hard and soft news

Hard News:

Hard news is the kind of fast-paced news that usually appears on the front page of newspapers. Stories that fall under the umbrella of hard news often deal with topics like business, politics and international news.

Eg:

* Celebrity Gossip 

* Sport

* Entertainment News 

* Fashion News

* Art and Culture

* Human interest stories

Soft News:

Soft news is defined as those organisations that primarily deal with commentary, entertainment, arts and lifestyle. Soft media can take the form of television programs, magazines or print articles.

Eg:

* Politics

* Business and the Economy 

* Industry and Technology

* Science

* War and Conflict 

* Health 

* Education 

* World Events 

Year 13 Summer Work

Old Spice

Own Charity Ad

I chose to recreate this Charity ad because I felt like it told a very clear story with very minimal lexis used. The young boy used in the original ad is staring straight forwards which is creating a direct mode of address, meaning that the viewer is draw straight in and towards his eyes. So for my ad I wanted to create the same effect but chose to use an older teenager to show that abuse, neglect and pain happens to all ages and it isn't just young children. Both ads have an expressionless face which makes the audience question why him, what did he do wrong? 

The short punch line 'I'm not a punching bag' is powerful and effective because it is very forward and easy to understand, meaning there is no cryptic language which makes the ad difficult to understand. Also by underlining the 'not' it put emphasis on that part of the statement again allowing for no misunderstanding. 

I changed my punch line to, "invisible" because I think that children/teens can sometimes feel dismissed and ignored by their family, which is worst case can lead to suicidal thoughts if they have no one to talk to about their problems.

MUSIC VIDEO ESSAY

In the music video, Stop where you are, the first character you are introduced to is Corinne Bailey Rae when the first shot in a medium close up of the artist, showing her and some of the background but makes her the focal point of the shot. She is giving direct mode of address as she comes out from the darkness and looks into the light, giving the metaphorical idea of there being light at the end of the tunnel, this shot covers across most of the screen. The next shot is a medium close up low angle shot of her walking from one side of the screen to the other, this has been done, in my opinions, to show the setting and also to show that her footwear may not be typical attire for the location she is in suggesting that she is free and is comfortable and confident in herself. 11 seconds into the video we see a long shot showing setting and Corinne Bailey Rae walking up the stairs from darkness and emerging into the light. We see that she is wearing a bright red dress which makes her stand out from the background and setting. This is reiterating the representation that she is confident and wants to stand out from the crowd and be different.

19 seconds into the video we are introduced to a new character, the screen is split into thirds where she is in the left hand section of the screen. This is suggesting that she is less important than Corinne, this is also represented by the shot being a long shot where her body language gives the impression of her being reserved/scared. A jump shot into a medium close is then used as she turns towards the camera, however she is still to one side of the screen and not in the middle even though she is the only one in the shot. This could be representing that even though she is recognised she doesn't feel important or relevant. The artist is being promoted as being helpful, caring and kind as she then goes over to the girl who is sat on the stairs to comfort her. Corinne Bailey Rae sits down next to the girl which represents her as seeing her self being equal to the young girl when it is clear that in society Corinne would be seen to have more power due to age, wealth, clothing, status.

Throughout the video the artist interacts with many different characters of different ages, ethnicities, cultures and genders- this shows her including her self with everyone, representing her are caring and compassionate. It also shows throughout that you shouldn't judge people because of their appearance, this is shown in the video multiple times but prominently when a medium long shot of a man with tattoos walks out of a flat with his dog. Typically negative connotations would go along with this image and figure which Corinne shows as she reacts as being scared/ wary of the man but shortly after his we see her interacting/ playing with the dog and her and the man laughing. This shows her as being kind and understanding, this would appeal to the audience as she doesn't come across as stuck up or judgmental.

To conclude, Corinne Bailey Rae is promoted and shown in a positive light throughout the video by the representations created, lighting, and camera angles used showing her as being equal and compassionate. She is presented as being different to other artists out there since she can relate to her 'misunderstood' audience containing a wide range of classes, genders, ethnicities and ages. She is mainly presented as being a role model containing all positive attributes such as compassion, love, experience and influence. Therefore, she is promoted well through the different representations portrayed.

