Media Revision 3

 

Media Revision 3

You Can't Stop Us | Nike

• The Nike promotional video uses representations to construct reality, Identity theory of the audience.
• Representations demonstrate the ideological perspectives and biases of the producer. Media products allow producers to use representations to reconstruct the world, and the Nike advert is now different. 
• Throughout the video we see two screens playing, edited into one - the relationship between shots link together through overlaying perhaps representing individuals uniting together as one. Representation, dominant ideology - Nike will help this.
• The music is uplifiting with conflict in the middle where it lowers but then rises back, forming a narrative in the video which the audience may easily relate to of getting knocked down but rising up again.
• This narrative is reflected with this music - however shows reflection of the pandemic and racial/social injustices 
• The voiceover 'We're never alone, and that is our strength because when we're doubted we'll play as one.' The tone of the narrator is motivating and inspiring, 'we' and 'our' - use of a collective lexis, the audience will feel like a part of it - direct mode of address.

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• Through split screen with smooth editing, Nike presents the audience with seemingly flowing world in which people are united and connected by sports - in reality, Nike are a brand who are known for sweatshop labor overseas.
• Lots of shots of teams --> symbolic code --> sense of community in pandemic ---> inspiring --> shots of people hugging and with their arms round eachother, montages.
• Inspirational soundtrack --> fast paced strings in a major key ascend and descend in a loop. However, when the pandemic is mentioned strings begin to play in a minor key --> symbolic of sadness.
• Celebrity endorsement - "You can't stop Megan Rapinoe, Serena Williams, or Lebron James. Just as you can't stop Naomi Osaka, Cristiano Ronaldo or Leo Baker.", as well as appearing on screen numerous times.
• The initial split mid-shot shows a white athlete and a black swimmer, both who are women. As a result this establishes the fact that this video has been produced in order to bring everyone in as one; no one is seen as superior as a result of their skin colour, which has been an issue in the past. As the audience carry on watching the video, it includes people of all ethnicity, disabilities, culture and gender in order to emphasis everyone matters and everyone is equal - this is the dominant ideology. In a time where most people feel alone, this video helps in order to bring everyone together and bring positivity into our lives.
• Message of inclusiveness and perseverance during 'trying times' (Power and media industries). 
• The syced up split-screen and parallels in cinematography between the shots on screen constructs a reality that the world is united and connected through sport, via its visuals. Mise-en-scene.
• Implications of the Nike brand's ethos as inclusive and ethical, by including many people of different genders, those with disabilities, ethnic groups. etc.
Uplifitng music for positivity. Works to construct an optimistic representation of the world through the covid-19 pandemic. Direct address, narrator using lexis like 'we' within the Nike manifesto during this ad.
- Adverts are there to sell a lifestyle to its audience.
• The miss-en-scene of the video is all Nike branded in order to establish that the video is created by Nike.
• Editing - Different types of athletes but shown mostly in a related environment that transitions in a synchronized and seamless fashion from one side to the other. This editing connotes the differences within humanity all the whilst still showing the similarities they share with sports, Ultimately, creating and destroying binary oppositions within the same few seconds. This can be seen as a contradictory message.
• Intertextual references to various speeches.
• Subverts stereotypical representations of gender --> women playing sports, being active. Although often the women are wearing more revealing clothes than the men (mise-en-scene) --> possibly appealing to the male gaze --> feminist theory, elements of sexualisation. 
• Commodity fetishism - The Nike logo, value of the product.

Media Revision 2

Media Revision 2

How does media language and intertextuality create meaning in this video?

Blinding Lights by The Weeknd

• Mid shot - It is positioned with the audience, they both sway with him, diegetic sound of him panting heavy and non-diegetic sound of the music sounding suspenseful and links to the horror genre through this convention of sound, proairetic and hermeneutic code. He is wondering around aimlessly and looking for something, the swaying motion could have connotations of being drunk, the setting is a street with bright highkey lighting and neon signs, intertextual reference to Vegas or Hollywood.
• When the artist enters the car, the audience sees a variety of shots at a fast pace (montage) a close up of his foot on the pedal, shaking close up of the speed metre going at high speeds, fast close up of highkey neon lights that becomes a blur - symbolic code of being high.
• The music video gives pleasure to the audience through the use of intertextual references.
• It is a conventional music video in terms of singing, dancing and narrative of the romance between the man and woman.

