from over the summer - including your current statement of intent - is posted to your Media 2 coursework blog.
If you continue this process at home, ensure it is completed by your next coursework lesson.
Hopefully, the presentations and Q&A sessions that followed have highlighted the strengths and weaknesses of your coursework proposal and may indeed have prompted re-drafts of your statement of intent.
Your learner response is as follows and will take some time to do properly:
Create a new blogpost called 'Ignite presentation learner response'
1) Type up your feedback in full including the ratings out of five for each of the six categories.
2) Use this feedback, comments from peers and your own reflection on your presentation to self-assess and write a detailed WWW and EBI for your own coursework concept and presentation as a whole.
3) Write a paragraph discussing how your presentation will lead into your actual coursework production. Do you need to update your statement of intent? Does your concept/treatment offer enough clarity? Is it appropriate for the audience specified in the brief? Is it achievable to film in the midst of a global pandemic? Can you add media terminology or theory to your statement of intent now you have reflected on your presentation and seen others?
REMINDER: You also need to ensure that ALL your research and planning from over the summer - including your current statement of intent - is posted to your Media 2 coursework blog.
If you continue this process at home, ensure it is completed by your next coursework lesson.
Wednesday, September 16, 2020
OSP: Teen Vogue - background and textual analysis
Our first Online, Social and Participatory CSP is Teen Vogue - the former print magazine turned online sensation.
Woke definition: a political term of African American origin that refers to an awareness of issues concerning social justice.
This means Teen Vogue covers issues of politics, racism and gender identity… and amazingly has expanded the appeal and reach of the brand while doing do.
Teen Vogue: background reading and textual analysis blog tasks
Work through the following tasks to complete your textual analysis of the Teen Vogue website and read notable Teen Vogue articles to refer to in exam answers.
Teen Vogue has generated a huge amount of coverage (and attracted a significant audience) by re-positioning the magazine as a socially conscious political hub for young women.
Notes from the lesson
Teen Vogue: background
Teen Vogue was launched in 2003 as a print magazine ‘little sister’ title to US Vogue. It focused on fashion and celebrity and was a conventional magazine aimed at teenage girls.
In 2015, in response to declining sales, the magazine cut back its print distribution and focused on digital content. After single-copy sales dropped 50% in the first six months of 2016 alone, the magazine went quarterly (four issues a year) before announcing the closure of the print magazine completely in November 2017.
In 2015, in response to declining sales, the magazine cut back its print distribution and focused on digital content. After single-copy sales dropped 50% in the first six months of 2016 alone, the magazine went quarterly (four issues a year) before announcing the closure of the print magazine completely in November 2017.
Online growth
Led by digital director Phillip Picardi, the Teen Vogue website grew substantially as the print magazine declined.
Between January 2016 and 2017, Teen Vogue’s online traffic rocketed from 2.9m US visitors to 7.9m. The magazine then surpassed 10m unique users later in 2017. In addition, the magazine has 6m Facebook likes, 3.5m Twitter followers and a huge following on Snapchat.
Led by digital director Phillip Picardi, the Teen Vogue website grew substantially as the print magazine declined.
Between January 2016 and 2017, Teen Vogue’s online traffic rocketed from 2.9m US visitors to 7.9m. The magazine then surpassed 10m unique users later in 2017. In addition, the magazine has 6m Facebook likes, 3.5m Twitter followers and a huge following on Snapchat.
Evolution and activism
The spectacular digital growth of Teen Vogue has been credited to the editor Elaine Welteroth and digital guru Picardi leading the magazine in a radically different direction to traditional teenage magazines.
Focusing on politics, activism and feminism, the magazine has developed a reputation for high-quality journalism while recruiting millions of socially-conscious, educated readers.
Focusing on politics, activism and feminism, the magazine has developed a reputation for high-quality journalism while recruiting millions of socially-conscious, educated readers.
'Woke'
Teen Vogue considers itself a ‘woke’ brand.
Teen Vogue considers itself a ‘woke’ brand.
Woke definition: a political term of African American origin that refers to an awareness of issues concerning social justice.
This means Teen Vogue covers issues of politics, racism and gender identity… and amazingly has expanded the appeal and reach of the brand while doing do.
Teen Vogue: background reading and textual analysis blog tasks
Work through the following tasks to complete your first case study on Teen Vogue.
Teen Vogue: background reading
Read this Guardian feature from 2017 on Teen Vogue and
answer the following questions.
1) What was the article that announced Teen Vogue as a more
serious, political website – with 1.3m hits and counting?
2) When was the original Teen Vogue magazine launched and what
was its original content?