Charity Campaigns

Titanium

Lucozade

Stop Where You Are

The big issue articles

Institutional Factors and Marketing

First published in 1991 The Big Issue has gone from strength to strength to become the world’s most widely circulated street newspaper. It officially belongs to the hybrid genre of entertainment and social business and as such, runs regular reviews on films, book releases, theatre, music and art but no television listings – the entertainment aspect attracts advertising revenue while the editorial content is often critical of big business, banking and commerce and champions the political cause and role of the individual within society. David v Goliath narratives are common as downtrodden groups and disparate individuals fight corporate giants but the magazine has come under some criticism for its ‘flashy style’ as a street newspaper and as being overly commercial.

When John Bird and Gordon Roddick founded the magazine their aim was to offer homeless people, or people at risk of homelessness the opportunity to earn a legitimate income by selling the magazine – the cost of the magazine is £2-50 with £1-25 going to the trader. This was the primary objective of the magazine as an independent publication to offer a public service and to try and improve a social problem which they saw as endemic – John Bird MBE remains the Editor-in-Chief and still writes a regular column at the back of the magazine. Recently (January 2013) he appeared on BBC1’s discussion panel show Question Time surprising some viewers with his admission that he is a ‘working class Tory’. Other writers in the magazine Bird works with include professional journalists and new and established writers.

Bird’s own background was pivotal to launching The Big Issue – he was homeless at the age of 5, residing in an orphanage between 7 and 10 and had a spell in prison as a teenager. After leaving prison he slept rough on the streets of London before returning to prison in his late 20s. Four years after founding the magazine in 1995 he launched The Big Issue Foundation, a registered charity to further help the homeless. The Foundation provides magazine vendors with information, advice, guidance and support on a range of issues.

As an independent publication (published by The Big Issue Company Ltd.) it needed, and received £25,000 start up capital, donated by The Body Shop (the founder of the Body Shop, Anita Roddick was the wife of co Big Issue founder Gordon Roddick). At its peak The Big Issue sold 300,000 copies in 2001 but as sales declined over the decade (along with the circulation of all print media) it re-launched with a new look and new columnists including controversial Premier League footballer Joey Barton. Weekly circulation (every Monday) has improved to around 58,000 and presently there are 6000 registered sellers all over the UK with acknowledgement that there are also rogue traders (without large red jackets and clear id badges) who have ‘acquired’ copies of the magazine illegally. Most of the vendors conform to the male (85%) homeless stereotype, are 18-46 with broken relationships and subsequent problems given and the major reason for their homelessness

Audience Appeals

Undoubtedly there is an element of emotional fulfilment in buying a copy of The Big Issue – this feel good factor associated with charity giving has to be identified as one of the key appeals of the magazine. In making a purchase you may feel better ideologically knowing you are helping rough sleepers and the homeless. This is why ‘carers’ using psychographic research are targeted by the magazine. Using a different model of audience, the Uses and Gratifications model Surveillance very much applies as one of audience pleasures gained from reading the magazine. Information is available on socio political issues but also the entertainment aspect in that you can read about a current issue but then indulge in reviews and analysis of culture.

The target audience of The Big Issue also enjoy the fact that it speaks to them, in terms of modes of address ‘in their own language’ using an elaborated language code assuming a level of intelligence and cultural capital. This balanced approach cloaks up to a point any encoded ideology and massages carefully the readers’ understanding of key issues. Articles and stories assume some prior knowledge e.g. in the edition October 8th 2012 a piece on the American Presidential Debate required some knowledge of the American constitution and political history. Shared ideological beliefs is also a key appeal for the audience as notions of personal relationships apply – in the same edition an ironic advert for ‘Dick Sapphire’ lectures on how to make money targets the audience’s left wing, liberal leanings as they are aware the lectures are written and performed by comedian Rory Bremner­­, known for his strong political opinions on issues ranging from Health Care to Education and Politics. These are all areas audiences would expect The Big Issue to cover.

