Submit your work for the 2019 Media Awards! You can now submit your work for the 2019 Media Awards – to be held on Tuesday 26 March 2019. The awards will cover the following in a variety of categories:
GCSE Music Video (last year’s coursework)
GCSE Science Fiction TV Drama extracts (this year’s coursework)
A Level Film Trailers (this year’s coursework)
There is a folder on the Media Shared drive called Media Awards submissions with a folder within it for GCSE and A Level. Make sure your name is in the video file and simply place a copy of your work in the right folder. If you have any questions you can speak to our brilliant new Media/Art technician Mr Shepherd who will be happy to help you out. Once we’ve looked through the submissions we will publish a full list of nominations and ticket details for this year's Awards. Submission deadline: Monday 4 March
Our second Film Industry CSP is Ken Loach's independent social realist film I, Daniel Blake. Remember: for film, we only need to study the industries key concept - so this means the companies behind the film, the budget, the marketing and promotion and finally the box office success. Hollywood v Independent cinema Independent films are very different to Hollywood blockbusters like Doctor Strange. The style of ‘indie’ films is very different to Hollywood blockbusters, as the directors and producers have more creative input – it’s being made in their vision, not in the vision of studio bosses. Independent films have much smaller budgets, and are often supported financially by public service broadcasters, film institutions and charity funding. They are also distributed by smaller companies.
I, Daniel Blake notes
I, Daniel Blake is an award-winning independent British Drama film. The main character, Daniel Blake, 59, who has worked as a joiner most of his life in the North East of England needs help from the State for the first time ever following an illness. He crosses paths with a single mother Katie and her two young children, Daisy and Dylan. Katie’s only chance to escape a one roomed homeless hostel in London is to accept a flat some 300 miles away. Daniel stands up and fights for his dignity, leading a one-man crusade for compassion that will transform the lives of a struggling single mother (Katie) and her two children. It is a drama that has a strong political message about Britain in an age of government austerity.
Key details:
I, Daniel Blake was released in 2016 and was directed by Ken Loach. The film was rated by the BBFC as a 15.
A UK/French co-production, the film is a classed as a drama due to the nature of the narrative and themes within the film.
The cast is made up of lesser known actors, including Dave Johns, Hayley Squires and Sharon Percy.
The film is classed as an independent film, due to the fact that it is a low budget film with a relatively unknown cast.
Director power: Ken Loach
Ken Loach has been a director for over 50 years. He’s never had Hollywood success, mainly because he’s never wanted it. Loach’s style is social realism – telling stories that represent the lives of ordinary working-class people and the social issues they face, for example unemployment, poverty and addiction. His films also have political themes. Rather than create films for entertainment or money, his goal is to expose and educate people to the issues that many people in society face.
Marketing and promotion
Along with traditional trailer and print adverts, the film makers eOne also used disruptive marketing such as:
Organise free (or ‘pay what you can’) screenings and talks in community centres across the UK to build local enthusiasm for the film’s message.
Film was premiered not in London, but Newcastle (where the film is set) to gain local support.
Labour Leader Jeremy Corbyn attended the London premiere and people that had been denied benefit payments were asked to placard the event.
‘I, Daniel Blake’ was projected onto the Houses of Parliament ('guerrilla marketing') and in various cities
Loach appeared on BBC Question Time to talk on issue giving the film extra credibility
A conventional trailer was also produced for the film:
Additional promotion:
A partnership was set up with Trinity Mirror (Daily Mirror owners) to run a marketing campaign based on the film. The Daily Mirror traditionally supports the Labour Party and left-wing causes so therefore agreed with the main message of the film.
The film also paired up with NomadiX Media's iProjector to create an outdoor campaign using quotes from the film.