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• Very fast paced editing --> connotations of tripping/cocaine --> speed up drug.
• Product placement - Mercedes-Benz recurring throughout video, with flashes of the logo occurring frequently.
• Fast paced montage editing, beat matched to the song
• The mise-en-scene of the red lighting and colour pallet that is constant throughout the video symbolises love and romance, which mirrors the lyrics.
• The lyrics reference 'Sin City' and the video is partly shot in Sin City (Las Vegas)
• A feeling of chaos and excitement is constructed through fast paced, beat-matched editing.
• There are a lot of intertextual references throughout the video, making reference to multiple movies like Fear and Loathing in Las Vegas through the use of distorted cinematography and fast-paced editing, and other films like After Hours, Blade Runner, and Joker. The Mise-en-scene of the setting also creates intertextuality. Inside the club where The Weeknd becomes infatuated with the Asian singer, the patterning on the walls is an intertextual reference to the red room from Twin Peaks, mirroring the red colour pallet of the video. This intertextual reference could imply that the narrative of the video is a fantasy of the performer's. 
• The initial close up conforms to the hermeneutic code which is portrayed through the man in the clip having blood dripping down his face, looking like he’s been beaten up. His facial expression conveys agony and as a result makes the audience feel tense and feel empathetic towards him. The red jacket and blood symbolises danger which makes the audience want to protect the man; The audience carry on watching the music video in order to establish what has happened to the man . 
• Close up slow zooming in camera shot, flashy transition between the end of first shot and and black screen, high-key red neon lighting, dynamic and tracking shots facing and following weeknd, contrast of lowkey and highkey lighting, headshots, dolly shots, persistent colour of red throughout. 
• There is a birds-eye-view shot of The Weeknd dancing on a bridge and he is in the centre of the shot, reinforcing that he is the performer and the focus of the video.
• The binary opposition between low-key lit shots of a city at night and bright car headlights creates a sense of bewilderment/confusion, interpreting the lyrics “I’m blinded by the lights” in a literal sense 
• Video is a follow up to his latest music video 'heartless', as he is running a billboard behind him displays the title 'heartless' --> an example of intertextuality 
• The mise-on-scene is very closely linked to an older film called Fear and Loathing in Las Vegas. The location and costume are similar; the hallucinogenic editing is also very similar.
• Mid-way through the music video, the sound slows down and warps as the camera angle changes to a first person shot and bright, vibrant lights flash past, giving it more of a drug-like feel and makes the audience see what the performer's character is seeing. 
• The opening shot is an extreme close up, blood is coming from his mouth, his facial expression symbolises he is in pain which creates an hermeneutic code for the audience 
• Cherries - Common connotations of sex, further implied whilst slowly floating towards stereotypically attractive woman, who appears to be working (bell hooks, feminist theory) 
• The club setting, and simplistic narrative of 'getting the girl', paired with the generic leather-jacketed thugs fighting back against the red-suited, and glove adorning The Weekend. Makes the music video incredibly reminiscent of a Michael Jackson music video, this reference is reinforced by his dance moves within his performance, as well as the 80s adjacent setting.
• Another intetertexual reference: The 80s - Both via through the film grain filter, cinematic aspect ratio, as well as the mise-en-scene and heavy incorporation of synths within the song.
• Mise-en-scene --> the Asian woman is wearing a full face of make-up along with a silver dress, this implies she is glamorous and is an example of gender performativity --> she is presented as nothing more than a possible love interest. --> often east asian women are presented as accessories within media 
• The song is synth-pop and uses synthesisers, typically a futuristic type of music, and the futuristic, high-key lights in the video reflect this 
• The shot types change drastically, edited in a montage, going from close ups of faces to distant long shots of the erratic movements performed by the artist. Its inconsistent nature implies the instability of the artist, which is making reference to drug abuse. 
• 2/4 time music anchors the fast paced feel of the music video, heavy use of drum cements this 
• East Asian performer is established and represented through an establishing montage of close-up and mysterious mid shots, emphasizing her beautiful and exotic status to the audience. Presented as spectacle for a heterosexual male gaze, her mysterious 'power' is made evident through her ability to cause the performer to literally levitate off the ground. This digital special effect is also a clear intertextual reference to cartoons from the 1940's and further reinforces hegemonic gender stereotypes 
• Album is called After Hours.
• In the club; the singer dances on the table --> possible reference to pulp fiction.
• MES of film grain, providing a binary opposition to the harsh, neon digital shots elsewhere in video. Film grain here is connotative of a classic crime dramas and Hollywood cinema, and reinforces the notion that the song is classic and noteworthy.