The reader is made to feel ‘independent’ by the reactionary, sometimes controversial approach the magazine has, against dominant mainstream culture. Even the adverts do not follow mainstream conventions with copy including National Book Tokens, ‘Let’s Trek for Children’ and Safer Medicines. There is an element of the alternative here with the caring, liberal audience appreciating the lack of adverts for high street brands whose primary objective is commercial gain. Along with this, even the celebrities found within the magazine are associated with more realist human interest stories while at the same time remaining aspirational as figures the target audience can identify with and relate to.

 The central story, “What’s your Revolution?” is a rhetorical question challenging the target audience making clear linking to the Communist Russian Revolution – this is an attempt by the magazine to return to left wing political values.

•       The connotations of the Russian Revolution are evidenced by intertextual reference to Constructivist art which references the cultural capital of an ABC1 demographic – the fist, stars and design are common to this art movement.

•       “Time to make a change” has a double meaning by referencing a need for political change but also by referring directly to new writers – Alex Salmond as leader of the SNP has obvious credentials to write for a politically motivated magazine, Bob Crow is the reactionary, left wing General Secretary of the RMT known for bringing railway workers out on strike while the Archbishop of York is an outspoken block cleric on issues of multiculturalism and homosexuality. The controversial Premier League footballer Joey Barton is included as a controversial figure who has been subject to considerable criticism and media speculation.

•       Dame Stephanie Shirley is the only female writer on the front cover which anchors the male dominated narratives and viewpoints contained within the magazine – Dame ‘Steve’ Shirley (adopting the name Steve to help her in the male dominated business world) is a businesswoman and philanthropist whose work has focussed on creating work opportunities for women with dependents.

Genre

•       As a hybrid magazine of entertainment and social business key entertainment conventions include reviews on television, film, book releases, theatre, music, the arts (see some display adverts). As identified before these entertainment aspects draw in advertising revenue as this is one of the key appeals of the magazine (see above). Front covers are nearly always entertainment based with frequent use of celebrity to anchor a narrative – see front page deconstruction below. The Big Issue remains an unusual hybrid as entertainment magazines are rarely hybridised with social business and as such this positions the magazine as having a USP.

•       In terms of social business, the magazine runs so called ‘serious stories’ – social issues e.g. AIDS in Africa, Wikileaks, liberal politics, ‘David and Goliath’ stories which commonly focus on individuals and their struggle against corporations in classic binary opposition. Definitions of social business are businesses that are associated with working for the benefit of the people e.g. Charities, Education, Healthcare, Housing…This is clearly identifiable as a key convention of The Big Issue as it places this as an ideological imperative. Businesses foregrounded often associated with a more caring approach include Virgin, Innocent Smoothie, Co-op Bank, Organic Milk, National Book Tokens, Skillset and the University of the Arts. Critical of big business, banking and commerce the articles are often anti-government, state control and use of power. Despite the unusual hybrid The Big Issue retains some of its generic features including regular articles at the back of the magazine by John Bird and a guarantee of a ‘big splash’, colour cover that is challenging and provoking.

Representation

•       Pluralistic representations reflect the fact that the magazine is independent – it offers a diverse range of representations but a key focus on minority groups e.g. the homeless which positions it as a media text that like The Guardian, foregrounds narratives about minority groups. Connotations of being politically liberal and socially aware and against mainstream representations are written into the magazine despite the prior admission as identified earlier of John Bird’s Conservative political sympathies. The Big Issue wants however to be seem as the antithesis of right wing political ideology and this is evident from front covers and content analysis.

•       In relation to gender the magazine has a male dominated narrative despite the alleged 59% readership (according to The Big Issue). I personally rarely see the magazine purchased by female consumers and the content seems to stereotypically target ‘male issues’. This is a problem for The Big Issue as it wants to appeal to both genders. The magazine is sold not exclusively but commonly by male vendors and homelessness in terms of statistics is a ‘male problem’. As difficult as these statistics are to interpret there are many, many more homeless males in the UK than female and as a result ABC1, educated male consumers are more likely to be aware of this.

