Public Service Broadcasting

Public Service Broadcasting

Public service broadcasting refers to broadcasting intended for public benefit rather than to serve commercial interests.

The media regulator Ofcom requires certain TV and radio broadcasters to fulfil certain requirements as part of their license to broadcast.

All of the BBC's television and radio stations have a public service remit.

Ofcom report into Public Service Broadcasting in 2017.

1) How does the report suggest that TV viewing is changing?

-  88% adults have internet access at home

-  76% own a smartphone/tablet

-  36% have smart TV’s in their homes

-  55% have ever used on-demand services
2) What differences are highlighted between younger and older viewers?

Individuals in the UK watched 3 hours 32 minutes of measured broadcast TV on a TV set in 2016. Viewers aged 65+ watched an average of 5 hours 44 minutes in 2016, 16-24 year olds watched an average of 1 hour 54 minutes in 2016

3) Does the report suggest audiences are satisfied with public service broadcasting TV channels?

The majority of people in the UK with a TV in their household watch the PSB channels on a 

weekly basis. In 2016, 83% of the TV population aged 4+ watched any of the main five PSB 

channels in a typical week. This increases to 85% when the BBC portfolio channels are 

included.

4) Public service broadcasting channels are a major aspect of the UK cultural industries. How much money did PSB channels spend on UK-originated content in 2016?

In a year of devolved parliamentary and assembly elections, spend on new, non-network 

originations for viewers in the nations and regions reached £276m in 2016, a 2% increase in 

real terms since 2015.

Goldsmiths report

Read this report from Goldsmiths University - A future for public service television: content and platforms in a digital world. 

1) What does the report state has changed in the UK television market in the last 20 years?

The proliferation of channels has reduced the market share of the public service broadcasters – the BBC, ITV, Channel 4 and Channel 5 – although they have largely retained their prominence and developed portfolio services. Sky has emerged as a major force, contributing to the success of pay television. New technology has facilitated on-demand access to television content, and created new services and platforms.

2) Look at page 4. What are the principles that the report suggests need to be embedded in regulation of public service broadcasting in future?

Public service media should not be regulated simply in relation to the impact of their content and services on the wider media market.  Principles of independence, universality, citizenship, quality and diversity need to be embedded into the regulation and funding of an emerging digital media landscape.

3) What does the report say about the BBC?

The BBC is the most important part of the television ecology, but the model of universality underpinning its public service credentials is under threat. 

4) According to the report, how should the BBC be funded in future?

The government should replace the licence fee as soon as is practically possible with a more progressive funding mechanism such as a tiered platform-neutral household fee, a supplement to Council Tax or funding via general taxation with appropriate parliamentary safeguards.

5) What does the report say about Channel 4?

Channel 4 occupies a critical place in the public service ecology – supporting the independent production sector and airing content aimed specifically at diverse audiences.

6) How should Channel 4 operate in future?

Channel 4 should not be privatised – neither in full or in part – and we believe that the government should clarify its view on Channel 4’s future as soon as possible.

7) Look at page 10 - new kids on the block. What does the report say about new digital content providers and their link to public service broadcasting?

Television with the characteristics of public service broadcasting now appears outside the public service system: from Sky and other commercial broadcasters, on subscription video-on-demand services such as Netflix and Amazon, and through the new Local TV services. 

Final questions - your opinion on public service broadcasting

1) Should the BBC retain its position as the UK’s public service broadcaster?

The BBC

2) Is there a role for the BBC in the 21st century digital world?

Many people are converting to streaming things online, on prime, netflix and Hulu and others for their TV and films. They prefer to pay subscriptions for streaming rather than pay for a TV license in order to watch Sky or Virgin. I think that besides sports channels the rest of TV and film can be found online and therefore the BBC will only be popular with the older generations who are used to having the channels to flick through.

3) Should the BBC funding model (license fee) change? How?

As well as paying for a license fee to be able to watch television Sky also charge for he viewers to have sky cinema and movies, sky kids and sky sports. This is inconvenient for the younger generations who prefer to save money and will happily stream on Netflix while in bed.

Intertextuality within Music Videos

Intertextuality within music videos




Intertextuality is when a text’s meaning (story, book, article, song, video, movie) is influenced by another text. Intertextual references can be subtle or obvious. The key idea is that these intertextual references allow for a deeper understanding of the text. Intertextual thinking can also be looking at patterns of events across stories, or looking at how authors have chosen to convey ideas about the same topic different ways.

Music Video Timeline

Music Video Timeline
The Key Dates are below the dates 

Introduction to Representation

Introduction to Representation


 

Decide whether the representation of each group is a Dominant or Alternative ?

Dominant  |||  Alternative

- Dad
- Daughter
- Friendship groups at school 
- French people
- Kidnapper
- Americans - (Liam Neeson)

What stereotypes can you identify in the trailer ?

