Radio final index

 

RADIO FINAL INDEX

1) Introduction to Radio

2) Radio 1 Newsbeat

3) War of the Worlds CSP

War of the worlds

 

War of the Worlds

 

Media Factsheet

Read Media Factsheet #176: CSP Radio - War of the Worlds. You'll need your Greenford Google login to download it. Then answer the following questions:

1) What is the history and narrative behind War of the Worlds?

War of the Worlds tells the story of an alien invasion which was Orson Welles’ 1938 radio play, an adaption of  the original H.G. Wells’ novel published in 1898. It was broadcasted on the 30th of October leaving a lot of residence to fled from their homes. Martians. The Trenton Police Department also received over 2000 calls in less than two hours.

2) When was it first broadcast and what is the popular myth regarding the reaction from the audience?

It was first broadcasted 30th October 1938 regarding the popular myth of an alien invasion where there is conflict between humans and an extra- terrestrial race from Mars.

3) How did the New York Times report the reaction the next day?

They reported in their article that this fake news left families rushing out how it disrupted households, interrupted religious services, created traffic jams and clogged communications systems,

4) How did author Brad Schwartz describe the the broadcast and its reaction?

In his book book ‘Broadcast Hysteria: Orson Welles’s War of the Worlds and the Art of Fake News’ he wrote how he believed this fake news to be some what true as it was history’s first viral-media phenomenon.

5) Why did Orson Welles use hybrid genres and pastiche and what effect might it have had on the audience?

By using a hybrid genre he mixed conventional storytelling with news conventions to show how it was hard to tell the difference between facts and fiction. Using pastiche and radio conventions helped create a reality to the shocking fake news.

6) How did world events in 1938 affect the way audiences interpreted the show?

People after the broadcast started calling in, some to donate blood while other where angry at the fact that such realistic radio was allowed to be aired and even others congratulated Mercury Theatre for the exciting Halloween programme.

7) Which company broadcast War of the Worlds in 1938?

CBS

8) Why might the newspaper industry have deliberately exaggerated the response to the broadcast?

They might have wanted to get attention or even utilise the opportunity to inform people of the situation as radios where becoming popular leaving no one to gain information from newspapers. 

9) Does War of the Worlds provide evidence to support the Frankfurt School's Hypodermic Needle theory?

It reflects how listeners are passively taking in the information given to them on the radio being evidence to support the theory.

10) How might Gerbner's cultivation theory be applied to the broadcast?

It shows how the exposure to this fake news of aliens and how it cultivated the viewers perception of reality.

11) Applying Hall's Reception Theory, what could be the preferred and oppositional readings of the original broadcast?

The preferred reading would be how it intended to happen where the listeners believe this broadcast and react to it as bad news forcing them to fled their homes. Whereas the oppositional reading would be the opposite where listeners would understand that it is fake and have heard that it was fake news causing them to not react to it.

12) Do media products still retain the ability to fool audiences as it is suggested War of the Worlds did in 1938? Has the digital media landscape changed this?

Now with the evolution of technology it is harder to fool people as there is a need for evidence and commenters to give their viewpoint. However, AI has also taken over which can easily forge images and fake videos as evidence tricking people into believing  fake news.

Media Magazine article on War of the Worlds

Read this excellent article on War of the Worlds in Media Magazine. You can find it in our Media Magazine archive - issue 69, page 10. Answer the following questions:

1) What reasons are provided for why the audience may have been scared by the broadcast in 1938? 

They might have been scared by Welles chose to tell the story using realistic radio conventions – such as flash news bulletins, expert interviews and vox pop.

2) How did newspapers present the story? 

They chose to present the whole story as a ‘hoax’ to make it look as if inferring there was something malicious about the intentions of those making and broadcasting it. This was seen to give radio a sinister appeal making it less trustworthy so that newspapers had more worth.

3) How does the article describe the rise of radio? 

It describes how the rise of radio made others fear that it would would kill off the other main media industries. It brought music, news and peoples voices to homes making newspapers useless.

4) What does the article say about regulation of radio in the 1930s? 

As it was a new form of media, there was a lot of potential downsides such as  the corruption of the young by uncensored, unregulated radio content.

5) How does the article apply media theories to the WOTW? Give examples.

They use Banduras theory of the bobo doll where children watched a man beating up a doll. It remained  visual proof that the media can directly affect us. George Gerbner’s cultivation theory was also applied to show media effects what we do and think where WOTW tricked audience into believing fake news causing people to evacuate.

6) Look at the box on page 13 of real newspaper headlines. Pick out two and write them here - you could use these in an exam answer.

‘Radio Fake Scares Nation’ and ‘Radio Terror Brings Panic in All Areas; People Lose All Control’

Media paper 2 LR

 

 Create a new blogpost on your Media Coursework blog called 'Media Paper 2 learner response' and work through the following tasks:

1) Type up your feedback in full (you do not need to write mark/grade if you do not wish to). 

