Media Cultures Concepts and Practices: November 2016

week 9: Social Media and Participatory Fandom

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, by Sami

week 8: Industry Insight: Digital Radio: From Radio to R@dio

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, by Sami

week 7: Technology: Digital Television Cultures

Sunday 20th November

Traditional television viewing is becoming a distorted concept within society, this is due to the growing impact of digitization and its ever expanding technological growths. I find the thought very interesting, and also extremely momentous as we are of course consumed by digitisation on a daily basis. The abilities that ‘catch up TV’ platforms such as Sky Plus and Now TV have brought, may suggest a bump in ratings of previously popular live shows, altering with less live view ship. However, that certainly is not the case. We are now able to live stream programmes, indicating a success in digital globalisation, as sharing programmes across the globe is easily achieved. We are able to live stream from many sources, stemming away from the traditional television, but also to tablets, phones and computers. This element coincides with societies lifestyles, for example, those who commute to work are now able to stream a live programme whilst on the tube. Live streaming is easily attainable and a definite positivity within the ‘internet age’ of television.

Television streaming entire series is also a key factor hindered from the impact of globalisation, as we are now able to stream series from one country to another. Breaking Bad is a great example of how streaming benefits a programmes popularity; originally broadcasted in America which had minimal viewings and was on the verge of being axed after only one series, its success triumphed within the United Kingdom. Thousands of people within the UK were streaming and watch online, which ultimately saved the show which continued to run onto 5 award winning series.

It should be noted that some components to digitalization, such as the catch up TV abilities as noted before, may be damaging in terms of TV ratings. The number of ratings during a programmes broadcast usually reflects how popular a programme is to the public. Being able to miss an initial broadcast by watching it within your own leisurely time slot may corrupt the popularity of said show. For example, a programme that may be deemed as unpopular or unsuccessful because of its lack of ratings may be cancelled, when it was in fact watched and streamed later by the public. Therefore ‘catch up’ television mediums such as ‘4 od’ and ‘BBC IPlayer’ can arguably be both positive and negative elements to digitalization. Its positivity stems from an individual being able to choose when and where they watch a television show, which changes vastly from traditional television viewing where families would come together at the specific time the programme was scheduled. I believe this outcome to also be a negative, as it can take away that sense of togetherness that television can bring to families and friends. Therefore I believe the rise of digitalization within television has both good and bad repercussions: being easily attainable benefits greatly however it ultimately is causing a lack of togetherness within society.

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, by Sami

week 6: Celebrity Branding

Sunday 13^th November

In 2009, Britain saw Geordie pop singer Cheryl (formally recognised as Cheryl Cole) as the poster girl for L’Oréal Hairspray products. Starring in their TV advertisements, Cheryl used her illustrious glamour to represent the product which saw her enveloped within gold, shimmery tones, which mirrored the image of L’Oréal’s standard hairspray cans.

During 2009, Cheryl was an extremely relevant figure within Britain’s popular culture. Having broken away from Girls Aloud, the band that shot her to fame, Cheryl went solo within her musical career and was also recognised as being the charming, glitzy judge on ITV’s X Factor. Cheryl was later branded as ‘Britain’s Sweetheart’ by many medial viewpoints, which makes her representative towards the brand even more alluring to consumers. A major element to the products selling point is of course the particular product in question: hairspray. Since appearing as a judge on the reality show, Cheryl was always memorized for her glamourous style, with the focus being on her chosen dress during live shows. The L’Oréal adverts generally see Cheryl getting ready for a big night out, which is suggestive of her getting ready for the X-Factor live shows for which she is adored by the public. However, you also see her with minimal makeup and casual attire for an ‘everyday’ look, which significantly appeals to the wider audience of ordinary, working people. Since her familial association with the brand, Cheryl has released her own type of hairspray with L’Oréal, which is advertised as ‘Cheryl Limited Edition’. This appeals to its audience as it implies that Cheryl herself uses the hairspray, attracting others to buy it too. In the past, L’Oréal have used similar actresses who convey and are recognised for their glamorous appeal, such as Julianne Moore and Eva Longoria.

We are surrounded by celebrity endorsement on every social scale, including television, billboards and social media. It is evident that social media has impacted a greater scale within celebrity branding, as its purely easier for many celebrities to use personal social media platforms, such as Twitter and particularly Instagram to advertise a product. Instagram for example advocates many celebrities and even YouTube stars to caption their photo with ‘#AD’ so it is clear that they have been paid to market a particular product. The Kardashian’s are renowned for using their Instagram accounts to sell products, including diet pills and waist trainers, to their eager fans. Many YouTube stars who have a large number of impressionable subscribers are also targeted to film videos indorsing a particular brand or product. Living in both a heavily consumeristic society, as well as a digitalized one, will I believe only see a greater rise in celebrity branding and adverts. Cheryl is a great example as a celebrity brand as her face is still heavily printed upon campaigns for L’Oréal.

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, by Sami

Week 5: Global TV formats

Sunday 6th October

Britain's Got Talent is one example of a global TV format. Often referred to as 'BGT', the premise of the reality show is to put forward British contestants as they battle to wow the celebrity judges and the British audiences at home with their particular talent, with a large cash sum prize. Having broadcasted from 2007 too present (2016), with ten series, anyone of any age can apply to be on the show, which enhances its popularity compared to other reality shows such as the X-Factor, which have an over sixteen age restriction. The audience at home are able to participate as the format of Britain’s Got Talent, like many other talent shows, sees a week by week elimination based on the publics vote.

Since its success, the show has since created a vast numbers of spin-offs from its original founder, musical entrepreneur Simon Cowell. The first spin off, merely named ‘Got Talent’ fell flat in Britain due to the already efficacious BGT. It later spawned popularity within America; and thus America’s Got Talent was formed with an identical series structure to the British original. Since April 2014, over 58 countries have formed follow-up ‘Got Talent’ shows, spanning from Afghanistan, Australia, India and Canada. By looking at the array of countries that broadcast the talent shows named after their particular country, it is evident just how much of a global influence the ‘Got Talent’ organisation has built around the world.

One major factor to its global successful is how universal its premise is. As its built and aimed at a specific country, there are no barriers that come with any of the contestant’s acts. It’s also a reality show that doesn’t need to take itself seriously in order to be successful and gain view ship, as many contestants are familial relationships that bring the audience together in awe or laughter (for example, Stravos Flatly a father and son dancing trio). The show’s title immediately brings said particular nation together, as it is explicit in showcasing the performances and abilities of those from your country, which bring a huge sense of unity. Another aspect to its success are its celebrity judging panel. Each of its sequel shows provide well known celebrity judges to represent the particular country, which ultimately makes it an appealing programme to its countries audience. For example, Americas Got Talent, however much its panel changes year by year, always features celebrities that are current within popular media culture, which keeps its fresh and relevant. Their panel has seen many popular stars such as David Hasselhoff, Jerry Springer and Heidi Klum, all extremely likeable representatives for America, appealing to its audience at home.

Britain’s Got Talent is a great example of a Global TV format, displaying that easy-going, easily watched shows make for the most successful around the globe.

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, by Sami

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week 9: Social Media and Participatory Fandom

week 8: Industry Insight: Digital Radio: From Radio to R@dio

week 7: Technology: Digital Television Cultures

week 6: Celebrity Branding

Week 5: Global TV formats

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week 9: Social Media and Participatory Fandom

week 8: Industry Insight: Digital Radio: From Radio to R@dio

week 7: Technology: Digital Television Cultures

week 6: Celebrity Branding

Week 5: Global TV formats

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