Media Studies Revision Guide for 2020 Examination

Student:

Teacher:

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Active audience - The theory that media audiences do not just consume a text passively, they
actively engage with it because of personal and social contexts.
Ambiguous - A sign or a media product with several possible but different meanings is
ambiguous.
Anchorage -The text (copy) that fixes (anchors) an image and its meaning.
Antagonist - In a plot, the character whose function is to disrupt the protagonist – often, but not
always, a villain.
Archetype -An original on which many copies are based. Often used in relation to characters in
fictional works. Character archetypes include examples such as the rebel, the mother figure, the
villain.
Audience - The people who consume a media product by watching, listening and reading it.
Audience positioning - The technique used to persuade the audience to interpret a media
product in a particular way.
BARB - Broadcasters’ Audience Research Board – the organisation that measures and collects
television viewing data in the
UK.
BBFC - British Board of Film Classification – responsible for deciding the age classification and
censorship of all films and video content released in the UK.
Big Close Up (BCU) - An extreme close up camera shot, usually focusing on the face or
close detail of the body.
Binary opposition - The contrast between two ideas or concepts, such as good/evil,
male/female. Usually the contrast causes conflict that drives the narrative.
Brand - A type of product that is manufactured and marketed under a particular name, logo and
design.
By-line - The printed line of text in a newspaper/magazine that names the writer of an article.
Camera movement - The way the camera is moved during filming to add depth, interest and
variation for the viewer, such as pan and track.
Censorship - The controls and regulations that exist about media content. Censorship powers
can be held by governments or regulatory bodies.
CGI -Computer-generated imagery is the application of computer graphics to printed or moving
image media. The term CGI commonly refers to 3D computer graphics used for special effects in
film sequences.
Code- A communication system which includes signs, rules and shared understanding. Examples
include the English language, non-verbal codes, print codes and editing codes.
Colour palette - The suite of colours that are used in the creation of media texts, such as
websites and magazines, to reflect a brand and appeal to its audience.
Commercial broadcasting - Privately owned media broadcasting of television and radio
programming.
Concentration of ownership - Refers to the number of organisations or individuals who
control ownership of the media. Fewer stakeholders hold increasing shares.
Conglomerate - A media conglomerate is a large corporation that owns a large number of
media companies, such as television, radio, internet, publishing – giving the conglomerate control
in the market.
Connotation - The meanings of a sign or media product that are made by cultural association.
These are often the deeper or underlying meanings. For example, images of a sunset in a film may
connote ending or closure.
Consumption - The act of using media products by watching, listening to or reading them.
Context - We use this term in two ways in media studies.
1. The immediate surroundings of something, ie a news photograph on the front page of The
Times.
2. The wider social, cultural or historical circumstances of a media product or process.

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Continuity editing - The most commonly used type of video editing used in post-production –
predominantly used to establish a logical and linear coherence between shots.
Conventions - Established rules or shared understandings used in the creation of media
products. Conventions are more likely to be taken for granted as ‘the way we do things’ rather than
formally written down.
Convergence - The coming together of technologies and institutions to create a new product or
media experience.
Copy - The written material, as opposed to images, that features in a media text.
A positive stereotype that reinforces the positive qualities of a person/type of person.
Cover price - The price printed on the cover of a printed media text.
Close up (CU) - A common camera shot that tightly focuses on a person or object.
Crane shot - A camera shot that is taken from above the ground high on a crane (also known as
a jib).
Cross-head - Words used as a title or sub-heading to break up text in a newspaper or
magazine.
Cross cut - An editing technique used to establish that action is occurring at the same time.
Cut - A simple editing technique. One shot ends and another begins, with no transitions or effects
added.
Date line - A line that shows the date that a media publication/article was written/first
published.
Demerger -Separating a large corporation into two or more smaller organisations.
Demographics - The characteristics and make-up of a sample of the population, eg age,
gender, nationality.
Denotation - The literal or surface meaning of a sign or media product.
Desk Top Publishing - Desk Top Publishing (DTP) software allows the user to create printed
media texts with various page layouts and designs
Digital (platform) - Digital media is any media that can be created, viewed and distributed
digital devices.
Distribution - The ways in which media products are made available to audiences either
physically or online.
Dialogue - Words spoken by characters in a media product, such as films or television dramas.
Diegetic sound - Actual sound from the world of the film, whether on or off screen.
Diversification - Large corporations spreading their interest and shares in a wide variety of
mass media forms.
Editing - A post-production technique – any arranging, revising and preparing of written, audio
or video content to get the piece ready for audience consumption.
Editorial - An article in a newspaper or magazine that expresses an opinion on a topical issue.
Enigma - A question, mystery or clue that is not immediately resolved which draws the audience
in.
Ethics - The principles and standards that are upheld in broadcast media, film and the internet.
Eyeline match - A film editing technique that makes the audience feel that they are seeing
what the character on screen is seeing.
Fade - In video editing post-production, a fade is the transition to and from a blank image.
Flashback - A scene in a moving image that is set in an earlier time than the main story.
Font - The style and size of text characters on the printed page or screen.
Form - The various formats that media texts and products come in, such as newspapers,
magazines, films. Each media form will have its own set of codes and conventions.
Framing - The way a camera shot is composed.

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Franchise - A media franchise is a collection of connected media products derived from a single
original source, for example, a film – with a comic and video game also produced about the film.
Freelance - A person who is hired by different companies to work on particular projects.
Freelancing is common in many areas of the media.
Gatekeeping - The way in which information is filtered by the media before it is prepared for
publication, broadcast or distribution.
Genre - A style or category of a media form.
Guerilla marketing - Low-cost and unconventional marketing methods with a clear focus on
grabbing the audience’s attention.
Headline - The text, usually in larger font, at the top of a page or article in a newspaper or
article, indicating what the content is to the reader.
Hegemony - The dominance in the media of a particular social group. For example, in the UK,
middle class people dominate the media workforce.
Home page - The first page of a website that a user will access at a web address. The home
page usually contains navigation links to the other pages of the website.
Horizontal integration - Companies who acquire other companies operating in the same
sector.
House style -The overall design style of a newspaper, website or magazine. This might include
font, colour scheme and layout. The house style sets a product apart from its competition and
makes it easily recognisable to its audience.
Hybrid - A type of media created through convergence resulting in a new form consisting of
different media combined. Can also be used as a way of describing a media product that is a
combination of different genres and styles.
Icon - In semiotics, an icon is a sign that physically resembles the thing it stands for (compare
with symbol).
Ident - Short for identifier – can be a short visual image shown on the screen in between
television programmes, signalling the channel that is being watched, or an audio ‘call sign’ to
identify a particular radio station/programme.
Institutions - The organisations that create and distribute media texts, such as the BBC and
News International.
Interactivity - Interactive media allows the user/consumer to take an active involvement in the
media text, even by contributing to it.
Intertextuality - Often media texts make references to other texts and popular culture to
interest and engage the audience.
IPSO - The Independent Press Standards Organisation is the independent regulator of the
newspaper and magazine industry in the UK.
Jingle - A short and catchy piece of music or song/slogan used to promote a product, used
particularly in advertising and on the radio.
Links - Clickable text or images that take users to different pages of a website.
Logo - The visual image used to identify a product, brand or company.
Masthead - A publication’s name or title in a distinctive form usually placed at the top of the
front page or cover page.
Medium/mid shot (MS) - A commonly used camera shot. Typically it will frame the subject
from the waist up or show some background detail in the shot.
Mediation - The process by which a media product represents an idea, issue, event or group of
people to the audience. 'Mediation' suggests that this process always changes the perception of
whatever is represented by the media.
Merger - A combination of two media companies into one – usually to gain more power and
influence in the market.
Message - The expected reading that the audience takes from a media text.