3) How did editor Elaine Welteroth change Teen Vogue’s
approach in 2015?
4) How many stories are published on Teen Vogue a day? What topics
do they cover?
5) What influence did digital director Phillip Picardi have
over the editorial direction?
6) What is Teen Vogue’s audience demographic and what does ‘woke’
refer to?
7) What issues are most important to Teen Vogue readers?
8) What does Tavi Gevinson suggest regarding the internet
and ‘accountability culture’ with regards to modern audiences? Can you link
this to our work on Clay Shirky?
9) What social and political issues have been covered successfully
by Teen Vogue?
10) What do Teen Vogue readers think of the magazine and website?
Teen Vogue: Factsheet Part 1
Read Media Factsheet #200 Teen Vogue - Part 1. You can find the Factsheet in our Factsheet archive on the Media Shared drive in school or download it here using your Greenford Google login. Answer the following questions:
1) The Factsheet suggests Teen Vogue has successfully made the transition to an online, social and participatory product. Why? What platforms is it now available on?
2) Look at the screenshots and details on pages 3-4 of the Factsheet. What does Teen Vogue offer its audience?
3) Who is the typical Teen Vogue reader?
4) Read the content analysis of the Teen Vogue website on page 5 of the Factsheet. Pick out three key examples of how meanings are created in Teen Vogue and what is communicated to the audience.
5) Finally, look at pages 6-7 focusing on representations. What range of representations can be found in Teen Vogue and what does this suggest regarding Teen Vogue's values and ideologies?
Teen Vogue textual analysis and example articles
Homepage analysis
Go to the Teen Vogue homepage and answer the following:
1) What website key conventions can you find on the Teen
Vogue homepage?
2) How does the page design encourage audience engagement?
3) Where does advertising appear on the homepage?
4) What are the items in the top menu bar and what does this
tell you about the content of Teen Vogue?
5) How far does the homepage scroll down? How many stories
appear on the homepage in total?
Lifestyle section
Now analyse the Lifestyle section of Teen Vogue (in the Identity section) and answer
the following:
1) What are the items in the top menu bar for the Lifestyle
section?
2) How is the Lifestyle section designed to encouragement
audience engagement? Think about page design, images, text and more.
3) What do you notice about the way headlines are written in
Teen Vogue?
4) What does the focus on education, university and ‘campus life’
tell you about the Teen Vogue audience demographics and psychographics?
5) Choose one story featured in the Lifestyle section and explain how reflects the Teen Vogue brand.
Teen Vogue: Five key articles
Read the following five notable Teen Vogue features then
answer the questions below.
1) What do you notice about the content and style of these articles? What do they have in common?
2) How do the articles use narrative to engage the reader?
Try and apply narrative theory here if possible - what makes the reader want to click or read more?
3) Pick a quote from each article that illustrates the political, 'woke' ideology of Teen Vogue and paste it here.
4) What effect on the audience are these articles hoping to achieve?
5) How do these article reflect the values and ideologies
of the modern Teen Vogue?
There is plenty to work on here - you will need to complete the majority for homework but we will set an extended deadline due to the volume of work.
Wednesday, September 09, 2020
Reminder: Summer Project 2020
Reminder! This is what we posted on the Year 12 blog for the Summer Project...
Your summer project contains compulsory and optional elements; everybody will be researching music videos, investigating their chosen genre, creating a music video concept, writing a first draft Statement of Intent and presenting this to class as an Ignite presentation in September. However, if you wish to also plan and film elements of your production (lockdown allowing) over the summer while you have time and actors available we would support you in this approach as long as you have parental permission and it is safe to do so.
Summer project tasks
Complete the following tasks on a blogpost on your coursework blog called 'Summer Project: coursework planning':
1) Research: music video analysis
You need to write a 200-word close-textual analysis of five (or more!) music videos in your chosen genre. For each music video, focus on a different aspect of media language, and embed each one on your blog:
Music Video 1: Narrative
How is narrative used in the music video and what impact does this have on the audience? Can you apply any narrative theories to the story in the music video?
Music Video 2: Mise-en-scene
What do you notice about the use of mise-en-scene to create meanings for the audience? Use CLAMPS to help you here and think in particular about how mise-en-scene is used to communicate the genre of music.
Music Video 3: Camerawork
Here you are looking for particular camera shots and movement. Remember that movement is a critical convention of most music videos and camerawork can contribute to this.
Music Video 4: Editing
Analyse pace, transitions, the number of shots and juxtaposition. How does the music video create pace and excitement - or does it create a different effect for the audience?
