Monday 27 March 2017

Media Case Study- BBCiPlayer – Streaming

NDM independent case study: Media Factsheet research


Media Factsheet- 083 The impact of new media on TV
  • The BBC Licence Fee in the UK, BBC services is funded by a licence fee. In 2011, the cost of a full licence was £145.50 with various concessions available for those with black and white television or vision impairments. The cost of the licence fee covers eight television channels, thirteen national radio networks, local radio and online services.
  • ‘’The BBC’s on demand service, BBC iPlayer, offers the audience the chance to view or listen to content at a later time than its original broadcast.’’
  • The iPlayer says “My job is to make sure we are in touch with what audiences want from the service, by analysing user statistics about what is being used the most or the least, and by asking people directly what they’d choose to change in BBCiPlayer if they could.’’

Who is allowed to watch the BBC iPlayer?

’A TV licence is required to watch BBC content online – a result of changing viewing habits and an attempt to stem financial losses. The corporation hopes more people will decide to start paying than stop watching’’

Why was a licence not needed for catch-up in the first place?

The current legislation governing TV licences was originally part of the 2003 Communications Act; the iPlayer was not launched until 2007. In recent years more people have shifted to catch-up and online viewing, making rules written more than a decade ago even more outdated.

While the average person in the UK still spends about 80% of their viewing time watching live or recorded TV, that figure is falling. Among younger generations the average is less than half that, and increasing numbers are not watching (or recording) live TV at all.

Media Factsheet- 104 Audiences in the digital age

Television

Traditional Distribution/Exhibiting:

  • Television was restricted to a limited number of channels.
  • Programmes were broadcast at set times and only occasionally repeated. Programmes could be recorded on video.
Digitised Distribution/Exhibiting:
  • Satellite and cable provided access to digital channels  and subsequently the number of channels available increased.
  • Digital home recording became available via TiVo/Sky+ etc.
  • Channels offered ‘plus 1’ channels repeating all shows an hour later.
  • Most channels/digital providers offer audiences ‘on demand ‘services where television programmes can be viewed at any time either on TV or on-line.
  • TV programmes are available to download and watch on mobile devices.

Audience Behaviour

Digital media has provided more choice in terms of how and when media products are accessed. Live TV viewing and attendance at cinemas is in decline. Social networking has replaced institutional based media for some whilst others access media products in alternative ways, such as streaming on-line, downloading or DVD/ Blu-ray. iPlayer allows BBC television programmes to be downloaded to a mobile device which can then be viewed anywhere and at any time. Viewers are no longer tied to schedules or locations.
Has allowed audiences to have a more proactive relationship with institutions and they can be seen to be much more active than in the past. Audiences can be seen to have more of an impact on production and can even be part of the production process themselves. Some see this as a positive move that reduces the amount of power held by institutions.

Media Factsheet- 113 TV & Social Media

As we discussed earlier, watching TV is far from a passive activity with viewers quietly consuming what is screened in front of them. Far from bringing in a radical change to the way we watch TV, social media could be said to build on existing audience behaviours. Recent figures tell us that 60% of smartphone owners and 65% of tablet computer owners use their devices while watching TV. Furthermore, 40% of all Twitter traffic during peak times is about TV. There is clearly a very close relationship between Twitter and television.
The phenomenon of the tweet-along is an interesting development in the way audiences consume TV. Fans of shows such as The X-Factor are able to exchange views about the show in real time as it is broadcast by using social networking tools, especially Twitter. By using a hashtag (#), Twitter users can categorise their tweets and send messages that other people that are also watching the show can read, building a real time discussion of the show as it is broadcast. Far from being a modern distraction that prevents people from concentrating on the show, twitter takes discussions that are already going on in the room amongst the family and broadens them out across the country. Opinions that viewers hundreds of miles away are tweeting about the show can be introduced to the family discussion and form part of their conversation.

What Does It All Mean?