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Mise-en-scene - Literally ‘everything that is in the shot/scene’ in a single frame. This is what
helps the audience to gain meaning from a scene.
Mock-up - A rough plan of how the layout of a page of printed media will look.
Mode of address - The way a media product ‘speaks’ to its audience.
Model - A model seeks to capture an idea or concept in a simplified form, often as a graphic or
diagram. For example, the linear model of communication.
Moral panic - The way that the media stirs up intense feelings because of the way it covers a
news event or issue.
Multi-media - Technology that enables sound, video, text and graphic images to be used in the
same media production.
Narrative - The way in which a story or sequence of events is put together in a media text. All
media texts have some sort of narrative running through them.
News values - Ways in which media companies will assess and categorise news stories and
decide on their newsworthiness. Each media publication will have its own news agenda and set of
news values.
Niche audience/market - A relatively small segment of an audience with specific tastes and
interests.
Non-diegetic sound - Sound that is neither on the screen or features in the ‘world of the
film’. Typically, non-diegetic sound will be sound effects or background music added to create
mood and atmosphere.
OFCOM - The Office of Communications is a government-approved regulatory body that is
responsible for ensuring that the communication and broadcasting industries in the UK operate
fairly and competitively. It also protects the public from inappropriate or offensive material.
Opening sequence - The opening section of a film/television drama. Often this is action-
packed and ends on a cliffhanger. Opening sequences are also used to introduce key characters or
to establish settings.
Ownership - The companies who own the companies that produce and distribute media texts.
Panning - A basic camera movement – the camera sweeps from one side to the other.
Passive audience - A passive audience is one that merely observes and takes in a media text
without interacting or responding to it.
PEGI - Pan European Game Information – the organisation that judges what the age ratings
should be for games. Produces guidance for consumers (mainly aimed at parents) so that they can
decide if a game is suitable.
Pitch - An outline of an idea for the creation of a particular media product.
Platform - The technologies, software or apps that allow media producers and consumers to
interact, such as social media.
Point of view (POV) - A first-person camera shot that allows the audience to see from the
viewpoint of an individual character.
Preferred reading - The interpretation of a media text that the producers intended the
audience to have.
Pre-production - The work, planning and research that is done on a media product before the
actual production begins.
Primary research - Original and new research that is carried out to answer particular
questions or issues.
Prime time - The times of the day when radio and TV audiences are expected to be at their
highest.
Producer - The people who plan, coordinate and create media products.
Product - Any media text can also be called a media product.
Public service broadcasting - Television and radio programmes that are broadcast to
inform, entertain or educate the public, without trying to make a profit.

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Qualitative research - Qualitative research is used to explore and gain an understanding of
audience opinions and motivations.
Quantitative research - Quantitative research is the collection of numerical data and
statistics.
Regulation - Rules or sets of standards that are expected to be adhered to. Regulatory bodies
oversee that this is being done by media companies.
Representation - The way in which the media ‘represents’ people and the world around us.
Secondary research - Secondary research involves the collation and analysis of research that
already exists.
Segmentation - The division of audiences into segments and categories.
Semiotics - The use and study of sign, sign systems and their meanings. Also known as
semiology.
SFX - Special Effects. Graphics techniques that are applied to moving images to create specific
effects.
Shot - A single image taken by a camera, or a single take of video footage.
Sign - Anything that expresses meaning is a sign. Examples include written or spoken words, an
image, a sound, a gesture or an item of clothing.
Signposting - The technique of establishing what the location of a scene is from the beginning.
For example, a hospital drama might be signposted by audio of medical equipment or ambulance
sirens.
Slogan - A catchy, eye-catching and memorable phrase, often used in advertising.
Social media/networking - Websites, platforms and apps that enable users to communicate
with other people across the world.
Storyboard - A visual representation and plan of how a moving image scene will be shot.
Typically includes a sketch of each frame, camera movements, edits and timing, etc.
Strapline - A cross-column subheading, usually found in newspapers, magazines and websites,
that emphasises part of an article or advert.
Subscription broadcasting - Any platform/broadcaster that offers access to its content for a
subscription.
Symbol - A sign which doesn’t physically resemble the thing it stands for. Words are symbols
because they don’t look like the idea or object that they stand for. The red white and blue tricolour
flag is a symbol of France.
Synergy - Where two or more media products are linked for commercial purposes, eg a film and
a video game based on the film.
Teaser - A form of trailer that ‘teases’ the audience about a forthcoming film. Often meant to
intrigue, teasers are typically short and aimed at perking interest.
Titles - The opening credits of a television programme or film, including the title but often
including information about key personnel and snippets of the product.
Trailer - A short advert for a forthcoming film. Usually adhering to a particular set of codes and
conventions, trailers might include highlights from the film and information about the stars of the
film.
Treatment - A short outline of an intended media production. This might include written
descriptions, sketches and mock-ups.
User-generated content - User generated content (UGC) is any content created and
distributed on a particular platform by a user of that platform.
Viral marketing - A method of marketing which encourages media consumers to share
opinion and information about a media product on the internet and on social media.
Vlog - A video blog or video log, usually shortened to vlog, is a form of blog that uses video
rather than written text.

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Media Industries: The historical radio landscape before the launch of Radio 1

It is key in this unit of work to understand the importance of radio in the middle of the last century.
Television was not yet universally available and radio was the key entertainment device. The radio
provision in the mid-1960s was:

BBC Radio Home (1939-1967) broadcasting education programmes and news. Mainly speech-based.
Replaced by Radio 4.

BBC Radio Light (1945-1967) broadcasting mainly light entertainment (comedy / drama) and music.
Replaced by Radio 2.

BBC Third (1946-1970) broadcasting intellectual arts-based talk and music. Replaced by Radio 3.

Media Industries: What else was available to young people in the mid-1960s?

 There were changing attitudes to music and youth culture in the early 1960s.
 ‘Pop’ music was becoming more popular and attitudes in young people were becoming more
relaxed.
 There was clearly a need for a radio outlet for this music, less formal presentation style; but
there was nothing on the BBC for there were no other ‘legal’ independent radio stations until
1973.
 This led to the growth of ‘pirate’ radio stations who could produce these shows for young
people, but were beyond the control of regulators.

Revision Task

Watch the following clip and make notes about the following question: What was ‘Pirate Radio’ and
why did it exist? https://youtu.be/RVVXX2UEZEs

Media Industries: How was BBC Radio funded and why did they change direction?

 The BBC is funded through the compulsory licence fee (it was around £4 a year in the 1960s).

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 As everybody pays, then everybody should receive content suitable for their needs. Given the
growth of pirate radio in the mid 1960s, the BBC realised that it was not providing content for
this growth market.
 In response, the BBC reorganised and renamed their radio channels.
 On 30 September 1967, the Light Programme was split into Radio 1 offering continuous
"Popular" music and Radio 2 more "Easy Listening“.
 The "Third" programme became Radio 3 offering classical music and cultural programming.
 The Home Service became Radio 4 offering news, and non-musical content such as quiz shows,
readings, dramas and plays.

Media Industries: Who were the presenters on launch day?

 The BBC had never embraced the Disc Jockey (DJ) culture of the pirate radio channels. If Radio 1
was to be successful, it would have to move on from the ultra-formal presentation style to the
more relaxed style of these ‘star’ DJs who were are important in building relationships with the
audience as the records.
 The launch day team included many popular former pirate radio DJs, including Tony Blackburn,
Simon Dee, Emperor Rosko, Kenny Everett and John Peel, alongside established BBC names such
as Pete Murray, Jimmy Young and Alan Freeman.

