P2: Industry

Monday 28th October
Media Industries and Audiences
L/O: To explore the content of unit

• Focuses on media industries and audiences and requires learners to consider how and why different media products are constructed across different media forms to reach and address a number of audiences.

The Jungle Book

Homework: Research the history of Disney

Ownership
The Walt Disney Company, commonly known as Disney, was originally founded on October 16th, 1923 by brothers Walt and Roy O. Disney as the Disney Brothers Cartoon Studio. It also operated under the names The Walt Disney Studio and Walt Disney Productions before officially changing its name to The Walt Disney Company in 1986.

Funding

• In 1919, Walt Disney first started working at an art studio, where he met one of the most talented illustrators in the world, Ubbe Iwerks, which was a key to his later success. 
• The pair then went on to open their own studio, which failed, so they ended up working for an animation studio, making ‘Laugh O Grams’, which they then created a business after.
• Walt then convinced his brother Roy to help set up the Disney Brothers Studio, later on named the Walt Disney Studio
• The company started doing work for Universal Pictures, however one of his illustrators was later hired to Universal, so he had to create a character in order to become successful. Therefore, Mickey Mouse was created.
• Snow White and the Seven Dwarfs was then created, however the cost to make them was so expensive, the brothers were often left in debt.
• This process continued for a little while, until Walt decided he had to do more in order to make money. He funded private companies, even took money from his own life insurance in order to fund his dreams.
• He then offered to create a TV series for network ABC, which would help him invest in Disneyland. 
• Over 5 years, Disney’s income grew from $6 million to $70 million.
• From the 1980s-1990s, Disney became the largest entertainment empire in the world.

Growth

Box office successes (top 5 of all time)
1. Avengers: Endgame (2019), $2,795,473,000
2. Star Wars Ep. VII: The Force Awakens (2015), $2,053,311,220
3. Avengers: Infinity War (2018), $2,048,134,200
4. The Lion King (2019), $1,641,443,366
5. The Avengers (2012), $1,517,935,897

Diversification
Disney was originally known as the Disney Brothers Cartoon Studio, and it also appeared under the names of The Walt Disney Studio and Walt Disney Productions before officially changing its name to The Walt Disney Company in 1986. The company established itself as a leader in the American animation industry before diversifying into live action film production, television, and theme parks. Since the 1980s, Disney has created and acquired corporate divisions in order to market more mature content than is typically associated with its flagship family orientated brands. The company is known for its film studio division, The Walt Disney Studios, which includes Walt Disney Pictures, Walt Disney Animation Studios, Pixar, Marvel Studios, Lucasfilm, 20th Century Fox, Fox 2000 Pictures, Fox Searchlight Pictures, and Blue Sky Studios. Disney’s other main units and segments are Disney Media Networks, Disney Parks Experiences and Products, and Walt Disney Direct-to-Consumer & International. Through these segments, Disney owns and operates the ABC broadcast network: cable networks such as Disney Channel, ESPN, Freeform, FX, and National Geographic; publishing, merchandising, music, and theatre divisions; and Walt Disney Parks and Resorts, a group of 14 theme parks around the world.

Influence (how it influences other people and things) and brand values
Brand Values: The mission of The Walt Disney Company is to entertain, inform and inspire people around the globe through the power of unparalleled storytelling, reflecting the iconic brands, creative minds and innovative technologies that make them the world’s premier entertainment company.
Disney as a company originally started in order to fulfil children’s dreams and to create a visual for children to believe that dreams do come true if you believe. Not only did this open the opportunity for children to believe, but for adults to find laughter and comfort during war times. After Walt Disney died, this shifted slightly, as the company then started to focus on appealing to a greater audience and profits became their goals.

Make notes on the following for both movies:

1967 Original Version:
Main characters:

• Mowgli: A young, orphaned boy raised by Bagheera and Baloo, also referred to as 'Man Cub'
• Baloo: Sloth Bear, The teacher of the cubs of the Seeonee wolf pack
• Bagheera: Bagheera - Hindu for 'Black Panther', serves as a mentor to Mowgli
• Shere Khan: Bengal Tiger, Antagonist of the film, 'Shere Khan' translates to 'chief among tigers'. His reputation was such that he needed only to show himself to intimidate his victims. Khan is also notorious for his animosity towards man, due to his fears of guns and fire.
• Kaa: Snake, The secondary antagonist of the film, he hypnotises his prey in order to catch them
• King Louie: Orangutan, The noisy ruler of the Ancient Ruins. Having grown tired of his simian lifestyle, Louie hopes to learn the secret of man's 'red flower', to fulfil his dream of becoming a man.

Narrative: In the Walt Disney animation based on Rudyard Kipling's book, Mowgli, an abandoned child raised by wolves, has his peaceful existence threatened by the return of the man-eating tiger Shere Khan. Facing certain death, Mowgli must overcome his reluctance to leave his wolf family and return to the "man village." But he is not alone on his quest: Aided by Bagheera the panther, and later by the carefree bear Baloo, he braves the jungle's many perils.

Dominant themes: Rules and order, revenge, violence, courage, coming of age, foreignness and ‘the other’, principles, betrayal, and family, friendship

Representation: (groups, individuals, places etc.) e.g. children and adults, men and women, animals representing groups in society

The 1960s

L/O: To research the social context of the 1960s

We need to study the films in terms of industry and the social and historical context. Understand the media language and representation in the marketing, and have a clear idea of the intended audiences.

• Black civil rights, anti-war protests and second wave feminism were key in the 60s
• Homosexuality was illegal, along with challenges to laws on divorce, drugs, capital punishment, education, healthcare, and human rights.

Timeline of key events in the UK/US from 1960-1967

1960: 

• John F. Kennedy wins the U.S. Presidential Election

1961:

• Yuri Gagarin becomes the first person in space
• The World Wide Fund for Nature (WWF) is created

1962:

• The Cuban Missile Crisis has the world on edge of another World War as the United States and USSR come close to launching nuclear attacks
• The Beatles release their first single, 'Love Me Do', in the UK

1963:

• US President John F. Kennedy is assassinated by Lee Harvey Oswald
• US Civil Rights leader Martin Luther King Jr. gives his famous 'I Have a Dream' speech 

1964:

• US president Lyndon B. Johnson signs the Civil Rights Act of 1964 into law

1965:

• The Voting Rights Act is signed into law by President Lyndon B. Johnson
• Martin Luther King Jr. leads a peaceful civil rights march from Selma to Montgomery in Alabama
• The Vietnam War escalates and opposition to it begins to mount as anti-Vietnam protests become more common
• The death penalty was abolished in the UK

1966:

• The Soviet Union's Luna 9 unmanned spacecraft lands on the moon
• Walt Disney dies

1967:

• Disney's 'The Jungle Book' animation was released
• Abortion and homosexuality were legalised in the UK
• The Beatles release 'Sgt. Pepper's Lonely Hearts Club Band', their eighth album

1968:

• Civil Rights leader Martin Luther King Jr. is assassinated
• The Civil Rights Act of 1968 is signed into law by President Johnson
• Richard Nixon wins the US Presidential Election
• The first manned Apollo mission, Apollo 7, is launched by NASA

1969:

• Neil Armstrong and Buzz Aldrin become the first men to arrive on the moon during NASA's Apollo 11 mission

The Jungle Book (2016)

Main characters:

• Mowgli: A young, orphaned boy raised by Bagheera and Baloo, also referred to as 'Man Cub'
• Baloo: Sloth Bear, good friend to Bagheera, Mowgli meets him later on in the narrative
• Bagheera: Bagheera - Hindu for 'Black Panther', serves as a mentor to Mowgli
• Shere Khan: Bengal Tiger, Antagonist of the film, 'Shere Khan' translates to 'chief among tigers'. His reputation was such that he needed only to show himself to intimidate his victims. Khan is also notorious for his animosity towards man, due to his fears of guns and fire.
• Kaa: Snake, The secondary antagonist of the film, hypnotises her prey in order to catch them
• King Louie: Orangutan, The noisy ruler of the Ancient Ruins. Having grown tired of his simian lifestyle, Louie hopes to learn the secret of man's 'red flower', to fulfil his dream of becoming a man.
• Akela: Indian wolf, leader of a Seeonee wolf pack, and becomes one of Mowgli's mentors
• Raksha: Indian wolf, brought up Mowgli in the jungle

Narrative: Mowgli is raised by wolf Raksha and her pack, led by Akela, ever since he was brought to them as an infant by Bagheera. One day in the dry season, the jungle animals gather to drink the water that remains as part of a truce during a drought, which enables the jungle's wildlife to drink without fear of their predators. Shere Khan arrives, detecting Mowgli's scent in the crowd, and threatens to kill him. Mowgli decides to leave the jungle for the safety of the wolf pack. Bagheera volunteers to guide him to the nearby man village. Along the way, Mowgli meets Kaa, who hypnotises him. Kaa then attemps to eat Mowgli, but she is then attacked by Baloo. Mowgli then later awakens and attempts to retrieve some honey for Baloo as repayment, and they bond in the process. Mowgli agrees to stay with Baloo until winter. Bagheera eventually finds Mowgli and Baloo. During the night, Mowgli finds a pack of elephants and uses vines to save their baby. Baloo agrees to let Mowgli carry on to the man village, as he worries for his safety. Mowgli is kidnapped by a group of monkeys, who present him to their leader, King Louie, who chases Mowgli through his temple, and informs Mowgli of Akela's death. Mowgli goes to confront Shere Khan. He steals a torch from the man village and heads back to the jungle, accidentally starting a wildfire in the process. He lures Shere Khan onto a branch in the tree, which breaks under the tigers weight, and he falls to his death.

