Television: Industry contexts - the BBC

The BBC is a vital part of the British media landscape.

It is a public service broadcaster which means we own it. It doesn't make a profit and exists to produce high-quality media for the British public. It's paid for by the TV licence and produces a huge amount of content for the whole of Britain - TV, radio, BBC website, iPlayer and more. The BBC still follows its original mission statement from 1927:

Inform, Educate and Entertain

The licence fee is currently £159 a year and must be paid by any household that wants to watch live broadcast TV or iPlayer. You don't need the TV licence to watch Netflix or other international streaming services. 

BBC: Industry notes

The BBC (British Broadcasting Corporation) is a public service organisation and the oldest national broadcaster and the biggest in terms of employees [over 20,000]. It is different from other TV broadcasters in that funding comes from us all as BBC licence fee payers whereas other channels rely on advertising and sponsorship.  The BBC has 3 key purposes: To Inform, Educate & Entertain. This means:

• To provide information (that is supposed to be balanced)
• To support learning for people of all ages
• To produce creative output
• To have diverse content (such as with its representations)
• To reflect the United Kingdom, its culture and values to the world

BBC regulation

TV is regulated in the UK to ensure that rules are followed and inappropriate content is not broadcast to audiences.

The BBC is regulated by OfCOM (the Office of Communications). OfCOM oversees all media channels and produces a code of conduct that all media channels must follow or have their licence to make content removed and/or be fined heavily. This includes what can be shown before the 9pm watershed and various other quality standards.

Although OfCOM is instructed by government, it is independent which means the BBC can remain impartial and does not simply broadcast what the government tells it to. 

Public service media - an explainer:

TV industry contexts: blog tasks

Complete the following questions on the BBC and industry contexts:

1) What is the BBC's mission statement?

2) How is the BBC funded?

3) What must the BBC do to meet its public service broadcasting responsibilities? (Look at the five bullet points above)

4) What is regulation and how is the BBC regulated?

5) How do Doctor Who and His Dark Materials help the BBC to meet the BBC's remit to inform, educate and entertain?

Extension questions

Read this Wired feature on how the BBC is adapting to take on Netflix. What does the article suggest the BBC needs to do to remain relevant in a streaming TV age?

How does His Dark Materials help the BBC to take on the big streaming rivals like Netflix and Amazon? 

Television: His Dark Materials - Audience and Industry

There are some important contexts we need to learn for the Industry and Audience key concepts for His Dark Materials.

His Dark Materials is an example of contemporary family TV drama. The series is based on the

trilogy of books of the same name by Philip Pullman. The second series is based on the book,

The Subtle Knife.

Industries

The CSP episode is the opening episode of Season 2, The City of Magpies, and was first broadcast in the UK on Sunday 8 November 2020 on BBC1 at 8.10pm. It was made available on iPlayer on the same

day, and on DVD from 28 December 2020.

It is significant because it was co-commissioned for an international audience by the BBC and the

American television network HBO, and was always intended to be distributed on a number of

platforms: as a scheduled, broadcast programme (BBC1), on cable (HBO), as well as on demand

(iPlayer) and on DVD. It was created for these platforms by an independent company, Bad Wolf.

The first episode of the first series of His Dark Materials series was watched by audiences of 7.2 million in the UK and 423,000 on HBO. The first broadcasts of the CSP episode had audiences of 4.4 million on BBC1 and 227,000 on HBO.

Industry terminology: GLoW

Some of the key terminology for studying the Industries contexts for His Dark Materials:

• Co-production: a media product produced by two separate companies or institutions. His Dark Materials is a big-budget co-production between the BBC (from the UK) and HBO (from America).
• Brand Identity: how a business presents itself and wants to be perceived by the consumer.

His Dark Materials marketing and promotion

As His Dark Materials was aimed at an international audience, the show features both British and American star names such as Brits Ruth Wilson and James McAvoy and American Lin-Manuel Miranda who wrote the smash hit musical Hamilton.

There were a range of videos and promotional events designed to create a buzz around the new season of His Dark Materials:

His Dark Materials Season 1 recap

His Dark Materials Comic-Con panel:

Bad Wolf: outstanding TV drama production company based in Wales

Bad Wolf was founded in 2015 to create ambitious, imaginative and relevant drama for the global TV marketplace.  From its headquarters in South Wales the company has built up an international reputation as one of the foremost independent production companies in the UK, producing over 50 hours of high-end drama for broadcasters and networks including HBO, BBC, AMC and Sky.

Read more of this on the Bad Wolf website and watch the Bad Wolf showreel here.


HBO: raising the bar for television

HBO is an American pay-TV company that is known for producing some of the greatest TV shows of all time from The Sopranos to The Wire to Succession. As a co-commission with the BBC, His Dark Materials had two hugely respected media giants behind it - and in HBO's case a huge amount of money. HBO has over 40 million subscribers and brings in around $7 BILLION in subscription revenue each year. To put this into perspective, the whole BBC budget (for everything - TV, radio, website, iPlayer etc.) is around £5 billion of which around £3.5 billion comes from the licence fee). 

