POSTMODERNISM AND DEUTSCHLND 83

 

POSTMODERNISM AND DEUTSCHLND 83

Media Magazine - A Postmodern Re-imagining of the Past

1) What were the classic media representations of the Cold War?

- Representations often fit a stereotypical binary "good vs evil".

2) Why does Deutschland 83 provide a particularly good example for postmodern analysis? 

- The communist East is presented as grey and stark with no billboards, culture or entertainment, whereas the capitalist West is a world of department stores, restaurants and cars.

3) Pick out some of the aspects of the opening of episode 1 and explain why they are significant.

- A woman is listening to US president Ronald Reagan talks "Evil Empire" speech on television set. This intertextual footage with it's message to "pray" for those who live in "totalitarian darkness" creates ambiguity. 

4) How does the party scene at Martin's mum's house subvert stereotypes of East Germany in the Cold War?

Martin arrives and embraces family members in a bright, sunlit garden setting. In the living room, young people (including his girlfriend, Annett) are drinking beers and dancing and singing to the Cold War era protest song ‘99 Luftballoons’ that is later played in the West German barracks too. This scene reimagines the representation of the East beyond the operators of the restrictive state to the humanity, care and affection of everyday family and friends.

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5) What aspects of the episode set in West Germany offer postmodern elements?

The idea of breaking down distinctions between high and low art and incorporating elements of popular culture is key to a postmodern treatment. Martin’s first glimpse of West Germany connotes western opulence – a chandelier, the lavishly colourful images of Gustav Klimt’s painting ‘The Kiss’ strategically placed within the wide shot.

6) Finally, how does the article apply postmodern theory to Deutschland 83 and link it to the potential target audience?

Deutschland '83 used postmodernism because some of their target audience are  younger people, therefore using postmodernism helped to blur high and low culture/art and popular culture. 

Postmodernism Factsheet

1) Read the section on Strinati's five ways to define postmodernity. What examples are provided of the breakdown of the distinction between culture and society (media-isation)?

-  The characters Bruno and Borat have more ‘reality’ for film audiences than their creator Sacha Baron Cohen. Cohen’s films rely on the fact that the characters he creates are seen as ‘real’ people and he is able to get away with saying and doing things that a ‘real’ person could not. Cohen is only ever interviewed ‘in character’ so his creations have a voice but he does not.

2) What is Fredric Jameson's idea of 'historical deafness'? How can the idea of 'historical deafness' be applied to Deutschland 83?

- He argues that as mediaization increases so the culture finds itself losing a sense of historical context.

3) What examples and theories are provided for the idea of 'style over substance'?

- Paris Hilton and John and Edward.

4) What examples from music are provided for the breakdown of the distinction between art and popular culture? Can this be applied to Deutschland 83?

- Da Vinci's The Last Supper in Lego.

5) What is bricolage? What examples of bricolage can be found in Deutschland 83?

- Bricolage refers to the process of adapting and juxtaposing old and new texts, images, ideas or narratives to produce whole new meanings.

6) How can the audience pleasures of Deutschland 83 be linked to postmodernism? Read 'The decline of meta-narratives' and 'Media texts and the postmodern' to help answer this.

Meta-narratives are the ideas and concepts that have been used to attempt to explain the way the world is and the way it should be. Human history is full of these grand narratives from religion to political/ economical theories. Deutschland 83 is full of grand narratives including the historical, political and economical contexts that occurred during The Cold War.

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7) Now look at page 4 of the factsheet. How does Deutschland 83 demonstrate aspects of the postmodern in its construction and ideological positioning?

Modern texts may react against the postmodern in an attempt to reintegrate more structured ideas - these texts can be seen to be creating more conventional and reassuring ideas in their construction. Deutschland 83 uses standard narrative arcs, follows generic codes and conventions and their narrative conclusions focus on more traditional values and ideologies than is usual in the postmodern.

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8) Which key scenes from Deutschland 83 best provide examples of postmodernism? Why

The opening scene is a great example for post modernism because it shows actual documents belonging to the US president about The Cold War.