Media Industries: Radio 1 - Success of Not? Early audience reaction

In 1967, Radio 1 was not as popular as the BBC had hoped. There were a number of reasons
why Radio 1 was not a success initially:
• It was not seen as ‘cool’ by many young people as the BBC stood for traditional, conservative
values.
• It struggled financially as there was no increase in the licence fee to pay for this extra radio
station.
• Whilst Radio 1 tried to copy the pirate radio’s style, it didn’t quite do it effectively initially as
it broadcasted simultaneously with Radio 2 – so it had to have a more formal style than the
pirate broadcasters. Some young people didn’t respond positively to this.
• Radio 1 still had to follow the BBC public service remit to educate to provide information and
educate, which some young people rejected.
• People were worried that too much radio music would mean that people would no longer
buy records, so the Musicians' Union and Phonographic Performance Limited to restrict the
amount of recorded music that could be transmitted by the BBC during the course of any 24-
hour period. This was called ‘Needle Time’ and in 1967 meant they could only play 5 hours
of music per day. Pirate stations did not have these restrictions imposed on them and the
law was difficult to apply offshore, so could play more music. They were, therefore, more
popular with young music-loving youngsters.

Media Industries: Success of Not? Longer term success

Radio 1 did become the most listened-to station in the world with audiences of over 20 million
claimed for some of its shows. This was due, in part, to:
• The 1967 Marine Broadcasting Offences Act officially outlawed pirate radio stations. The
Government had closed the legal loophole that allowed these stations to broadcast and
these had a British audience of 10 to 15 million. This meant they had to go to Radio 1.

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 • Many of the pirate station broadcasters then were employed by BBC Radio 1, thus bringing
many of the their loyal listeners with them. Commercial radio didn’t broadcast until 1973 so
it had no competition.
• It developed better content more suitable to the target audience and became the most
popular.
Media Audiences: The Launch Day Opener – The Tony Blackburn Breakfast Show
 Tony Blackburn was the DJ for the first ever show on Radio 1. He had worked on the pirate ships
with Kenny Everett and were asked to design the studio to grab that young, pirate radio
audience. Have a listen to the style of the show:
Revision Activity:
1. Audience positioning: Why did the choice of Tony Blackburn link to BBC Radio 1s desired
audience?
2. Audience positioning: Listen to the style of the programme (use of jingles, etc). How was
this different to what the BBC had offered before?
3. Audience positioning: Listen to the style of the programme. How is this linked to the target
audience?
4. What did the BBC think the target audience wanted and needed from a ‘pop’ radio station?

Media Audiences: Access to Radio

Revision Activity
In your own words:
1. Compare the way we can consume radio now to 1967.
2. How do we consume music now compared to 1967.
3. How has the ‘fragmentation’ of the radio landscape impacted on radio audiences.

Learning Checklist: Radio 1 Launch Day (1967) Tony Blackburn Breakfast Show CSP
My current
confidence

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 R A G
Historical, Social, Cultural and Political context
I understand how the way we access music has changed since 1967.
I can explain what pirate radio was (and is) and why it was a threat to the
BBC.
I can explain how there was a political dimension to the suppression of pirate
radio and the launch of Radio 1.
Media Industries
I understand how and why the BBC radio landscape changed so much in
1967.
I understand how the radio changes were linked to the public service remit of
the BBC.
I can discuss the choice of DJs at Radio 1 and why this decision was made.
I can explain reasons why the launch of Radio 1 was not a complete success
in engaging the target audience.
I understand how ‘needletime’ limited Radio 1s output and how pirate
stations bypassed this legislation.
Media Audiences
I can explain how the Tony Blackburn Breakfast Show was aimed at youth
target audience.
I can discuss how the style of the Tony Blackburn Breakfast Show was aimed
at the youth target audience.
I can explain why the launch of Radio 1 caused some conflict at the BBC and
politically.
I can compare how we access radio (and music) in 1967 and today
Radio Media Products
Close Study Product: Julie Adenuga Beats 1 Radio

Why we are studying this?

Beats 1 is wholly owned by Apple and launched in 2015 as a subscription

based streaming service with a focus on indie and rap music. It has a global audience with Julie
Adenuga concentrating on UK music. Beats 1 demonstrates emerging, future developments in
the media and provides an opportunity to study issues linked to ownership, globalisation and
convergence.

Media Industries: The changing nature of radio and how it relates to the launch of Beats

 Radio audiences have changed greatly since the dawn of Radio.

 Young people tend to listen to radio much less as the media landscape is saturated with
other products for them to consume (games, apps, numerous TV channels, streaming
services, etc).
 Also, people now expect to consume media products not in a linear fashion (you turn on the
radio and hear what’s currently broadcast) to on-demand (streaming services such as
Spotify, Amazon Music and Deezer).

How has radio changed since the launch of Radio 1 in the 1960s?

• More radio stations broadcasting (There are around 600 licensed radio stations in the
country) and 1000s of online broadcasters.

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 • Improved quality as radio moved from AM to FM and now to DAB (Digital Audio
Broadcasting).
• Radio stations have become increasingly specialised (look at Absolute 60s, 70s, 80s, etc).
• Many shows are downloadable on-demand (eg podcasts), on a range of devices (eg using
iPlayer on TV) and streaming-only ‘stations’ (eg Spotify ‘stations with no DJs).

Revision Activity: Explain how our music listening habits changed since 1960?
You may want to make a timeline including radio, audio tape recordings (the original
mixtape), mp3s players, DAB, streaming, online playlists etc.
Media Industries: Why was Apple interested in developing a radio station?
So why would an established technology company like Apple want to get involved in radio
broadcasting to a global audience, if the market is now more competitive and saturated? Here
are some possible reasons:
• To market Apple Music - its new subscription streaming product. If consumers have
access to all the world's music at their fingertips, they'll need a guide: Someone to
suggest things to listen to. If Apple can control the music we listen to through their
radio channels, they can link it to their iTunes presence where music purchases can
happen.
• To boost iTunes purchasing - as part of the deal, Apple acquired Beats Music, which was
an established subscription streaming music service. There were rumours that Apple
was only interested in Beats Music in an effort to boost a decline in iTunes numbers.
• To gain more control of the streaming market. Apple already has a loyal and substantial
consumer base through iTunes. Apple Beats 1 is another method of keeping Apple
customers in the Apple ‘walled garden’. They are hoping to hit companies such as
Spotify, Deezer, Amazon Music etc by keeping you in the Apple ‘ecosystem’.

Revision Activity: Explain why was Apple so keen to enter the online music world and
compete with Spotify, Deezer and Amazon Music (and others)?
Media Industries: Is Apple Music the same as iTunes?
 iTunes is all about media ownership, functioning as both a virtual record store and an
efficient digital library for music and other media (movies, TV shows, etc) that you own
personally.
 The software comes pre-installed on all Apple devices, and is available as a free download
for non-Apple PCs and mobile devices.
 iTunes doesn’t require a subscription fee to use it (unless you use iTunes Match—more on
that in a moment), since every song, album, movie, or show was purchased individually—
either from the iTunes Store, or imported or ripped from another source. 
 Apple Music is all about streaming. You pay a flat fee to unlock access to Apple Music’s
entire catalogue, but you don’t actually own  the music you listen to.
 The files don’t live individually on your devices; you’re instead just listening to tracks stored
remotely, that are owned by Apple.
 If you subscribe to any other media streaming subscription service—be it a music-only
service like Spotify or Tidal, a TV service like Hulu, or a movie/TV combo service like Netflix
or HBO Now—Apple Music functions the same way.

Revision Activity: In your own words, explain how Apple Music (with the Beats1 feature) is
different to iTunes?
How is it similar to Spotify?
Media Industries: Who are the launch DJs and how does this impact on content?

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 Beats1 launched with 3 key DJs who don’t just play the music, but drive our tastes in their niche
fields.
Zane Lowe a New Zealander who has worked on xFM, MTV Europe and BBC Radio
1, prior to be recruited to Apple Beats.

Ebro Darden is an American Hip Hop DJ from New York.

Julie Adenuga is of Nigerian descent who has previously worked on Rinse FM and is at
the forefront of the Grime scene.
Julie Adenuga is the younger sibling of Joseph and Jamie Adenuga, aka Skepta and
JME. She has become famous for her impeccable connections in the urban music scene, laid-
back interview style with the biggest grime stars and promoting established stars and up-and-
coming artists. Apple are looking to her to curate the country’s freshest musical output to a
global audience.