Media Revision 1

Media Revision 1

Component 1 - Media Products, Industries and Audiences 

Component 2 - Media Forms and Products in Depth

• Codes and conventions – performance/narrative/experimental features
• Camera work (framing – shot types, angle, position, movement)
• Editing – beat-matched?
• Elements of continuity/montage
• How does the video interpret the music and/or lyrics?
• Structure/narrative
• Intertextuality
• Sound
• Mise-en-scene – colour, lighting, location, costume/dress, hair/make-up 

Unseen Text:

Explore how audiences can respond to and interpret the video to 'This Is America' by Childish Gambino. Make reference to media language.

• The setting is an empty car park/garage.
• It begins with a long shot of a man playing the guitar which is tattered, his costume is plain and light and he is wearing no shoes.
• Single shot take with no cuts apart from the ending when he is running in lowkey lighting away from people.
• Beat match, he is dancing when the main verse of the song begins, he shoots the man in the head, 'This is America' - this has connotations of the gun problem in America.
• Connotations of costume of Childish Gambino, he has no shirt on and is wearing plain grey trousers (could link to the clothing of men in the period of slavery), yellow shoes, gold chains and a long beard and hair (black hair is a key part of identity).
• The mise en scene of the costume of the church choir, they are dancing and singing with a close up shot tracking to a long shot of Childish Gambino who then shoots at them - binary opposition of harmonious gospel and violence and rap.
• Halfway through the video we see lots of narratives in the background of the centre shot of Gambino and the school children dancing, creates a form of hermenutic codes to the audience, smoke, glowing red in the back with a police car, chaos is created through people running around this is a a symbolic code of riots, with costume of people wearing helmets linking to riot gear.

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• Mise-en-scene --> costume: Childish Gambino wears old confederate uniform trousers --> the southern confederacy reminds the audience of the history of black people in America such as slavery and segregation.
• Costume - backup dancers (implied kids) in uniforms, most low income area school districts in America establish a dress code with uniform.
• Genre of music of rap and gospel music forms binary opposition.
• Intertextual reference in performance - Childish Gambino takes samples of popular dances that derive from African culture and Hip Hop. This shows that popular pieces of culture lose their specificity over time.
• Pacing - 17 second gap silence for the Parkland school shooting in Florida.
• Costume - backup dancers (implied kids) in uniforms, most low income area school districts in America establish a dress code with uniform.
• Red mise-en-scene is used as a symbolic code for violence - Gambino shoots someone and the gun is placed in a red cloth and is carefully taken away. In contrast, the body of the person who has been shot is dragged carelessly out of the frame. This illustrates to the audience America’s value of protecting guns over human lives.
• Camera is positioned and centred on Glover, the audience are told to watch only him and ignore everything happening in the background - microcosm of America.
• American is represented entirely as a concrete jungle through the mise-en-scene set dressing and choice in location. There is no greenery at any given point in the video, we could infer from this an implication that nothing is natural about the situation in the US.
• Tracking shot at the end, the audience is positioned with him.
• Midshots of the performer means the audience becomes familiar with him and his character, making it more surprising to them when he fires the gun.
• White people are largely absent from the video until the end, when Childish Gambino smokes weed and he is chased by a mob of them, the editing of the video slows down perhaps reflecting the effect the drug has. This implies that white people are more worried about non-violent drug crime in the US, rather than gun violence. The lighting at the end is dark and low-key, with the white mob in shadow, suggesting that they are representative of white people as a whole and their values, since they are not personally identifiable.
• Performance --> the way Childish Gambino bends over to shoot the man with the guitar is an imitation of the Jim Crowe character as well as his exaggerated movements and expression, again a reference to African American history and the way they were mocked in minstrel shows --> intertextuality.
• Setting - Abandoned warehouse (similar to Detroit's car factories, now abandoned).
• Mise-en-scene --> when the choir is gunned down this is a reference to the racially motivated Charleston church shooting in 2015, a recent event which highlights the ongoing problem with racism in the US.
• As the man plays guitar we see Donald Glover appear he is positioned behind a post, this uses an hermenutic code to create an ominous feeling. As Donald Glover approaches he is standing and the man is sitting, making use of levels to present the unequal power dynamic between an armed and unarmed man, binary opposition.

