A2 Media - Revision - TV - Audience & Industry.pptx

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Section a: Television in the global age - Hinterland

REVISION: industry

Conceptual Framework - Industry

How processes of production, distribution and circulation shape media products in a global context

• The relationship of recent technological change and media production, distribution and circulation

• The impact of digitally convergent media platforms on media production, distribution and circulation

• The significance of patterns of ownership and control, including ownership by media companies and public service broadcasting

• The significance of economic factors, including commercial and public funding, to television and its products

• How media organisations maintain, including through marketing, varieties of audiences nationally and globally

• The regulatory framework of television in the UK and the role of regulation in global production, distribution and circulation

• The impact of 'new' digital technologies on media regulation

Industry as a key concept – what is covers

TV Industry Terminology

https://www.youtube.com/watch?v=MX75TkYbklw 

What questions could they ask?

PPQs

• How important is funding to the television industry? Compare the marketing of Hinterland and the European crime drama you have studied. [30]

• Explore the role of funding in producing successful global television products. Compare the marketing of Hinterland and the European crime drama you have studied. [30]

• Explore the role of regulation in the UK Television Industry.  Refer to Hinterland and the Historical crime drama you have studied.

• To what exent do TV producers rely on creating 'event television' for success? Compare the distribution of Hinterland and the European crime drama you have studied. [30]

• Explore how 'narrowcasting' has affected the TV industry. Refer to the production and distribution of Hinterland and the Historical crime drama you have studied. [30]

• How important are co-productions to the television industry? Compare the marketing of Hinterland and the European crime drama you have studied. [30]

• How important is digital distribution to the television industry? Compare the marketing of Hinterland and the Historical crime drama you have studied. [30]

• Television programmes are products driven by profit-making. Discuss in relation to Hinterland and the European crime drama you have studied. [30]

• Explore how the TV industry ensures a programme's success. Refer to Hinterland and the Historical crime drama you have studied. [30]

Prime Suspect – Industry Context

The Distribution of Prime Suspect

Awards

• Prime Suspect was also successful because of its innovative take on the genre, gender bias (female leads were rare), storyline, script and performance.

•Prime Suspect won multiple BAFTA Awards, Emmy Awards, Golden Globe Awards and a Peabody Award.

• American version and recent prequel Prime Suspect 1973 have also helped to boost popularity.

Hinterland Industry - Overview

The Production Process

• https://www.youtube.com/watch?v=l7WopKrOe2A 

Why was Hinterland made?

https://www.bbc.co.uk/programmes/p01ns07c 

https://www.youtube.com/watch?v=uWAeYYp7WbI 

Who made/ produced
 Hinterland?

What is Distribution?

Who Distributed?

ALL3 MEDIA

https://www.all3mediainternational.com/ 

Distributuion: 
International
Success

Circulation

Funding

• The Bridge is a co-production between public broadcasters Danmarks Radio and Sveriges Television; and both Borgen and The Killing were produced by Danmarks Radio.

• The Bridge also had €400 000 from the MEDIA programme in 2010 that enabled the product to havehigh production values, which enabled overseas sales due to its 'quality'

• The third season of The Bridge received € 1 million from the Creative Europe MEDIA programme  which enabled it to continue to support and maintain the programme’s high production values (Creative Europe provide financial backing for high quality, high budget European TV drama series)  

• The Creative Europe MEDIA programme had a developed a new priority to support the production of high quality, high budget (€ 10 million+) European TV drama series.

• ‘The Copenhagen Film Fund is actively investing in the series with the aim of bringing much of the series’ production to Denmark in order to secure more employment for Danish film talent – a larger Danish crew has already been signed on for the shoot. ensuring that the Danish film industry benefits not only economically, but also from the high visibility to international audiences’

Production

• Co-production between Filmlance in Sweden and Nimbus Film in Denmark as main producers of the series, co-producing with CFF (Danish) and Film i Skåne (Swedish) as well as various other European partners 

• People are employed by Filmlance and by Swedish laws and regulations but we are filming and shooting in both countries. Most of it is going to be shot in Malmö in the south of Sweden

• Some of the scenes set in Copenhagen were shot in Malmö in order to minimise production costs 

•  The settings, cast and crew reflect the economic context in which ‘The Bridge’ was produced (e.g. the fact that the series was co-financed by Sveriges Television and Danmarks Radio)

• The production values reflect the public service background of the broadcasters – high quality

Distribution

• The Bridge Season 1 was distributed by Filmlance international, part of the Banijay Media Group – a  French multinational television production and distribution company which is the world's largest international content producer and distributor with over 130 production companies across 21 territories, and a multi-genre catalogue containing over 180,000 hours of original programming.