HBO - Changing an industry:

Audience

His Dark Materials was pitched by the BBC as a family drama. 

Target audience

• Aimed at a contemporary family audience for the BBC Sunday night broadcast slot (8.10pm)
• Targeted at fans of the fantasy genre along with fans of the original books by Philip Pullman.
• Diverse representations of gender and race may appeal to a younger audience.
• Rated for 14+ by HBO due to some scenes that may be frightening to younger children.
• The UK DVD release of His Dark Materials season 2 is rated 12 by the BBFC.

The way audiences watch TV has changed

His Dark Materials provides an opportunity to study the contemporary television industry and audiences. The series was created at a time when the BBC’s role and finances were under question, and when on-demand streaming through sources such as Netflix and Amazon Prime had become normalised. These latter companies were creating big-budget series to attract and satisfy more subscribers. His Dark Materials was rumoured to be the BBC’s most expensive series to date, with HBO sharing the costs and guaranteeing an international audience. This helps the BBC to compete with their streaming rivals like Netflix.

Fans - the fandom reaction

Watch this fan reaction video to His Dark Materials Season 2 trailer from TV fan YouTube channel Sesskasays:

His Dark Materials: Industry and Audience blog tasks

Create a new blogpost called 'His Dark Materials: Audience and Industries blog tasks' and answer the following questions:

Audience

1) Read this audience rating guide for His Dark Materials. Based on the screening and this article, who do you think the target audience is for His Dark Materials and why? What about psychographic groups? You can revise Pyschographics here.

2) What audience pleasures are offered by His Dark Materials - The City of Magpies? Apply Blumler and Katz's Uses and Gratifications theory to the episode. Make sure you provide specific examples from the episode to support your ideas.

Personal Identity: 

Personal Relationships: 

Diversion (Escapism): 

3) Thinking of the 3 Vs audience pleasures (Visceral, Vicarious and Voyeuristic pleasures), which of these can be applied to His Dark Materials? Refer to specific scenes or moments in the episode to explain your answer. 

4) How did fans react to Season 2 of His Dark Materials? What about critic reviews? You can find some possible answers for this in this BBC website article on the critical reception for His Dark Materials and watch the fan reaction video above.

5) What might be some of the preferred and oppositional readings for His Dark Materials? Why did some fans love it? Why have other people criticised it? 

Industries

1) Which companies produced this His Dark Materials series?

2) What were the UK viewing figures for A City of Magpies? How did this compare to season 1 of His Dark Materials?

3) What was American network HBO's role in making His Dark Materials and why is this important? Look at the notes above for more on this.

4) What famous stars are in His Dark Materials and why do you think they were selected for the show? Watch the Comic Con panel video in the notes above to see the stars talking about the show.

5) Who are Bad Wolf and what do they produce?

Comparison: Doctor Who - An Unearthly Child and His Dark Materials - The City of Magpies

1) How are the technical conventions different between 1963 Doctor Who and 2020 His Dark Materials (e.g. camerawork, editing, sound and mise-en-scene)?

2) What similarities and differences are there between Doctor Who and His Dark Materials in terms of genre and narrative?

3) How are representations of people, places and groups similar or different in the two shows?



Grade 8/9 extension tasks and reading

Read this Guardian review of His Dark Materials - The City of Magpies and also read some of the comments 'below the line' (BTL). Do you agree with the review? What about the comments? 

Try this critical Irish Times review of His Dark Materials. Why does it think the show is disappointing?

Here's another review of our CSP episode of His Dark Materials. What does it say about the difference for fans of the book versus fans of the TV show?

This Slate feature on the cultural significance of American network HBO is a long read but gives you a brilliant history of the channel. It also shows how HBO has turned TV into possibly the most respected and culturally significant media entertainment form.

Due date on Google Classroom.

Television: His Dark Materials - Language and Representation

Our second television Close-Study Product is BBC and HBO co-production His Dark Materials from 2020. 

The CSP episode is Season 2, Episode 1 but don't worry if you haven't seen the first series - there are plenty of clips online to learn the background to the storyline. 

Remember, TV is an in-depth study which means we need to analyse the products in terms of media language, industries, audience and representation. Television will be examined in Paper 2 with a short clip to analyse - either from Doctor Who - An Unearthly Child or His Dark Materials. 

Notes from the lessons: His Dark Materials

Language

Reminder - TV drama conventions: 

• Dramatic narrative, usually linear (with continuity across episodes.) This is called narrative arc.
• Ensemble cast (a range of characters with own storylines). Sometimes an episode will focus more on one character than another.
• Specific technical codes e.g. realistic lighting and editing for dramas set in the present day to keep it gritty.
• Use of stereotypical characters to get messages across quickly.
• Common use of flashback, point of view shots, dialogue and voice over, enigma and action codes throughout. 
• Hybridity: Two genres or media types combined e.g. Stranger Things is a science fiction / horror television drama. 
• Multi-strand: when a narrative is made up of lots of different storylines.