•       Representations of Age is interesting - The Big Issue allegedly has a younger target audience according to the magazine’s own demographic analysis but many articles suggest a need for cultural capital associated with an older demographic e.g. one article on William Shatner as James T Kirk would present ‘problems’ for a younger reader. In this regard however statistics indicate that homeless people in the UK are more under 45 than over 45 with a significant percentage under 35. Representation of art and culture are preferred to mainstream entertainment which again would stereotypically attract an older audience with a positive focus on representations of working class culture despite the middle class readership.

•       Compared to any genre of magazine The Big Issue has low production values but compared to most other so called Street Magazines has higher production values. Again, as with most magazines The Big Issue is sustained by advertising revenue and by The Big Issue Foundation and supported by www.bigissue.com. The cover is often flamboyant, revealing a high level of cultural and political awareness (see above covers which use intertextual links to an Alfred Hitchcock film to link to budget cuts and debate on the power of television) but also understanding the cover is the main point of sale. The Big Issue is sold (points of distribution) in city centres, built up urban areas, train stations and shopping centres with the bulk in London where there is a high percentage of Romanian vendors. The magazine, although dealing with national issues is up to a point globally published being available in Australia, Japan, South Africa, South Korea, Namibia, Kenya, Taiwan and Malawi where content is bespoke to country and culture.

 

Magazine introduction

The Big issue

'hand up not a hand out'  'We are a social business not a charity'

• Media language is camera, editing, sound, mise en scene (CLAMPS)
• Social, cultural and political contexts.
• Need to know 2 front covers of the big issue.
• Alternative to mainstream
• Talk about:
  -Typography
  -Camera
  -Props
  -Lighting
  -Makeup
  -Clothing

Vocabulary;

• Niche audience- narrow group of readers with a particular interest
• Mass audience- readership on a large scale
• Masthead- the title of the magazine 
• Puff- a story that is given prominence on cover
• Coverstar- 'star' featured on the cover
• Anchorage text- text that anchors the main image and gives it meaning/context.
• Intertextuality

• 1991- started (it gave people a chance to make a difference)
• Brought homeless/less wealthy for £1.25 each to resell for £2.50
• Gordon Roddick and John Bird began the big issue
• 2000 big issue venders
• Relies on sponsorship and circulation revenue
• About 100,000 are sold in Britain each week
• Entertainment and social business
• 'Ethic capitalism'- John Bird

Industry keywords

BARB - The Broadcasters' Audience Research Board is the organisation that compiles audience measurement and television ratings in the United Kingdom.

   WEBCASTING LICENSE - If you operate a service that streams sound recordings online, then you will need a Webcasting Licence; Allows you to webcast as a service. 

TECHNOLOGICAL CONVERGENCE - Technological convergence is the tendency that as technology changes, different technological system sometimes evolve toward performing similar tasks.

WEB 3.O OR SEMANTIC WEB - a proposed development of the World Wide Web in which data in web pages is structured and tagged in such a way that it can be read directly by computers.

 INTERNET OF THINGS - The Internet of things is the network of physical devices, vehicles, home appliances and other items embedded with electronics, software, sensors, actuators, and network connectivity which enables these objects to connect and exchange data.

BINGE-VIEWING - watch multiple episodes of (a television programme) in rapid succession, typically by means of DVDs or digital streaming.

 DAB - Digital audio broadcasting is a digital radio standard for broadcasting digital audio radio services, used in countries across Europe, the Middle East and Asia Pacific.

TRADITIONAL MEDIA - television, radio, newspapers, magazines, newsletters, tax press and other print publications.

GOOGLE ANALYTICS - a freemium web analytics service offered by Google that tracks and reports website traffic.

RAJAR - stands for Radio Joint Audience Research and is the official body in charge of measuring radio audiences in the UK. It is jointly owned by the BBC and the Radiocentre on behalf of the commercial sector.

NRS - The National Readership Survey is a joint venture company in the UK between the Institute of Practitioners in Advertising, the Newspaper Publishers Association and the Periodical Publishers Association.