Music Video 5: Conventions
Think back to our Introduction to Music Video and our work on Andrew Goodwin's theory on music video conventions as part of the Ghost Town CSP. How many key conventions of music video can you find in your fifth music video example?
You can find a range of notable music video examples in this blogpost or you are free to select videos of your choice. You may wish to write more about one video than another but as long as you have 1,000+ words of research in total you will be fine.
2) Planning: music video treatment (concept)
In order to produce a successful music video, you will need to write a treatment. This is like a script - it tells the band or artist exactly what will happen in the video and the kind of style or effect the video will have. You'll need choose what song you are going to use at this point - remember, you can use an existing artist's track but it needs to be appropriate for a mainstream audience.
You can find further music video treatment guidance here plus an example of a genuine director's treatment for the brilliant alt-J video Breezeblocks.
3) Statement of Intent
Write the first draft for your genuine 500-word Statement of Intent. This will be submitted to the exam board alongside your media products and is worth 10 marks of the overall 60 marks available.
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 read this).
4) Ignite presentation
Prepare a 5-minute, 20-slide presentation using the Ignite format in which you present your coursework project. In effect, this is your statement of intent in presentation format. You must cover:
- Your music video concept: artist, song, genre, narrative/performance/effects etc.
- Media language: how you will use music video conventions, camerawork, editing and mise-en-scene to create meanings for your audience. Remember the key word: connotations.
- Media representations: how you will use or subvert stereotypes in your music video; applications of representation theory.
- Media audiences: your target audience demographics and psychographics; audience pleasures - why they would enjoy your video; audience theory.
- Media industries and digital convergence: the potential record company that would sign and promote your band or artist; how fans could watch the video; other ways you could promote your artist (e.g. the headphone sponsorship in the brief).
Your Ignite presentation will be marked out of 30 on the following criteria (each worth a possible 5 marks):
1) Research (through the presentation AND your blog)
2) Music video concept
3) Language: terminology and theory
4) Representations
5) Audience and Industry
6) Delivery
You can find more information about Ignite presentations - including examples - in this Ignite presentation blogpost here.
Summer project deadline: all tasks above due in first week back in September
Summer project: optional extensions
Pre-production tasks
Some students in previous years expressed an interest in filming their video production over the summer break. This makes a huge amount of sense - far more availability of actors, much more time to schedule filming etc. However, it may simply be impossible with social distancing and potential local lockdowns. If you do want to film over the summer, make sure you complete the following pre-production tasks here:
Music video treatment
This is effectively your script for your music video. There is guidance above on how to write a great music video treatment.
Storyboard
Sketch out a selection of critical shots from your music video, take a photo of the storyboard and upload it to your blogpost. What visual style are you trying to create? Storyboard sheets can be downloaded from here.
Shot list
Write a shot list containing EVERY shot you plan to film for the music video AND additional shots to create flexibility when editing. These additional shots are often close-ups, cutaways, alternative angles or similar. I advise using a simple table on Microsoft Word to set out your shot list - you can find a film example here. It makes sense to organise your shot list by scene or location rather than a huge list of every shot in the music video in chronological order.
Mise-en-scene
What iconography are you including to ensure your audience understands the genre you are working in? Plan your cast, costume, make-up, props, lighting and setting. This can be simply completed using your blog or Microsoft Word - the key aspect is to have planned all the critical details.
Shooting schedule
Plan a shooting schedule for your filming over the summer. Include when, where, who is required and what shots you will complete at each time/location. Again, this can be on Word or Excel or you could simply use your blog. The most important thing is that you've planned it! In the current circumstance, we also recommend including an additional section regarding safety and social distancing.
Non-assessed participants
You will need to provide a written record of all non-assessed participants in your production work (both music video and music magazine). Keep a record of everyone involved - actors, camerawork, sound etc. You will also need a keep a record of any non-original sound and note it on the Candidate Record Form - so this means the song for your music video. Keep these on your blog for easy reference when submitting your work in Year 13.
Production: Filming and photography
Once you have completed your pre-production tasks, you can film or carry out photoshoots as you wish.
Good luck!
Tuesday, September 08, 2020
Welcome back!
Welcome to Year 13 A Level Media Studies!
It has been a very strange six months to say the least. The word that best sums up Covid-19 is probably 'unprecedented'... there's almost no one alive in the world who has experienced anything like this. With that in mind, we need to remember to be kind to ourselves and ease our way back in gently.
As for Year 13, it's by far my favourite year to teach. Time to create coursework, study the in-depth topics and theories that showcase the best of the subject and get into some brilliant debates about news, technology, society and more.