 In this clip we can see that the Kidnapper who is at most power in this moment in time is male and the females are the ones who are the vulnerable ones to the kidnapping and the ones who are powerless without the male figure with them. In addition we see that the hero is also the male and not any female.


Why might the Taken trailer offend or alienate certain groups ?

The Taken trailer may offend feminist groups as the movie portrays a    somewhat patriarchal society in which the males are the more dominant and the females are the victims of the kidnapping and are seen as the powerless ones. On the other hand, this trailer may bring in action lovers, and people who love action movies, this may be more of male film as it is male dominant

Theories of Gender

Discuss the theories of gender in relation to The Killing (20 marks)

Laura Mulvey - 'Male Gaze/female gaze': Women see themselves through the eyes of men and are not sexualised by men. Audiences are forced to view women from the point of view of a heterosexual male or a male is sexualised in fragrance adverts for a women demographic. 

Bell Hooks - 'Feminism is for everybody': The colour codes: lighter skinned women are considered more desirable and fit better into the western ideology of beauty. Black women are objectified and sexualised in hip-hop reflecting the colonialist view of black women.

Van Zoonen - Van Zoonen believes the media portray images of stereotypical women and this behaviour reinforces societal views. 

In ‘The Killing' we see that the detective and the protagonist is a female. This is already seen as surprising for people as usually in the media/films, according to Laura Mulvey ‘women see themselves through the eyes of men' We see that she controls her team and is not in any way sexualised or controlled by a male. She is the dominant one in the show as all the decisions are made by her. We see that she always wears jumpers and dresses in black. She does not live in the patriarchal society, meaning that it is a male-driven society - if anything, the women in ‘The Killing’ are driving the society. We see this through both the characters, Sarah Lund (detective) and Rie Skovgaard (political secretary)
Van Zoonen believes the media portray images of stereotypical women and this behaviour reinforces societal views.


Why is The Killing relevant to Haesmondhalgh theory about cultural industries?

The term ‘cultural industry’ refers to the creation, production, and distribution of products of a cultural or artistic nature. Culturalindustries include television and film production, publishing, music,as well as crafts and design. In The Killing

Theorists

Todorov - 'All narrative have the disruption of equilibrium and is eventually restored'

Theories/Theorists - Glossary

Laura Mulvey - 'Male Gaze/female gaze': Women see themselves through the eyes of men and are not sexualised by men. Audiences are force to view women from the point of view of a heterosexual male or a male is sexualised in fragrance adverts for a women demographic. 

Bell Hooks - 'Feminism is for everybody': The colour codes: lighter skinned women are considered more desirable and fit better into the western ideology of beauty. Black women are objectified and sexualised in hip-hop reflecting the colonialist view of black women.

Stuart Hall – 'Dominant, Oppositional and Negotiated Readings of Representation': Stuart Hall’s theory is also useful in understanding how some representations reflect the dominant culture e.g. patriarchy. However, some representations can be negotiated or even misunderstood (oppositional)

Steve Neale – 'Genre are instances of Repetition and Difference': Genre is familiar to audiences through the repetition of conventions like a physically strong, dynamic, violent, male hero in Action Adventure Video Games but is challenged by a female lead character in Tomb Raider and Beyond. 

Levi-Strauss - 'Binary Oppositions': In terms of villain-hero, male-female, killer-victim. 

Deborah Knight - 'Thrill comes from the prolonging of the inevitable'

Claude Levi-Strauss - 'Conflict is based around the binary opposites and are the central climax of a narrative structure.'

Judith Butler – 'Queer Theory': Gender is what you do, not who you are; identities are not fixed and they cannot be labelled.

The Killing - Theorists

The Killing is a show that gained critical acclaim and was seen as innovative in terms of its representation of female characters. In what ways do you agree and disagree?

In ‘The Killing' we see that the detective and the protagonist is a female. This is already seen as surprising for people as usually in the media/films, according to Laura Mulvey ‘women see themselves through the eyes of men' We see that she controls her team and is not in any way sexualised or controlled by a male. She is the dominant one in the show as all the decisions are made by her. We see that she always wears jumpers and dresses in black. She does not live in the patriarchal society, meaning that it is a male-driven society - if anything, the women in ‘The Killing’ are driving the society. We see this through both the characters, Sarah Lund (detective) and Rie Skovgaard (political secretary)
Van Zoonen believes the media portray images of stereotypical women and this behaviour reinforces societal views.


The Killing uses narrative codes appropriate to genre. In what ways do you agree. Refer to theorists.
  
The narrative codes in The Killing are appropriate to genre because
the according to Todorov theory of narrative the action codes lead from one action to another. We can see this when a suspect is questioned and then we soon find out that they are not the killer so then we start to ask questions about who else it could be.