Dominant themes: Finding your tribe, family values, coming of age, friendship, acceptance of differences

Representation: (groups, individuals, places etc.) e.g. children and adults, men and women, animals representing groups in society

What changes have been made?

• The ending - Mowgli stays in the jungle
• Gender Representation: More female representation; Kaa changed gender, more focus on the female wolf
• Slight changes to the song lyrics, e.g. I Wanna Be Like You
• The narrative: more of a backstory - Shere Khan killed Mowgli's dad
• Additional elements from the book - e.g. the peace rock
• Less focus on some characters, e.g. the elephants, the vultures aren't included
• Less focus on social groups

How are advances in technology shown/used?


Monday 11th November
Disney (60s)
L/O: To research Disney's history

• Cinema attendance figures fell, due to competition from TV, and the younger generation lost interest in the cinema
• Disney had a fixed demographic, who's tastes were unchanging
• They bypassed the more erratic demands of the teenage and young adult market, e.g. violence, sexual content
• Disney were not immune from the progress of technology, where they were expected to constantly improve their animation techniques
• Film studios depended on ticket sales, as nobody could get films at home, due to videos not being available until the 80s
• TV did show films, however they were generally back catalogued from the 1930s to the 1950s, as studios were very protective of supplying TV with newer products
• Disney operated a 'no show' policy of their major animated releases ever being shown on TV. They would often archive and then re-release them in the cinema every couple of years
• This maintained the 'classic' nature of their products, attracting a family audience to the cinema
• Disney was able to use its resorts in California and Florida to maintain the myths and allure of such prize properties to enhance the core brand

What were the differences between how Disney operated as a film studio and how other studios operated at that time?
Walt Disney’s personal control of the film studio affected all stages of production and distribution. Before production of the Jungle Book started, Disney had streamlined the whole production system so he had one supervising director, one art director, four master animators and one storyman. In other film studios at the time had over 40 people assigned to these tasks.

What was Walt Disney's own influence on the production?

The Jungle Book was the last film Walt Disney worked on before his death. The previous film The Sword in the Stone had not been as successful at the box office, so Disney became more personally involved in the production process of The Jungle Book. Disney influenced everything about the film, he got hooked on the jungle and the characters that lived there. The ending was Walt Disney's own idea.

What techniques were used that differed from normal animation practices?

Before, the standard procedure was to have the animators draw the characters first and then cast the actors, however for the Jungle Book, the drawings were based on the actors, their voices and their vocal personalities. 

What places/people did they get their inspiration from? 

Animator Milt Kahl based both Bagheera and Shere Khan's movements on animals which he saw in two Disney productions, 'A Tiger Walks' and the 'Jungle Cat' episode of 'True Life Adventures'. Baloo was also based on footage of bears, even incorporating the animal's penchant for scratching. The wolf cubs were based on dogs from 101 Dalmatians. The monkeys' dance during I Wanna Be Like You was partially inspired by a performance Louis Prima did with his band at Disney's soundstage to convince Walt Disney to cast him.


Wednesday 13th November
The Film Industry
L/O: To explain the process of making a film and changes within the film industry

What was the process of making films?
To begin with, it was shot on film, which meant that they weren't able to see exactly what they were filming, they had to wait until it had been developed in order to watch it and decide whether it's good enough or if it needs to be re-filmed.
How has it changed in the past 20 years?
Technological advances have changed massively and made a big difference to the industry.
What impact has digitalisation had on the industry?
It's quicker, easier and saves a lot of money, so more money gets spent on the production of the film. Digitalisation has also made filmmaking far more accessible to everybody.
How has changing technology effected the industry?
The introduction of 3D and 4D technology, surround sound, streaming services like Netflix have more original films.
What's the future of filmmaking?


Homework: Explain the following terms in your own words

Vertical & Horizontal integration: Vertical integration is when the production company receives all the profit because they have ownership of the production, distribution and exhibition of the film by the same company. Horizontal integration is where a production company expands into other areas of one industry, which means the company can develop in a particular area of production, or they can buy out another company that deals with these areas.

Digital, technical and standard convergence: 
Standard: The interlinking of computing and other information technologies, media content, media companies, and communication networks. e.g. an iPhone
Digital: The ability to view the same types of multimedia content from different devices.
Technical: The tendency that as technology changes, different technological systems sometimes evolve towards performing similar tasks.

Pre-Production: The work done on a film or broadcast before full scale production begins. e.g. the scriptwriting, storyboarding, casting etc.

Production: The actual process of making the film or broadcast.

Distribution: The action of releasing the film or broadcast to the recipients.

Exhibition: The public screening of the film or broadcast, usually for paying customers in a cinema.

Exchange: What an audience does with a product once they've watched it.


Wednesday 20th November
The Film Industry
L/O: To apply media terminology and debates to Disney

Jungle Book 1967
How can the values, ideologies and key events of the 1960s be seen in The Jungle Book (1967)?
There are a number of key events from the 1960s that appear to have influenced particular elements of the Jungle Book 1967. Firstly, the 1960s was a big decade for the civil rights movement, as Martin Luther King Jr. made his ‘I Have a Dream’ speech in 1963. This links back to the Jungle Book because they used a lot of racial stereotypes in the film which would nowadays be frowned upon, in particular, with the character of King Louie. Other characters in the Jungle Book influenced by key events that happened in the 1960s are the vultures, as they were influenced by the band The Beatles, who released their first single ‘Love Me Do’ in 1962. The Jungle Book 1967 used stereotypical representations of key events and people from the 1960s in the film, which when watching in 2019, demonstrates how differently these ideologies are presented nowadays.

Jungle Book 2016
How can we see the impact of digitalisation and technical convergence in the production of the Jungle Book (2016)?
The advances in technology over time made a big impact on the production and the making of the Jungle Book in 2016. The impact of digitalisation (convergence of text, pictures and sound into a digital format) has helped massively with this, as it made it a lot easier and quicker for the producers to make the film. The Jungle Book 2016 has been called 'one of the most technologically advanced movies ever made'. The animals were created digitally in post-production using CGI, meaning that the costs would have been a lot lower during filming. Most of the film was actually brought to life during the editing process, as they only needed the one actor playing Mowgli acting on set against a blue screen. The film's sets were built virtually, using a process called pre-visualisation; visualising the complex scenes of the film before filming it. All of these components demonstrate the impacts that digitalisation and technical convergence had on the film, and digitalisation makes the production of a film cost a lot less, as there is less time spent filming and more time editing, meaning the production company don't have to pay an extortionate amount of money building a set or casting actors to film for long periods of time.


Monday 25th November
Jungle Book 1967
L/O: To explore the industry and social context of Disney in the 1960s

• An era of change in the social context and film industry
• Because people's viewing habits were changing, Disney tried to protect itself. In the 1950s, it had already opened some of its theme parks, trading off the identity of its major animated characters, and in turn, using the release of new films to promote the parks.
• The theme parks became a major source of revenue, focusing on the appeal of adult nostalgia and appeal to young children
• Disney branched into television, creating a TV channel targeting young children and mining its back catalogue of cartoons whilst creating new TV shows.
• It had made the move into live action with the release of Herbie and Mary Poppins, which were popular in the box office, which then made merchandise and soundtracks selling the films.

Conventional marketing techniques:

• Trailers in cinema linked to similar genre
• Teaser posters, theatrical posters, billboards
• Magazine features
• Press marketing to use as main magazine features or covers
• Reviews
• Word of mouth
• Merchandise
• Soundtrack/hit theme song
• Fandom - creation of 'tribes' - The Mickey Mouse Club; Mouseketeers
• Brand identity - the studio/director/franchise
• Brand reliability - the studio/director/franchise

Disney was ahead of its time in grasping the potential of what we would today call 'influencer marketing'.

Disney was able to use its growing financial muscle alongside its brand identity with an older audience to create positive attitudes towards its products.

Disney's influence and values

• Walt Disney himself had a massive influence on the content, narrative and values of each Disney major animated product.
• His emphasis on the importance of family and family values were apparent. Disney saw himself as standing for what was good and decent in America and the ever changing and challenging wider world. 
• He would have related a lot to the parents; there were a lot of concerns about new ideas of sex and violence in cinema and TV, he had to make sure all of his products were trusted by parents.
• Disney was a right-wing Republican, even though he did not create each frame, his influence was everywhere. Every film being released had to be approved by him.
• This shaped the choices made by artists, graphics, designers, writers, editors, directors and producers.
• Over time they had to come to anticipate his demands and build these into each product. The institution was very much constructed in Walt's image.