We'll be kicking off with Online, Social and Participatory Media on the exam side and on the coursework side presenting our Ignite presentations to get coursework up and running.
Let's have a great year - Covid-19 allowing!
OSP Introduction: Clay Shirky - End of audience blog tasks
Our first topic for Year 13 is Online, Social and Participatory media (OSP).
This will allow us to build on the work we did in Year 12 while further exploring the impact of the internet on audiences and media industries. Our two in-depth CSPs are the Teen Vogue online presence (website, Facebook and Twitter) and The Voice website - the online home of the weekly newspaper for the black British community.
Notes from the lesson
Before studying the CSPs, we need to learn a key theorist for this topic - Clay Shirky's End of audience theories. This, along with the remarkable impact of the internet, will underpin everything we study for Teen Vogue and The Voice.
The internet: a brief history
The internet has been the most significant social, cultural and technological development of the last 30 years.
The 'Information Revolution'
Clay Shirky: End of audience
Clay Shirky suggests the 20th century media model “with professional producers and amateur consumers” has been replaced by a more chaotic landscape that allows consumers to be producers and distributors.
From the rise of collaborative projects to publicity campaigns run by volunteers, he believes that “organizations now have to understand, and respect, the motivations of the billion new participants in the contemporary media ecosystem.”
Clay Shirky: End of audience blog tasks
Media Magazine reading
Media Magazine 55 has an overview of technology journalist Bill Thompson’s conference presentation on ‘What has the internet ever done for me?’ It’s an excellent summary of the internet’s brief history and its impact on society. Go to our Media Magazine archive, click on MM55 and scroll to page 13 to read the article ‘What has the internet ever done for me?’ Answer the following questions:
1) Looking over the article as a whole, what are some of the positive developments due to the internet highlighted by Bill Thompson?
2) What are the negatives or dangers linked to the development of the internet?
3) What does ‘open technology’ refer to? Do you agree with the idea of ‘open technology’?
4) Bill Thompson outlines some of the challenges and questions for the future of the internet. What are they?
5) Where do you stand on the use and regulation of the internet? Should there be more control or more openness? Why?
Clay Shirky: Here Comes Everybody
Clay Shirky’s book Here Comes Everybody charts the way social media and connectivity is changing the world. Read Chapter 3 of his book, ‘Everyone is a media outlet’, and answer the following questions:
1) How does Shirky define a ‘profession’ and why does it apply to the traditional newspaper industry?
2) What is the question facing the newspaper industry now the internet has created a “new ecosystem”?
3) Why did Trent Lott’s speech in 2002 become news?
4) What is ‘mass amateurisation’?
5) Shirky suggests that: “The same idea, published in dozens or hundreds of places, can have an amplifying effect that outweighs the verdict from the smaller number of professional outlets.” How can this be linked to the current media landscape and particularly ‘fake news’?
6) What does Shirky suggest about the social effects of technological change? Does this mean we are currently in the midst of the internet “revolution” or “chaos” Shirky mentions?
7) Shirky says that “anyone can be a publisher… [and] anyone can be a journalist”. What does this mean and why is it important?
8) What does Shirky suggest regarding the hundred years following the printing press revolution? Is there any evidence of this “intellectual and political chaos” in recent global events following the internet revolution?
9) Why is photography a good example of ‘mass amateurisation’?
10) What do you think of Shirky’s ideas on the ‘End of audience’? Is this era of ‘mass amateurisation’ a positive thing? Or are we in a period of “intellectual and political chaos” where things are more broken than fixed?
A/A* extension work: read Chapter 1 ‘It takes a village to find a phone’ and Chapter 4 ‘Publish, then filter’ to further understand Shirky’s ideas concerning the ‘End of audience’.
You will have lesson time to work on this but will need to finish for homework. Deadline specified by your Exam class teacher.
This will allow us to build on the work we did in Year 12 while further exploring the impact of the internet on audiences and media industries. Our two in-depth CSPs are the Teen Vogue online presence (website, Facebook and Twitter) and The Voice website - the online home of the weekly newspaper for the black British community.
Notes from the lesson
Before studying the CSPs, we need to learn a key theorist for this topic - Clay Shirky's End of audience theories. This, along with the remarkable impact of the internet, will underpin everything we study for Teen Vogue and The Voice.
The internet: a brief history
The internet has been the most significant social, cultural and technological development of the last 30 years.
- In 1998, just 9% of UK households had internet access.
- In 2018, it had risen to 90%.
- Daily internet use in the UK has doubled since 2006.
- Smartphones are now the most popular device to access the internet. The iPhone was launched in 2007.