Finally, a video was released using members of the public and politicians that supported the film’s message. This was highlighted with the hashtag #WeAreAllDanielBlake
Secret Cinema Youth screening Secret Cinema, as part of their charitable Secret Youth campaign, organised a screening of the film in both London’s East End and Newcastle. The event was aimed at first-time voters, and the event happened just before the 2017 general election The screening was accompanied by talks from Ken Loach and performances from artists that either supported or had a connection with the film’s themes. They also organised food bank donation stalls at the screening and encouraged people to contribute
Budget, box office and critical success
It is very difficult to establish the exact production costs of ‘I, Daniel Blake’ although 16 Films Producer, Rebecca O’Brien, said it was a ‘modest amount’, even for a Ken Loach film. We know some of the funding it received (e.g. £300k from the BFI) and can estimate it to be around £2 million. Compare that to the $165 million that it cost to make our other CSP, Doctor Strange. I, Daniel Blake was exhibited in 24 countries and performed well in Europe and other smaller countries. The film grossed £11 million and received a wide range of positive critic reviews. ‘I, Daniel Blake’ Is Ken Loach’s most successful UK release ever and continued to sell well around Europe. Like all Ken Loach films, it did particularly well in France. As well as Box Office success, it was also a critical success and award winner (including the renowned Palme D’or from the Cannes Film Festival).
Regulation: BBFC rating
‘I, Daniel Blake’ was awarded a 15 certificate by the British Board of Film Classifications (BBFC). This was despite the following scenes being included:
Bad language (uttered by the main characters out of anger and frustration or for emphasis. Was justified by context and not impactful.)
Sexual scenes (There are some verbal sexual references voiced in the film, particularly in a scene where a man pays a surprise visit to a woman who is working as a prostitute secretly, to try to dissuade her from prostituting herself.)
Frightening and Intense scenes (There are two notable scenes of emotional intensity. They include 'the food bank' scene and the ending 'funeral' scene.)
I, Daniel Blake: blog tasks
1) What is independent cinema and how is it different to Hollywood blockbusters? 2) What is I, Daniel Blake about? 3) Who directed I, Daniel Blake and why is this important?
4) How was I, Daniel Blake promoted to an audience? List at least three different methods used by the film's marketing campaign. 5) What unusual or creative marketing methods were used to get audiences talking about the film? 6) What was the estimated production budget for I, Daniel Blake and how much did it make at the box office? 7) How can independent films like I, Daniel Blake compete with Hollywood blockbusters like Doctor Strange? 8) In your opinion, was I, Daniel Blake a success? Grade 8/9 extension tasks Read this marketing case study on I, Daniel Blake. What does 'making a film launch a political movement' mean? Read this Hollywood Reporter interview with executive Alex Hamilton on film marketing - including the I, Daniel Blake grassroots marketing campaign. Why was it successful?
Our first Film Industry CSP is Marvel blockbuster Doctor Strange. For film, we only need to study the industries key concept - so this means the companies behind the film, the budget, the marketing and promotion and finally the box office success. Reminder: industry terminology In the Introduction to Media unit at the beginning of Year 1, we learned a range of media industries terminology that we may well be tested on in the exam. Make sure you know the following: Conglomerate Most major media companies are conglomerates that own a range of smaller companies (called subsidiaries). An example of this is Disney owning Marvel. Vertical integration Vertical integration is when one conglomerate owns different companies in the same chain of production. E.g Disney owns film studios, CGI specialists, film distributors and TV channels such as the Disney Channel. This gives Disney the chance to make money at every stage of production. Complete ownership = more profit.
Horizontal integration
Horizontal integration is when one company buys other companies at the same level of distribution. E.g Facebook acquired Instagram in 2012 (at a cost of $1 billion) so that they could cancel out the competition by making money from both. Horizontal integration allows companies to widen their audience and find other ways to make money.
Synergy
Synergy is when a company creates a brand that can be used across different media products and platforms. E.g Disney makes movies but then also has related stage shows, theme parks, merchandise, soundtracks and events.