Media Industries: Examine Julie Adenuga’s style

Revision Activity: Listen to Julie’s show: https://www.youtube.com/playlist?
list=PLhQwIpR4GYnC-IuNfPYe3StYLA3XjXBbc
Explain how the content of the Julia Adenuga show differ from Radio 1?
Explain how the proportion of mass and niche audiences might differ between Beats1 and Radio
1?

Media Industries: How much of a threat is Beats 1 to traditional media industries?

 “Beats 1 isn't about radio, it's about music. Most radio stations offer local news, travel,
information and entertainment so Apple's new single radio station won't have much of an
impact on most of them. People who listen to local radio generally don't listen for the music.
However, specialist music stations such as 1Xtra, Kiss, 6 Music (and to an extent, Capital and
Radio 1) will be more at risk.” - Roy Martin - managing editor, Radio Today
 “Apple Music is by it own admission a music service for music people and I'd contend great
music stations like BBC Radio 6 Music, Australia's Triple J and LA's KCRW already do this….
This lack of appeal to mainstream listeners is I think the reason I found Apple Music - as it
stands - a bit underwhelming; it's a version of Spotify with its music streaming service, a bit
of BBC Introducing with Connect and a bit of 6 Music with Beats 1” - Jeff Smith - head of
music, BBC Radio 2 and 6 Music
 “Certainly curated content is great, and that is why there are radio stations, but radio
stations build up trust with their listeners over a long time, and the relationship feels
personal, and often local.” - Fraser McAlpine - music writer
 “Beats 1 - will be about new music using famous DJs like Zane Lowe. They'll do a good job at
this with a hefty content and marketing budget, but with limited distribution (online only)
and a "new music" format it's unlikely to be a devastating challenge to existing UK radio
stations. Beats 1 and Apple Music isn't about taking on radio - it's about providing an
environment to encourage people to pay a tenner a month to subscribe to Apple Music.
Spotify has much more to worry about than Capital FM.” - Matt Deegan - creative director
of Folder Media
Media Audiences: How does Beats 1 target its audience?

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 1. Established DJs who will bring their own fan base – as well as Zane Lowe, Ebro Darden and
Julie Adenuga other famous names have signed up to deliver music on Beats1. Names such
as Drake, Elton John, indie darling St. Vincent, Dr. Dre, Josh Homme from Queens of the
Stone Age, electronic duo Disclosure, and even Jaden Smith will have their own shows on
Beats 1.
2. DJs are well-know in the niche music genre and bring an audience and reputation with them.
Djs are recruited for their knowledge and reputation (and are paid a lot to work with Apple.
3. Content exclusive to Beats1 such as Taylor Swift back catalogue (which is not available on
Spotify). Artists sign exclusivity deals with certain online providers. This does influence what
music DJs can play as artists who have signed up to Apple may get preference.
4. Beats1 sells itself on the quality of the DJs and in this it is different to Spotify, Deezer and
Amazon Music. Those platforms rely on automated algorithmic radio (ie software dictates
what to play). This is a major plus for some audience members who value the ‘musical
curation’ concept.
Revision Activity: Who is the audience for Beats1 and Julia Adenuga in particular?
• How are the DJs sometimes limited in what they can play?
• What are the demographics and psychographics of this audience?
Media Audiences: How does Beats 1 fulfil the needs of listeners and contribute to their
sense of identity?
 The need to be INFORMED and EDUCATED about the world in which we live.
 The need to IDENTIFY personally with characters and situations in order to learn more
about themselves.
 The needs to be ENTERTAINED
 The need to use the media as a talking point for SOCIAL INTERACTION
 The need to ESCAPE from their daily grind into other worlds and situations.
Revision Activity: Revise the Uses and Gratifications Theory https://youtu.be/aopqPs7rb_Q
and apply them to the audience of Beats 1.

Media Audiences: Is the Beats1 audience passive or have opportunities to actively engage?

The cultural theorist, Stuart Hall, explored how people make sense of media texts and claimed
audiences were active not passive.
• An active audience engages, interprets and responds to a media text in different ways
and is capable of challenging the ideas encoded in it.
• A passive audience is more likely to accept the messages encoded in a media text
without challenge and are therefore more likely to be directly affected by the messages.
What opportunities are there on Beats1 to actively engage?

1. Listeners can send in requests via social media platforms (interaction happens over
Twitter but the @Beats1 account only has 565k) so it’s not a huge attention driver.
2. Listeners can also make requests through Apple-approved apps (e.g. iMessages to a
special iCloud address).
3. Beats 1 includes a Mixtape segment where you can submit songs: there is the space
to do these recommendations right within Music.
4. It’s interactive in that you can buy the music you hear, so you can ‘shift’ music from
‘radio’ to your own playlist.

Media Audiences: Is traditional radio dead?

The future of radio is under threat from online music providers. This is particularly relevant for
younger people. Some of the reasons this may happen are:
• More and more online music providers are flooding the music market.

13 | P a g e
 • Music charts are driven by downloads more and more.
• Younger people are using streaming services (like YouTube and Spotify) to listen to
music and discover new talent. This will only continue as time goes on.
• Carmakers are increasingly adding streaming and digital music options (eg SD card)
which marginalises radio use in cars.
• Smart speakers have begun shaping consumer practices and preferences.
• Radio adverts are having less impact/audience which is impacting on radio station
income.
Social and Cultural Context : Comparing Radio 1 Launch and Julie Adenuga Beats 1 Radio
Radio 1 Launch Julie Adenuga Beats 1

Paid through licence fee. Ad-based and free (but linked to subscription-
based Apple Music for some content)
Range of musical genres played. Highly-specialised.

Available ‘live’ only. Available ‘on demand’ or ‘self-scheduled’.

Available on radio only. Available online on a range of devices.

Range of DJs. Select ‘curators’ of music.
Music and chat Predominantly music-focused.
Local (ie UK only) Global (how does this impact on content?)

Advertising - Galaxy Chocolate Advert featuring Audrey Hepburn

Revision Activity: Watch the Galaxy advert https://youtu.be/QcgEqbhsCfU

Historical context of confectionary advertising

Nostalgia, or a "yearning for yesterday," is a frequently used advertising tool. It is particularly

common in the chocolate industry.

Packaging design points to nostalgia. Very traditional. Whilst the font and image has changed with Galaxy, the key message about
‘Goodness’ has stayed consistent.

Revision Activity: Explain, in your own words: what is nostalgia?

Why does the chocolate industry seem to have a focus on nostalgia in their advertising campaign
[think target audience / perceived as natural and wholesome products / desire for more
‘traditional’ times]?
Why do advertisers use images of ‘older’ times in their advertising?
Use of CGI

14 | P a g e
  Audrey Hepburn was as a film and fashion icon and was famous during Hollywood's Golden
Age. She was ranked by the American Film Institute as the third-greatest female screen
legend and encapsulates the ‘Golden Age’ of Hollywood.
 “Audrey represents heritage, classiness and elegance. So from a strategic and creative point
of view, it made sense for Galaxy to communicate its “silk, not cotton” branding through
these qualities. What was less clear, however, was just how we were meant to recreate an
iconic and globally recognised face when the original footage exists at a resolution
incompatible with today’s high standards.” The Guardian 08/10/14 How we resurrected
Audrey Hepburn for the Galaxy chocolate ad
 The advertising company received permission from the Audrey Hepburn estate [managed by
her sons]. However, does this place moral and ethical questions about the use of dead
celebrities or their work in selling a product? Would they have consented to this when they
were alive?

Revision Activity:
• Explain what CGI stand for.
• Why are there moral issues related to the CGI use of a dead celebrity in a campaign?

Semiotic Meaning of the advert

Semiotics are frequently used in advertising to convey meaning. There are clear codes and
conventions used in advertising so that the viewer can quickly understand the key signals and
meaning. Remember, adverts often do not have long to get their message across so rely on
semiotic understanding.