Deutschland 83 case study

 Introduction: Reviews and features

Read the following reviews and features on Deutschland 83:

The Guardian - Your next box set: Deutschland 83
The Guardian - Deutschland 83 Pity the Germans don't like it

1) Find one positive aspect and one criticism of Deutschland 83 in the reviews.

created an irresistible export: a funky exercise in pop nostalgia underpinned by actual events. It’s a perfect moment in a near-perfect series

2) Why does the second Guardian article suggest the Germans didn't like the show?

By focusing the story around Martin Rauch, a young East German border guard going undercover in the west, it doesn’t just make the viewer empathise with a Stasi agent on a human level – in the way The Lives of Others did – it makes us engage with the socialist regime’s worldview, in which a military exercise in West Germany poses a potentially existential threat.

3) Find three 'below the line' comments from either of the Guardian articles. What did the audience think of Deutschland 83? Do you agree with the comments?

• Cool theme tune, lovely sets … otherwise it's a risible attempt at historical drama marked by woeful acting and hilariously implausible plots. Ducking out after five episodes. A triumph of marketing over substance, blatantly.

• As an East German I enjoyed it, however, the English translation was atrocious and left out important clues, like in the last episode when they gave away that Martin was the son of Schweppenstette and Ingrid, that was completely lost in translation. They translated "our boy" simply as "Martin". There was another incident which I don't remember now. All in all, it made me feel strangely nostalgic!

• Loved it, and was amazed to find out how much was historically accurate. Having lived through that era, I felt it really captured the atmosphere of mutual paranoia that existed and blighted millions of lives. Giving the East German perspective on it gave it a distinctiveness it would not otherwise have had, and I found that very moving. They were just as frightened of us as we were of them! It illuminated the farcical aspect of the brinkmanship.

I agree, I really enjoyed the suspense and tension that is created by Martin being a single spy trying to prevent the world from going to nuclear war and causing the complete annihilation of humanity and the earth as we know it while i also really enjoyed the historical aspects of it, the attitudes between east and west, communism and capitalism, living on either side of the Berlin wall.

1) What does Jonas Nay say about growing up in a united Germany? 

He says that to him there was no real distinction between east and west as he was born in 1990 and so was just German, they did learn about the cold war but the focus was much more on ww2 but felt that is he had been a 25 year old back in 1983 he would have lived in west Germany as he values his freedom and mobility.

2) The Channel 4 News interview is conducted in German with English subtitles. How does this reflect Channel 4's remit as a public service broadcaster and their target audience? (Clue: revise your work on Channel 4 and Public Service Broadcasting here!)

It reflects their remit of inspiring change and standing up for diversity as it allows people to understand that this is a foreign tv drama made in Germany with German actors and represents their social, cultural and historical contexts.

3) Interviewer Matt Frei asks about the current political situation in Germany. Why might this interest the a Channel 4 audience?

Due to the recency of Germany becoming a unified nation in 1990 a channel 4 audience might be interested in what direction Germany as a united nation would take after only, at the time of the interview, 26 years since the unification while maybe also just being curious to understand just how much their politics had changed during the split and then after.

Scene 1: Garden/BBQ scenes (East & West Germany)

4.58 – 8.20 and 34.00 – 37.20

Make notes under the following headings:

• Technical codes – particularly mise-en-scene - 360 degree camera movement circling Martin when talking to Edel and his sister created sense that things are closing in on Martin. Huge contrast in mise-en-scene between East and West - two houses. Non-diegetic music used in the West BBQ scene - ominous and threatening

• Representation of East & West Germany / Family / Gender - Western family (Edel family) is shown to be dysfunctional and unhappy. The BBQ scene feels awkward and forced. Strong contrast in the East German party scene with close family, friends enjoying themselves, relaxed atmosphere. 