The 'Information Revolution'
550 years ago, the invention of the printing press by Johannes Gutenberg meant that the number of books in existence rose from a few thousand to 20 million in just 25 years. This led to the Reformation, the Renaissance and the scientific revolution in which centuries-old modes of thinking were radically questioned.
The internet has been likened to the Gutenberg revolution – which means we’re living through this ‘Information revolution’ right now:
- “The most important medium of the twentieth century” (Briggs and Burke 2005)
- “An application that will usher in The Information Age” (Castells 1996)
Clay Shirky suggests the 20th century media model “with professional producers and amateur consumers” has been replaced by a more chaotic landscape that allows consumers to be producers and distributors.
From the rise of collaborative projects to publicity campaigns run by volunteers, he believes that “organizations now have to understand, and respect, the motivations of the billion new participants in the contemporary media ecosystem.”
One of big changes with digital platforms is that “Every consumer is also a producer, and everyone can talk back.” Yet what may be more significant is the simple math of how many people can reach each other through the connections in a network. The result is always more connections.
Shirky adds that media had been a hierarchical industry—in that one filtered first, and then published. “All of that now breaks down,” he says. “People are producing who are not employees or media professions. So we now publish first, and then filter. We find the good stuff after the fact. This is dramatically different.”
Clay Shirky: End of audience blog tasks
Media Magazine reading
Media Magazine 55 has an overview of technology journalist Bill Thompson’s conference presentation on ‘What has the internet ever done for me?’ It’s an excellent summary of the internet’s brief history and its impact on society. Go to our Media Magazine archive, click on MM55 and scroll to page 13 to read the article ‘What has the internet ever done for me?’ Answer the following questions:
1) Looking over the article as a whole, what are some of the positive developments due to the internet highlighted by Bill Thompson?
2) What are the negatives or dangers linked to the development of the internet?
3) What does ‘open technology’ refer to? Do you agree with the idea of ‘open technology’?
4) Bill Thompson outlines some of the challenges and questions for the future of the internet. What are they?
5) Where do you stand on the use and regulation of the internet? Should there be more control or more openness? Why?
Clay Shirky: Here Comes Everybody
Clay Shirky’s book Here Comes Everybody charts the way social media and connectivity is changing the world. Read Chapter 3 of his book, ‘Everyone is a media outlet’, and answer the following questions:
1) How does Shirky define a ‘profession’ and why does it apply to the traditional newspaper industry?
2) What is the question facing the newspaper industry now the internet has created a “new ecosystem”?
3) Why did Trent Lott’s speech in 2002 become news?
4) What is ‘mass amateurisation’?
5) Shirky suggests that: “The same idea, published in dozens or hundreds of places, can have an amplifying effect that outweighs the verdict from the smaller number of professional outlets.” How can this be linked to the current media landscape and particularly ‘fake news’?
6) What does Shirky suggest about the social effects of technological change? Does this mean we are currently in the midst of the internet “revolution” or “chaos” Shirky mentions?
7) Shirky says that “anyone can be a publisher… [and] anyone can be a journalist”. What does this mean and why is it important?
8) What does Shirky suggest regarding the hundred years following the printing press revolution? Is there any evidence of this “intellectual and political chaos” in recent global events following the internet revolution?
9) Why is photography a good example of ‘mass amateurisation’?
10) What do you think of Shirky’s ideas on the ‘End of audience’? Is this era of ‘mass amateurisation’ a positive thing? Or are we in a period of “intellectual and political chaos” where things are more broken than fixed?
A/A* extension work: read Chapter 1 ‘It takes a village to find a phone’ and Chapter 4 ‘Publish, then filter’ to further understand Shirky’s ideas concerning the ‘End of audience’.
Monday, April 20, 2020
Newspapers: Final index
Now that we have completed the final Newspapers topic we need to do our usual index.
As you will know after almost two years of this, indexes are a good way to check we have covered all the work while also kickstarting our revision.
Your Newspapers index should include the following:
1) Newspapers: The decline in print media
2) Newspapers: The future of journalism
3) Newspapers: News Values
4) Newspapers: Regulation MM article and essay
5) Newspapers: Daily Mail 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 or exams due to gaps in your knowledge.
As you will know after almost two years of this, indexes are a good way to check we have covered all the work while also kickstarting our revision.
Newspapers index
Your Newspapers index should include the following:
1) Newspapers: The decline in print media
2) Newspapers: The future of journalism
3) Newspapers: News Values
4) Newspapers: Regulation MM article and essay
5) Newspapers: Daily Mail 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 or exams due to gaps in your knowledge.
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