Chocolate is partially Hepburn is a symbol of classic feminine beauty / nostalgia / ‘golden’ times. Here some
seen. Symbol of ‘intertextuality’ is needed from the target audience. They need to know who Audrey is and
luxury and pleasure. what she represents. This assumes the target audience is quite mature in cultural references.

Visual Cultural The implied romance between the

driver and Audrey will have more
codes relevant to females [who
The driver is in a luxury car. may be more of the target
Links luxury product to luxury Possible Semiotic audience]
car. Driver looks like a chauffer.
Again, implies social standing
Codes
and wealth.
Language Gender
Clear signs that Audrey is in
“Why have cotton when you can have silk?” Again the
control. An empowered
connotation is that Galaxy is a luxury product. Silk
feminine lead.
being a superior product.

15 | P a g e
 Narrative Structure and Todorov’s - Narrative Theory
Tzvetan Todorov studied classic fairy tales and stories and theorised that many stories follow the
same narrative structure and involve transformation of character/story. Namely:

16 | P a g e
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Todorov’s
Narrative
Theory

Revision Activity – apply Todorov’s Narrative Theory to the advert.

Equilibrium Bus is travelling through Italian village.

Disruption Fruit stall stops bus and disrupts journey.

Recognition

Repair

New
Equilibrium

Narrative Structure and Propp’s - Narrative Theory

Vladimir Propp stated that there were seven basic character functions when he analysed 100
fairy tales and that these were present in many media products. When analysing Shrek, let’s see
if he’s right?

17 | P a g e
Revision Activity – apply Propps Theory to the advert.

Hero

The Princess

The Donor

Intertextuality in Media Products

Intertextuality is where one media product (eg Galaxy) makes reference to other Media Products
(e.g. Audrey Hepburn movies) to interest and engage the audience. This is clearly done in this
advert:

Audrey always looking glamourous; in the advert and ‘Breakfast at Tiffany’s’.

18 | P a g e
Audrey driven away in the advert and by Gregory Peck in ‘Roman Holiday’.
The actor even looks like Peck.
 Classic cars were
very much a theme
in Audrey Hepburn
movies and she
was often driven
(as was the
fashion) rather
than driving.
Media Representations: Stereotypes vs Reality?
The TV advertisement for Galaxy uses a range of stereotypes. Stereotypes are used so that semiotic
codes can be quickly messaged to the target audience. What stereotypes are used in this advert,
why and how do they compare to reality?

Stereotype used Reality

Place: Italy Classic Mediterranean hilltop village setting. Where are the poorer, less-glamourous locations. Why
Sunny. Beautiful buildings. Chaotic. have these been excluded?
Disorganised.

Celebrity: Immaculately presented. Cool. Charming. Audrey [you may be surprised to hear] was not always
Audrey Loved by all people. this immaculate! She often was though!
Hepburn

Product: Luxury product. Induces calm, relaxation, Chocolate doesn’t always make you feel like this. Why
Galaxy etc. have they felt the need to represent chocolate this way?
chocolate

Time: Friendly, slow-pace of life, simpler times. This is clearly stereotypical, but some truth. 1950s were
1950s not always like this for everybody though.

Masculinity Women – feminine attire, flirtatious, Propp’s Many images of masculinity and feminine were changed
and Princess’s, trusting. after WW2. Are these stereotypes relevant today?
Femininity Men – working, Propp’s helpers and hero’s. Would you expect this to happen in a modern advert?

Class No specific class present – seems very Why is the society so inclusive. What image of this
inclusive and friendly. society are they trying to represent?

Age All ages represented, but central characters Think of the target audience? What age are they now?
are young, good-looking and image-aware. Why would this image resonate with them?

Media Representations: What factors will affect audience interpretation?

19 | P a g e
There are a number of factors that would impact on how an audience interprets this advert:
 Cultural references regarding 1950s movie stars
 Views on nostalgic lifestyle and busy modern lifestyles
 Age of audience – who are the buyers? How would older/younger audience respond?
 Personal identity with Audrey Hepburn and representations of class and femininity
 The belief that chocolate is good for you. This contradicts modern healthy lifestyle
messages.

 Personal Learning Checklist: Audrey Hepburn Galaxy Advert

Close Study Product
At end of unit
R A G

Context
I can explain who the audience is for this advert and why
I understand who Audrey Hepburn is      
I understand why Galaxy chose Audrey Hepburn      

Media Language
I can analyse the meaning (literal and hidden) of the advert
I can describe the narrative structure of the advert using Propp
I can describe the narrative structure of the advert using Todorov
I can explain how they try to persuade us to buy the product

Media Representations
I can explain why nostalgia is important to the Galaxy target audience
I can explain why celebrity is important to the Galaxy target audience      
I can explain how this advert links to a ‘golden age’ for the chocolate
industry and advertising
I can explain how the advert uses historical stereotypes and then twists
the roles to fit the modern context of women in society
I understand what CGI is and why it is used

Represent – Blood Donation Campaign

20 | P a g e
 Revision Activity – watch the advert https://youtu.be/4YUbquK_OaI
NHS Give Blood is an advert aimed at a niche audience.
A mass audience is made up of a large group of people (men, women, children, elderly)
verses a niche audience is a small subset with very unique interests or characteristics
BAME means Black, Asian and Minority Ethnic.

Revision Activity - check your understanding why the BAME community need a specific
Give Blood advert :https://www.blood.co.uk/why-give-blood/the-need-for-blood/black-asian-
and-minority-ethnic-communities/

Then, watch stars of the Represent Campaign discuss their involvement

https://www.youtube.com/watch?v=oQfme3kekkM&feature=youtu.be

What is the message of this advert?

Revision Activity: questions to answer
1. The advert is called Represent. Why? What is the symbolism of the red E?
2. Why does Lady Leshurr highlights ‘ordinary’ members of BAME community who are
representing positively e.g. pilot, librarian, chef, etc.?
3. Why does the video cuts to more famous people who are representing positively e.g. actor, MP,
Dancer, Scientist, Dancer?
4. Why is there an empty chairs at the end when blood donation is mentioned. Why do they include
that section there? Think of ‘Represent’.

5. What is the message or meaning [semiotics] of this advert – the literal meaning and the ‘hidden’?
6. How do they communicate this message? What techniques do they use? What visual cues are
evident?
7. Use the text of the advert, below, to explain the message.

The world’s full of talented people You could be going back and forth on a basketball
The passion in some is less than in others - the balance ain’t court
equal Or a chef seasoning your salmon, that’s talent
You could be a rapper and be cool we are the sounds of the streets, we are the voice
You could be a singer in a band to a kid that’s in pre-school of the youth so you shout and we scream
Whether you decide to be a pilot and fly private We are the ones making policies
A boxer in the ring and you fight to get eyes violet We are the scientists who create magic in the
A librarian to get enlightenment when the time’s silent laboratories
A voluntary worker and the smile on a child’s priceless We are the tropical spirits of the island
The sky has no limits We are the footballers that love striking
You could be an artist painting a vivid image And we ain’t representing in other ways
A nail technician booking clients for acrylics Like giving blood to help others see better days
A bartender at a nightclub pouring spirits Is it pressure? Is it pressure?
You could be an actor, could be into fashion We have got to take some time to make it right
You could be a dancer ready to make it happen We have got to take some time – give blood, save
a life.

What is the genre of this advert?

Hybridity - As audiences get ever more
aware of media conventions, producers are

21 | P a g e
playing on our expectations more and more. Look at the way they advertised Deadpool (a superhero
action movie) as a Romance film. Why?
Intertextuality - The term Intertextuality refers to the process of creating references to any kind of
media text via another media text. In other words Intertextuality essentially means for a type of
media(film, television, music etc) to pay homage to another media text.

Revision Activity:

 What genre is this advert (think about intertextuality here or hybridity).