Scene 2: Martin/Moritz first sees the West German supermarket 

14.30 – 20.25

Make notes under the following headings:

• Technical codes – particularly mise-en-scene - Mise-en-scene - use of colour and costume. Iconic Puma logo red T-shirt as a colourful contrast to the dull East. Supermarket shelves full of colour and stacked high. Almost an example of postmodern art and designed to emphasise the difference between East and West.

• Audio codes – particularly music - Music - Sweet Dreams Are Made Of These. Diegetic sound but full of meaning to convey Martin’s first experience of the West. Dialogue on bench - emphasises the positives about the East and the dangers of the West. BUT this scene overall seems to present the West and capitalism in a more positive light.

• Representation of East & West Germany / Communism & Capitalism / Historical accuracy - Shot of two policemen eating ice creams is symbolic of the difference between East and West. Several shots emphasise representation of East and West - close-up of chandelier, wide shot of luxurious bedroom etc

• Audience pleasures - Historical reality - Blumler & Katz U&G theory - surveillance. Danger of WW3, reference to Pershing II missiles. Key elements of D83 based on historical fact. Music - 1980s references - nostalgia. Faithful reconstruction of Germany in the 1980s. 

Scene 3: Training montage scene when Martin/Moritz learns how to be a spy

20.40 – 22.40

Make notes under the following headings:

• Technical codes – particularly camerawork and editing - Fast-paced editing including jump cuts, typical of montage sequence. Split screen / editing / graphics used to emphasise difference between East and West.

• Audio codes - Music and SFX: Non-diegetic sound adds pace to the sequence. Dialogue/voiceover - covers a lot of narrative. 

• Audience pleasures -  German audience - nostalgia in terms of products and brands. International audience - surveillance (U&G theory) - learning about Germany, 80s gadgets etc. Genre pleasures - spy/thriller. 

• Intertextuality - Intertextuality - similar to a Bond sequence (particularly with the gadgets)

Scene 4: Briefcase scene when Martin/Moritz is stealing the NATO nuclear plans

31.13 – 33.30

Make notes under the following headings:

• Technical codes – particularly camerawork and editing - Close-ups of Martin while picking lock and photographing the documents. Close-ups of the documents themselves - words like highly classified, actual details of the missiles and Ronald Reagan’s signature. These are recreations of real documents from the time - emphasising the historical aspect of the show and the way it is based on real events; positions audience to be on Martin’s side. 

• Audio codes – diegetic and non-diegetic sound -  Non-diegetic sound - music helps convey the tension of the scene and satisfy genre expectations of spy thriller. Diegetic sound - deliberately increased volume of Martin’s breathing, lock picking, turning pages in briefcase. Creates intensity, tension

• Audience pleasures -  Blumler & Katz - Uses and Gratifications theory. Surveillance - the use of real documents and genuine moments from history of cold war educates audience about German/American/Russian history. Threat of WW3. Voyeuristic pleasure - seeing a scene or activity we wouldn’t normally have a chance to see.

1) What kind of company is UFA Fiction and what shows have they produced? 

UFA Fiction combines UFA production activities in the areas of series & series, TV movies, high-end drama and feature films and has a remarkable portfolio that has had a lasting impact on the German television landscape. Many productions were not only great successes with audiences, but also won numerous German and international TV and film awards, including two International Emmy Awards. Produced shows like - Liebeskummer, Extraklasse, Charolette link.

2) What kind of company is Freemantle and what do they produce?

a world leader in creating, producing and distributing across entertainment drama, film and documentary content. produced - Too hot to handle, The piano, Got talent and X factor

3) How does Deutschland 83 reflect the international nature of television production?

It was written by someone who is not German but produced in Germany and has become a hit in countries like the UK and USA and even then it didn't do so well in Germany itself showing how Film doesn't always appeal to where it was made and so allows for foreign film to thrive in other places.

1) How does Channel 4 introduce 'Walter'?

Introduces 'Walter' as being all about gritty international drama filled with action and tension.

2) What audience are Channel 4 trying to appeal to with the 'Walter Presents' series?

They are appealing to fans who may have watched their work before and will come to see if they like it while also the name can suggest to those who have heard of it the overall genre of the series which will attract those interested in that specific drama like thriller.