• Sveriges Television reported that up to November 2013, the first season had been purchased for broadcasting in 134 countries worldwide and the Daily Telegraph reported in February 2014 that The Bridge was on screen in 174 countries.

  • In the UK, the series was shown in weekly two-episode blocks on BBC Four and BBC HD from 21 April 2012.

  •  In Germany, it was shown by broadcaster ZDF from 18 March 2012.

  •  In Spain is broadcast on AXN it is broadcast on Wednesdays from 8 January 2014 until present waiting for the third season. 

  • In Poland, the series was broadcast in double episodes from 2 May to 30 May 2012 on Ale Kino+. In Brazil, the series premiered on +Globosat channel on 13 August 2012 at 22h. 

  • The series premiered in Australia on Wednesday, 5 September 2012 on SBS Two, where the first episode had overnight ratings of 101,000 viewers.

  • It was also screened in Israel on September 30 on HOT VoD. On January 9, 2014, it also started screening on yes VoD with both series 1 and 2 available. 

  • Co-producers NRK screened the series in Norway with audiences in excess of 600,000 viewers. NRK were also keen to participate in the production of the second series. 

  • In Ireland, the show aired on TG4 in autumn 2014.

https://www.denofgeek.com/tv/are-international-co-productions-the-future-of-tv-drama/ 

Viewing figures

• The first airing of the series was screened on Sweden's SVT1 weekly from Wednesday 21 September 2011 at 21.00. Denmark's DR1 followed a week later in their 20.00 slot every Wednesday. By screening the final episode immediately after episode 9, DR1 managed to screen episode 10 simultaneously with SVT1.

  • On several occasions, The Bridge failed to have sufficient viewers to be placed in SVT1's weekly Top 10 programmes. This was mainly due to competition from commercial broadcaster TV4 with its offering gaining over a million viewers. In Sweden, The Bridge won its time slot for the first five episodes against weak competition from Hawaii Five-0 on TV4. From episode 6, it aired against the popular reality show Berg flyttar in [sv], which would beat The Bridge until the final episode, when they virtually tied.

• Season 3 of the The Bridge launched simultaneously on 27 September in Sweden, Denmark, and Finland, and the next day in Norway.

• Sweden’s SVT1 attracted 1,400,000 viewers for the first episode — up 459,000 from Season 1 and 268,000 from Season 2 — with season-by-season overnight ratings growing steadily from 11.4 to 13.3 to 15.8.

• For Denmark’s DR1, 839,000 people tuned in — up 21,000 from Season 2, but down 37,000 from Season 1. Finland’s YLE1 drew 425,000 people — up 60,000 from Season 2.

• Norway’s NRK1 had 577,000 viewers — down 54,000 from Season 2, but up 14,000 from Season 1 — making it the only channel that saw a decline in viewership for the opening episode of The Bridge III.

Revision

https://coggle.it/?utm_source=createyourown&utm_medium=web&utm_campaign=public

TV Regulation - OFCOM

https://www.youtube.com/watch?v=cdVUr-NrXng&t=10s 

https://www.ofcom.org.uk/about-ofcom/what-is-ofcom 

Five Things You Can't Do On British Television

https://www.youtube.com/watch?v=m__OZ3ZsO4Y&t=403s 

PPQ (2019) - Industry

• What points would you make?

• What points would you make?

• Digital platforms have evolved and changed the way that audiences consume television programmes. Streaming now allows audiences to consume television 24 hours a day at their own leisure.

• Social Media increases audience engagement of television programmes through advertising and marketing online.

• Success has not always been dependent on digital platform: Prime Suspect was critically successful despite being made in a context where digital platforms did not yet exist. However PS has benefitted from the advent of DP…

What Evidence would you use?