 Write a definition of hybridity. What codes and conventions of the video does this follow for
this advert (look at notes section of this slide for guidance).

What is the narrative structure this advert?

As the video follows the narrative structure of a music video, not an advert, we need to look
at music video narrative structures for comparison.

A linear narrative is exactly what it sounds like; a narrative that works in one line or strand.
This means that the narrative works from start to finish and tells the story in one straight
sitting without interruptions from the past or future. Porter Robinson’s Sad Machine music
video is a concept video that is linear because it shows one storyline the whole way through,
where a hand keeps following through a mountain and other landscapes, without any other
interruptions. https://youtu.be/HAIDqt2aUek (Example of linear structure)

Non-linear narratives are basically the opposite to what a linear music video might contain.
This means that it has interruptions in between, at the start or the end of the music video. This
can be seen in Katy Perry’s Last Friday Night where it starts with the morning after the party
and then goes back to the start of the night before and continues the narrative. (Example of
non-linear structure: https://youtu.be/KlyXNRrsk4A.)

A single strand narrative is a narrative that is focused around only one character and the
narrative unfolds and finishes around that particular character, usually focused around the
artist in a music video, for example in Ke$ha’s Tik Tok music video, it features her doing her
daily routine of partying and drinking but focused completely around her.  (Example of single
strand narrative: https://youtu.be/iP6XpLQM2Cs.)

A multi-strand narrative is a narrative that allows itself to be focused around many other
characters and unfold in the hands of multiple ways through this. For example, MGMT’s
music video for Your Life Is A Lie features many different characters and the narrative is
completely random due to this. This allows them to write freely for their narrative because
they have many characters they can use to display their meaning. (Example of multi-strand
narrative: https://youtu.be/Cye-1RP5jso.)

Revision Activity What narrative structure is used in the NHS Give Blood / Lady Lesshur
advert? How do you know this?
How is the BAME community represented visually?

There are many different ‘sections’ of the BAME community represented here and how
traditional ‘stereotypes’ are challenged:

22 | P a g e
How is the BAME community represented visually and why?

In advertising, stereotypes are represented in a certain way for a reason. This process is
known as selection / mediation / construction

Keywords

Selection: some representations of BAME have been selected and included and some have
been left out. What is omitted is sometimes as important as what is included. Why have
certain things been included and left out?

Mediation: This is the process everything goes through before it reaches an audience.

This can be how the advert has been planned and re-planned before it makes it to production.
What do you think the mediation process would be in this advert? What things may have
been included and left out? Why?

Construction: This is the way the advert has been put together. This includes the editing,
positioning, lighting and choice of camera angles. Why has the video been constructed the
way it has.

Who would respond to this advert and who would not?

An advert is designed to get a response from the audience (eg raising awareness, buying a
product). There are different factors that may affect how an audience interprets and responds
to this advert

23 | P a g e
24 | P a g e
Revision Activity: using the keyword drivers, write a section for each saying who may
interpret the advert positively and who negatively and why.

May interpret positively May interpret negatively:

Age Younger people would respond more Older people may not respond to the
positively to the advert as the imager and the style of music so may
majority of stereotypes portrayed are not respond positively to this.
young. Also, the style of music and
way the advert is constructed is aimed
at a younger audience
Social class

Gender

Location
(Urban /
Suburban /
Rural)

Relationships

Ethnicity

25 | P a g e
 Personal Learning Checklist: NHS Book and Transplant online campaign
Video Represent ft Lady Leshurr Close Study Product

At end of
unit
R A G
Context
I understand what a niche audience is
I know the niche audience for this advert and why this advert can be
considered as niche      
I understand what BAME means      
I am aware that donating blood is an issue in the BAME community
I can discuss how this advert carries a powerful social message and how is
attempts to change attitude and behaviours
Media Language
I understand what the message of this advert is
I can identify and explain the codes and conventions used in this advert and I
can link this to the niche audience
I can explain the literal and hidden (semiotic) meaning of this advert
I can identify the genre of advertising and how it encapsulates hybridity
I can discuss the intertextuality between different media products
(advert/music video) and celebrity culture
I can describe the narrative structure (keywords: Amplification / Episodic/
Non-linear / Multi-strand)
I can explain how the narrative structure add to the power of the message
Media Representations
I can explain how a wide range of the BAME community is represented here
and why
I can identify a number of stereotypes included in this advert      
I understand that the stereotypes are being selected, represented in a
certain way and why they have done this (keywords: Selection / Construction
/ Mediation)
I can explain the factors that may affect how the audience interprets the
advert (think: age, social class, gender, beliefs, peer pressure, time,
relationships)

26 | P a g e
 Close Study Product: Kardashian Hollywood App
The Kardashian Media phenomena is a study in the cultural significance of this
group in society’s interest in fame and celebrity.

Revision Activity: revise the growth of the Kardashian phenomena. Watch this
video: https://youtu.be/93TT8QMyNZc

27 | P a g e
The app: aims of the game
 The Kardashian Hollywood App is free to download to smartphones and
tablets.
 Users can spend money on virtual goods like private planes and on dressing
and styling their avatars with virtual clothing and accessories made by
designers like Balmain’s Olivier Rousteing.
 In February 2017, the game had brought in $100 million since its launch in
2014.
 The game’s goal is for players to push their avatars to fame by emulating
the Kardashian lifestyle–including hanging out with Kardashian’s sisters,
other celebrities, fashion elites, and designers like Lagerfeld and Anna
Wintour.
 It is an AQA study as it epitomises our society’s interest in fame and
celebrity and the consumerist culture we live in.
Revision Activity -

Personal Learning Checklist: Kim Kardashian Hollywood App Close Study

Product
At end of
unit
R A G
Introduction to TV series unit
I understand why we are studying this app and what is says about our
interest in celebrity and fame.
I have played the game and can describe what the player has to do.
Historical, Social, Cultural and Political context
I can explain the cultural importance of Kim Kardashian
I can describe how Kim Kardashian interacts with her followers and why
I can describe the target audience for the game and explain how I know this
Media Language
I can describe and explain the narrative ingredients of the game (characters,
settings, events, etc)
I can discuss the visual style of the game
I can describe the semiotic meaning of the game and the values and
messages it gives
Media Representations
I can describe the stereotypes used in the game (femininity, masculinity,

28 | P a g e
 place, class and age)
I can explain how the representation of society in the game can drive the
values and behaviour of the target audience
I can discuss the way that females are represented in the game
Media Audiences
I can describe and explain changes in the gender of game players over time
and link to the target audience for KKH
I can explain why the target audience would enjoy playing this game
I can describe Uses and Gratification Theory and link to this game
I can explain why the audience may be influenced negatively by this game
(think: values and attitudes)
I can describe and explain how the game was marketed
Media Industries
I can discuss Media Convergence in this game and why media texts do this
I understand how video games are regulated
I understand how the game industry has changed over the last 50 years
I can discuss how females have become a key part of the gaming industry
I understand how apps make money and can link to Kim Kardashian
Hollywood

Close Study Product: Vlogger Zoella

Revision Activity: like/follow/subscribe or explore the following sites:

https://www.zoella.co.uk - website
https://www.youtube.co.uk/user/zoella280390 - Youtube channel
https://twitter.com/zoella - Twitter
https://www.instagram.com/zoella - Instagram

Zoella: why study her?