3) How does the 'Walter Presents' series reflect the changing nature of television in the digital age?

The internet is allowing for the recognition of international works that would have otherwise been in the complete unknown while the media now allows us to highlight and share on a mass scale allowing shows like these to garner support through things like 'Walter'.

1) What audience pleasures are suggested by the trailer? Think about Uses & Gratifications theory (Blumler and Katz).

• Diversion - Promises drama, action and even romance

• Personal relationship - Put into the position where Martin is set up as the main character with many personal interactions that make us root for him

• Personal Identification - Martin is a young man and so can be relatable to a younger audience as he explores the world be it as a spy more than a normal person

• Surveillance - The show is presented as using historical events to push the narrative but is completely fictional while still teaching about the event/threat of ww3 that it is based off of

2) How does the trailer use action and enigma codes (Barthes) to encourage the audience to watch the show?

Action - The scenes of explosions, romance and chase scenes/ running makes the audience wonder who Martin is, who's side is he on, and why is he being chased.

Enigma - The ambiguity of Martins character and personality as just being presented as a spy draws in the audience to learn who he is and why is he so important to this story about possible nuclear annihilation. 

3) The only words heard in the trailer are in English. Why do you think the UK trailer avoided subtitles or German dialogue?

There might be a slight stigma that foreign film is not 'British' enough or the thought that it will just not appeal to an audience that doesn't understand German.

1) How did she use the historical context and real-life events to create a successful drama?

You know what’s really crazy about that? A lot of people were very anxious at that time, of course, but now we know they should have been terrified. Thomas Lovegrove, a British military historian who worked with us on Deutschland 83, first called our attention to Abel Archer, the NATO manoeuvres in the autumn of 1983 that was misunderstood by the East as a real attack. The Russians prepared to retaliate but came to their senses last minute. At the time that we were developing the show, it was exactly 30 years after it happened, so the first information about Able Archer had just been declassified. There was still a lot of mystery around it, which is great for historical drama. We fictionalised the whole thing and used it as the backdrop for the climax of the series. But just this autumn, much more information about Able Archer was released by the National Security Archives and, well, it turns out that we came very, very close to nuclear war in November 1983.

2) Anna Winger discusses the use of music. Why might the soundtrack attract an audience?

Music was key to the story from the beginning. The top 100 songs of 1983 are still on the radio all the time! It was just an incredible year of pop culture and the songs really travelled, maybe because music videos started around that time as well, so there was a visual component for the very first time. Fashion, hair styles and colour palette, suddenly became a part of the 1980’s music experience. Music will attract an audience that is familiar with it or fans of and in the case of the 80s it will be those people experiencing the nostalgia of listening to that song in that time, nostalgia is a great seller for any product especially a TV drama that may not exactly be relatable if you didn't live in Germany during the 80s. 

1) List the key statistics concerning audience figures. Why was it considered the most successful foreign language drama?

2.5 million views on first episode and is considered the most successful as it has overtaken shows like 'The Returned' which had previously held the record for most views on launch at 2.2 million.

2) How does the press release describe Deutschland 83?

Set against the real events, culture wars and political realities of Germany in the 1980s, Deutschland 83 is a stylish coming of age story, framed within a suspenseful thriller. Season 1 culminates with the true story of a nuclear stand-off in late 1983, caused by a NATO war game and botched intelligence on the East German side. Created by husband and wife team Anna and Jörg Winger, Deutschland 83 is the first German- speaking drama to play on a mainstream US cable network. Walter Presents will eventually host more than 600 hours of drama that will be available for box-set. “It’s only January but let’s call it already: coolest show of the year.”

Grazia

 

“This is the next subtitled sensation……..unmissable TV.” - TV Times

 

“This pacy saga could be your new subtitled obsession.” - The Guardian

 

“A stylish curtain-raiser for Walter Presents.” - The Times

 

“Great fun, and powered by an irrestible 1983 vintage soundtrack.” - The Daily Telegraph

 

“Evocative and gripping.” - The Daily Mail

1) How does the UK DVD cover communicate the sub-genre of the drama?