The growing level of engagement on Twitter shows that audiences still value the communal experience of watching TV. Whereas people used to discuss TV at school or work the next day, those conversations are happening in real time as the programmes are being shown. This interaction also means that people will continue to watch TV live to air rather than relying on time shifting for much of their viewing. Twitter offers viewers a new way to talk about their favourite shows and to interact with TV. Their tweets can be analysed by broadcasters to find out valuable information about the audience which is hugely useful for advertisers and programme makers. It seems that social media and TV were almost made for each other. It will be interesting to see how the relationship develops.

BBC iPlayer users will have to pay TV licence fee from 1 September

Though the vast majority of households own a TV licence, those without one who only watch catch-up content and not live broadcasts were technically exempt from paying the £145 a year charge.

The government had promised to close the loophole, which already costs the BBC about £150m a year and is likely to increase, during negotiations last summer that also saw the corporation agree to shoulder the £750m burden of free licence fees for the over-75s.
A spokesperson for TV licensing said: “As of 1 September 2016, a change in the law means you need to be covered by a TV licence to download or watch BBC programmes on demand – including catch-up TV – on BBC iPlayer. This applies to all devices. The change will not affect the huge majority of households which are already licensed.

“Fewer than 2% of households only watch catch-up – and only those watching BBC iPlayer as part of their catch-up and on-demand viewing will need to buy a licence from September. You will not need a TV licence to download or watch programmes on demand from other providers, such as YouTube, Netflix, ITV Hub, All 4 or Demand 5. All unlicensed households are being mailed and a publicity campaign will happen before 1 September.”

IPlayer licence rules have changed – but there's one loophole left for students

The news was a blow to many heading to university this month, given that so few will be bringing a TV along with them. According to research by TV Licensing, iPlayer is the most popular catch-up platform among students, with the vast majority watching programmes on their laptops and phones.

The change adds to students’ mounting financial burdens this year, including tuition fee rises and the recent scrapping of maintenance grants. A petition against the rule, launched by a Loughborough University student, has gained more than 18,000 signatures.

However, it appears one loophole will remain open: students will still be able to access the iPlayer for free on mobile devices that are registered at their parents’ address. (This will work only as long as it is registered as the student’s primary address.)

The BBC statement reads: “In limited circumstances, students can be covered by the licence at their parents’ address. The device must be powered by its own internal batteries – for example, a tablet or mobile phone – and must not be plugged it into the mains when receiving television. This use is enabled by the regulations governing TV Licensing.

Failure to obey the new law will result in a fine of up to £1,000, but just how the BBC will be able to tell if your device is plugged into the mains or not remains to be seen. For now, it seems that most students will still be able to get their Bake-Off fix for free.

Independent NDM case study: Up-to-the-minute web research


How will the BBC detect people watching iPlayer without a TV Licence?

Tales of vans driving around peeking into people’s homes to catch them watching the BBC without a TV licence have been a staple of the rightwing press for years (and more recently, an extremist wing of anti-TV licensing Twitter) but this weekend the Telegraph put an alarming new twist on the story. 

Whatever it does come up with, the rationale is clear. The BBC says it already loses £150m a year to people who say they don’t need a TV licence because they only watch catch up, and with the number of households saying they don’t have a TV increasing each year, it needs to find some way of making sure people who consume its programmes any other way are paying. In short, we need people to believe the Beeb is watching – otherwise one day there might not be a BBC to watch.


 





Section A Practice

Evaluate how the two trailers use the narrative technique of enigma to encourage the target audience to watch the films.
By applying Barthes character theory I can identify enigma codes have employed several times throughout the extract. Enigma codes are usually utilised in trailers to engage and encourage viewers to actually go see the movie. An example of this is from the Twilight trailer when we see the boy turning into a vampire. This example provides us with many enigma codes such as Is he going to be powerful? What will happen? What will happen to Bella? These enigma codes are effective as they intrigue and interest the audience to go watch the film. There are also quite a few action codes relating to tension in the film. This suggests to the audience that the climax to the film will include death and destruction. Moreover, for the film 'Let the right one in' enigma codes exist in the form of editing. This is because fast cuts make the film uneasy to read and in a non-linear sequence suspense is created and the audience begins to question what is going on and this entices them to watch the film.