Zoella, real name Zoe Sugg, started a fashion, beauty and vlog on YouTube in 2009.
Her online profile has grown hugely since 2009:
• approx 12 million subscribers on YouTube [August 2017]
• approx 11 million followers on Instagram [August 2017]
• approx 2.5 million likes on Facebook [August 2017]
Her profile has grown from YouTube to range of social media channels [see above]
Her success has led her to branch into a range of other forms of merchandising and she has
significant influence on her target audience.
She [and others] symbolise how creative use of technology can create a new generation of
online celebrities. She also is a good case study in how celebrities can participate in online
dialogue with their audiences and collaborate with other YouTube content providers.
Revision Activity: watch the history of Zoella and the production of her brand:
https://youtu.be/kPlKqViXFrE

Zoella: Representation

29 | P a g e
 How does Zoella present herself? Think her use of language, clothing, tone, image, etc.
How does this link with the lifestyle she promotes and the companies she works with?
 What types of products does Zoella endorse and produce? Why do you think this is?
 What sort of settings or environments do you see her in? Why?
Codes Why does she do this? Remember, everything we see in a media product has been
designed for a reason and has a purpose behind it [semiotic analysis]
VISUAL
Appearance [think clothing, make up, etc]

Gestures
[think body language]

Expressions [think facial]

Iconography
[think mise-en-scene]

Graphics and Images [think text]

Editing techniques [think use of camera angle,

lighting, cuts]

SOUND
Verbal [think form of address, use of
formal/informal, colloquialisms]
Music

Sound Effects

30 | P a g e
31 | P a g e
https://www.independent.co.uk/voices/comment/sure-teenage-girls-need-role-models-but-not-of-
the-zoella-kind-9809136.html

32 | P a g e
 Of course, teenage girls need role models –
but not like beauty vlogger Zoella
Her particular brand of sickly sweet girl power brings me out in hives
Her eyes are enormous. She looks like a startled bird; albeit a bird with the gorgeous, flowing locks of
Rapunzel, the high-pitched giggle of Tinkerbell, and a name so irritatingly Disney-fied it makes my
stomach churn: Zoella.

Zoella is a beauty and fashion vlogger – the latest creation spat out by the YouTube machine to
instruct young girls how to paint on the perfect smoky eye or red lip.

As her subscriber count sky-rocketed, Zoella – real name Zoe Sugg – began to offer more than beauty
advice to her young admirers. She has vlogged about her anxiety and recently joined mental-health
charity Mind as a digital ambassador. She now has a Penguin book deal, a bespoke beauty range, and
two Teen Choice awards to her name, but continues to upload videos to her YouTube channel in
which she squeals with excitement over new brands of mascara. She is the epitome of a 21st-century
social media megastar – an inspiration to tween girls, and not just because she’s trodden an easy-
peasy path to fame and fortune.

Unfortunately, Zoe’s (sorry, Zoella sticks in my throat and on my keyboard) particular brand of sickly
sweet girl power brings me out in hives.

At the 2014 Teen Choice awards, where she was named the Choice Web Star: Fashion/Beauty, she
told a reporter that if she could give her teenage followers one piece of advice, it would be to fret less
about their appearance. “When you’re younger you worry about so many things that you don’t need to
worry about like image, appearance,” she coos to the camera, without an ounce of irony in her
singsong voice, as though unaware that she’s forged an entire career by prattling on to young girls
about how to look good.

As her subscriber count sky-rocketed, Zoella – real name Zoe Sugg – began to offer more than beauty
advice to her young admirers. She has vlogged about her anxiety and recently joined mental-health
charity Mind as a digital ambassador. She now has a Penguin book deal, a bespoke beauty range, and
two Teen Choice awards to her name, but continues to upload videos to her YouTube channel in
which she squeals with excitement over new brands of mascara. She is the epitome of a 21st-century
social media megastar – an inspiration to tween girls, and not just because she’s trodden an easy-
peasy path to fame and fortune.

Unfortunately, Zoe’s (sorry, Zoella sticks in my throat and on my keyboard) particular brand of sickly
sweet girl power brings me out in hives.

At the 2014 Teen Choice awards, where she was named the Choice Web Star: Fashion/ Beauty, she
told a reporter that if she could give her teenage followers one piece of advice, it would be to fret less
about their appearance. “When you’re younger you worry about so many things that you don’t need to
worry about like image, appearance,” she coos to the camera, without an ounce of irony in her
singsong voice, as though unaware that she’s forged an entire career by prattling on to young girls
about how to look good.

It’s maddening that a girl who has made it her business to tell teenagers how to put make up on, or get
their hair just right, now feels she’s in a position to admonish them for “fretting” about their
appearance. Why, if she feels so strongly about the pandemic of insecurity raging through the
tweenage generation, doesn’t she vlog about going to school without make-up, or encourage kids to

33 | P a g e
spend their pocket money on books or days out with friends, rather than on the latest liquid eyeliner to
hit Boots’ shelves?

She wants young girls to worry less, but she unwittingly exacerbates their body anxiety as they strive
for her level of perfection, often falling short. The very fact that she tutors her young prodigies on
how to get beauty and fashion right immediately discredits her belief that girls shouldn’t worry about
the way they look. The conflict is infuriating; not least because I doubt her millions of admirers will
notice the irony, and will instead hang on to every flippant word that comes out of her mouth.

The sad thing is, Zoe Sugg’s devotees hold her in such high esteem that I suspect she could make a
credible difference to their lives – if only her message was bolder.

If she did away with beauty tutorials altogether and instead used her soapbox solely to speak out about
the pressure girls are under to look pretty all the time, or the unfair advantage given to boys who need
not worry about the latest eye-liner trends, Zoe could become the face of accessible, digestible
feminism, adored by legions of female fans. Her work with Mind is just one example of how
influential she could be.

She wants young girls to worry less, but she unwittingly exacerbates their body anxiety as they strive
for her level of perfection, often falling short. The very fact that she tutors her young prodigies on
how to get beauty and fashion right immediately discredits her belief that girls shouldn’t worry about
the way they look. The conflict is infuriating; not least because I doubt her millions of admirers will
notice the irony, and will instead hang on to every flippant word that comes out of her mouth.

The sad thing is, Zoe Sugg’s devotees hold her in such high esteem that I suspect she could make a
credible difference to their lives – if only her message was bolder.

If she did away with beauty tutorials altogether and instead used her soapbox solely to speak out about
the pressure girls are under to look pretty all the time, or the unfair advantage given to boys who need
not worry about the latest eye-liner trends, Zoe could become the face of accessible, digestible
feminism, adored by legions of female fans. Her work with Mind is just one example of how
influential she could be.

Revision Activity - Read both article and make notes about audience
perceptions of Zoella, with reasons why.

What is your opinion? Why?

https://www.independent.co.uk/voices/comment/zoella-is-a-great-role-
model-she-changed-my-life-9811326.html

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 Zoella is a great role model - she changed my
life
Zoe showed me – and many others - that feminism can come in all forms,
even a pixie-like vlogger with a love of cosmetics
You’d expect the words, “Zoella changed my life” to come out of the mouth of a gushing fangirl,
smitten with the pint-sized YouTube sensation, not a 21-year-old journalism student who wishes she
was the child of Caitlin Moran and Germaine Greer. Being way past my ‘tweenage’ years, I’m not
exactly within the age demographic of your average Zoella follower, but in many ways she has had a
huge impact on my life. Independent Voices just carried a piece that was highly critical of her, and I’d
like to come to her defence.

Blogging has exploded in the last few years. It’s the new cool-gang that everyone is allowed to be a
part of, and women like Zoe Sugg (Zoella’s real name) lead the way when it comes to digital stardom.
As a student eager for a full-time media career, I started my blog as way of demonstrating to potential
employers that I am able to run a digital platform. But it has become so much more than that. Through
blogging I’ve made friends for life, gone to some amazing events, built relationships with brands and
readers, and most worked for some of the biggest publishing names in the UK. It may look like an
easy task, but building a successful brand takes hard work. And ‘Zoella’ is the most successful brand
there is – she is inspiring to women like me.

Despite the sweet and girlie exterior that so many have fallen in love with, there can be no doubt that
Zoe is a smart businesswoman. She has tapped into the digital market at just right moment, and knows
exactly what her viewers want to see. It’s no wonder that brands are desperate to work with her. She
works the digital world like Beyoncé works the stage, and for that I admire her. She has proved that
you can start a business around something that you love- and just because it’s centered around beauty,
it doesn’t make her any less smart.