Fantasy TV genre codes and conventions

• Emotive, often quest-based narratives
• Political narrative themes or social commentary
• Iconography including magic, mystical creatures or similar
• Often set in imagined worlds or time periods

In addition, the following often apply to fantasy TV series:

• Younger target audience or family audience
• Dedicated fanbase; fandom groups and online communities
• Big budgets and high production values 

His Dark Materials: background information

Season 1 recap: https://www.youtube.com/watch?v=J44E6BiLPtc 

His Dark Materials is available on iPlayer here.

His Dark Materials is a fantasy drama television series based on the novel series of the same name by Philip Pullman. It is produced by Bad Wolf and New Line Productions for BBC One and HBO, with HBO handling international distribution.

Plot summary

His Dark Materials is set in a multi-world reality, with the action moving from one world to another. The series is based on Philip Pullman's trilogy of the same name. It begins in an alternative world where all humans' souls manifest as animal companions called daemons. The series follows the life of a young girl named Lyra who is an orphan living with the scholars at Jordan College, Oxford, in a world governed by the Magisterium, a religious and political body. Lyra discovers a dangerous secret that involves Lord Asriel and Marisa Coulter, and is the subject of a witches prophecy that she will change the world. In her search for a missing friend, Lyra also uncovers a series of kidnappings and its link to a mysterious substance called Dust, which leads her on a journey of epic proportions and ultimately to other worlds. The witches' prophecy also links Lyra's destiny to Will, a teenager from our world, who is himself being pursued by mysterious figures connected to his vanished father.

Source: His Dark Materials Wiki

Main character names

• Lyra Belacqua 
• Mrs. Coulter
• Lord Asriel Belacqua
• Lee Scoresby
• Will Parry

You can find out more about the characters on the BBC His Dark Materials website here.

Season 2, Episode 1: The City of Magpies

Episode analysis

The show is a fantasy television series based on fantasy novels. It was produced by BBC (British Broadcasting Corporation - same company who made Doctor Who) and HBO (American company). It is set in a multi-world reality with action moving between worlds. Lyra, the main character, has grown up an orphan who discovers that there is a prophecy that foretells that she will change the world. Will is a fugitive (runaway) from ‘our world’ where he killed someone in self-defence. They meet in a third world called Cittagazze which is run down and neglected. They learn from some kids there that all the adults (and kids when they come of age) are hunted and drained of their energy and basically changed into zombies by evil black clouds called ‘Spectres’. Meanwhile, an evil villain called Mrs Coulter is on board a ship with the Magisterium (male Priests in authority roles - like politicians.) She tortures a witch for information regarding Lyra and mysterious ‘dust’ but the witch is put out of her misery by her fellow witch Ruta Skardi who sets her free by killing her to stop the pain. Skardi also seriously injures the head of the Magisterium and Mrs Coulter offers a deal to his deputy: in exchange for more power and freedom, she will kill the head priest and say he died of his injuries from the witch.

You can read a good episode recap from the website 25 Years Later here or alternatively this episode recap from the Daily Bruin is quite critical which gives an interesting perspective. 

 

Key names, words and spellings:

• Magisterium: the authority group of male priests (religious men) from Lyra’s world. It is a patriarchal society (ruled by men).
• Daemon: the name given to the shape-shifting animal that is part of your soul (in Lyra’s world). Everyone has one in her world. 
• Lyra Silvertongue: protagonist (main character, hero) who is on the run from her world due to being hunted. She is the subject of a prophecy (fortune) that says she will change the world.
• Dust: magic particles that open portals to other worlds. Some people believe they represent sin.
• Will Parry: a human child from ‘our world’ who has never seen a daemon before. 
• Mrs Coulter: an evil villain who wants to find Lyra and control the world. She tortures a witch nearly to death and then she prepares to kill the head of the Magisterium so she can gain more control. 
• Ruta Skardi: the witch who, when her fellow witches did not take action, saved the prisoner witch by killing her and attacked the members of the magisterium on her own, escaping afterwards. 
• Cittàgazze: the name of the city in the third world where Will and Lyra meet.
• Alethiometer: the gadget that looks like a clock which Lyra consults and it gives her ‘truth’ answers to her questions.

Narrative: multi-strand narrative

There are a number of narrative strands running through this episode.  They include:

• Lyra and Will explore a new world and the city of Cittàgazze.
• Mrs Coulter tries to find answers for the Magisterium then offers power to Father MacPhail by letting the head of the Magisterium die.
• Lyra and Will meet abandoned children in the city of Cittàgazze and find that the adults have all left due to the Spectres stealing their souls.
• Lee Scoresby goes on a mission for an object that can protect Lyra. The council of witches supports his plan.

Representations

His Dark Materials - Subverting stereotypes 

Men and women

Many characters in this episode of His Dark Materials subvert stereotypes. Lyra is a strong, independent female character who doesn't need or want help from anyone on her dangerous quest across different worlds. She can't cook, isn't bothered by her appearance and takes what she wants. Mrs Coulter also subverts female stereotypes as a cold hearted villain. She is actually Lyra's mother but displays none of the maternal stereotypes the media usually presents as typically female.