Doctor Strange notes
Doctor Strange is a superhero film from the MCU (Marvel Cinematic Universe) which is part of the Marvel media franchise. A film franchise is a series of films film franchises are multi-picture stories, often including some of the same characters from film to film.
Franchises have become even more important than individual stars. They consist of connected universes (Marvel's Cinematic Universe, Middle Earth, and the DC Extended Universe) and many sequels (or prequels).
Blockbuster movies
Doctor Strange is a blockbuster movie. A blockbuster is a major studio movie that's made with a large budget, big stars and often involves a franchise.
A true blockbuster is extremely popular and brings in a lot of money. Typically, a blockbuster is a summer movie that audiences line up to see the first weekend it's released (which coincides with the school holidays and more family time).
Disney and Marvel
In 2009, The Walt Disney Company acquired Marvel Entertainment for US$4 billion. The Walt Disney Company now owns Disney Pictures, Marvel Studios, Lucasfilm and Pixar.
Walt Disney Studios are now one of Hollywood's major film studios and generated an income of $2.4 billion (2017). This means that they can afford to make more expensive films, market them around the world at great expense and ensure that they are hugely profitable.
Marketing and promotion
Star Power implies that people will want to see a film with a certain star in it. Most mainstream films and blockbusters will use Star Power to attract audiences to their film. The main star in Doctor Strange is British actor Benedict Cumberbatch (from Sherlock) who is very well known and has established fans.
Walt Disney Studios had a huge budget to make and market Doctor Strange. Some of the strategies used included:
Traditional methods such as posters and teaser trailers on TV and in cinema.
Cumberbatch also appeared on a range of TV chat shows and press events.
Film-based website with gallery, story synopsis.
Social Media profiles on Facebook and Twitter. Social Media advertising was also used on Twitter and YouTube. Marvel produced Twitter stickers, Facebook Live events, Snapchat lenses and filters, Tumblr stunts, Giphy content and Instagram special content.
Specific IMAX promotions:
Additional promotion:
Specific TV campaign with TV-only clips shown.
Promotional Partners were established and promoted the film in various ways (Mobile phone company Honor, Google, Lamborghini, Microsoft, Yakoult, Skype and Philips). This resulted in product placement meaning all had some role in the film – for example, Doctor Strange uses a Microsoft Surface Tablet – and were part of the promotion campaign in response to this. The rationale is the more people that see the film, the more will see their products so they pay for this.
Marvel introduced a Doctor Strange character to their mobile and video games line-up.
Marvel released prelude tie-in comic.
Budget and box office
Doctor Strange cost $165 million to make (which compares with £2 million for ‘I, Daniel Blake’). This money would have been spent on the huge salaries of the stars of Doctor Strange and the amazing effects and locations (New York, Nepal, Hong Kong and London). In addition, Disney spent many more millions on the huge marketing campaign. Doctor Strange had box office receipts of nearly $700 million (at a cost of $165 million), so can be viewed a success. However, it is not the most successful film in the Marvel Comic Universe. Infinity War, for example, has taken $2.03 billion at the Box Office. This places it in the 4th highest grossing movies ever. At the time of release Doctor Strange reached a major milestone by surpassing Iron Man’s box office record and setting a new global benchmark for a single-character introduction film in the Marvel Cinematic Universe.
Film industry: Regulation Films in the UK are regulated by the British Board of Film Classification (BBFC). Doctor Strange was awarded a 12A by the British Board of Film Classification (BBFC). It was deemed to have “moderate fantasy violence and injury detail”, yet was not too graphic. With a 12A, no-one under the age of 12 can see the film unless accompanied by an adult. It is quite a new classification (1989) and was introduced due to the large gap between PG and 15. It is important that all MDU films are 12A at the most as the major film companies want to keep the young audience for:
Merchandising opportunities.
Better potential box office.
47% of cinema audiences were aged 7-24 in the UK in 2014. Word of mouth and peer influence is important in generating interest.