 MIDAS - Midas Media is a digital marketing agency that focuses on content marketing, search engine optimization, social media marketing

CULTURAL IMPERIALISM - Cultural imperialism comprises the cultural aspects of imperialism. Imperialism here refers to the creation and maintenance of unequal relationships between civilizations, favoring the more powerful civilization.

 DEMOCRATISATION OF THE MASS MEDIA - the introduction of a democratic system or democratic principles in the mass media. 

EFFECTS OF PIRACY – the effects of the unauthorized use or reproduction of another's work.

HORIZONTAL INTEGRATION - Horizontal integration is the process of a company increasing production of goods or services at the same part of the supply chain. A company may do this via internal expansion, acquisition or merger.

VERTICAL INTEGRATION - the combination in one firm of two or more stages of production normally operated by separate firms.

DIVERSIFICATION - the action of making or becoming more diverse or varied.

ALTERNATIVE MEDIA - Alternative media are media that differ from established or dominant types of media in terms of their content, production, or distribution.

CONGLOMERATE - a thing consisting of a number of different and distinct parts or items that are grouped together

GRA - Games Rating Authority.

PEGI - Pan European Game Information is a European video game content rating system established to help European consumers make informed decisions when buying video games or apps through the use of age recommendations and content descriptors.

MEDIAWATCH UK - formerly known as the National Viewers' and Listeners' Association (National VALA or NVLA), is a pressure group in the United Kingdom, which campaigns against the publication and broadcast of media content that it views as harmful and offensive, such as violence, profanity, sex, homosexuality and blasphemy.

IPSO - Independent Press Standards Organisation.

WATERSHED - an event or period marking a turning point in a situation.

OFCOM - The Office of Communications, commonly known as Ofcom, is the UK government-approved regulatory and competition authority for the broadcasting, telecommunications and postal industries of the United Kingdom.

MEDIAWATCH - is a media monitoring organisation

BBC CHARTER - The BBC Charter established the BBC (British Broadcasting Corporation). An accompanying Agreement recognises its editorial independence and sets out its public obligations in detail. Each Charter has run for ten years.

 SYNERGY - the interaction or cooperation of two or more organizations, substances, or other agents to produce a combined effect greater than the sum of their separate effects.

PSB - public service broadcasting refers to broadcasting intended for public benefit rather than to serve purely commercial interests

BROADCAST CODE - was a set of ethical standards adopted by the National Association of Broadcasters (NAB) for television.

 IWF - The Internet Watch Foundation is a registered charity based in Cambridgeshire, England. It states that its remit is "to minimise the availability of 'potentially criminal' Internet content.

Radio 1 presentation

Introduction to video games

Types of Video games: 
- RPG
-Sports
-Strategy
-Action/adventure
-Puzzle solving
-Construction
-FPS
-Simulation
-Horror
-Children's

Examples of multi-platform video games:

- Fortnite                                        -Cooking Mama                      -Sims

-Nintendogs                                   -Dinner Dash                           -Far Cry
-Fifa                                               -Big Brain academy                 -Rainbow 6 Siege
-GTA                                             -Sky Rim                                  -Fable
-NBA                                             -Mario Sonic                            -WWE
-UFC                                              -F1                                           -Assassin's Creed
-Wii Fit                                          -Just Dance                              -Wii Sports resort
-Crash Bandicoot                           -Rachet and Clank                   -We Sing
-Moshi Monsters                            -Guitar Hero                            -Monkey Ball
-Call of Duty                                  -Watch Dogs                            -Battlefield

Terminology:
-Games Consoles - A unit accommodating a set of controls for electronic or mechanical equipment.
-Sandbox Game - Construction; building from scratch. Changing roles of the 'look down generation.' Collaboration through gaming; multi-player
-Microsoft - Institution which owns videogames; Xbox and Minecraft
-Platforms - Different levels of gaming. Online Vs Moving images Vs Audio. Ways you can play (App, physically etc.). Multi-Platform - More than one way of playing; more platforms = wider variety.
-Servers - How the games run, where info is kept, enables games to be played.