Meanwhile, Will subverts male or masculine stereotypes. He is kind, welcoming and wants to help Lyra. He cooks her food and makes up beds for them to sleep in. Not all characters subvert stereotypes though - Lee Scoresby is in many ways a classic masculine man on a mission to help Lyra.
 
Race, ethnicity and social class 

The actors in His Dark Materials are from a range of ethnic and social class backgrounds and the character of Will subverts stereotypes of race and ethnicity as well as gender. However, some stereotypes are reinforced - the abandoned children in Cittàgazze are presented as working class in a very stereotypical way. 

Age

Most of the main characters in this series and episode are children and they are shown not to need adults or help from older people. The abandoned children of Cittàgazze also demonstrate they can live without adults - which subverts typical stereotypes. Mrs Coulter also shows how stereotypes are subverted as a parent who does not care for her child.

His Dark Materials: Language and Representation blog tasks

Create a new blogpost called 'His Dark Materials: Language and Representation blog tasks' and work through the following tasks:

Language and close-textual analysis

1) Write an analysis of the episode - using notes from the screening in class. Make specific, detailed reference to moments in the text using media terminology (e.g. media language - camera shots and movement, editing, diegetic/non-diegetic sound, mise-en-scene etc.)

You can currently watch His Dark Materials on BBC iPlayer here.

Camerawork, editing and sound: 

Mise-en-scene:

Narrative and genre: 

You can access our notes from our close-textual analysis in class here - you'll need your Greenford Google login to open this.

2) How does His Dark Materials fit the conventions of the fantasy TV genre?

3) Applying Propp's character theory, what character roles do some of the main characters in His Dark Materials fit into? 

4) What enigma and action codes (Barthes) can you find in His Dark Materials? Make specific, detailed reference to the text using media terminology (e.g. media language - camera shots, diegetic/non-diegetic sound, mise-en-scene etc.)

5) What examples of binary opposition (Levi-Strauss) can you find in His Dark Materials? How do these create narrative or drama for the audience? You can find reminder notes on all these narrative theories here - just scroll down to narrative. 


Representations

1) How are women represented in His Dark Materials? Are gender stereotypes reinforced or subverted? Think about Lyra and Mrs Coulter here.

2) How are men and masculinity represented in His Dark Materials? Think about Will and Lee Scoresby here.

3) How is age (e.g. teenagers; older people) represented in His Dark Materials? Does the show reinforce or challenge stereotypes about young people? Think about Lyra and Will plus the abandoned children they meet. Also think about Mrs Coulter and other adults.

4) How is race and ethnicity represented in His Dark Materials? Are stereotypes reinforced or subverted?

5) How are politicians, religion and people with power represented? Think about how the Magisterium are shown in this episode.

Due date on Google Classroom

Doctor Who: Audience and Industries blog tasks

The second half of our Doctor Who: An Unearthly Child case study focuses on the key concepts of Industry and Audience.

You'll find all the answers you need in the notes and clips below. You can then complete the blog tasks at the bottom of this blogpost.

Notes from the lessons

Audience

Reminder: demographics and psychographics

Demographics: The audience classified through ‘fixed’ characteristics such as: age, gender, race/ethnicity, where you live, job.

Psychographics: The audience classified through beliefs, values, hobbies and interests such as: Strugglers, Reformers, Aspirers and Mainstreamers. 

General audience notes:

• Mainstream family audience – broad appeal as millions of people watch the BBC.
• Long-running which shows it appeals to mainstream audience (age 10-40+). 
• An Unearthly Child given PG certificate – parental guidance.
• Demographics: A-E class as some complex plot points but also action that is easy to understand.
• Gender: split down middle (although traditional science fiction fans were male, this has changed over time. From 1970-2010 the female sci-fi audience grew by 22%).

Audience pleasures

We can apply Blumler and Katz's Uses and Gratifications theory when analysing the audience pleasures offered by Doctor Who: An Unearthly Child. Remember, we must consider it from the perspective of a viewer in the 1960s who would have reacted in quite a different way to an audience in 2020. Remember, the four key categories for Uses and Gratifications theory:

INFORMATION/SURVEILLANCE: learning information that you did not already know. Doctor Who offers its audience an education about space travel, science and history.  

PERSONAL IDENTITY: personally relating to something - seeing your lifestyle on screen. Think about how different audiences may identify with Susan, her teachers or the Doctor.

DIVERSION/ENTERTAINMENT: escapism and being entertained away from your normal life. Science Fiction is a classic genre for escapism - what examples of this could be found in the episode?

PERSONAL RELATIONSHIPS: caring about characters and wanting to find out what happens to them. This is the first episode of four - which characters do you think the audience will want to follow on their journey? 

The 3 Vs

VISCERAL PLEASURE: Physical thrill of watching something e.g hairs on the back of your neck in a horror film, sport, big explosions. 