Doctor Strange: blog tasks
1) List the companies involved in the creation of Doctor Strange. 2) What is conglomerate ownership and how does it link to Doctor Strange? 3) Who regulates the film industry in the UK? 4) What age rating was Doctor Strange given? Why? 5) How was Doctor Strange promoted to an audience? List at least three different methods used by the film's marketing campaign. 6) Analyse the film trailer for Doctor Strange. What aspects of the trailer tell you this is a big-budget blockbuster movie? 7) What was the production budget for Doctor Strange and how much did it make at the box office? 8) Would you consider Doctor Strange a successful Hollywood blockbuster? Why?
Our second music video CSP is Arctic Monkeys - I Bet You Look Good On The Dancefloor. Arctic Monkeys are an English indie rock band from Sheffield. The lead singer is called Alex Turner. Since forming in 2002, they have released six albums and won seven Brit Awards. They were one of the first bands to come to the public’s attention due to the internet, heralding a new way that bands are produced and marketed. I Bet You Look Good on the Dancefloor is their first single from debut album Whatever People Say I Am, That’s What I’m Not released with niche, independent record label Domino. It was released in 2005 and went straight to number 1 on the singles chart. Unlike One Direction, Arctic Monkeys weren’t put together by a record label, they were all friends from school. They formed in 2002 and wrote songs based on their lives and what they saw on nights out in Sheffield. They played pubs and small venues in and around Sheffield, and built up a huge following online using Myspace. Video analysis and audience appeal The power of the internet
Social Media was only starting to be introduced in the early 2000s.
You could chat to people with similar interests on chatroom or forums
You used AOL or MSN Messenger to talk to your friends, send emojis and share pictures and music
Myspace was released in 2003 and was one of the first major social networking sites. Myspace was used by bands and artists to gain fans without the need for a record company.
Arctic Monkeys' music was shared on P2P sites, though this wasn’t known by the band or promoted when they found out. It allowed their music to be heard by their audience
The sharing of their music encouraged people to talk about and share their music, which created a buzz about the band.
Their fan base moved online, creating online communities where they could share songs and information
Convergence and technology
‘Convergence’ is the process of combining different, often old and new, technologies to create a new or better product.
Technological convergence is the development of technology (such as phones and tablets) that allows us to access all types of media through one device. This has fundamentally changed the way music videos are produced, consumed and shared.
Technological convergence has created both challenges and opportunities for the music industry - both artists and record companies.
Arctic Monkeys: performance video
This is a performance video designed to look like a 1980s TV performance on programmes such as Top of the Pops or The Old Grey Whistle Test'. It was filmed using old 1980s Ikegami 3-tube colour TV cameras to give it an authentic, nostalgic effect.
The simple performance video subverts music video conventions that became steadily more complicated and narrative-based in the 1980s and 1990s.
It opens with the singer introducing the song and adding the words 'Don't believe the hype'. This could be a reference to the online following the band built up using Myspace.
Audience
Arctic Monkeys' audience are likely to be white, middle class and reasonably young. Psychographic groups might include Reformers and Explorers. Recent global success pushed the band into bigger psychographic groups such as Mainstreamers.
Audience pleasures would include diversion - the song is upbeat and fast-paced. Fans who followed the band from the early days might find a sense of personal relationship while many young people would get a sense of personal identity from the lyrics to the song (about going out to a club and drinking).
Older fans would enjoy a sense of nostalgia from the 1980s-style performance video.