Question 2 linked to Identity, New/Digital Media or media debates - 12 marks - 15 minutes
Why are media products that represent outsiders, such as vampire films so popular? You may also refer to other media products to support your answer.

The first reason why vampire films such as Twilight are so popular is due to their character and the depiction of the character. This is the case as they are seen to be charming; elegant. People are interested in the psychology of their character such as Robert Patterson’s character in Twilight. There are diverse stereotypes for people that don't fit in one of which the theorist Perkins spoke about justifying how these stereotypes are in fact a positive outlook. This creates an audience appeal and hence why vampire films are possibly so popular. This also ties in the fact that famous actors such as Kristen Stewart and Robert Patterson who are huge artists in the film industry feature in these type of films encourage the audience to watch the films. In addition, as the Twilight was book based it already has a huge fan base which creating word-of-mouth entices more people to watch the film. The outsider character in the vampire genre has been so much so popular in recent years, so due to this producers remake them due to there being a less of a risk than something completely new. Producers capitalise on an already popular and profitable genres and representations. This links to Marxist ideas of exploiting audience for profit.

Question 3 linked to Identity, New/Digital Media or media debates - 12 marks - 15 minutes
Do you think that official and unofficial websites contribute to a films box office success? You should refer to other media products in your answer.


Some will agree and argue with the fact that official websites contribute to a film's box office success, as it gives the audience an insight of the film. For instance, the official website for the IMDB includes a variety of features such as, the trailer, downloadable photos, an online store and a community link to social networking sites. I believe that they do contribute to the success of the films box office as it provides another form of positive promotion for the film. The websites might have  inks to social networking sites such as Facebook, YouTube and Twitter. This would be fundamentally important in promoting the film further to the audience globally, as individuals can be actively involved with the film through following the cast on Twitter or posting messages virally to their friends, which encourages more people to watch it. According to Pluralists, this establishes that the audience are no longer passive consumers of texts, but are now distributors as well through the development of technology.

Wednesday 22 March 2017

Week 28 :Story 56 - Facebook, Twitter, Google and Microsoft team up to tackle extremist content

Technology companies have been under pressure from governments around the world to stall the spread of extremist propaganda.

Facebook, Twitter, Google and Microsoft team up to tackle extremist content

https://www.theguardian.com/technology/2016/dec/05/facebook-twitter-google-microsoft-terrorist-extremist-content

This story is about how Google, Facebook, Twitter and Microsoft have pledged to work together to identify and remove extremist content on their platforms through an information-sharing initiative.
  • “We are interested in exploring all options with you for how to deal with the growing threat of terrorists and other malicious actors using technology, including encrypted technology,” said a briefing document released before the secretive summit.
  • “Are there technologies that could make it harder for terrorists to use the internet to mobilize, facilitate, and operationalize?”
  • We are happy to see this development. It’s long overdue,” he said, explaining that he has been in conversations with Facebook and Microsoft since January.
I believe that it is a good idea for these massive institutions to team up as they all have a common goal which is to make their content safe for their users.

Week 28 Story 55 Is your child a cyberbully and if so, what should you do?

Girl receiving a nasty message with girls in background

Is your child a cyberbully and if so, what should you do?

http://www.bbc.co.uk/news/technology-38529437


The story talks about how cyberbullying something that is still going on and how patents can pick up on this. One in five 13-18 year old claims they've been bullied online.

  • "Nobody thinks that their own child is saying unkind things to other children, do they? I let them go on all the social media sites and trusted the children to use it appropriately.
  • "Taking away devices can be counterproductive. It could make the situation worse and encourage them to find other ways to get online. Instead, think about restricting access and take away some privileges if they don't stop the behaviour.