WWW-Q1 is excellent: top level. The challenge now is replicating that in the 25 mark essays, particularly the evaluation of theory which is tricky.

EBI-in Q2 you needed much more discussion of the theory. Politics and ideology would have helped here: are producers promoting left or right? Capitalism or communism?

-revise CSP too so you can provide detailed and accurate evidence from the text.

2) Read the mark scheme for this exam carefully, paying particular attention to the 'indicative content' for each question. Firstly, focus on the unseen question and identify two aspects of the poster that you could have written about in your answer.

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

• how audiences interpret the media, including how they may interpret the same media in different ways

3) Look at the indicative content for Q1 again and make a note of any theories or examples of media terminology you could have used in your answer.

• the codes and conventions of media forms and products, including the processes through which media language develops as genre

• the representation of youth as diverse in terms of gender and race

• the link between genre and stereotypes – the representation of victim in the thriller/crime drama.

4) Now focus on the TV 25-marker. Read this exemplar response for the TV question and pick out three arguments, phrases or theories from the essay that you could use in a future question on Capital and Deutschland 83.

-The Daily Mail’s review of capital described it as ‘more packed with left-wing causes than Jeremy Corbyn’s diary’ which suggests a preferred reading that is left-wing and socialist. Indeed, an analysis of characters and representations supports this idea of producers promoting a ‘woke’, left-wing agenda.

-Antonio Gramsci’s theory of hegemony is relevant here as it could be argued that Capital’s relentless focus on the importance of hard work, earning money and contributing to the London economy unconsciously reinforces capitalist ideology.

-This fetishization of the working class is relatively common in the creative industries and perhaps suggests the producers are deliberately encoding a pro-left-wing bias.

5) Finally, identify three things you need to revise for Media Paper 2 before your next assessment or mock exam.

I need to revise gender conventions and stereotypes, Stuart Halls theories and  the television CSP's.

Newsbeat CSP

 

BBC Radio 1 Newsbeat: 

 Newsbeat analysis

Use BBC Sounds to listen to Radio 1. Select a Newsbeat bulletin (8am or 12.45pm are good options) and then answer the following questions: 

1) What news stories were featured in the bulletin you listened to?

Football- Euros

Celebrities- Music , child celebrities 

Politics, election , War

2) How does Newsbeat appeal to a youth audience?

Framing the content through an informal tone, quick overviews, upbeat links, and audience participation.

3) How might Newsbeat help fulfil the BBC's responsibilities as a public service broadcaster? 

Radio 1's remit states that it must provide news and not just music. 

Media Factsheet #246: BBC Radio 1 Newsbeat

Read Factsheet #246 BBC Radio 1 Newsbeat. You'll need your Greenford google login to access it. Answer the following questions:

1) How is the history and launch of Radio 1 summarised in the factsheet? If you studied this as part of GCSE Media you will already know much of this.

Newsbeat started in 1973 but to understand this CSP you need to know a bit of history around Radio 1, the home of Newsbeat. For many years BBC radio had a monopoly of the airwaves, it was the only radio station that people in the UK could legally listen to. However, this monopoly was challenged in the 1960s when pirate radio stations such as Radio Caroline and Radio Luxembourg started illegally transmitting commercial programming via ships in international waters and on land.

2) Look at page 3 of the factsheet. How is Radio 1 attempting to appeal to its 15-29 age demographic? 

It aims to entertain and engage young listeners with a distinctive mix of contemporary music and speech. The programmes showcase a wide range of new music styles and support emerging artists, in particular those from the UK;with at least 60 hours a week dedicated to specialist musicprogramming. News, documentaries and other speech content focuses on areas of relevance to young adults in the UK today and aims to help them make sense of the world around them. BBC Radio 1Xtra is Radio 1’s digital ‘sister’ station, shares some programmes and a similar passion for new music. The station has a particular focus on serving BAME (British English, Black, Asian and minority ethnic) communities, offering its young listeners programmes that span RnB, hip-hop, dancehall, drum & bass, and a range of other urban music genres. They also broadcast weekly documentaries under the ‘Radio 1 & 1Xtra’s Stories.’

3) What did young people used to get from radio? Focus on audience pleasures / Uses & Gratifications here (see top of second column on page 3).

• To connect themselves to popular culture products (identity).
• To gain an insight into the world beyond their own experience: relationships, romance, politics (information and surveillance).
• To build para-social relationships with media personalities (both musicians and DJs) – create fandoms.
• For pure entertainment.

4) How has Radio 1 and Newsbeat in particular diversified its content for the digital age? 

Radio 1 has diversified its content beyond the studio, from Live Lounge sessions to a Big Weekend of live music, its output is wide and diverse.

5) How is Newsbeat constructed to appeal to audiences? 

The way young people access both music and news has irrevocably changed and traditional radio stations are struggling to compete with other platforms.