Arctic Monkeys - I Bet You Look Good On The Dancefloor: Blog tasks
Impact of new/digital media on music industry You'll need to read our music video introduction and notes blogpost to answer some of these question. 1) How do audiences generally watch music videos these days? 2) What opportunities has the growth of digital technology and YouTube created for new music artists? 3) What is P2P and why did it cause huge problems for the music industry? 4) Do you think the internet has given audiences more power over who becomes successful in the music industry? Why? 5) How has Fortnite demonstrated the potential future for music videos and promotional opportunities for the music industry? You can read more on this event in this Verge feature. Arctic Monkeys: Industry 1) How did the Arctic Monkeys first achieve success and build up their fanbase? 2) Why was P2P file sharing an unexpected aspect to Arctic Monkeys' early success? 3) How does the rise of Arctic Monkeys differ from how One Direction were formed and became famous? 4) How has technological convergence changed the music industry? 5) Has the internet been a positive or negative development for traditional record companies? Why? Arctic Monkeys: Audience 1) What is the main Arctic Monkeys audience - demographics and psychographics? 2) What audience pleasures are offered by the music video for I Bet You Look Good On The Dancefloor? 3) Pick out three particular shots, scenes or moments in the video that would particularly appeal to Arctic Monkeys fans. Why did you choose those moments? 4) What is nostalgia and why is it a key audience pleasure for the Arctic Monkeys music video? 5) How are fans positioned to respond to the video? What does the artist want fans to take from their video? Grade 8/9 extension tasks Read this excellent Guardian feature on the Arctic Monkeys on the 10th anniversary of I Bet You Look Good on the Dancefloor. What key statistics can you take from the article concerning developments in the industry and the Arctic Monkeys' role in these changes? Read this BBC News report from the time - documenting the records Arctic Monkeys broke. Read this short blog on how the social media website Myspace helped the Arctic Monkeys make it big. What did the website allow the band to do? Finally, read this short Guardian feature asking if Arctic Monkeys changed the music industry. What does the article suggest? You'll need to finish this case study for homework - due Tuesday 26 February.
Our first music video CSP is One Direction - History. One Direction are an English-Irish pop band forming during Series 7 of hit show X Factor and going on to come third. They were propelled to success through social media and become one of the most successful groups ever, breaking many records. Their third album was the best selling album in the world in 2013. After finishing the show, they signed a record deal with Syco Records (Simon Cowell’s record label) which is part of Sony, one of the ‘Big 3’. History is their final single and is taken from album Made in the A.M. By the release of this album, Zayn had left to pursue solo projects. The single is their last before taking a career break. They reflect the lyrics (looking back on their huge success) through featuring footage of X Factor, behind the scenes at tours, anecdotes and videos of all the members. This 2015 video self referentially covers the bands own history since their creation during 2010s X Factor. Their debt to Simon Cowell is acknowledged in this video. Video analysis and audience appeal Narrative
The song is about the history of the band and about moving on towards the future.
The band said it marked a ‘period of closure’ for them after the departure of Zayn Malik, who has left the band to pursue a solo career.
It features a performance element with each of the band performing live and dancing in unison, cut with black and white footage of all 5 original members on tour and ‘behind the scenes.’ This is nostalgic and will appeal to loyal fans as it will remind them of the band’s success and younger appearances, right back to the start of their career on X Factor (featured in the opening of the video) in 2010.
Lyrics such as ‘now my heart’s breaking’ and ‘you and me got a whole lot of history’ and ‘all of the rumours, all of the fights’ can be applied to a relationship between a girl and a boy, but also to the other members of the band.
Audience pleasures
Diversion through a feeling of nostalgia
Personal relationships: Fans were used to contribute to the single’s chorus. (Collaboration / example of Prosumerism)
Personal identity with the band members (following through Twitter etc.) who were marketed as ‘the funny one’ and the ‘handsome one’ and also relating to other like-minded fans.
Surveillance – insight into behind the scenes.