The UK cover uses many details within the cover to establish the idea and create and image of underlying action and tension that will occur within the TV drama such as the graffiti on the Berlin wall which connotes a romantic underlying narrative while the slogan and text is much more gripping and obvious to an audience that there will be action and that it is a thriller as suggested by the Walkman Martin is listening to attentively or the fact that there is a duality in the back between East and West which suggests that split and that the Drama will not be so Monochrome as to only feature one side.

2) How do these use font, colour and graphics to appeal to an audience?

The yellow and beige undertones in the UK cover is appealing in that it is very British and familiar with other TV dramas that highlight the narrative over the action however the vibrant contrast of colours in the US cover draws in a potential audiences attention to the action portrayed in the cover with a clear Black and grey character in the middle to identify the main protagonist in the action. 

3) Why might the distributors Freemantle International have used different marketing campaigns in different countries? 

I think that it links back to that idea that UK covers are much more plain and emphasise the social realism within the TV drama that is much more relatable to a UK audience while the audience in the USA will be much more likely to watch something that's bright and stands out with promises of action as it is a foreign film.

Marxism and hegemony

 Task 1: Mail Online review of Capital

1) Re-read the Mail Online review of Capital. Why does it suggest that Capital features a left-wing ideology?

Capital was as stuffed full with fashionable causes as Jeremy Corbyn’s function diary.

2) Choose three quotes from the review that are particularly critical of Capital and paste them into your blogpost. Do you agree with the criticisms? Why?

'With a fizzle like a firework on a wet night, Capital (BBC1) dribbled to a soggy ending.'

'the crime was handed from one cardboard character to the next. That’s not a whodunnit, it’s a cop-out.'

'Everything British came in for a dose of loathing'

I think that some of the criticism is fair and that Capital did feel like it did not come to a satisfying conclusion as you might think it would from the stress and fears of the characters in the first episode and are wrapped up in a way that feels like it was done for the sake of just getting the series done and finished. However I do think that there was potential for something greater, like maybe if there had been a focus on a smaller ensemble cast or if the representations of police had been a little more 'real', including the threat of the postcards being more visible in the characters daily lives, would have made the series much more enjoyable and intriguing to audiences.

3) What scenes or characters from Capital could be read as promoting left-wing ideology?

When Kwentina meets the black female lawyer, Roger and Arabella being portrayed as snobby the whole time and money obsessed like the bedroom scene, Rogers lack of parenting skill, The Kamal family being integrated into British society and culture, Petunia being very tolerant of immigration.

4) What about the other side of the argument - are there any aspects of Capital that reinforce right-wing or capitalist viewpoints?

Roger working hard - even at home, Kwentina working overtime, Getting bonuses for hard work, saving to build a better life for yourself


Task 2: Media Factsheet - Applying Marxism 

Go to our Media Factsheet archive on the Media Shared drive and open Factsheet #66: Applying Marxism. Our Media Factsheet archive is on the Media Shared drive: M:\Resources\A Level or online here (you'll need your Greenford Google login to access). Read the factsheet and answer the following questions:

1) What does Marxism suggest regarding power in society?

Power is held by the elite and the mass rely on the elite to work and earn a living while the elite are reliant on the masses to stay complacent and not challenge that power.

2) Why is The Apprentice a good example of the media reinforcing capitalist values and ideologies?

Its a whole show based on the idea that people are dependent on the choice of the entrepreneur Lord Alan Sugar as to whether they will be given the job or not, while the whole premise of being employable and a good fit for the job is to not challange authority while working hard which clearly links to Karl Marx idea that the elite being Alan Sugar is reliant on the qualified labourer 'the contestants' who need to be complacent and unchallenging to maximise profits for the 'elite'. The show therefore reinforces the idea, to audiences, that to be a good worker is to not challenge authority and not to be to much of an individual.