VICARIOUS PLEASURE: Experiencing something through the characters (e.g. time/space travel). 

VOYEURISTIC PLEASURE: Watching something you wouldn't normally get a chance to see (e.g. inside TARDIS).

Industries

TV industry in 1963

There were only two TV channels in the UK in 1963: BBC and ITV. 

In terms of technology, videotape had only been in use for seven years when An Unearthly Child was made. It allowed the BBC to create the space and time travel effects we can see in the episode which were considered amazing at the time. 

In 1967, BBC2 launched as the first colour TV channel. BBC1 and ITV then switched to colour in 1969 as more people bought colour TVs. 

Compared to the digital and streaming TV landscape of today, 1960s television was a different world.

Importance of Doctor Who to BBC

Doctor Who is one of the most iconic franchises that the BBC has. It has been shown all over the world through BBC Worldwide and generates huge income for the BBC.

In 2014, a BBC Worldwide Report stated Sherlock and Doctor Who as the BBC’s biggest exports of the past year. The worldwide simulcast (simultaneous transmission) of “The Day of the Doctor” in 2013 saw this episode air at the same time in 98 countries on six continents.

 

Doctor Who franchise: spin-offs 

The BBC has maximised the popularity of the Doctor Who franchise by creating a series of spin-offs that build on the same universe or characters as the original show. These include:

• K9
• Sarah Jane Adventures
• Torchwood
• Class

These spin-offs allow the BBC to target slightly different audiences while still taking advantage of the huge Doctor Who fanbase. 

Spin-offs - opening titles:

Audience and Industry: blog tasks

Create a new blogpost called 'Doctor Who: Audience and Industry blog tasks' and answer the following questions:

Audience

1) Who is the target audience for Doctor Who? Has it changed since 1963?

2) What audience pleasures are offered by Doctor Who - An Unearthly Child? Apply Blumler and Katz's Uses and Gratifications theory to the episode. Make sure you provide specific examples from the episode to support your ideas.

Personal Identity:

Personal Relationships:

Diversion (Escapism):

Surveillance (Information / Facts):

3) What additional Uses and Gratifications would this episode provide to a modern 2020 audience?

4) Thinking of the 3 Vs audience pleasures (Visceral, Vicarious and Voyeuristic pleasures), which of these can be applied to An Unearthly Child?

5) What kind of online fan culture does Doctor Who have? Give examples.

Industries

1) What was the television industry like in 1963? How many channels were there?

2) How does An Unearthly Child reflect the level of technology in the TV industry in 1963?

3) Why is Doctor Who such an important franchise for the BBC? 

4) What other programmes/spin-offs are part of the wider Doctor Who franchise?

5) Why does the Doctor Who franchise have so much merchandise available? Give examples. 

Extension tasks and reading

Read this New Statesman feature on Doctor Who as a global phenomenon. What does it suggest about Doctor Who fandom, British identity and the importance of the brand to the BBC?

Read this Guardian feature on the representations of race and ethnicity in Doctor Who over the last 55 years. How has the programme changed in its representations of race and how does this fit the BBC's remit to inform, educate and entertain? 

You will have some lesson time to work on this but will need to complete this for homework - due date on Google Classroom.

Doctor Who: Language and Representation blog tasks

Our first television Close-Study Product is Doctor Who - An Unearthly Child from 1963.

This is an in-depth study which means we need to analyse the product in terms of media language, industries, audience and representation. In addition, this CSP will be examined in Paper 2 with a short clip to analyse. This means we need to put in extra work on this media topic to ensure we are confident analysing clips in detail.

Notes from the lessons

Narrative theories

Todorov: equilibrium

Todorov suggested that all narratives follow a three part structure.

They begin with equilibrium, where everything is balanced, progress as something comes along to disrupt that equilibrium, and finally reach a resolution, when a new equilibrium is restored.

Equilibrium > Disequilibrium > New equilibrium

This can be applied to most media narratives.

Propp: character types

Vladimir Propp stated that there were seven basic character roles when he analysed classic fairy tales and that these were present in most narratives. Media products still use these recognisable character types today:

Hero, Villain, Heroine/Princess, Father, Donor, Helper/Sidekick, False Hero

Roland Barthes: Enigma and Action Codes

Action Codes: anything that suggests something dramatic is about to happen. E.g. when the TARDIS begins to take off or when the shadow appears in the final shot of the episode. 

Enigma Codes: a narrative code that creates mystery and gives the audience questions to keep them watching e.g. who is the Doctor and where is he taking them? Will the teachers get home? What is the mysterious shadow in the final scene?

Levi-Strauss: Binary opposition

Binary opposition is a theory that all narratives are driven by conflict of a series of opposing forces. There are many examples that can be found in this Doctor Who episode e.g. good v evil; young v old; human v alien; dark v light etc.