Intertextuality of previous tours and footage
One Direction - History: Blog tasks
History of music videos You'll need to read our music video introduction and notes blogpost to answer some of these question. 1) What are the key conventions of music video? 2) What is intertextuality? 3) When did music videos first become a major part of the music industry? 4) What launched in 1981 and why were music videos an important part of the music industry in the 1980s and 1990s? 5) How are music videos distributed and watched in the digital age? One Direction: Industry 1) How were One Direction formed and how is this reflected in the music video for History? 2) What is vertical integration? You may need to check your book for this (or remind yourself from this Year 1 blogpost.) 3) What is horizontal integration? (See link above for help again!) 4) How has technological convergence changed the way audiences consume music videos? 5) As a manufactured band, what influence do Simon Cowell and the record company Syco (part of Sony) have over the content and release strategy of One Direction music videos? Audience 1) What is the main One Direction audience - demographics and psychographics? 2) What audience pleasures are offered by the music video for History? 3) Pick out three particular shots, scenes or moments in the video that would particularly appeal to One Direction fans. Why did you choose those moments? 4) What is nostalgia and why is it a key audience pleasure for the History music video? 5) How are fans positioned to respond to the video? What do the producers want One Direction fans to take from the video? Grade 8/9 extension tasks Read this Huffington Post article about the video. What extra details are provided in the article regarding the construction of the video? Read this short Teen Vogue feature on the video. What does it suggest regarding the ending of the video? Finally, read this excellent Medium blog on the future of the music video in the digital age. Summarise the main points of the blog in 100 words. You'll need to finish this case study for homework - due Thursday 14 February.
Our next media topic is Music Video. We will be studying the industry and audience contexts for this topic and need to cover two CSPs: One Direction: History Arctic Monkeys: I Bet You Look Good On The Dancefloor We need to study the industry and audience contexts for these products: Industry: how music video is produced and marketed and how this has changed over time. Audience: Target audience and audience pleasures. How the internet has changed the position of the audience. PLUS: Historical, cultural and social significance of the music videos and the impact of the internet on the music industry. Music video will appear in Paper 1, Section B of Exam Section B is only on INDUSTRIES and AUDIENCES and will consist of: 1 short answer question 2 medium answer questions – one on audience, one on industry 1 extended essay style question on one of the media forms we have studied, possibly Music Video. These essay questions will require you to make judgements and draw conclusions.
Music video: introduction and history
Music video key conventions
Music videos typically feature movement – often fast paced either in terms of actors, camerawork or editing. Many contain a performance element or narrative. Music videos can also feature visual effects and intertextuality.
Music videos were originally designed as a promotional device to sell the band or artist’s music but have developed over time to become a recognised artform or product in their own right. Modern music videos no longer have the huge budgets of the 1980s and 1990s but digital media means they are now more accessible than ever. Videos such as Psy’s Gangnam Style have received over 3 billion views on YouTube. Intertextuality Intertextuality is when one media text references another media text – through genre, conventions, mise-en-scene or specific cultural references.
Music videos often use intertextual references – often to classic films but also to television, popular culture, news, videogames or even other music videos.
Music video history
Originally, music videos were made like mini ‘films’ of the bands performing (e.g. The Beatles, Elvis)
MTV was launched in 1981 as a platform for music videos and the first music channel on television. Programs such as BBC show Top of The Pops also showcased music videos from the charts alongside ‘live’ stage performances.
In the 1980s and 1990s big budgets were spent on producing innovative and creative music videos such as Michael Jackson’s Thriller that had a film narrative, a well known director and featured intertextuality (horror films)
Music video in the digital age
In 2005 the launch of Youtube changed the way that consumers access and enjoy music video. Now self-promotion is more common.
The rise of new and digital media paved the way for bands such as One Direction ‘manufactured’ by the industry and increasingly promoted through convergence on social media to maximise profits for the record companies. Other artists were able to make it big thanks to YouTube, digital media and fans' word of mouth: Problems with piracy
Piracy became a huge problem for the music industry as they could not keep up with illegal downloading and streaming services where fans shared content for free therefore… The 2000s saw the rise of streaming services with subscriptions such as Spotify, Apple Music, Beats Music and (most recently) Youtube Music.
New platforms and music apps on smart phones mean that listeners are now becoming one-device consumers and using their phones for all media access.
CSP blog tasks You will find the case study blog tasks separately - one for each of the two music video CSPs.