Online Media - Zoella, Hyperreality, Hypermodal

Online Media - Zoella, Hyperreality, Hypermodal

Codes and conventions of a vlog: 

• Unscripted.
• Someone talking to a camera, direct mode of address.
• Static camera, single shot, the person takes a centre shot.
• Minimalist setting.
• Highkey lighting.
• Emphasis of face.
• Informal lexis, friendly mode of address.
• Music featured is usually royalty free.
• This is to create a relatable experience for the audience.

'HUGE Primark Haul | Zoella'

• Direct mode of address - eye contact with the camera .
• Facial expression - she is smiling.
• Her expressions are expressive and we can tell she is excited.
• One of the primary conventions of vlogs is an emphasis on the personality of the presenter or the blogger. This is reinforced and emphasised throughout the video through the consistent use of static camera angles and use of close up shots of the vlogger. This in turn creates a sense of identity and engagement for the young female target audience.
• She is expressive with her hands and facial expression, open hands and face makes her welcoming. Breaks the fourth wall by talking the the audience as showing her items so we can see the items.
• This may make her look inauthentic as she is exaggerating and acting 'fake' with enthusiasm.
• Zoella presents a binary opposition between fantasy and reality, she is a real woman who engages her audience by being real and authentic, however, also presents a carefully constructed and entirely 'fake' and inauthentic representation for her target audience to identify with.

• Zoella presents her audiences with a utopian fantasy which allows them to escape from their boring everyday life.
• She represents a hyperreal representation to her target audience, a fake world, where the fantasy is more important and more real than who who she actually is.
• Jean Braudrillard argues that there is no difference between representation and reality, as it is impossible to distinguish between them.
• We live our lives wrapped in a fantasy, and Zoella allows us to escape in to her perfectly constructed fantasy world, if only for 15 minutes.

• Brand identity - The ways in which audiences can identify a media product and differentiate between media products based on their ideologies. This is through profit and engagement - the audience takes action with the media product. 
• Online media is completely based around a philosophy of engagement to maximise profit through monetisation.
• We can see this through links and hyperlinks, the internet is a hypermodal media platform that offers audiences a vast range of experiences. In order for monoline media products to ensure profit, they must engage with target and secondary audiences. The internet is distracting, we may watch a Zoella video where she is collaborating with another Youtuber and we may watch them, click another link etc.

Online Media - Vlogging

Online Media - Vlogging

Online media is impossible to make sense of and regulate; it has the power to change the world both for the good and bad. It is difficult to see if online media is real or fake i.e. fake news.

Zoella - She is multimedia, with blogs, vlogs, social media, books etc. 

Dyer - The Utopian Solution - Related to a perfect world, media presents the problems of our lives by presenting a perfect world.

• The video about the pizza taste test provides audiences with a utopian solution and allows audiences to escape from their everyday lives. There are no solutions to problems, but a source of escapism and entertainment.