How were these values shown in the Jungle Book 1967?

• Republican views in the 60s - lack of female representation in the film, highlights the patriarchal society he grew up in
• Segregation for the greater good - old fashioned views reflected society's views at the time
• The songs in the film are very upbeat and fun loving, distinct lack of graphic threat and violence
• The characters - Bagheera represents being responsible and the right wing traditional views of the time, whereas Baloo is a lot more laid back and carefree, however Baloo does agree with Bagheera in the end
• Traditional ideas of 'adults know best'
• Some representation of modern culture - the vultures were inspired by The Beatles
• The use of swing/jazz songs could have been references to the modern music of the time

Viewed from the modern era, we might find the representation of King Louie somewhat challenging with his jazz/hipster character and clear trope of ethnicity. That this occurred in the age of Martin Luther King, Malcolm X, and challenges to the racism of the divided America at the time, the reinforcing of such a regressive and controversial ethnic stereotype can be seen as evidence of both Walt Disney's lack of understanding of the evolving social mood of the era, and his naive unawareness of the connotations of the negative trope created.

• The death of Walt Disney occurred a few months before the release of the film, but his influence was such that the work and practises of the studio continued along the lines he had set out over the previous 30 years.
• Hesmondhalgh considers the impact from contemporary cultural industries in the modern era (from 1950s onwards) becoming more commercially organised. 

Technological Developments

• The age of the video player began in the 1980s changed film viewing for everyone, as VHS tapes were available for home purchase
• Disney were sceptical about this, but eventually around the 1990s they started to make their films more readily available.
• They were only released one or two at a time, but as the sophistication of video increased, the release of special editions carried with them additional features or special packaging
• By the time DVD and blu-ray technology came about, it meant that new editions of The Jungle Book and other classics could have a wide breadth of additional features to ensure they remained collectable and create appeal to new audiences

Disney Audience

L/O: To analyse the target audience for Disney

Disney's primary target market of 4-12 year olds has been unchanging for decades. It is widely diverse, as it is one that includes the younger half - the 4-9 year olds that are still children and the older half of 10-12 year olds that are on the verge of their teenage years.

These two segments are considered primary because they have the greatest influence over their parents decision making and are most excited about the brand.

These children are also heavy users of the brand in that they experience the thrill of rides, wear Disney merchandise, and use the brand as a source of entertainment.

Since the 60s, Disney's secondary target market consists of men and women between 35-55 years old. This segment is considered secondary because they have already experienced the traditional Disney atmosphere.

Disney must advertise and appeal to this segment because they are money makers and make the Disney experience available for their children.

Disney's primary and secondary target markets are very trusting of Disney's brand due to its longevity and the association with customer service. The brand in 1967 offered a wide array of products that satisfied both segments wants, needs and desires. Children felt a strong association with the brands many characters; parents were confident in the wholesome values of the brand in a shifting social context.

How has Disney exploited its brand image to construct a clear and consistent audience for its products over a period of time?

Disney is a brand that has had the same target audience for decades. Their primary target audience is 4-12 year olds, as they are the people who are the most excited about the brand, and have the greatest influence over their parents decision making; i.e. telling them they want to see a certain Disney film. These children are also heavy users of the brand itself, in that they want to buy the merchandise, want to go to the theme parks, and Disney is a good source of entertainment for them.

Disney’s secondary target market consists of men and women aged between 35 and 55 years old. This has been the case for Disney as a brand since the 1960s, as they would have already experienced the traditional atmosphere of Disney as a brand when they were younger. It is important that Disney advertise and appeal to their secondary target audience because they are the people putting the money forward, and paying for the film screenings and merchandise for their children. The secondary target audience are highly likely to do this, because they know Disney is a family friendly brand and are very trustworthy when it comes to their films; they know there wouldn’t be any inappropriate content included, and that it is suitable for their child to enjoy.

Since the 1960s, Disney have been very passionate about who they are targeting their content at and how they are marketing it to them. Children felt (and still feel) a strong association with the characters in the Disney franchise, and the parents were confident in the brand and their wholesome, family friendly values. This is the same attitude as today, as Disney’s content is readily available in many more places for their audience to experience. This is through the help of streaming sites and social media, as the parents are more likely to know when a new film is coming out, and are more invested in the brand than ever before.

Jungle Book 2016

L/O: To explore the industry and social context of Disney now

• The 2016 version was pitched to a slightly wider youth audience than the 4-12 audience of the original.
• 2016 was the year of Trump and Brexit; Syrian boat refugees; the ongoing #oscarssowhite campaign; etc

Key events and issues here and in the US during 2014-2016

2014

Politics

• Scottish referendum - Scotland votes to remain in the United Kingdom
• Pro Democracy protests in Hong Kong

Social Media Storms

• ALS Ice bucket challenge
• Kim Kardashian 'broke the internet'
• #BlackLivesMatter

Key Events

• Malaysia Airlines Flight 370 disappears
• Ebola strikes West Africa
• Ferguson riots - Protests and riots that began the day after the shooting of Michael Brown by police officer Darren Wilson in Ferguson, Missouri

2015

Politics

• Conservatives win the UK election
• Donald Trump enters the race for the Republican nomination
• Justin Trudeau becomes prime minister of Canada

Social Media Storms

• Zayn Malik leaves One Direction on March 25th
• 'The Dress' debate
• Caitlyn Jenner appears on the cover of Vanity Fair

Key Events

• European Refugee Crisis
• Terror attack in Paris
• Mass shootings across the US
• Same sex marriage is legalised in the US
• One Direction perform for the final time before their hiatus

2016

Politics

• Donald Trump wins the US presidential election
• The UK votes to leave the European Union

Social Media Storms

• Pokemon Go is released
• The Mannequin challenge
• Harambe the Gorilla

Key Figures

• David Bowie dies
• Prince dies
• George Michael dies

Key Events

• The Zika virus spreads throughout the Americas
• The Orlando nightclub shooting
• The 2016 Summer Olympics happen in Rio de Janeiro
• The Syrian refugee crisis continues

Wednesday 27th November

Disney in 2016

L/O: To explore the changes in the company and the industry since the 1960s

• 1960-1990: New Hollywood - Directing became an art because the studio system was failing, so they were given free range to attract their audience. They were trying to attract young adults aged 18-30, looking for new ideas and new ways of presenting stories in film. They focused on new and relevant content with a new form of narrative - handheld cameras, filming on location, natural lighting etc
• Developments in projection and sound lead to new cinemas being opened on out of town sites that were better geared to serving the expectations of the audience for sharper images, immersive sound, better refreshment, better seating
• The evolution of multi screen cinemas meant films could be cycled through more speedily and not block the release of new films; they offered greater choice
• The emergence of DVD and Blu-Ray meant films could be sold for showing at home within months of their release and a far greater profit than showing in the cinema
• Satellite and cable subscriptions and the emergence of streaming and on demand meant a greater profit for these companies too (Sky, Amazon, Netflix etc)
• Post 2000, the film industry blossomed. The massive financial return of Lord of the Rings, Harry Potter and the Marvel franchise saw studios once more investing heavily in productions
• Difference from the 1060s was the introduction of franchise films  - sequels, prequels and associated films such as the Marvel franchise offered greater security in the ability of marketing these films and of attracting audiences necessary for the films success
• Genre films made a comeback, by 2005 they were becoming more expensive and polished.
• Because of CGI, film production was back in studios again
• Post production became the most expensive and important part of a films production

Monday 9th December
Disney in 2016 continued

• 2016 version of the Jungle Book has a much darker tone
• Since 2010 Disney decided on a strategy to create live action versions of its earlier classics
• The film for the most part is produced using CGI
• The film was based on the idea of a homage to the tone and styles of the 1967 version, but was pitched in a 2016 world to the demand for more realistic characters.
• Shere Khan is darker, Baloo is more layered
• Zeitgeist: Spirit of the times - an invisible force dominating the characteristics of a given time period

In what ways does the production of the Jungle Book 2016 offer evidence of Hegel's view of zeitgeist?

Zeitgeist is an invisible force dominating the characteristics of a given time period. The production of the Jungle Book 2016 offers evidence of Hegel's view of zeitgeist in a number of different ways. In terms of the 1967 version, the 2016 version has progressed a lot in terms of its gender representation and ethnic representations. The Jungle Book 2016 has a much larger female presence, and there is more female representation in this version than the 1967 version. For example, they made Kaa a female character in the 2016 version, whereas in the 1967 version, Kaa was male. In the 1967 version, the only female representation is the girl at the end, and stereotypically, she is being used as a love interest for Mowgli. Overall, the 2016 version has more female representation, including the introduction of Raksha as a main character, and Kaa as a female character rather than a male. 

How does the film address the expectations of a 2016 audience?