Doctor Who: An introduction

• Listed in Guinness World Records as the longest-running science fiction television show in the world with over 800 episodes.
• The Doctor explores the universe in a time-travelling space ship called the TARDIS [Time And Relative Dimension In Space]. The TARDIS has a vast interior but appears smaller on the outside.
• The Doctor travels through space and time preventing evil aliens or people from harming innocent people or changing history.
• The Doctor has gained numerous reoccurring enemies during his travels, including the Daleks and the Cybermen.
• Twelve male actors have headlined the series as the Doctor. The transition from one actor to another is written into the plot of the show with the concept of regeneration into a new incarnation. In 2018 the BBC had their first female incarnation for the thirteenth Doctor.

Doctor Who: An Unearthly Child

Social and historical context

First episode: Saturday, November 23rd,  1963 on the BBC. The plot was a narrative arc (a story over several episodes) involving the Doctor and his companions voyaging 100,000 years into Earth’s past to help some cavemen discover fire. 

William Hartnell was the first Doctor, as an anti-hero who frequently put his companions in jeopardy for his own curiosity. Daleks made an appearance in the first series, as the arch enemies of the Doctor.

Jodie Whittaker took over the role as the Thirteenth Doctor in 2018 and is the first woman to be cast as the character. 

1960s Britain

1961: First man in space – Russian Yuri Gagarin.

1962: The Beatles spark a British music revolution.

1964: BBC2 TV channel launched (third UK TV channel).

1965: The introduction of the mini skirt in a fashion show.

1967: BBC Radio 1 pop music station launched.

1969: First Man on the Moon – American Neil Armstrong.

1969: Concorde is flown for the first time.

1970: Mass media – 90% of households in UK have a TV, many now in colour.

The 1960s saw a shift in British culture. There was more freedom for young people and a breakaway from traditions.

Episode analysis: An Unearthly Child

An Unearthly Child (sometimes referred to as 100,000 BC) is the first narrative arc in the British science fiction television series Doctor Who. It was first broadcast on BBC TV in four weekly parts from 23 November to 14 December 1963. Scripted by the Australian writer Anthony Coburn, it introduces William Hartnell as the First Doctor and original companions; Carole Ann Ford as the Doctor's granddaughter Susan Foreman, with Jacqueline Hill and William Russell as school teachers Barbara Wright and Ian Chesterton. The first episode deals with Ian and Barbara's discovery of the Doctor and his time-space ship TARDIS in a junkyard in contemporary London. 

Plot of episode 1

Schoolteachers Ian Chesterton and Barbara Wright are concerned about one of their pupils, Susan Foreman, who seems to have a very ‘alien’ outlook on England. They have come to her listed address to investigate. They arrive in a junkyard and find a police box, which proves to be no ordinary police box. When Ian and Barbara enter, they discover it to be much bigger on the inside than the outside. In the TARDIS is Susan and her grandfather, the Doctor. Fearing that Barbara and Ian will give away the secret of the TARDIS, he kidnaps them and takes the machine to the Stone Age, where they will have to fight for their lives.

The First Doctor was played as less mischievous and more cruel than later incarnations. He also seems less concerned about saving the human race. 

His companion was made his ‘granddaughter’ because it was thought inappropriate for an old man to be accompanied by a young girl if she were unrelated to him. 

Representations

Daniel Chandler's representation theory: CAGE

This is a theory about how the media constructs or represents individuals or groups of people through the media. Key markers of identity can be remembered through the acronym CAGE:

C- Class
A- Age
G- Gender
E- Ethnicity

Characters and representation in An Unearthly Child

Susan Foreman
Susan Foreman is the first of a long-standing tradition of Doctor Who companions.  It was felt improper in 1963 for an older man, such as the Doctor, to be travelling through space with a young 15 year old girl; so she was written as his Granddaughter.  She is a strong link to the young target audience and will often react in ways that the audience might in future episodes [e.g. screaming at aliens].  Classically relatable.

She also provides a link between the chaotic alien madness of the Doctor and the human confusion embodied by Barbara and Ian (and the audience).  She is therefore a translator of the more Sci-Fi elements of the story to a naïve 1960s audience.   She can often be seen explaining some of the Doctor’s stranger outbursts to the humans Barbara and Ian.  Another example of exposition.

The Doctor
The Doctor represents the new age of technology and science that was emerging in the 1960s.  The ‘space race’ was underway and the world was fascinated with all things space travel and linked to other planets.  He represents this new world of discovery.

He is a Time Lord from the planet Gallifrey and he explores the universe with usually human companions who serve as audience surrogate characters to ask questions which allow the Doctor to provide relevant exposition.  He is often eccentric, distracted and dark in mood.  Some commentators have said he symbolises the struggle between good and evil, some have said he is a symbol of a God-like presence who wanders through time and space trying to change history for the better. 

Teachers Barbara Wright and Ian Chesterton

Barbara and Ian represent traditional human values and are classically middle class. They are the people the Doctor explains everything to, so that the audience understands as well.  This is known as exposition.

They are also Science and History teachers so often offer advice and opinions to the Doctor on matters of space and time.  They also have very clearly defined gender roles in the series.