Online media is a specialised industry, we can tell she is successful through views, likes, subscribers.
Online media is distributed through the internet; the internet is a networked system of computers allowing connection around the world, it is hard to visualise.

Vlog - a video blog, a blog is a web log like a diary. It is extremely broad and diverse medium. 

• It is the activity or practice of posting short videos to or maintaining a vlog. Vlogging and online video has become one of the most influential forms of media. Recent research shows 42% of internet users said they have watched a vlog within the last month rising to 50% for 16-24 year olds (Guardian, 2015).
• Vlogging has become an influential and widespread media platform, they are easy to watch, access and distribute as well as easy to make - they are very specialist and attract a diverse audience for different niches. Allows some form of relatability between the creator and audience. Provides insight to someone's life, a celebrity, allows intimacy between the creator and audience.

'HUGE Summer Primark Haul | Zoella'

• Zoella creates a relatable and compelling relationship with her target audience (women, teen - 30s) by using direct mode of address and her use of lexis is informal and conversational - it is relatable. It is like she is talking to a friend which builds a friendship between her and the viewer.
• We know what she likes and is interested in, such as the 'groovy chick' socks and creates a relationship through relatability between her and the audience.
• The codes and conventions of the vlog is a centre single shot with jumpcuts, she is showing each item telling us why she likes it and bought it as well as the price.

Online Media Introduction

Online Media Introduction

• Hegemony - The rules and restrictions that we follow everyday through consent and not through force.
• Digitally convergent technology - Any technology which involves computers. 
• It has constructed a hegemony. 
• Digital convergence - The coming together of previously separate industries thanks to digital convergence.

How to get marks:

• Use media language.
• Textual Analysis.
• Theories. We don't need to refer to the theorist's name.
• Clear Argument with clear evidence.

Conclusion:

-Social media, online media and digitally convergent media have become more powerful than governments.

-Never being subject to traditional forms of regulation, Online Media presents a literally impossible to understand, hyperreal collage of news, fake news, ideology, hatred, advertising, pornography and videos of cats.

-There is no differentiation between these forms, leading to a form of hyper convergence with no hope of differentiating between previously distinct forms of media.

-With no impediment to posting, extreme ideologies such as holocaust denial, pro-eating disorders, rape threats and images of abuse can be shared with relative impunity.

-And yet, the internet can potentially collect all human knowledge, can allow the sharing of artistic endeavors.

How does media language combine to create meaning?

'Ultimate Pizza Taste Test With Mark | Zoella' 

Uploaded June 2018.

• Lexis, the language is informal and feels inclusive, the audience feels like they are friends with them.
• Strong amount of direct mode of address, language is colloquial, so it doesn't come across as that. It is relatable.
• Face paced editing to appeal to a younger online audience, with heavy use of jumpcuts. 
• Monetisation, there are adverts on the video.
• It is amateurish, it is not like a TV show or film.
• Bright colours seen in her clothes with perfect makeup and bright highkey lighting - the lighting is set in a studio.
• Single, uninterrupted shot with a centre position of Zoe and Mark.
• Mise-en-scene, there is a blank background with possibly fake plants to create a comforting and home-made feeling, seen in the setting despite it being in a studio.
• Interactive features, you can subscribe to her channel and like the video, Zoella asks if you are a new subscriber and to comment.
• With jumpcuts at the start of the video with a bleep non-diegetic sound effect in an attempt to appear uncoordinated and unplanned, despite that it clearly is.
• Video is deliberately amateur, childish and chaotic. 

Late Night Woman's Hour - Radio and Podcasts

Radio and Podcasts

BBC is a PBS, funded by the public through a TV license, the remit of the BBC is to appeal to a diverse and wider audience, they traditionally has had a captive audience. However, the BBC now has a number of competitors who hold a number of advantages over the BBC.

The uncontested market leader - Netflix and Amazon Prime (digital integration). These streaming services do not need to show news, and they choose not to - the BBC is often criticised for being biased by both right and left wing, news are expensive to make and produce.

- Digitally integrated and digitally convergent media platforms, UI, UX.