Growing up, I struggled with the concept of feminism. I’m a feminist, but I’m obsessed with makeup,
and have always dreamt of a big, white wedding. Does that make me any less able to support the
advocacy of women’s rights than someone else? Zoe showed me – and many others - that feminism
can come in all forms, even a pixie-like vlogger with a love of cosmetics.

Experimenting with different make-up looks was my way of discovering who I was; make-up was my
way of expressing who I wanted to be. My look changed month by month, it was how I explored
changing as a woman.  But when I was 14, the only role models I had were inaccessible A-listers from
the pages of glossy magazines. I would have loved a relatable girl-next-door like Zoe, talking to me
like her best friend on a webcam from her bedroom, to give me tips and ideas.

Young people will always be interested in their appearance, and I think it’s fantastic that women like
Zoe are there to guide them through these experimental times. She has opened up a new market of
media, allowing an average girl like me to voice an opinion on a blog. Until girls like her came along,
we relied on magazines to tell us what to wear and how to look. But now our peers across the world
influence our consumer habits. It’s exciting.

But the biggest impact Zoe had on my life was when she was on the April 2014 cover of Company
magazine - a blogger had become a cover star, gracing pages normally only Hollywood stars would
have the privilege of doing. Finally, a woman was being acknowledged as a celebrity not because of a
sex tape or a stint in a reality show, but because of a business she started from scratch. To me, Zoe

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Sugg is the epitome of a modern, empowering businesswoman. And for this, if nothing else, she is a
role model.

As a digital ambassador for the charity Mind, Zoe has helped numerous young people. She is open
about discussing her experiences with anxiety and mental health issues, using her platform to talk
about serious topics. But the reason she has this platform is because she has gained the trust and
friendship of over 6 million subscribers, and she did this by sharing a love of beauty with them. Does
this make her less of a role model? I don’t think so. I also started my blog purely talking about my
favourite beauty products, but now I  write articles about weight loss, and slut-shaming. I wouldn’t
have been able to do that without women like Zoe inspiring me to use my platform in different ways.

So yes, Zoe has changed my life for the better. Not just because of her make-up tutorials, but because
she has taught me, a woman eager for success, that you can earn money doing something that you
love. She has shown me that you can care about the way you look, and still be a feminist. She
empowers young women by demonstrating them that they can be who they want, that they can
identify with feminism and still love lipstick, but if they don’t, then that’s fine too. She builds us up,
rather than knocks us down. Zoe Sugg oozes girl power, and that message is good enough.

Revision Activity - Look at the nature of the video’s on Zoella’s channel. Who is the
audience and what is the demographic and psychographic of this audience [do you think]?

Zoella: Audience – Love her or hate her

In audience reception theory, Zoella tends to have a ‘dominant reading’ position as the audience relate
and align themselves with Zoella’s position. She is that popular that some people will take an
oppositional reading of her work.

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Zoella: How does she make her money?
It has been calculated that in 2014, Zoella earned £443.41 per hour. How does she make this money
through a YouTube channel?
1. YouTube pre-roll adverts: YouTube vloggers make ‘on average $0.001 per view.’ – and with
Zoe’s channels averaging 22 million video views a month that works out a £15,000 monthly
cheque.
2. Blog: Away from Youtube, Zoella.co.uk the written blog then pulls in 7.4 million unique views a
month, which generates an estimated £4,000 a month from ads too.
3. Product Placement: Many companies want Zoella to showcase and promote their products and she
can demand up to £20,000 when she does this in her video’s.
4. Beauty range: Zoella has launched her own beauty range sold through Superdrug. managed to sell
a record breaking 70,000 units in its first month alone. With the average price of one of the
products being £6.50, that works out an estimated £455,000 in sales. It is unknown how much of a
cut Zoe sees of that amount. In the following four months since Superdrug released these stats,
it’s estimated the range has gone on to sell a further 150,000 units resulting in an additional
£975,000 of sales.
5. Books: Zoella’s ‘Girl Online’ book series racked up £2 million in sales so far by February 2015,
which Zoe will presumably receive a percentage of. If this wasn’t staggering enough, Zoe was
also paid a whopping £100,000 advance before it even hit the shelves.
6. Vlog Tour: linking with other popular Vloggers, tours around the UK [including more expensive
VIP packages to meet the celebs] generate substantial income.
Zoella: Industry collaborations
Zoella has established regular online collaborations with other popular YouTubers to produce
new, popular content and to increase audience figures.
Revision Activity: watch some collaboration videos: https://www.youtube.com/playlist?
list=PLwmklcLO2MyADUNxeOyha0EMBjr6OKpeP
The image shows some of her live collaboration experiences.
It is noticeable to see the improvement in Subscribers and Views
after Vlog collaborations as the interest generated and potential new
audience is reached.

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 https://

www.thinkwithgoogle.com/intl/en-gb/advertising-channels/video/youtube-creator-stories-how-
zoella-brought/

Zoella: How does she fit into the traditional media landscape?
Zoella, and other Vloggers, have previously stood outside the traditional media landscape (Press,
Magazines, TV, Radio, Film). This is why some commercial industries and companies have
become involved as advertising on Zoella opens up a potential audience (young teenagers, for
example) that traditional media doesn’t hit anymore. This is why Superdrug have got so involved
with Zoella – they see the audience she has a hold of and want to be associated with it.
However, we are increasingly seeing Zoella (and others) becoming more convergent with these
traditional media. Look how she has been involved with the press and TV and the impact on her
subscriptions:
Media Language: Codes and Conventions
Codes and conventions are established practices that tend to underpin different media products.
Zoella uses a range of range of codes and conventions. These tend to focus on:
• A Vlog name.
• A idea of question that underpins post.
• Quirky music.
• Writing on the screen.
• Speaker central to the screen.
• Speak directly to the camera.
• Some props.
• Lots of cuts.
• Different angles and shots.
• Be personal – this builds connection and trust.
• Often conversational and informal (not always)
• Make the start as compelling as possible.

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 Revision Activity: a) Look at Voella’s Instagram and Facebook page and complete a semiotic
analysis of the visual codes.

Codes Why does she do this? Remember, everything we see in a media product
has been designed for a reason and has a purpose behind it [semiotic analysis]
VISUAL
Appearance [think
clothing, make up,
etc]

Gestures
[think body
language]

Expressions [think
facial]

Iconography
[think mise-en-
scene]

Graphics and Images

[think text]

Editing techniques
[think use of camera
angle, lighting, cuts]

b) Look at Voella’s Twitter page [note: look at ‘Tweets and Replies’ and complete a
semiotic analysis of the verbal codes in the way she interacts with her audience and the
nature of the relationship.
SOUND
Verbal [think form of
address, use of
formal/informal,
colloquialisms, tone]

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 Media Language: Codes and Conventions
All media products have a narrative structure. For example, in film:

1. Exposition – meet the characters, set the scene.

2. Rising Action – some form of tension.
3. Climax – the turning point for the character
4. Falling Action – the aftermath of the conflict.
5. Resolution – the creation of the new normal.

It’s normal for vlogs to feel unstructured. However, this is not always the case and there
is often some sort of chronology to the storytelling.

Revision Activity: Can you examine a narrative structure to Zoella’s videos?

Zoella: Social, Cultural and Political Significance

Revision Activities:
How is Zoella different in how she links with her audience compared to, for example, Kim
Kardashian. Is Zoella more participatory?
What lifestyle values and ideals does Zoella promote [not just make up and fashion]?
How does Zoella’s ‘normalness’ promote her popularity? For example, the Zoella blog
juxtaposes elements of an idealised lifestyle in some posts (e.g. about Valentine’s Day)
with details of her anxiety and panic attacks in others.
Describe the social and cultural significance of vloggers and how it changing the media,
and celebrity, landscape [compared to traditional media products like TV, film, etc]

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