Barbara and Ian also play the narrative role of mother and father to Susan who is very naive and who has not had that paternal guidance from the Doctor.  They are very traditional in their gender roles.  Ian is very physical when there is fighting or physical work to be done. Barbara is represented in a more homely, caring role in the series. These were stereotypical gender roles in the early 60s – but times were changing.  Ian and Barbara are bonded by their human characteristics in their Space adventures.  They represent the caring, empathetic part of the human condition in how they look after Susan and, in later episodes, the Doctor himself. 

Language and Representation: blog tasks

Create a new blogpost called Doctor Who: Language and Representation blog tasks and complete the following questions on your blog:

Language and contexts

1) Write a summary of the notes from our in-class analysis of the episode. You can use your own notes from the screening in class and we'll also post a Google document of class notes too (you'll need your GHS Google login). 

Camerawork and sound:

Mise-en-scene:

Narrative and genre:

2) How can we apply narrative theories to this episode of  Doctor Who? 

Todorov's Equilibrium:

Propp's character theory:

Barthes's enigma and action codes:

Levi-Strauss's binary opposition: 

3) In your opinion, what is the most important scene in the episode and why?

4) What genre is An Unearthly Child and how can you tell? Make specific reference to aspects of the episode.

5) How does An Unearthly Child reflect the social and historical contexts of the 1960s?


Representations

1) What stereotypes of men are reinforced and subverted in Doctor Who: An Unearthly Child? How?

2) What stereotypes of women/girls are reinforced and subverted in Doctor Who: An Unearthly Child? How?

3) How do the representations of young people and old people in An Unearthly Child reflect the social and historical context of the 1960s? 

4) What representations of race/ethnicity can be found in Doctor Who: An Earthly Child? Is this surprising or not? Give reasons for your answer and consider historical / cultural context (the 1960s). Has this changed in more recent series of Doctor Who?

5) How is social class represented in An Unearthly Child? Think about how education and knowledge is presented in the episode.

Extension tasks and reading

Read this Media Magazine article tracing the cultural impact of Doctor Who. What does it suggest regarding the importance of Doctor Who, representations and industry?

Read this Guardian feature on female characters in Doctor Who. What does it suggest regarding the representation of women over time in Doctor Who?

Consider representations of age in Doctor Who. How have representations of age changed over the 50-year history of the show?

You will have some lesson time to start this but will need to complete this for homework - due date on Google Classroom.

Television: Introduction to TV drama

Our next topic is Television - a crucial in-depth topic.

These are particularly important CSPs as we know they will definitely come up in Media Paper 2. The first 42 marks of this paper will be based on your knowledge and understanding of the two TV programmes across Media Language, Industries, Audiences and Representations.

The CSPs: Doctor Who (1963) and His Dark Materials (2020)

We need to study the following episodes as our in-depth CSPs:

Episode 1 of Doctor Who: An Unearthly Child (1963)
Episode 1 of His Dark Materials (Season 2): The City of Magpies (2020)

Assessment: Paper 2 Section A
Television will be tested using two medium response questions on an extract clip from one of the two episodes we will be studying. One question will be worth 8 marks and one will be worth 12 marks. There will then be one extended 20-mark essay covering the whole of both of the episodes you have studied.

Introduction to TV Drama

Television drama is a popular TV genre. ‘Binge-watching’ series in one go is a recent phenomenon while other dramas have built hugely loyal fanbases (e.g. Doctor Who) over many years.

There are many sub-genres and hybrid genres in TV drama from costume drama to fantasy or science-fiction.

Key conventions

TV Drama has certain recognisable conventions or typical features. These include: 

• Dramatic narrative, usually linear (with continuity across episodes.) This is called a narrative arc where the story goes across the series.
• Ensemble cast (characters with own storylines). Sometimes an episode will focus more on one character or another.
• Specific technical codes e.g. realistic lighting and editing for social dramas to keep it gritty. Common use of flashback, point of view shots, dialogue and voice over, enigma and action codes throughout.
• Use of stereotypical ‘stock’ characters get storylines across quickly.

TV Drama series

A TV drama series is a set of connected TV episodes that run under the same title e.g. Stranger Things, Doctor Who or His Dark Materials. They are usually structured in ‘seasons’ or ‘series’ and often end with a ‘season finale’. (‘Season’ is the US word but you will hear the British term 'series'.)

Genre

Genre definition: a style or category of TV, film, music or literature.

Genre is the term to classify any TV or film media product that has a chosen style and follows certain codes and conventions e.g. comedy, action or crime drama. 

Genres can change over time and there is increasingly a fashion to combine genres to create hybrid genres. E.g. Science fiction and fantasy.

NCIS

We can use the mnemonic NCIS to remember how to analyse the genre of film or television:

Narrative: the storyline and preoccupations / issues e.g an action adventure film usually features a dangerous quest or mission. Todorov’s Equilibrium theory of narrative structure might apply here.
Characters: the people who drive the story. Here you may see examples of  Propp’s character types e.g.  In fantasy there is often a hero, princess, helper, villain etc.
Iconography: the mise-en-scene (CLAMPS) to create a particular look e.g. a horror movie may be particularly focused on blood, darkness and set at night.
Setting: the locations or time period used e.g. in Western movies, you will often see it located in American or Mexican deserts around 1800s.