The BBC does not need to make money, not in the same way as streaming services.

• The distributing properties such as Louis Theroux, ('Grounded with Louis Theroux' podcast on BBC Sounds), on Netflix is an example of digital synergy, and allows the BBC to 'pull' in new, younger audiences. Cult following.
• BBC Radio functions by targeting a diverse and fragmentary range of audiences.

The End of Audience - Shirkey - Theory

• Due to innovations in technology, audiences have effectively become the producer.
• Twitter - Microblogging social media.
• LNWH - Is a niche audience, on Twitter the official #LNWH only shows tweets about the London North West Hospital and memes from A-Level Media students with very little audience tweeting about the show.

The BBC has a remit to target a diverse range of audiences; by and large, audiences do not use digital media and social media to interact with LNWH, which reinforces its status as a niche product.

Podcasts are digitally produced and distributed audio recordings, often with low and amateurish production values, discussing and covering a range of often niche topics (narrowcasting).

What is the target audience and how does it target this audience?

Radio Surgery - RADIOSURGERY 2-6-21 5PM

The target audience are those who are doctors who specialise in or more so operate on cancer. It targets these audiences by giving the latest news on cancer.

Podcasts are often self-funded, advertising or from crowdsourcing such as Patreon.

Diverse forms of media distribution: Curran and Seaton.

Late Night Woman's Hour - Website and BBC Sounds

LNWH - Website and BBC Sounds

Because the BBC is a PBS (Public Broadcasting Service), Curran and Seaton's theory of power and profit in media industries doesn't seem to fit into LNWH as it targets a very niche audience and by its topics it won't ever appeal to a mass audience, they don't need to make a profit the same way as other industries.

Late Night Woman's Hour Homepage

• This page appeals to its audience by featuring articles that their audience may be interested in such as a makeup related article and a relationship related article, 'How to Handle a Breakup' as well as an article about being an activist for women, 'How to make your voice heard'. They then feature short clips and extracts from shows with titles that the targeted and preferred reading audiences (Women who work, mostly middle-class, usually have children.) who will relate to the titles or be of interest in these topics.
• This page could attract new audiences by being laid out simply with three articles placed at the top and a summary at the top stating what they do, we can see there is more to scroll down, because the clips are extracts, someone can listen for only 10-20 minutes of the highlights to see if they would be interested in listening to more or a full broadcast.
• The website features other 'Woman's Hour' related content, with news relating to women, episodes, videos and clips.
• They have organised ten minute clips rather than full archived episodes as a way to create highlight reels of the podcast, and bring attention to the main points of the host and guests make.

BBC - Diverse audience

• Because they are directly funded by the public in a license fee they must:
• Produce and broadcast a certain amount of high quality news on each channel everyday.
• Can't rely on spot adverts for revenue streams.
• Must have a remit to 'inform, educate and entertain'.
• Create and broadcast original programming which appeals to a diverse range of British audiences.
• The homepage for BBC radio services, 'BBC Sounds' meets the needs of its
audiences through it's well designed and logically laid out structure. Individual stations have a completely different brand identity, and broadly targets a different audience demographic.
• Any opportunities for audiences to pick and mix their identity (Gauntlett's theory of identity) for example, they could choose mainstream BBC Radio One or the more niche and middle-class BBC Radio Four.

Example - The Unbelievable Truth

Audience

• The audience is that groups and categories are audiences who enjoy listening or watching comedy, particularly comedy panel shows. As it is BBC 4, the podcast is aimed towards middle-class and middle-aged.
• It attracts these audiences by featuring well known comedians, different audiences who enjoy particular comedians who are featured in the podcast will lead to attracting more audiences or a variety of audiences. 
• The audience can interpret the show in different ways by either enjoying hearing the jokes which they make or playing along.
• It uses technology to target a specialised/niche/cult audience by being available on BBC Sounds, via website or app on a computer or phone, meaning that they must find it there. 
• The audience can use this show as a form of entertainment reflecting their identity and cultural capital of being able to listen to it on a gadget.
• Reception, fandom and end of audience theories

Industry

• How is this show produced, distributed and circulated and by who?

