How to keep platforms at the heart of your AS Case Study

1. CROSS
MEDIA
STUDY:
Research
• Audiences
and
how
they
receive
and
respond
to
(and
create)
texts.
The
power
and
control
audiences
have.
Do
audiences
differ
across
plaEorms
for
the
same
main
text?
• Ins*tu*onal
contexts
including
the
relaJonship
with
the
adverJsing
industry,
the
level
of
independence/
corporateness
and
how
this
may
influence
the
producJon
and
content
of
texts,
the
brand
values,
the
elite
dominant
ideologies
presented.
Know
the
values
or
mission
of
the
InsJtuJons!
• Representa*ons
available
within
the
texts
and
how
these
are
constructed.
Are
stereotypes
used
in
different
plaEorms?
What
is
included
in
one
plaEorm
and
ignored
in
another?
• NarraJve
and
genre
codes
and
conven*ons
within
the
individual
texts
and
across
the
topic,
accounJng
for
similariJes
and
differences
in
codes
and
convenJons
across
the
media.
How
doe
the
codes
change
meaning?
• Features
and
issues
such
as
synergy,
cross-­‐media
promoJon,
public
service
remit
and
other
obligaJons,
censorship
and
control,
news
and
entertainment
values,
the
technologies
used
in
the
produc*on
and
recep*on
process

2. Cross
Media
Study:
PlaEorms
EMEDIA
• Text
is
accessible
on
many
devices
• InteracJve
with
text
• InteracJve
with
ins*tu*on
• Mulitple
narra*ves
• Audiences
can
produce
and
generate
content
• Audiences
can
self-­‐represent
• Audiences
can
interact
with
friends
via
social
networking
• Liberally
pluralisJc
–does
not
have
elite,
ins*tu*onal
dominant
ideology
• Visual
codes
&
conven*ons
–
media
language
• Audiences
can
control
and
personalise
content
for
their
own
idenJty,
preferences
and
graJficaJon.
• Text
is
temporary
/dynamic
• Unregulated
/uncensored
but
sJll
large
elite
ins*tu*onal
presence.
PRINT
• Text
SJll
enjoyed
as
a
physical
product
• Marxist
–
elite
text
with
dominant
ideologies
communicated
to
mass
/
niche
audiences
• Single
narra*ve
of
ins***ons
• Text
created
by
ins*tu*ons
who
are
primary
definers
• Audience
have
no
opportunity
for
interacJon
–
one-­‐way
messaging
-­‐
bias
• Need
for
commercial
success.
Ins*tu*ons
driven
by
economic
factors
–
reward
for
loyal
consumers
exclusives,
must
haves
etc.
collector
ediJons,
shock
and
emoJve
content
• Visual
codes
and
conven*ons
–
media
language
as
well
as
text/wri]en
codes
of
persuasion/opinion/fact
etc.
• Censored
&
regulated
BROADCAST
• Text
not
always
accessible
unless
through
convergence
of
Emedia
• Marxist
–
elite
texts
with
dominant
ideologies
communicated
to
mass
/
niche
audiences
• Text
created
by
ins*tu*ons
who
are
primary
definers
• Single
narra*ves
of
ins*tu*ons
• Audience
encouraged
interact
through
convergence
• Ins*tu*ons
driven
by
need
for
commercial
success
–
rewarding
loyal
audiences,
exclusives,
compeJJons,
series,
franchises
etc.
• Can
use
stereotypical
representa*ons
to
communicate
meaning
clearly
and
quickly
• Censored
and
regulated
The
key
to
this
is:
Whatever
the
topic
of
your
quesJon
(audience,
narraJve,
commercial
factors
etc.)
focus
on
the
‘medium
is
the
message’
Marshall
McLuhan.
How
does
the
plaEorm
change
the
construcJon/content
of
the
text
and
the
experience
for
the
audience?