Introduction to TV drama: blog tasks

Watch the BBC trailer for season 2 of our CSP - His Dark Materials:

Now answer the following questions:

1) Who do you think are the main characters in His Dark Materials? Why?

2) What narratives (storylines) are introduced in this trailer?

3) What settings appear in the trailer? Describe as many as you can.

4) What genre (or genres) are suggested by this His Dark Materials trailer? You may find reading the IMDB page for His Dark Materials helpful here. 

5) Who do you think the target audience for His Dark Materials is? Give reasons for your answer.

Extension tasks:

How does this His Dark Materials trailer meet the conventions of a TV drama series?

Read this Guardian TV review from the first episode of His Dark Materials season two. What did the reviewer think of the episode? Also look at the comments from readers below the article - do they agree? 

Due date on Google Classroom.

Recap: Advertising case study 3 - Represent NHS Blood campaign

Our final close-study product for Advertising and Marketing is the 2016 NHS Blood and Transplant online campaign video 'Represent' featuring Lady Leshurr.

This product provides an excellent opportunity to explore a range of different representations: ethnicity, masculinity, femininity, class, age, disability and ability and place. It's also a different type of advert as it's not promoting a product but instead is a campaign designed to influence the audience's behaviour.

Sample questions for Advertising and Marketing

In your Media exams, you are likely to get questions similar to these:

1) Why do advertisers use stereotypes? [6 marks]

2) Explain how advertisements reflect the historical context in which they were created. [12 marks]

Think about how you might answer those questions based on the CSPs we have studied.

Advertising campaigns

Some adverts are produced in a series as a campaign. An advertising campaign is a series of advertisements that share a singular theme, message or idea. These are used to raise awareness of an issue or of the brand itself. The best campaigns have an emotional impact on audiences.

An advertising campaign will usually appear across multiple media platforms - print, broadcast and online.

Represent: background information

Lady Leshurr is an English rapper, singer and producer. She is famous for her freestyling rap style and has her own clothing line. 

This is the advert CSP:

The two articles we read in the lesson provide details on the campaign and how it was developed. This also gives information on why blood from people with a BAME background is so vital. 

GLOW words to use in connection to this campaign

• Literal – the actual, obvious meaning 
• Semiotics - the message behind what you see (hidden messages)
• Reinforce stereotype – when a representation is what we usually see in the media
• Challenge/subvert stereotype - When a representation goes against what we normally see in the media
• Mass/mainstream - A mass or mainstream audience is made up of a large group of people (men, women, children, elderly).
• Niche - A niche audience is a small subset with a narrow range of interests or characteristics. 

Codes and conventions of rap music videos

• There are many low-angled, close up shots in hip hop videos, to imply the artists’ power over their audience. The low angle gives them the power, because they look down on the audience and the close up gives status because it implies they’re important enough to have a frame to themselves.
• Sections of direct contact with the camera (the artist usually spends a lot of time looking straight into the camera as if to talk or have a conversation with the audience and relate to them)
• Props regarding costume tend to be used, for e.g. gold jewellery (male rap artists are commonly known to wear heavy chains or prominent rings)
• Show a clear display of emotions – if the tone of the song is angry, the artist is likely to present this through their gestures and facial expressions.
• Strong editing cuts between concept / performance and narrative.

Represent NHS Blood & Transplant campaign: blog tasks

Work through the tasks in this blogpost to make sure you're an expert on this CSP.

Re-watch the Represent video and then watch the 'making of' video:



1) What does BAME stand for?

2) Why is there a need for blood in the BAME community? 

3) What does this advert want people to do once they've seen it (the 'call to action')?

4) Why have the producers chosen famous BAME celebrities to feature in the advert? Give an example of three well-known people who appear in the advert and why they are famous - make sure you write their names and spell them accurately.

5) Suggest some connotations for the slow-paced long shot of empty chairs at the end of the advert.

6) How does the advert match the key conventions of a typical urban music video?

You will have lesson time to answer these questions but will need to complete for homework - due date on Google Classroom. 

Extension tasks

1) How does the advert subvert stereotypes - this means present people in a way we don't normally see them in the media? Give three examples (e.g. ethnicity, masculinity, femininity, age, class, disability/ability etc.) 

2) How does the advert reinforce certain stereotypes of the BAME community?

3) Choose one key moment from the advert and write an analysis of the connotations of camera shots and mise-en-scene (using CLAMPS).

4) Read this MOBO press release about the "B Positive" campaign - the follow-up to the Represent advert. How does it aim to build on the success of the Represent campaign?

5) How is celebrity endorsement or star power used to make the campaign stand out?

Finally, research the following stars in more detail: Lady Leshurr, Ade Adepitan, Kanya King. Why are they famous? How do they help the campaign reach different segments of the niche BAME audience?