The 2016 version of the Jungle Book has a much darker tone than the 1967 version. This addresses the expectations of the 2016 audience, as they are a lot more desensitised now than they would have been when the 1967 version was released, due to culture constantly evolving and young children becoming more exposed to world events and situations that will desensitise them. Since 2010, Disney decided on a strategy to create live action versions of its earlier classics, which is a clever marketing strategy, as these remakes will appeal to both the older generation, who would have grown up watching the original version, and the younger generation, who will want to see the film because it is a Disney film, and all Disney films are worth watching. The 2016 version of the Jungle Book was mostly produced using CGI, which will appeal to a teenage audience, who will benefit from the uses of new technology in film, because it makes them more interesting, and gives them a whole new dimension. The 2016 version of the Jungle Book was based on the idea of a homage to the 1967 version, but was pitched in a 2016 world to the demand of more realistic characters. Shere Khan's character is a lot darker in the 2016 version, and Baloo is more layered, giving the people who grew up watching the 1967 version a different viewpoint of the characters.

How does it fit into the Disney brand?

The Jungle Book 2016 fits into the Disney brand in a number of different ways. The 2016 version is still based on the classic 1967 version, just with a slightly darker storyline. In the film, we see at the beginning and end a shot of the original Jungle Book story, transitioning into the live action version, which links back to the classic Disney branding. The soundtrack of the 2016 version is also similar to the 1967 version, as they adapt some of the classic songs such as 'I Wanna Be Like You' and 'The Bare Necessities' to fit with the 2016 version's ideologies. This also reassures the audience that the 2016 version still fits into the Disney brand, as they very often link back to the 1967 version in terms of the songs and characters.

• Disney now owns 27% of the film industry
• Over the years Disney have crept into more and more places, thanks in large part to billions of dollars of acquisitions of already famous brands.
• More brands within the Disney family can mean more things like theme park rides and attractions
• Disney is an example of both horizontal and vertical expansion
• The move into TV in the 1950s took the company into sympathetic areas
• The move into theme parks, hotels, and airlines enabled efficient exploitation of the Disney brand established by its animations
• In 2016, Disney's primary target market contained around 26 million young children and represented approximately 8 and a half percent of the US population
• 40% of this category are Hispanic, presenting marketing challenge
• The older and younger half of the primary target market (4-12 y/o) is being exposed to an increasing amount of digital media
• 50% of the primary target market own smartphones, marketers now look to designing mobile campaigns, to tap into a new potential market
• The animal characters in the 2016 version were deliberately created with a realistic look, in order to target older movie goers.
• Targeted towards teenagers by packing the first trailer with scary scenes, in order to get the teenagers to influence their younger brothers and sisters to see the film.
• The movie was very aggressively and repeatedly pitched to male audiences
• Commercials on ESPN created the perception that the Jungle Book was not coming from the studio that made Cinderella, but from the studio that produced Pirates of the Caribbean
• Disney also rolled out trailers during the Super Bowl, and during the showing of Star Wars: The Force Awakens in order to appeal more to the male audience
• Disney marketers targeted the Hispanic audience by teaming with Univision, the American-Spanish TV network, for a 5 week stint that brought the Jungle Book characters and clips to various shows.
• They explicitly made a big deal out of the actors starring in the film, which will appeal to the older audiences, as they will know who the actors are

Wednesday 11th December

Disney in 2016

L/O: To explore the marketing techniques used to target audiences in 2016

• USA Today reported that 49% of the sales were attributed to people over 25, and 51% were attributed to under 25s
• Audiences in the age group 18-24 led to 33% of ticket sales

Marketing Techniques for the Jungle Book 2016:

• Conventional film marketing
• Websites for the film offering interactive content with links to social media for additional spread of the film
• John Favreau showed sneak peek footage at a Disney fan convention in California, thousands of posters were distributed and he arrived with the Jungle Book voice actors on stage
• Disney uploaded an interactive movie poster on Snapchat
• They had lots of tie ins with other partners for promotional opportunities, with competitions and other products
• Merchandise: Disney Store products, they also licensed other manufacturers to produce related products; e.g. Kenzo produced a line of clothing linked to both the new film and the 1967 version

Discuss how ideas of identity are present in the production and marketing of The Jungle Book 1967 and The Jungle Book 2016

Consider what role the Disney brand and its film products have in contributing towards constructing and sustaining the identity of audiences and how their marketing seeks to exploit this understanding of different audiences

The Jungle Book 1967 and The Jungle Book 2016 had different ideas of identity in the production and marketing of both films. In the 1960s, people's viewing habits were changing, and Disney were trying to protect themselves by staying true to their brand identity of making family friendly films, and appealing to the younger audience and their parents. In terms of marketing techniques for The Jungle Book 1967, Disney used conventional techniques, such as trailers in cinemas, posters, billboards and merchandise, and their brand identity of being 'Disney' was a good way of getting people to see the film, as parents knew it would be family friendly, so they would take their children to see it. In the 1960s, Disney was able to use its growing financial muscle alongside its brand identity with the older audiences to create positive attitudes towards its products.

The 2016 version of The Jungle Book takes on a slightly different approach to the ideas of identity in the production and marketing of the film. Disney's audience identity has shifted, and this is proven by the fact that 49% of ticket sales for the film were attributed to over 25s, and audiences in the age group 18-24 led to 33% of sales. This is due to Disney's more unconventional style of film marketing for the 2016 version; they focused a lot more on social media, with an interactive movie poster on Snapchat, and links to social media pages on their website, which appeal more to the teenagers and adult side of their target audience. Disney's brand identity has shifted too, as they now own 27% of the film industry, so they are more likely to make links with brands and reach out to more people. The 2016 version was also created with the intention of appealing to an older audience, in particular, teenagers, as they made the trailer look scarier to reach out to the older target audience. 

Random Facts:

Homework: Due Friday 20th December

How does the Jungle Book 2016 show the changing values and ideology of the Disney audience? (15 marks)

The Jungle Book 2016 shows that the values and ideologies of the Disney audience have changed immensely since the 1967 version of the film was released. The Disney audience is a lot bigger now than it used to be. According to USA Today, 49% of ticket sales for the live action Jungle Book were attributed to people over 25, with 51% being attributed to those under 25. Audiences in the age group 18-24 also led to 33% of ticket sales. This is because Disney were trying to attract an older audience into the film. They deliberately made the first trailer for the film scary, appealing to thrill seeking teenagers and adults. Technological advancements such as CGI was also how the film attracted a larger teenage audience, as it gives the film a whole new dimension, and it is a subject of interest to them. However, the film still got a lot of attention from Disney's primary audience of 4-12 year olds, as younger children are a lot more desensitised now than they would have been in the 60s, due to culture constantly evolving and younger children becoming more and more exposed to world events. The younger audience is also more exposed to digital media, and Disney adapted some new, unconventional marketing strategies for the release of the Jungle Book 2016. For example, they created an interactive website, with sneak peeks and exclusive content for the film, and they also created a Snapchat filter in order to promote the film, which was accessible for users of the app, who are mostly teenagers, once again bringing in that audience. 

However, Disney still wanted to stay loyal to their original brand and their roots with the Jungle Book 2016. The film is still based on the 1967 version, just with a much darker storyline, which links more to the original story by Rudyard Kipling. Disney's technique of remaking classic films into live action is clever in the way that it appeals to both ends of the spectrum, in that older audiences will remember the original version, and younger audiences will want to see the film because of the reliability of the classic Disney brand - they know they will enjoy the film because it is Disney. Disney is also a much larger brand than it was in 1967. The company is an example of both horizontal and vertical integration, as they often collaborate and reach out to different brands in order to generate income, for example, they collaborated with fashion brand Kenzo and made merchandise for the Jungle Book. Disney also have multiple theme parks around the world and make their own merchandise internally which generates income. It can also be said that Disney offers evidence of Hegel's view of zeitgeist, as the 2016 version of the Jungle Book has progressed a lot in terms of its gender representation and ethnic representation, reflecting the values and ideologies of their constantly evolving audience.
To conclude, it is evident that the Jungle Book 2016 shows the changing values and ideologies of the Disney audience today in many ways such as technological advancements, marketing strategies and the loyalty to the Disney brand itself.


Monday 6th January
Minecraft (2011)
L/O: To explore Minecraft and the history of gaming

Loop Task:

• Layout: Centred around the main character, with secondary characters in the background, he is leading the way. The colours used are bright, mostly blues and greens, connoting that this is a positive game
• Images: The styling of the characters and the imagery in the types of characters connote that this is a fantasy style game, where you have to survive
• Connotations: The layout and presentation of the cover connotes that it is a game for young people, most probably targeted at children, the weapon held by the main character could connote a sense of violence in the game
• Representations: The main character is male, reinforcing gender stereotypes, and represents the large audience that are predominantly male

What are the different types of games you can get and how do they differ?