• Multiple voices, regional and national accents; Welsh, Irish, Scottish.
• Code-switching from formal to informal is used in order to target and appeal to different demographics.
• Simplifying of language and content.
• Personalisation and anecdotes.
• Use of sound beds/effects: also known as imagining, that run underneath the voices. These are used to maintain interest throughout the broadcast.
• Recorded interviews with diegetic sound.

6) What are the three key ideas from David Hesmondhalgh and which apply to Radio 1 Newsbeat?

Content production is made by ‘symbol creators’ because  The diverse output of Radio 1 and Newsbeat is huge. Creators are governed by professional guidelines but they are also free to be creative to make products to excite youth audiences.

The internet has not challenged the centralised power of providers or allowed audiences to challenge content because Radio 1 and Newsbeat is finding it difficult to challenge the social media giants in targeting a youth audience, but it does try to utilise these platforms with its content.

Cultural Industries are made to create profit because The BBC is a PSB provider, free from commercial impulses. All profits go back into making more content for the people.

7) Now look at Curran and Seaton. What are their key ideas and can they be applied to Radio 1 Newsbeat? 

key ideas: 

• The media is concentrated in the hands of powerful commercial media giants.
• Culture is controlled by social elites.

They cant be applied to radio because The BBC has its remit written into The Royal Charter, which states that it must remain independent and that the mission of the BBC is to act in the public interest, serving all audiences through the provision of impartial, high-quality and distinctive output and services which inform, educate and entertain. Also Furthermore, the BBC is funded by the licence fee which is set at by the government.

8) What key idea for Livingstone and Lunt is on the factsheet and how does it link to the CSP?

Key Idea : Media can have a citizen- based approach to regulation it links because the BBC is an example of a citizen-based approach to regulation.

• Citizen-orientated regulation is concerned with content-based issues.
• Citizen-based regulation is a positive form if regulation that directs media content so that it can improve the lives of citizens and contribute the wider well-being of society.
• Citizen-based regulation promotes forms of media that can hold powerful groups to account.

9) How can we apply Stuart Hall's Reception theory to Radio 1 Newsbeat?

Media producers encode media products in a way that they think will appeal to them. This is not always successful. It links as the BBC tries to appeal to young people with its content, but it faces competition from other platforms that appear to be catering for them in a better, more appealing way.

10) Choose one other audience theory on the factsheet and explain how it links to Radio 1 Newsbeat.

David Gauntlett – Identity Theory

The media constructs a range of identities which audiences are free to choose from this links as Radio 1 and Newsbeat offers a range of content that represents different class, racial, gender and age (15-29) identities. These could potentially reinforce audiences’ identities or challenge them. They also could offer role models for young people to follow or aspire to. This is part of the education facet of PSB.

Industry contexts: reading and research

Read the first five pages of this Ofcom document laying out its regulation of the BBC. 

1) Pick out three key points in the 'Summary' section.

• The BBC is the UK’s most widely-used media organisation, providing programming on television and radio and content online. The public has exceptionally high expectations of the BBC, shaped by its role as a publicly-funded broadcaster with a remit to inform, educate and entertain the public, and to support the creative economy across the UK.

•  For the first time, the BBC will be robustly held to account for doing so by an independent, external regulator. Alongside responsibilities for programme standards and protecting fair and effective competition in the areas in which the BBC operates, the Charter gives Ofcom the job of setting the BBC’s operating licence (the Licence).
• On 29 March 2017, they consulted on a draft Licence setting out requirements for the BBC to fulfil its remit, and plans for Ofcom to measure the BBC’s overall performance.

2) Now read what the license framework will seek to do (letters a-h). Which of these points could we relate to BBC Radio 1 Newsbeat?

f) Support a wide range of valued genres. The BBC must support a wide range of genres across its channels and services, such as drama, comedy, factual programmes and different types of music. 

This is because so it appeals to wide range of audiences and all different age types including young and teen audiences as they like listening to music and use the radio for entertainment while the older audiences use it more for surveillance and news. 

h) Require the BBC to reflect the full diversity of the UK population. 

This will ensure that on- and off-screen diversity considerations are embedded in the commissioning process. It will also ensure the BBC radio 1 Newsbeat is publicly accountable for achieving its workforce diversity targets. 

3) Which do you think are the three most important aspects in the a-h list? Why?

f) Support a wide range of valued genres.

a) Strengthen news and current affairs rules.

d) Support social action campaigns on BBC radio. 

4) Read point 1.9: What do Ofcom plan to review in terms of diversity and audience? 

The review will ask what audiences expect from the BBC to understand whether it reflects and portrays the lives of all people across the whole of the UK, ranging from younger and older audiences to diverse communities. We will take into account the outcomes of the review as we shape our future oversight of the BBC, and we will take further measures where needed to ensure that the BBC is delivering for all its audiences.

5) Based on your reading and research, do you think BBC Radio 1 Newsbeat offers licence fee payers good value for money?

I think its a little expensive but its a fair amount of price for BBC shows and services - including TV, radio, the BBC website, podcasts, iPlayer and apps.