Late Night Woman's Hour - BBC, Historical Context

BBC, Historical Context

• We live in a digitally convergent age.
• Increase in digital radio rather than analog, the podcast is digital.

• BBC is a public broadcasting service and is publicly and funded owned and can be watched live whereas Netflix is a streaming service funded from its subscription. The BBC does have a streaming service for iplayer and digital radio on their website. Netflix is entirely online-based, relies on the internet and is an app. BBC shows their own TV shows and is only available in the UK, whereas Netflix not only makes their own shows they show shows from different channels. 
• The BBC is a publicly funded organisation. PBS, public broadcasting service. The BBC has a remit to produce a certain amount of new programming every year, they create and show high quality news programming. Netflix doesn't have to make news and therefore doesn't have a clear political bias. 
• The news is expensive, you have to have lots of people and find the right news to report, send people to other countries to report and maintain a neutral political bias.
• IPlayer lacks choice and options, with series and films being available for a limited time and is clumsy.
• Curran and Seaton - profit and power in the media industry.
• BBC doesn't need to make money, it is a public broadcasting service.

Woman's Hour

• BBC4 Radio is targeted and appeals to a middle-class and older audience.
• LNWH is a spin off of Woman's Hour and started in 2015.
• Appealing to a niche audience.
• https://www.youtube.com/watch?v=9J-SF6SBAr4


• In a letter to The Daily Worker, in 1946, a Mrs Bridget Long wrote: “The programme is much too patronising. What women want is a programme to compensate us for being tied to our domestic chores, to help us keep in touch with the world outside, whether it’s books, films, politics or other countries.” 
• Subsequently, it was noted “There was a feeling among many listeners that they were being patronised by the BBC and that both the material and the style of presentation appeared to be directed at adolescents, not grown women.”

Vaginas/Pockets 

• The episode meets the needs of a diverse group of audiences by 
• Potential regulatory issues does this raise? It raises no issues, however the topic of vaginas maybe seen 'controversial' and seen as 'taboo'.
• 'Intimate area' 'Say vagina, it's okay'.
• Patriarchal hegemony, women are expected to look presentable and smell nice, 'we aren't clementines'.
• Preferred reading - empowerment, excitement, freedom
• Oppositional - potentially uncomfortable and shocked.
• Niche and fragmentary audience.
• Why is there a Woman's Hour? As well as an International Women's Day? Because the target audience for many media products was for men, and women have been overshadowed and overlooked in history.

Late Night Woman's Hour - Media Set Product 14

Late Night Woman's Hour

Radio Industry

• Radios can target a niche and specialist audience or a mass market.
• Podcast: a pre-recorded digitally distributed audio recording.

Hall - Reception theory - The three ways in which a message can be decoded by the audience, encoding/decoding model, preferred, negotiated and oppositional. The ideology 

Jenkins - Fandom - Audiences who interact with the media, and act on it, usually a cult and niche audience. Whereas a passive audience will only just consume it.

Shirky - The end of audience - The internet has allowed audiences the opportunity to produce media and to become the producer.

• Late Night Woman's Hour is an occasional and irregular spin-off of the long-running magazine show Woman's Hour. Broadcast late at night, its content can, at times be considered more niche, edgy or more potentially controversial that the main broadcast.
• Broadcast on BBC Radio 4, with previous episodes and edited highlights also available to download or stream from the BBC Sounds website.

Makeup on Public Transport

• Target Audience - Women, 30+, mothers, working women who are middle class. The particular episode focuses on the commute as a shared experience, middle-class city dwelling audiences, perhaps white.
• It is a controversial because it's not hegemonically acceptable, stereotypically women are meant to be composed in public and care about their appearance.
• Lexis to appeal to its target audience - Language is articulate.
• Preferred reading - Women, the particular episode talks about putting make-up on public transport, something many women may relate to, the target audience. It is designed to provoke a number of different responses from its target audience.
• Oppositional reading - Young men.
• Niche programming.