Genres: 

• Action games
• Action-adventure games
• Adventure games
• Role-playing games
• Simulation games
• Strategy games
• Sports games
• Puzzle games
• Idle games

Main Companies:

-Tencent
-Sony
-Activision Blizzard
-Microsoft
-Apple
-Netease
-EA
-Google
-Nintendo
-Bandai Namco
-Nexon
-Netmarble

Audience Demographics:

• The gaming industry is expected to reach $180.1 billion in revenue by 2021
• There are more than 2.5 billion video gamers around the world
• The average gamer is 34 years old
• 70% of gamers are age 18 or older
• 60% of Americans play video games daily
• 45% of US gamers are women
• 70% of parents believe video games have a positive influence on their children’s lives

Minecraft

When was it released, who designed it and which company produced it?

17th May 2009, designed by Markus Persson and Jens Bergensten, and it was produced by Mojang

What is the idea of the game?

Minecraft is a 3D sandbox game that has no specific goals to accomplish, allowing players a large amount of freedom in choosing how to play the game. However, there is an achievement system. Gameplay is in the first-person perspective by default, but players have the option for third-person perspective.

Who was the target audience?

The primary target audience is 5-15 year olds, however the game does have a universal appeal, with different modes and levels of difficulty, making it accessible for all ages.

How has it developed?

Minecraft was originally funded by money made from a developmental version of the game published in 2009, which since then has been taken over by Microsoft.
Minecraft was originally made as a PC game, however it can now be played on consoles and smartphones, showing how popular the game has become.

Who owns it now?

Microsoft, since 2014


L/O: To analyse the format and industry bodies linked to Minecraft

Mojang are a Swedish based software house formed specifically to develop and publish Minecraft, and was originally funded by money made from a developmental version published in 2009.
Mojang covered everything concerning Minecraft from further software development through to promotion, marketing and direct distribution through Minecraft.net.

In 2014, Mojang and Minecraft was acquired by Microsoft for over $2 billion, the figure implies the perceived value of the brand and the manner in which its future development was seen. The game was sold to subscribers for $20 with no further add-on costs. Minecraft sold over 80 million copies at the time of the takeover, and in 2018, the figure stood at 160 million.

Minecraft inspired videos were key in the early marketing of the game by Mojang, swiftly gaining popularity on YouTube and generating viral hype about the game. The game was marketed as an online version of Lego. The block cell graphics and its well publicised 'maverick' origins created interest and made the game far more desirable in appearing to be outside the direction and creative control of major distributors. By 2012 there were millions of YouTube videos around the game - parodies, instructional screen grabs, walkthroughs etc. This impact came without a major studio backing, enhancing the reputation and standing of the game and of Mojang. Mojang grasped the potential of influencer marketing. In selling to Microsoft, both Mojang and Microsoft risked the loss of the 'indie' attractions of Minecraft.

Inside Microsoft's quest to turn Minecraft content into a business
Microsoft wanted to discuss an official marketplace for Minecraft creations, which would allow groups like Noxcrew to sell their work directly to players. The founders of Noxcrew now make Minecraft content full time, with help from 15 paid contractors.
10 months after launching the Marketplace, Microsoft touts plenty of individual success stories like the 16 year old boy who's paying for college with his Minecraft creations.
Microsoft has paid out more than $7 million to 45 Marketplace creators and since June 2017, people have downloaded Marketplace content more than 25 million times.
A booming business has emerged around Minecraft servers, which can host lots of online players, offer meticulously crafted environments, and provide items and abilities beyond what's in the standard game, many of the largest servers sell new items and upgrades for real money.
Last Summer, Microsoft started carving out a piece of the business for itself. Players can now access a few partner servers from a list that appears inside the game, and can use Microsoft's Minecoins currency - purchased with real money - to buy items within those servers.

How has Minecraft evolved as a brand?
Over time, Minecraft has evolved massively as a brand. It began as an independently produced game by Swedish based software house Mojang.
To what extent did Mojang exploit its unique brand identity to construct a clear and consistent audience?
Mojang relied solely on word of mouth for Minecraft to gain popularity. This was mostly through videos uploaded to YouTube.
In what ways has the ownership of Microsoft changed this relationship?

In what ways does the evolution of the game indicate the practise of modern media institutions?


Monday 13th January
Minecraft (2011)
L/O: To analyse the audience profile and appeals

• Minecraft's primary target audience is wide, encompassing gamers from 8-50
• It's one that is widely diverse, as it is one that includes 8-12 year olds that are still children and the older demographic.
• They are considered primary because they are the ones that are the most excited about the brand.
• These children are also heavy users of the brand in that they buy the add-ons, memorabilia, and use the brand as a source of entertainment.

The game seems to offer a challenge to older, stereotypical representations of gamers as inactive and antisocial.

This conventional stereotype established itself in the 1980s, at a time when video games were new and viewed as a niche activity with gamers represented in film and TV as archetypal 'nerd': dressed in dark clothing, listened to heavy rock, invariably presented as sexually unattractive, a narrative function of offering comedy.

Video games over the past 20 years have since become more accepted leisure pursuit, and one with a greater mainstream appeal. However, frequent mass media repetition of the trope of gamers has meant that the 'nerd' stereotype remains deeply ingrained.

Minecraft can be seen to challenge this stereotype in making the fundamental mechanics of the game involve co-operation.

Explain the appeal of Minecraft for the target audience:

Personal Identity

Minecraft encourages users to express themselves, as there is a lot of creative freedom throughout the game, in terms of the personalisation of what you build.

You can explore other people's creations, and customise your own creations.

Information

Other people create real life buildings, enabling other players to explore and find out information that they may not have known before.

You can see what everyone else is doing and has done in the game.

Entertainment

The game is constantly evolving, so players don't lose interest. With a number of different modes, story mode, survival mode, creative mode etc, users are constantly entertained. 

You can create your own idealised world, in a safe tranquil setting, with perfect mise-en-scene, and everything is under control of the player.

Social Interaction

Minecraft has a feature where you can play with other online players, encouraging social interaction among users, and the multi player feature also enables social interaction among players.
There are different Minecraft communities online and on social media, where players can discuss the game, e.g. Facebook, Twitter, YouTube.

Mode of Address

• Minecraft is quite complex in terms of its mode of address because it has such a wide audience
• The lexis is quite informal
• Lack of graphic violence
• Use of primary colours
• Appealing block like simple cartoon-like construction of the characters and locations all imply and construct a conventionally young target audience
• There has been an unexpected surge in uptake with a much older audience, which could link to nostalgia
• The game mechanics are quite simple, and it is easy to pick up and understand

Success

Industry

• References Lego
• Targets two discrete primary audiences (children/adults)
• Applies both nostalgia/excitement of new media
• Relies on the prevalence of high tech platforms

Audience

• Escapism, social interaction
• Challenge negative gamer stereotypes
• Postmodern narrative experience

Moana Minecraft Trailer

How does the trailer construct the audience?

Consider the mode of address, lexis, mise-en-scene and representations

The trailer will instantly appeal to Disney fans, as the song in the background is from the film. The easily identifiable characters from the film will also appeal to the Disney audience. This may attract a greater female audience to the game, as stereotypically, girls will know the film Moana and want to play Minecraft after seeing the trailer.

How might this be seen as an example of intertextuality?

There is a clear link to Moana and Disney in the trailer, like the soundtrack, and the recognisable characters in the game.

What ideas of modern media convergence are shown?


Wednesday 15th January
L/O: To explore the appeal and changes in the game more fully

Mods and extensions - Mojang have provided an almost endless supply of extension strategies for when players get bored of the gameplay. This is a valuable trait to have in a game, especially when it powers an ability to manipulate what the game offers into something more useful.

Updates - Since the game's official launch in 2011, the game has received six major updates amongst other, smaller incremental additions. The updates are provided entirely free to owners of Minecraft, with no need to purchase DLC or expansion packs

Community
Community feedback is a valuable trait in any game. In Minecraft, updates have been partially crafted based on community demands. This was integral to the early releases of of Minecraft, as community feedback was so important for creator at the time Notch to improve the game.

In less than a year, Microsoft had taken Minecraft and injected it into two additional industries, education and VR. What is the impact of this?

Education - It enables the ability for students to collaborate together to build projects and solve problems. An entire classroom of up to 30 students can play in a world together with no separate server setup required. Or students can work together in pairs or groups simply by joining their classmates’ world.
-Code builder and the agent: A complimentary program to Education Edition that allows students to write code in a code editor and The Agent then executes the code in the program.

-Classroom mode: This is a complementary program to Education Edition and allows educators a master view of the map (including the locations of all players), communicate with players via chat (and monitor the chat), and turn off/on some world settings.-Immersive STEM learning - Students build critical 21st century skills like collaboration, creative problem solving and digital citizenship
-Classroom friendly features
-Creativity and innovation - Provides endless opportunities for exploration, storytelling and digital learning

VR -

What impact did the acquisition of Mojang by Microsoft have on Minecraft?