3) Come up with two examples of media texts (e.g. TV programmes, newspapers etc.) that either fetishise working class life (e.g. EastEnders presents quite a harmonious East End community which probably doesn't accurately reflect East London life) or demonise working class life or poor people (e.g. The Daily Mail and The Sun newspapers regularly demonise people living on benefits with headlines referring to 'scroungers'.) Explain what meanings these texts communicate to their audiences.

• 'TV's dwindling middle class' New York times - labels the middle class as now being too underrepresented due to and absolute obsession with blue collar workers - but that a lot of shows now lack class-consciousness which ultimately undermines the working classes, as in these shows, the characters do not work to maintain their livelihood but for the suspense and drama

• Shameless US - TV show represents the family as being entirely unable to maintain themselves financially and that they constantly cause problems to society without ever being concerned as the name suggests 'shameless' of their actions.

4) Look at the bullet points on page 4 of the factsheet:



When making a Marxist reading of a text, look out for representations that:

• show the values of the power elite as beneficial to the mass - The failure of the bankers is what caused the housing crisis and so need to be protected in order for things to go back to normal

 

• show queries or challenges to the base as meaningless, foolish or anti-social via ‘failed revolt’ - Kwentina cannot work legally due to asylum laws

• show the subdominant position of the masses as a naturalised idea - The Kamal family working hard running the store and a newspaper delivery service while Roger struggles due to an 'unfair' bonus

• show the values of the power elite as ‘natural’ or ‘right’ - Rogers reference to his bonus being 'Fundamentally not fair' suggesting its his 'right' to earn a significant bonus

• show that being a member of the mass is a good thing - The close knit Kamal family which even in the recession stays close together 

• show the masses accepting the values of the power elite - The characters have no real choice against the crisis

• show the values of the power elite as being ‘for the good of the masses’ (even when unpleasant) - If the banking crisis did not happen most things would be alright

Now try applying those bullet points to Capital. Think about the setting, characters and narrative strands - how many of the bullet points apply to Capital? Does Capital reinforce or challenge the values of capitalism? Give examples from episode 1 to support your points.

In terms of setting the idea that it all takes place in London just creates the idea of wealth and a city brimming with money and the elite this contrast between those who live in London and those who are truly at the top is reinforced by Capital however there are some underlying ideas that even if someone wants to work to make a living there a certain values held by either the people or government that prevents that notion such as Kwentina being detained for working Illegally. 

1) Why did the Daily Mail suggest The Casual Vacancy promoted a left-wing ideology?

by ridiculing the wealthier residents and shaming them for their plot to sell off the local food bank and rehab centre Sweet love House. In interviews J. K. Rowling has stated her disapproval of benefit cuts and the withdrawal of public services, having lived on benefits herself for several years whilst she raised her daughter and wrote the first Harry Potter book. She is also very good friends with, and was a vocal supporter of, former Labour leader Gordon Brown.

2) How does the article suggest characters, narrative and setting are used to promote a left-wing ideology?

Barry Fairbrother – the hero of Pag ford– is dead by page 2 of the novel. However, in the television adaptation he is instrumental in making the case for continued investment in Sweet love House. In Episode 1, he makes a highly provocative and compassionate speech at the Parish Council meeting where the Mollison's and their allies attempt to gather support to have it closed down. The residents rush to see what Sweet love House could look like if it was sold off and turned into a spa; meanwhile the viewers can clearly see Barry Fairbrother watching on in disgust. In Episode 1, we see Howard Mollison ranting at some children looking through the window of his bakery shop: ‘Field kids. Little sods,’ he exclaims, calling them ‘junkies and fat twats’. He goes on to link the kids to his own political views: ‘This is what I’m trying to save us from, the ruination of Pag ford’. Later when he finds out that Barry Fairbrother – a character we already know he despises – has died, he is seen handing out pastries and coffees, bemoaning ‘what shall we do without him? It’s unbelievable I can’t believe it! He was so full of life’. The use of upbeat, mischievous music further enforces Howard’s hypocrisy, but also reveals that he can be read as a comedic figure rather than a particularly malevolent villain.