Introduction to Minecraft:
- Minecraft development - from 'online Lego'
- Multi - platform =  more available
- Open Sandbox - no limit
- Started as an 'indie'
- Critically and commercially successful
- From independent to mainstream - 125 million copies sold.

-Minecraft was created by Marcus 'Notch' Persson and developed by Mojang.

-These were independent, separate to and not financed by a big commercial company.
-But, as small independent products become successful, it is usual for larger organisations/owners to want to buy them.

Reasons why Minecraft is successful:
- Infinite replayability - Sandbox (No limits)
-Strong community - creations are the marketing campaign
-Platform agnostic - Released on everything
-Co-opted by children - Household name
-Not limited by genre
-Fulfils human instinct to bring order to chaotic wilderness

Video game key words

Minecraft production, distribution, technology and circulation

Group research from Great Baddow High School Media

Introduction to Minecraft- Why and how has Minecraft been a commercial and critical success?

Minecraft has become hugely commercially and critically successful as a multi-platform game, known as an ‘open game’. The aim and key focuses of the game are specifically building, strategy and the idea of a survival game where you have unlimited lives and can respawn all around the map. Although Minecraft falls under the genre of a sandbox indie game which typically doesn’t attract a wide audience, however, Minecraft has been majorly popular because during in 2009 (when it was released) there was nothing similar currently around.

A lot of the company’s success is due to the unique style and blocky look that the game creates which allows a range of textures and patterns which are classically known and people will associate with Minecraft.

Minecraft has not been created in an attempt to compete with cinematic graphics and instead uses a grid based format which makes the concept of building much simpler and therefore attracts a larger range of audiences from the age 8+. This also gives the game to have educational element as it allows children to create and develop their own world where they can learn both practical skills and social skills. The game teaches the player how to build axes, hoes, and other tools, as well as giving them a chance to farm crops and animals and make food. Similarly, a player can connect with friends and join their own worlds or open severs then within the game the players can chat and write messages which send to all of the other players in the server. This helps to build social skills and can help people work within a group to build something or to play a game.

The creator Markus ‘Notch’ Persson reduced the cost by making the game initially based off of a simple idea (the pixel look format). Additionally, by Persson developing the game on his own it allowed him to keep the cost lower rather than having to employ multiple creators to begin with, which he can now afford and he currently has 15-20 developers working for him. Without any commercial backing of a mainstream publish, Persson relied on word of mouth alone which lucky quickly spread.

Minecraft (Mojang) has worked alongside of multiple clothing and toy companies, such as; Lego where mini figures have been created, for example: Steve, creepers, cows, sheep, chickens, along with many other characters and figures within the game. Smaller companies also make Minecraft merchandise like cardboard cut outs, plastic figurines, similar figurines but in surprise packaging where you only find out what character you have got once you have brought the product. Companies like these also sell hand books, manuals and annuals for example the Egmont group. Mojang collaborated with the company “J!NX” to release a clothing line which featured tops, pyjamas, hats and other clothing items. This helps to increase the success of Minecraft and again is another effective way of getting the name around and gaining interest in the game.

The game allows the player to do multiple things such as buy new skins where they can dress up as different characters within the game, some skins are free and you can download apps where you can create your own skin then download it onto Minecraft, this helps to keep the gamers interested as by adding extra apps which can link onto the one main server it stops the game from getting boring. Also, the larger/ more well know players can create their own servers with games on which you can find, for example: Lifeboat, InPvP, and Mineplex where players from all around the world can connect.

The game has frequent updates which change with the generations, adding new ideas and concepts this also helps to keep people hocked and to attract newer audiences.

Minecraft can be played on multiple devices such as: PCs, IPhones, tablets, play station, Xbox and androids allowing everyone to join in. Nowadays everyone has a smart phone meaning there is no limits to someone’s imagination and creativity because Minecraft allows you to almost escape from your world and become someone else for the time you are playing it which can become very addictive making players want to enter back onto their virtual world.

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