P1 - What was the deal? How much? Why?
P2 - What were people talking about in relation to this acquisition?
P3 & 4 - The impact Microsoft had within one year
P5 - Conclusion

In 2014, Mojang and Minecraft was acquired by Microsoft for over $2 billion, the figure implies the perceived value of the brand and the manner in which its future development was seen. The game was sold to subscribers for $20 with no further add-on costs. Minecraft sold over 80 million copies at the time of the takeover, and in 2018, the figure stood at 160 million.

In 2014, Mojang and Minecraft was acquired by Microsoft for $2.5 billion. Microsoft wanted to turn Minecraft into a business, and they saw potential for a lot of future development in the game. They also liked the open world platform and the community aspect of the game. Microsoft also thought that this takeover would target a younger audience than the Xbox game.

After the takeover, the game was sold to subscribers for $20 with no further add-on costs. Mojang had previously grasped the potential of influencer marketing, and had a good reputation, especially in the YouTube world, with millions of videos made based on the game. In selling to Microsoft, both Mojang and Microsoft risked the loss of the 'indie' attractions of Minecraft.


Monday 20th January
Minecraft
L/O: To explore exam focus and apply to the case study

Digitally convergent media: Video games consoles are an excellent example of a digitally convergent device. You can not only play games but access social media, browse the internet, stream movies and TV content and upload content into cloud based servers. Cross-media content helps maximise profits and also improve reach to new customers.

In November 2011, prior to the game's official release, Minecraft had over 16 million registered users and 4 million purchases. Due to its popularity, Minecraft was released across multiple platforms becoming a commercially viable franchise with increased interactivity. In particular, Minecraft: Pocket Edition was released on Sony Xperia Play, available on Sony Xperia smartphones. Minecraft also became available on Android and iOS devices shortly after.

Formats

• By 2012, Minecraft was available for Xbox 360 and Xbox Live.
• In 2013, Minecraft: Pi Edition, meant for educational purposes for novice programmers and players.
• In 2014, Microsoft acquired Minecraft intellectual property for $2.5 billion.
• In 2015, it reached 30 million copies sold.
• To date, over 121 official copies of the game have been sold across a variety of formats and platforms.

Distribution

• Versions of the game can be purchased over the internet using such outlets as the Playstation Network or Xbox Live Arcade.
• Recent additions include the Nintendo platform which was excluded from the initial Minecraft releases: available to download from December 2015 with physical copies from June 2016 and most recently for Nintendo Switch (May 2017) and Nintendo 3DS (Download only from September 2017).
• The Minecraft: Story Mode - A telltale games series is also available via Steam.

Critical Reception

• On its release, the game won five awards at three conferences, including an innovation award, best debut game, best downloadable game, audience award and Seumas McNally grand prize.

The specialised and institutionalised nature of media production, distribution and circulation

It is worth considering how a simple PC Java game has become a globally successful phenomenon across all consoles and hand-held devices; Minecraft is now a multi-platform game which is not only just for PC gamers but those who own smartphones, Microsoft consoles (Xbox); Playstation 3, 4 and PS Vita; and more recently Nintendo consoles (Wii U) and hand-held devices (Switch, 3DS, 2DS XL, 3DS XL) - all of which opens up new markets of profitability and increased exposure to new and existing audiences.

The relationship of recent technological change and media production, distribution and circulation.

Due to the original nature of the game, most players simply logged in to play Minecraft and didn't need a physical copy of the game. When the Xbox and Playstation versions were created there was often a chance to offer digital versions of the same game across the Windows 10 operating system to promote the Microsoft brand across home computers, a form of synergy. Users were often encouraged to download the game through the cloud servers rather than a physical copy of the game which would incur more of a cost for the institution. The pattern of release for Minecraft shows that physical copies are often released six months after the downloadable version, most likely as a way to limit the impact of piracy, hacking and file sharing.

The introduction of Microsoft Realms (2013) has tried to give the producers more control over the distribution and circulation of the game since some pro-am consumers were creating their own virtual spaces and hacks across illegitimate servers, such as wizardhax.com. It would be worth considering how some audiences might be playing Minecraft through these channels and are not included in the extensive official user figures.

The significance of patterns of ownership and control, including conglomerate ownership, vertical integration and diversification

You could focus on the developer, Mojang Studios, which is now owned by Microsoft Studios, a division of the parent company, Microsoft. Mojang Studios is their only first-party studio in Europe. Given the nature of the parent company and the loyal fan base of PC gamers, it was in the company's interest to invest $2.5 billion to purchase Mojang for long term revenue.

Other collaborations with games developers include Telltale Games who helped develop the Minecraft: Story Mode in 2015. The Playstation versions were developed by 4J Studios.

The significance of economic factors, including commercial and not for profit public funding, to media industries and their products.

With the continued growth of video games you could focus on the marketing campaigns for games often having worldwide and simultaneous releases across each video game market. Budgets for games vary and Minecraft is a good example of a game that was made and developed using readily available open source software within the gaming community; creating the original Minecraft using Java gave it the advantage of being cross-platform: it will run on Windows, Mac OS X, and Linux. You can compare this to other mainstream games that require entire teams or programmers, artists and engineers to make video games that have budgets equal or exceeding that of mainstream films.

Minecraft has also been linked to non-profit projects such as the UNs Block by Block project, which encourages communities around the world to redesign their neighbourhoods using Minecraft. An educational version has also been developed, MinecraftEdu (2012), which has several applications to help teach subject and develop a culture of computer programming against digital natives.

How media organisations maintain, including through marketing, varieties of audiences nationally and globally

The cultural impact of Minecraft is significant. Much of Minecraft's success was due to word of mouth and audiences sharing their own mods and game footage across web forums and video sharing sites such as YouTube. Different versions of Minecraft were released to entice different audiences, moving away from creation only narratives to include story modes, spectator modes and multiplayer functionality across Minecraft Realms.

Further developments included the introduction of a physical Lego set to encourage younger audiences as well as merchandise opportunities and bonus content for buying more than one version of the franchise across platforms. Culturally, other developers and games studios have made intertextual references to Minecraft across games such as Runescape and The Elder Scrolls V Skyrim to name a few; Lady Gaga, South Park and The Simpsons have also parodied Minecraft. All of this benefits the game by heightening its exposure to audiences.

In 2019 there will be a joint venture with Warner Brothers to release a Minecraft the Movie, this will be anticipated as having as much commercial success as the Lego Movie, also a Warner Brothers movie. No doubt, there will be several spin-offs as a result of this.

The regulatory framework of contemporary media in the UK and the impact of 'new' digital technologies on media regulation, including the role of individual producers.

It is regarded as being family friendly and the initial Minecraft series was rated a PEGI 7 but the later introduction of Minecraft Stories were classified higher because narratives and dialogue were being introduced. The ESRB rates Minecraft using different criteria. You could consider whether a game such as Minecraft even needs regulating and perhaps consider more the impact of freely available, fan made videos where language and content is likely to be more risqué and unregulated by such bodies. A direct comparison to similar games and their ratings would be useful, e.g. Tetris is a PEGI 3.

It is also worth considering how material is accessed and played. Minecraft Realms are hosted on specialised servers by Mojang. The terms and conditions are extensive and bring into debate issues of ownership of intellectual content and the disclaimers that now have to be issued by media industries. Most interestingly, there are stipulations by the company that they own everything created using blocks within these virtual worlds and that accreditation for worlds and structures created by fans is not guaranteed.

In 2016 a marketplace was created for communities to trade in maps, skins and texture packs.

The impact of digitally convergent media platforms on media production, distribution and circulation, including individual producers.

The nature of the game and development in Java has meant that there are several rival and clones to the game Minecraft. Castleminer.com is just one example of a game with remarkable similarities and there is much scope for debate about how you go about copyrighting ideas if everyone is using open source software. 

Indeed, when Microsoft purchased Mojang there was a surge in clone titles for rival consoles, such as Nintendo (who did not officially receive versions of Minecraft at the time) including Battleminer for the 3DS. 

One could argue that Minecraft was simply the right version of a block building game at the right time; it also highlights the importance of the emerging portable device market and capitalising on audience desires.

Wednesday 22nd January
Minecraft
L/O: To discuss audience appeal and reception

Audience

• Multiple gameplay modes are now available across several platforms now that the game is finally available across all markets on all consoles and handheld devices
• The PC version of the game was noted for its modding scene where prosumers would alter the gameplay mechanics, change the assets and develop new skins and textures for other fans of the game to see.

