Analysing Entertainment Media Exam

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  • Created on: 24-04-15 15:23

TOBY MILLER

TOBY MILLER

- Niche audience (role of audience is important)

- Rhetorical strategies - how are we directed to think?

- Emotional engagement

- Gameshows make money through sponsership and advertisers

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GREG DYKE

GREG DYKE

- Commericial sponsership - much easier for smaller productions

- Gameshow time slots differ (early evening, during the day, weekend shows)

Examples

Strictly Come Dancing and Pop Idol - effective through phone ins from the public

Lottery - spectacular - variety

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BIGNELL

BIGNELL (2004:192) 

'The attraction of television as a medium relies on it's ability to broadcast live events. The excitement of live television derives from not only from the sense of participation and presence at an event which live broadcasting provides, but also from the assumption that what we see and hear in live broadcasting is unmediated, uncontaminated and accurate'

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SCANNEL, P(1996).

SCANNEL, P (1996) - Dailybroadcast technologies. - Daily habits and regular viewing of news. - On-line liveness.

- Commonality of experience in contemporary life

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MORAL PANICS (COHEN 1972, CRITCHER 2003)

‘Moral panic’ is a sociological concept that seeks to explain a particular type of overreaction to a perceived social problem. Developed in the turbulent political and intellectual context of the late 1960s, its principal aim was to expose the processes involved in creating concern about a social problem; concern that bore little relationship to the reality of the problem, but nevertheless provided the basis for a shift in social or legal codes. The concept has since enjoyed a great deal of analytical purchase, circumscribing it to be one of the few sociological ideas that have withstood the test of time (see Innes, 2005). However, much of its application has relied upon ritually reproducing the ‘stages’ implied in the now canonized opening paragraph of Stanley.

 

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MEDIA DISASTERS (KATZ & LIEBES 2007)

Article 'No more peace! How disaster, terror and war have upstaged media events' they suggest that the focus on analysis be shifted from conquests, contests and coronations to disaster, terror and war. Furthermore, they suggest that media disaster be distinguished from media event as a seperate genre since disaster be distinguished from media event as a separate genre since disaster has become so far from its ceremonial roots

https://books.google.co.uk/books?id=6SPnOXv6OhgC&pg=PA85&lpg=PA85&dq=MEDIA+DISASTERS+KATZ+%26+LIEBES&source=bl&ots=_ScMAnwsvf&sig=j9eJnnPpY0HWU5xkZZ7zrwB6kPo&hl=en&sa=X&ei=qY8_Vda1HISS7AaIm4CYBw&ved=0CDgQ6AEwAg#v=onepage&q=MEDIA%20DISASTERS%20KATZ%20%26%20LIEBES&f=false

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MEDIATED SCANDALS: CLAIMS & REVELATIONS

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CONTESTED MEDIA EVENTS: CONFLICTING UNDERCURRENTS

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MEDIATED PUBLIC CRISIS

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FEWER, J (1983)

'The Concept of live television: Ontology as ideology'

- Liveness is not a natural category but a constructed term

- Kaplan - regarding television

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