I beleive that that this will always be a problem due to the invention of the Internet and should be dealt with in a specific manner where the child doesn't feel threatened to go online who was being bullied but also for the bully not to commit the crime again.

Monday 20 March 2017

Collective identity and the media

1) Read the article and summarise each section in one sentence, starting with the section 'Who are you?'
Citizen to consumer - informing people about their wants and needs
The rise of the individual - become yourself and shape who you really are
Branding and lifestyle - the product is a reflection of your personality
Who will you be - corporations creating products for the consumer to construct their identity


2) List five brands you are happy to be associated with and explain how they reflect your sense of identity.
Tesla - luxury lifestyle, wealth, importance
Apple - well established, keeping up with the technology, advance
Adidas - lifestyle choice and a well-established brand
Sony - luxury and advance with the technology

3) Do you agree with the view that modern media is all about 'style over substance'? What does this expression mean?

I personally do I agree with this view due to the fact that media sell goods and services which is used to promote people to buy their products as it's a reflection of themselves.

4) Explain Baudrillard's theory of 'media saturation' in one paragraph. You may need to research it online to find out more.

The postmodern semiotic concept of "hyperreality" was contentiously coined by French sociologist Jean Baudrillard in Simulacra and Simulation. Baudrillard defined "hyperreality" as "the generation by models of a real without origin or reality;" hyperreality is a representation, a sign, without an original referent.

5) Is your presence on social media an accurate reflection of who you are? Have you ever added or removed a picture from a social media site purely because of what it says about the type of person you are?


I believe that it doesn’t reflect everything about you but gives people an insight into your personality in terms of taste and preferences for example the people you follow in Instagram.

6) What is your opinion on 'data mining'? Are you happy for companies to sell you products based on your social media presence and online search terms? Is this an invasion of privacy?

It makes using the internet more accessible for people which gives them a better experience Howevr one problem is privacy.


Week 27 Story 54 - I know they've seen my message - so why haven't they replied?


Phone breakup woes

I know they've seen my message - so why haven't they replied?

https://www.theguardian.com/culture/2017/mar/17/i-know-theyve-seen-my-message-so-why-havent-they-replied
This article is about the issue people are facing on social media where they aren't getting replies even though messages have been sent. 
  • Most platforms tell you when your message has been opened – on Facebook Messenger, the recipient’s profile picture appears next to it. On Snapchat, the arrow goes from opaque to an outline. On WhatsApp and for Twitter direct messages, the tick turns blue. On iMessage, if your recipient has read receipts turned on, “Delivered” changes to “Read” – and it tells you the exact time they saw it
  • '' People with their read receipts turned on are either sadists or saints. There is no in between.''

I believe these social networking websites may actually be under threat by some of these protesters if they want to take this further.

Week 27: Story 53- Facebook needs news. So why shouldn’t it pay for it?

Facebook office sign

Facebook needs news. So why shouldn’t it pay for it?

https://www.theguardian.com/media/2017/mar/19/facebook-needs-news-why-shouldnt-it-pay-for-it-endowment

This article talks about how important news is to Facebook.
  • 1) A radically diminished funding base for print media, 2) increasingly fragmented audiences, 3) an accelerating pattern of random and instantaneous digital dissemination of information, 4) video’s increasing displacement of the written and spoken word, and 5) diminishing amounts and lower quality of civic education, and related declines in knowledge of public affairs.”
  • Simply increasing the amount contributed to the support of news media to 1% of total US giving would generate more than $3.7bn.”#
 Washington Post to the walled garden of the New York Times), a constant exploration of language and demographic hooks that may help discover cash streams. Plus that $150m or so backing investigative outfits in the ProPublica bracket

Wednesday 15 March 2017

NDM Stories Index

Week 1: Story 2- 'Why Facebook is public enemy number one for newspapers, and journalism'


Week 18 :Story 36- Elon Musk wants to cover the world with internet from space