Key Information

• The game is a global and commercial success and also praised by several high profile critics and gaming institutions
• The game has amassed such a following that MineCon conventions can be found all around the world and further support popularising the game.
• There are other conventions of the game that have proven popular, including the release of albums featuring the music of the game
• The biggest discussion point for Minecraft should be 'which platform do I play?' With so many versions and formats available there was no sign of an outright console winner despite the game originating for the PC.
• However, in July 2017 a 'cross-play' feature was developed, meaning there was less emphasis on showing brand loyalty to either console.
• Despite audiences possibly owning more than one device, or a console and hand-held device by the same company, there does seem to be a focus on only developing content for the newer devices.
• For example, the recent Nintendo versions are not supporting on the Nintendo 2DS and 3DS, but are on the 'newer' 3DS and 2DS XL and 3DS XL models.
• This highlights an ongoing concern about the proliferation of technology and sustainably of audiences being able to afford new consoles just to play a game (you could consider the expectation of gamers to invest in VR headsets)
• There is evidence to suggest that mobile and hand-held devices are really driving the sales of Minecraft forward.
• For example, the release of the Playstation Vita version of Minecraft boosted sales of Minecraft by 79%, outselling PS3 and PS4 releases and making it the largest launch on a Playstation console.
• The appeal is being fuelled by a new generation of gamers who prefer hand-held devices over traditional consoles.

Fan Made Media

• The continued development of fan made media across social media platforms and dedicated fan sites and blogs means that there is an active community of gamers who share a common interest linked to Minecraft.
• This can include groups such as The Yogscast who regularly produce videos that collectively have billions of views.
• Future conventions are expected to take place online as the demand and attraction of the game shows no sign of deteriorating (November 2017)
• Fan made clones of the game are now ubiquitous across market place apps and various merchandise (both official and fan made) is available to purchase online.
• A series of books and magazines have also begun to appear after a deal with the Egmont group.
• Further applications of the game in the fields of computer aided design (CAD) has seen a cultural impact on the education system with MinecraftEdu (September 2012) as well as partnerships with global charity projects such as the UN's block by block project.
• An ongoing social experiment to encourage audiences to improve their communities by designing utopian worlds using Minecraft

How audiences are grouped and categorised by media industries, including by age, gender and social class, as well as by lifestyle and taste

Minecraft has universal appeal. It is useful to explore how such a game can appeal to different ages, genders and audiences from different social and cultural backgrounds. The variety of different modes is certainly a contributing factor to the game's success, but also the way in which audiences can control and shape their own worlds and create new identities through mods and altering textures, maps and craft kits.

How media producers target, attract, reach, address and potentially construct audiences

Minecraft and subsequent versions and variations of the game offers familiar pleasures to existing fans (narrative features, open world gameplay etc) along with new elements to target a wider audience (e.g. story mode). The creation of Minecraft Realms was a well-considered way to attract and encourage audiences to use the game on dedicated servers and increase subscription revenues. There already exists an established network of fans across the internet who share game footage, tutorials, mods and hacks so that gamers can get new experiences from the game.

Hoe media industries target audiences through the content and appeal of media products and through the ways in which they are marketed, distributed and circulated.

Initially there was little work to advertise the original version of Minecraft; it was simply word of mouth across forums that created a buzz about the game. Now that Minecraft is established and owned by a division of a conglomerate, the methods used to distribute and market the game are similar to popular mainstream releases.

The interrelationship between media technologies and patterns of consumption and response

YouTube, Facebook and online fan communities has enabled Minecraft's audience to have an active voice in its ongoing production through detailed feedback and commentary on modifications and beta tests. There are several niche forums that should also be investigated across the internet.

How audiences interpret the media, including how they may interpret the same media in different ways.

There are now several formats and versions to play Minecraft, however one of the most important developments has been the introduction of 'cross-play' which means that players no longer need the same console to play against each other. The development of the Minecraft 'cross-play' is just one example which enables gamers (the audience) to experience online play with other Minecraft players at the same time. (July 2017, 'cross-play' is available across all devices which can support Windows 10, iOS, Android, Xbox One and Nintendo Switch).

How audiences interact with the media and can be actively involved in media production.

The establishment of Minecraft Marketplace is a great example of the industry listening to their audiences (fans) and allowing the trade of different maps, textures and 'add-ons' in a legitimate setting. The nature of the game has also allowed audiences to learn new skills, such as programming.

There are several prosumers on YouTube and across blogs who have their own dedicated channels discussing Minecraft, offering tutorials or who just want to show off their gameplay or promote their own maps.


Monday 27th January
Minecraft (2011)
L/O: To review key areas and exam style questions

Independent Production

• Traditionally, video games are made by teams of developers for a production company.
• Markus Persson is an example of an independent designer developing a game outside mainstream media
• He enabled the development within the game from a 1st person perspective in a creative and imaginary way
• He wanted the game kept for the gamers and resisted takeovers. This is highly unusual as most games are massively collaborative

Development

• Need to be aware of some of the milestones: development of consoles, Wii console was the first to develop user controlled play, rise of cloud computing and online/mobile gaming, impact of smartphones and mobile gaming
• Use of user generated, online marketing is an example of the power of collaboration
• Persson's concept is an example of a media concept that developed among a game community independently of the video game industry
• When the game was officially released across multiple platforms, it became a franchise
• At this point, they struck a deal with Sony, to release it on Sony Xperia Play, then available for Android and iOS. This is a key feature to its success
• Commercial deal with Sony was significant: multiple platform release increased audience interactivity, packaged as a brand fro wider global audience, not just gamers

Distribution

• The game exploited media convergence which enabled digital distribution and global access to markets
• Minecraft developed at a time when gaming went 'online' - not just for consoles
• Opportunities for distributors to connect to wider non-traditional gamers with phones and other mobile devices
• Microsoft takeover enabled game to extend its reach through offline merchandise and diversification

Marketing

• The game's early community provided the initial growth and adoption through the power of collaboration and connecting with other users - filtering content and shaping the game's development
• The ways Microsoft market and synergise the brand: website, Minecraft Realms, social media feeds, Marketplace, YouTube, Minecraft Wiki, fan sites and forums, Minecraft for Education

Audience

• Clearly state the key audience demographic: 12-30, Europe and North American, mainly male
• Audience appeals and the ways fans interact with the brand: game mods, Minecraft Wiki, fan sites and forums, multiple gameplay modes, Minecraft Realms, YouTube, MineCon

Exam Style Questions:

Proliferation of Technology: What are the advantages and disadvantages of the proliferation of technology?

• Proliferation refers to the way technology has evolved over time
• Despite audiences owning more than one device, or a console and handheld device by the same company, there does seem to be a focus for only developing content for the newer devices
• Concern about the proliferation of technology and sustainability of audiences being able to afford new consoles just to play a game
• Games can become bigger and better and more evolved for the audience
• More money for the companies because of the advanced technology
• Audiences have more control, more available when they want it, audiences are in control of scheduling
• Lots more ways to watch things, e.g. film, cinema, YouTube, fan content, streaming
• People who have the older consoles aren't able to access new content
• Piracy is easier, bad for institutions
• Cost - expecting audiences to keep up to date with new consoles
• More chance of technology not working properly - disrupting viewing experience
• Industries have less control

Explain the impact of digitally convergent media platforms on video game production, distribution and consumption. Refer to Minecraft to support your answer.

Fan made media:

• The establishment of Minecraft Marketplace is a great example of how the industry are listening to their audiences and allowing the trade of different maps, textures and add-ons in a legitimate setting. The nature of the game has also allowed audiences to learn new skills such as programming
• There are several accounts on YouTube and across blogs who have their own dedicated channels discussing Minecraft, offering tutorials or who just want to show off what they've made

How does the interrelationship between media technologies and patterns of consumption and response work in relation to Minecraft?

• Talk about the active voice players have using online platforms to discuss and talk about the game
• Development of technologies and how it's affected the audiences

How do media industries target audiences through the content and appeal of media products and through ways in which they are marketed, distributed and circulated?

• Collaborations with other brands, e.g. Sony
• YouTube content
• User-generated marketing
• Early advertising of the game vs more recent advertising after it was taken over by Microsoft
• Distribution - where available to play?
• Use of online forums to make modifications to the game
• Audiences can buy extensions and mods
• The nature of the game and development in Java has meant that there are several rival and clones to the game Minecraft. Castleminer.com is just one example of a game with remarkable similarities and there is much scope for debate about how you go about copyrighting ideas if everyone is using open source software. 
• Indeed, when Microsoft purchased Mojang there was a surge in clone titles for rival consoles, such as Nintendo (who did not officially receive versions of Minecraft at the time) including Battleminer for the 3DS. 
• One could argue that Minecraft was simply the right version of a block building game at the right time; it also highlights the importance of the emerging portable device market and capitalising on audience desires.

Minecraft targets their audience through specific content aimed at their primary audience of 12-30 year olds, and the ways in which it is distributed and circulated. For example, there is a large amount of YouTube content curated specifically for the target audience, which is also easily accessible.


Wednesday 29th January
Radio 1 Breakfast Show
L/O: To research the background and industry behind the BBC Radio 1 show

• Currently the most listened to show on BBC Radio 1

What is Public Service Broadcasting and what does this mean for the BBC?

PSB refers to broadcasting intended for public benefit rather than to serve purely commercial interests. The communications regulator Ofcom requires that certain television and radio broadcasters fulfil certain requirements as part of their license to broadcast. All of the BBC's television and radio stations have a public service remit, including those that broadcast digitally.

How is the BBC funded?