-Portrays conservative ideas a lot more negatively than more left leaning ones

3) What research is quoted regarding BBC bias and what did it find? Do you think the BBC is biased?

‘Has the BBC license fee become part of Labour’s election budget?’. I think that the BBC should be unbiased and have no political considerations at all but as an institution brought about to 'inform, educate and entertain' I think that it will always be slightly left leaning in order to accommodate and protect its remit as it is a government controlled institution I do not generally believe that they would intentionally be biased.

4) Gramsci's theory of hegemony suggests people are kept under control through active consent - the control of 'common sense'. How could you apply the Daily Mail or the BBC to the idea of hegemony and dominant ideologies in the UK media?

People actively choose to read articles and news stories from these newspapers either online or paper, which gives consent to this media to actively provide you with ideas and ideologies that may come to be adopted or otherwise considered by the person consuming the media, which therefore controls the ideologies that people are exposed to from something like The Sun which will promote their ideas over something like The Guardian causing a rift in beliefs if the person consuming them is not actively constructing their own views critically.

film industry: assessment learner response

 

Film Industry: Assessment learner response

The Film Industry assessment was another good opportunity to consolidate our knowledge and learn how A Level Media exam questions are structured.

As ever, the first part of your learner response is to look carefully at your mark, grade and comments from your teacher. If anything doesn't make sense, ask your teacher - that's why we're here! 

Your learner response is as follows:

Create a new blog post called 'Film Industry assessment learner response' and complete the following tasks:

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

WWW: some good,general points but undeveloped answers.

EBI: more details on the case study:industry info,box office

2) Read the mark scheme for this assessment carefully. Write down the number of marks you achieved for the three questions: _/3; _/6; _/9. If you didn't achieve full marks in a question, write a bullet point on what you may have missed.

2/3- Responsible for advising on content of films released in UK, providing age ratings, being

guided by public opinion on appropriate content in films etc.

3/6-Traditional marketing: film poster, trailer, review quotes etc.

● Social media: Facebook, Twitter, YouTube etc.

● Music / existing fans of Bruce Springsteen

3/9-Blinded By The Light cost $15m to make – money raised between Bend It Films (huge success

with Bend It Like Beckham), Levantine Films (huge success with Hidden Figures) and

Ingenious Media investment company.

● Blinded By The Light generated great excitement at the Sundance Film Festival which

resulted in an all-night auction that saw New Line Cinema pay $15m to distribute the film.

● Blinded By The Light then received a huge, global marketing campaign to try and turn the

film into the next Bend It Like Beckham global hit. This could easily have cost more than the

$15m production budget.

3) For Question 2 on the promotion of Blinded By The Light, use the mark scheme to identify at least one strategy used to promote the film that you didn't mention in your answer and why it was used. The key lesson from this question was to make specific reference to the CSP in your answer and ensure each explanation was different.

 Music / existing fans of Bruce Springsteen

4) Now look at Question 3 - focusing on Hesmondhalgh's point that making media products is a 'risky business'. Write three bullet points from the mark scheme that you could have added to your answer. Try and include a specific reference to the CSP where you can and ensure you understand the key contexts to Hesmondhalgh's quote. Additional reference to Hesmondhalgh's ideas would help here too - you may want to look back at our work on Hesmondhalgh and the Cultural Industries.

* Hesmondhalgh: commodification - Buying something just to make money out of it. Like 'Yesterday' had Ed Sheeran (star power) and Richard Curtis as the director for it who was also the director for 'Four Weddings and a Funeral' who compared to Gurinder Chadha being a director is not so famous. 

* Unfortunately, despite good reviews and positive word-of-mouth from audiences and online (rated 89% on Rotten Tomatoes) it only pulled in $18m at the box office, barely covering the production budget and nowhere near covering marketing costs.

* Some industry figures suggested the film was released too closely to Yesterday – another British comedy featuring popular music that was far more successful at the box office.