Hinterland and Digital Platforms

Modes of consumption have changed:

• Digitally-convergent society

• Cross-platform engagement

• Self-schedule

• 24/7 audience

• Multi chanelling

• Streaming services, catch-up/on-demand, apps, social media, live streaming, box sets, pirating

PPQ (2019) - Industry

• What points would you make?

• What points would you make?

• Marketing is essential to the TV industry

• Marketing consists of…

  • It promotes the product and informs the audience about the product

  • It ensures a wider audience

  • It helps make the product a success

• Traditional forms of marketing are used to engage to the audience, e.g. of Trailers and Posters

  • It uses generic conventions to appeal to an audience – identifies and positions audience

For contemporary media products, marketing strategies have involved and encourage audiences to interact and engage with product

• Cross-platform marketing campaigns

  • Diverse marketing strategies

• What evidence/ theories would you discuss?

Hinterland – Marketing

• Quality drama – branding (S4C, BBC)

• genre as “Nordic” style cop drama

• the team – sense of community

• ensemble cast – familiar to viewers but not A list stars (authenticity)

• enigmas – very little information given away – intrigues audience

• recognisable types – Mathias as the troubled anti-hero with a dark side

• Wales as a character – bleak, unspoilt , un ‘civilised’ and beautiful. Is it a “travelogue?

• sense of adventure in a “hinterland” - escapism

• the dual language USP

• the notion of a narrative “journey” (monomyth?)

How is Hinterland marketed to Target audiences?

• sold on cast

• sold on character (anti-hero cop)

• sold on intertextuality

(similarity to e.g. Broadchurch and Nordic noir)

• sold on genre with a twist – focus on trailer

• sold on enigma – social media buzz

• sold as a BBC quality drama – mark of trust

• sold worldwide – global context

• coverage in magazines. Some merchandising

(e.g. calendar, spin-off books)

• creation of series “brand” – “Welshness”

• these elements target different audiences

• Hesmondhalgh argues that companies use these techniques to minimise risk and maximise profit. With its second series and high profile, this reflects his notion of major media institutions formatting their own cultural products.

Watch the trailers and look at the posters for The Bridge. What are the posters, trailers and DVD covers “selling” to their target audience?

https://www.youtube.com/watch?v=pAJVDUOmUjk  UK BBCFour The Bridge

https://www.youtube.com/watch?v=7ZVK0iJngvs 

Suggestions 

• • Quality drama – branding (BBC Four)

• • Genre as “Nordic” style cop drama

• • The team – sense of community

• • Drama and conflict – narratives driven by opposition

• • Ensemble cast of Scandinavian TV stars 

• • Enigmas – very little information given away – intrigues audience

• • Recognisable types – Saga as the unusual troubled anti-hero with a dark side. Lone hero at times 

• • Sweden/Denmark setting - escapism

• • The dual language USP • The notion of a narrative “journey” (monomyth?)

Hinterland – Link to Industry Theory

Power and Media Industries – Curran and Seaton

• BBC is a Public Service Broadcaster

• More creative freedom as not driven by profit

Conceptual Framework - audience

• how audiences are grouped and categorised by the television industry, including by age, gender and social class, as well as by lifestyle and taste

• the role and significance of specialised audiences, including niche and fan, to the television industry

• how television producers target, attract, reach, address and potentially construct audiences

• how the television industry targets audiences through the content and appeal of media products and through the ways in which they are marketed, distributed and circulated

• how the television industry reflects the different needs of mass and specialised audiences including through targeting

• how specialised audiences can be reached, both on a national and global scale, through different media technologies and platforms

• the interrelationship between media technologies and patterns of consumption and response

Conceptual Framework - audience

• how audiences interpret the media, including:

• how and why audiences may interpret the same media products in different ways

• different kinds of response, such as preferred, negotiated and oppositional readings, literal or actual responses

• how meanings are created in the interaction of media language and audience response

• how audiences are positioned by media products

• how audiences/users interact with television and related online media such as television industry websites or social media platforms (e.g. Facebook)

• how audiences/users use television and related online media such as television industry websites or social media platforms (e.g. Facebook) in different ways, reflecting demographic factors as well as aspects of identity and cultural capital

• how different audience interpretations reflect social and cultural circumstances.

Hinterland – Link to Audience Theory

Reception Theory – Stuart Hall

Fandom – Henry Jenkins

‘End of Audience’ – Clay Shirky