Its work is funded principally by an annual television license fee which is charged to all British households, companies and organisations using any type of equipment to receive or record live television broadcasts and iPlayer catch up.

Who are the target audience for BBC Radio 1? What are their expectations of the Breakfast Show?

Their primary target audience are 15-29 year olds. Audiences today have much higher cultural expectations of interactivity and participation, due largely to the development of the internet but also to the decline of the traditional deferential culture in which 'your betters' (e.g. the BBC) know best.

Radio 1 Breakfast Show: times, presenters (NG & GJ), audience figures, regular features

The show runs from 6:30 to 10am, and is presented by Greg James, who took over Nick Grimshaw in August 2018 as the shows 16th presenter. The show attracts over 5 million listeners, and its regular features include 'Yesterday's Quiz', 'The Ten Minute Takeover', 'Game of Phones' and 'Unpopular Opinions'.

How can audiences access the Breakfast Show?

Audiences can access the Breakfast Show through mainstream radio, the BBC Sounds App, and BBC iPlayer.

• The BBC is not owned by the state and not driven by commercial interests. 
• The BBC's first director general, Lord Reith introduced many of the concepts that would later define PSB in the UK when he adopted the mission to 'inform, educate and entertain'.
• The BBC has 10 radio stations covering the whole of the UK (including Radio 1), 6 stations in the national regions, and 40 local stations serving defined areas of England (e.g. Radio Cornwall)
• Each station has a different remit, content, style and target audience.

Ownership & Funding

• The BBC Radio 1 service license states Radio 1's remit is 'to entertain and engage a broad range of young listeners with a distinctive mix of contemporary music and speech. Its target audience is 15-29 year olds and it should also provide some programming for younger teenagers. It should offer a range of new music, support emerging artists - especially those from the UK - and provide a platform for live music. News, documentaries and advice campaigns should cover areas of relevance to young adults.'
• Radio 1's programmes should exhibit some or all of the following characteristics: high quality, original, challenging, innovative and engaging, and it should nurture UK talent.
• The service should deliver its remit by producing a wide range of programmes that expose listeners to new and sometimes challenging material they may not otherwise experience. It should reflect a diverse range of new and UK music. 

Analyse the Radio 1 Breakfast Show homepage. How is it made clear that they are fulfilling the remit to: entertain and engage a broad range of young listeners with a distinctive mix of contemporary music and speech. Its target audience is 15-29 year olds.

The Radio 1 Breakfast Show homepage demonstrates how easily accessible the show is, giving options to listen to the show live, listen to past segments of the show, and even offering a podcast, which is 'Daily chat, nonsense and extra fun after every Radio 1 Breakfast with Greg James', giving the audience extra content and exclusives from the Breakfast Show. There is also a 'Contact' page, giving the audience information about how to get involved and interact with the show.

Wednesday 5th February
Radio 1 Breakfast Show
L/O: To research the host and production process

Greg James

• Born 17th December 1985 in East Hertfordshire
• While at university, he presented several shows on the students' union radio station, and became the station manager in 2006
• He also presented several breakfast shows on Future Radio in Norwich and others before he got a job at Radio 1
• He joined Radio 1 in 2007, to present Early Breakfast on a Friday, and cover for Sara Cox and Vernon Kay, he was then awarded the Early Breakfast Show role
• James then gained an early afternoon slot on Radio 1 in 2009
• He was the host of the official chart update on a Wednesday afternoon
• James then moved to hosting the Drivetime show in 2012
• On 20th August 2018, James took over from Nick Grimshaw to host the Radio 1 Breakfast show. The pair switched shows, as Grimshaw took over the Drivetime slot

Why do you think he was chosen as the new host?

• He was good friends with Grimshaw
• People know him from his stints on TV in shows such as 'Sounds Like Friday Night'
• He's known for his comedy on the radio
• Grimshaw's ratings were dropping massively on the Breakfast Show

Trademark Features

• 'Yesterday's Quiz' - listeners call in and answer questions about what happened the day before
• 'The Ten Minute Takeover' - listeners text in and choose songs to be played
• 'Game of Phones' - listeners have to guess the missing digit in a famous persons phone number, and then get to speak to them
• 'Unpopular Opinions' - listeners call in with their unpopular opinions
• 'Jan Slam' - competitions every day in January for listeners to win tickets to events, experiences etc

How does the show target its audience?

Informal language, current, popular music, audience engagement through texts, tweets etc., talking about pop culture and current events on things like social media

What is the use of language like? Formal or informal? Give clear examples

James uses informal, relaxed language in order to appeal to the audience, including 

What prior knowledge are they expecting the audience to have e.g. are they assuming that the audience would know who certain celebs are?

The audience are expected to know most of the artists played throughout the show, and have a brief knowledge of popular events such as the Grammys and social media trends, as they very often reference things from those events throughout the show. They are also expected to know the rough format of the show and features.

Explain, with specific examples, how your chosen episode meets the criteria that a typical episode should hit.

Explain how it appeals to its target audience.

The Breakfast Show should be:

• High quality
• Original
• Challenging
• Innovative
• Nurture UK talent
• A mix of music, information and entertainment
• Bring the UK to the world and the world to the UK

The Radio 1 Breakfast show on the 27th January 2020 meets a lot of the criteria that a typical episode should hit. Firstly, the show proved to nurture UK talent, as 29 out of the 58 artists played in the show on the 27th were from the UK, such as Stormzy, Harry Styles, Coldplay and The 1975, who the target audience will be very much aware of and know. The show also demonstrated a lot of original content, as they played their regular features, such as 'Yesterday's Quiz' and 'Unpopular Opinion', as well as the 'Jan Slam' competition to win tickets to see Radio 1's Big Weekend. There is also a good mix of music, information and entertainment on the show, providing popular music from various genres and artists, informing the audience about the latest news on the Newsbeat show, and entertainment from the interactive features and quizzes, along with chat from Greg James about funny stories that went viral on social media. The show was innovative, especially in the ways that they include listener interaction, in particular, in this show specifically, they got a listener to announce the location for Big Weekend and the first 6 artists headlining the event. Radio 1 ensure that the location for Big Weekend is somewhere that doesn't often have big artists playing at, and this year's is Dundee, which makes them unique in comparison to other radio stations that host events, such as Capital FM, who almost always host their music events in London. You could argue that the Breakfast Show is not as challenging as other shows on Radio 1, as it is supposed to be a lighthearted show in order to entertain the target audience early in the morning. In many ways, this episode of the Radio 1 Breakfast Show meets a lot of the criteria that a typical episode should hit, and appeals to the target audience in a number of different ways.


Wednesday 12th February
L/O: To explore the distribution of the show

• The BBC only broadcast the show in the UK, so people outside the UK cannot listen to the show on the radio, however they can online
• Interviews are uploaded onto YouTube
• They have 3 million subscribers on Youtube and a combined 8 million audience across Facebook, Instagram and Twitter. This shows the target audience want to interact with the content on social media, and this is a big part of radio now.

L/O: To explore the industry regulations and ratings

Inform: News every half an hour, new music, up and coming artists, events e.g. Big Weekend, social media interaction

Educate: News, social media interaction

Entertain: Music, games, humour, regular features, social media 

Top 3 BBC Breakfast shows with listener statistics

Radio 2 Breakfast Show - 8.24 million a week

Top commercial breakfast show

Heart Breakfast - 4.6 million listeners weekly

Who regulates the radio?

Ofcom

RAJAR

Who is RAJAR? What do they do?

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.

• More than 230,000 extra listeners have been tuning in to the Radio 1 Breakfast show since Greg James took over from Nick Grimshaw in August 2018
• His reach in the last 3 months of 2018 was 5.1 million, up from 4.8 million recorded between July and September, according to RAJAR
• However, Radio 1 as a whole went down: the station dropped from 9.6 million in the third quarter of 2018 to 9.37 million in the fourth

Radio listening figures are at an all time low, with the Radio 1 Breakfast show pulling in 2 million less listeners compared to 2010. Explain the reasons why radio listenership is decreasing. Refer to a specific example in your answer. (8 marks)

• Young demographic more reliant on smartphones and pick and choose what they listen to - may use the app to listen to podcasts or YouTube to listen to key sections of the show only
• The change of host? Criticism etc.
• Competition from other stations?

Radio 1 and the music:

• Largely playlisted - decided by a committee; they choose around 40 records each week for repeated daytime play (A-list records get 25 plays a week, B-list 15, C-list 8 to 10)
• There is also a Brit list which helps push featured new British artists - to make the output less globally homogenous and make it more distinctive
• 61% of all additions to its playlist are from UK artists (2016)

Audience Interaction:

• The 'mates around the table' collective presentation style and mode of address makes the audience feel as if they are part of that group of friends, talking about where they went last night and who they saw.
• Social media is one obvious way that the audience is interacting with the programme, even if most of the interaction is not 'heard' within the programme itself it shapes the nature of the programme and the involvement gains and keeps that audience.

How does the Radio 1 Breakfast Show interact with its audience? How is it marketed?

Social Media: