Preliminary Exercise: Learner Response :)

1) Type up your teacher's feedback in full plus a summary of the comments you received from other students in the class.

WWW: Love the opening shot of the vinyl record – such a great way to set the tone. The overall feel is incredibly authentic – it feels professional. The only thing I’d say is that it perhaps already feels like a music promo rather than a straight music video (as the prelim brief specified) but seeing as the real brief is a music promo this is a pretty good problem to have! The effects you’ve employed are incredibly effective – the grainy texture, the ‘film’ effect, some of the editing – and these really help to establish the genre and purpose of the product. The live shots are excellent – they fit perfectly and you’ve either shot or cropped them cleverly so you can’t see the actual artist on stage! I’d like others to see this as they may want to use a similar approach 

EBI: The only shot I’m not 100% on is the cat – perhaps one to put to the class and see what others think? Finally, the lip-syncing isn’t particularly clear in the last 5 seconds. That might be one to think about in terms of building some synched-up performance into the final product at some point 

2) Using a combination of your own reflection on the preliminary exercise and the feedback you were given, write three WWW bullet points and three EBI bullet points for your work.

WWW: 

• The editing of the music video made it seem professional 
• The added effects are a goof touch to the music video 
• The live shots are effective as they don't show the artist who is actually performing 

EBI: 

• I need to make the lip syncing more clear at the end of the music video 
• Some of the shots may not fit in with the aesthetic of the rest of the video 
• Try create a narrative based video for the other music video in the promo 

3) How effectively did you complete the objective you laid out in your mini preliminary exercise statement of intent?

I think I completed the objectives very effectively as I set out what I wanted to complete and I completed it- in terms of filming, I had a list of shots that I wanted to get and I was able to carry out what I had envisioned. I think I achieved a range of different shots in order to convey different messages. Although I could have had more emphasis on light in the video 

4) What have you learned from the preliminary exercise that will help you in the actual coursework project?

The preliminary exercise has allowed me to refresh my editing skills on Premiere Pro as well as emphasising the importance of the skill of time management in coursework because the deadline allowed me to know when I should have everything filmed and edited by. Through my planning and research, I also analysed a lot of different music videos which gave me the opportunity to plan the elements I wanted to recreate in my music video. The preliminary exercise also allowed me to realistically plan out my video rather than having unrealistic ideas that may be hard to carry out 

5) Now you have completed the preliminary exercise, will you change anything in your actual music promo video plan? This could include your selection of songs, actors and style or technical elements such as mise-en-scene, camerawork or editing.

I original music video plan stated that I would have 3 20 second music video clips but after making one of the music videos, I have realised that making 2 30 second music videos is more realistically achievable. My initial plan was to use "Hard Times" by Paramore for the first music video but I changed it to "Decode" by Paramore after discussion with the actor I am using as my artist. The style and aesthetic that I initially planned has stayed the same but some props have been added that were not in the initial plan. However, the setting has slightly changed from the original plan as it is no longer clear that a bedroom is being used as the setting of the music video but I plan for the second music video to have a more recognisable setting 

Preliminary Exercise Research and Planning: Blog Tasks :)

 

• Mastering Composition + Cinematography
• Nine things to check before pressing the record button 
• Learn Premiere Pro 2018 in 11 Minutes

1) State the song you have chosen for your preliminary exercise.

Decode- Paramore 

2) Choose at least three music videos similar to your concept and watch a clip or more from each. Make bullet-point notes on everything you watch, commenting on camerawork, editing and mise-en-scene.

1:00-1:15

• The editing is not too fast and not too slow to reflect the medium pace of the song 
• This music video is performance based in the same way that mine will be
• The artist and the other woman in the video are wearing colourful clothing which is the same thing that my artist will wear in order to reflect the colourful nature of her aesthetic 
• The camerawork looks like it is handheld due to the movement not looking entirely steady which is the same camerawork that will take place in my music video 
• The eye contact with the camera is not consistent but there are moments where he makes direct eye contact with the camera 
• Their clothing is the only thing that adds colour to the blank and dull room which is a shot I hope to recreate in my music video

0:35-1:00

• There is a close-up on the artist where she doesn't make eye contact with the camera 
• She is wearing colourful clothing and she has a full face of makeup 
• There was a colourful transition between the shots which matches the aesthetic of my artist 
• The location switches to the public streets where people are living out their day to day lives but there have been graphics added post-filming that adds smiley faces to the shop names and people's faces have been covered by graphic smiles 
• She does not make eye contact with the camera and it seems to be have elements of performance of narrative as well as performance 

0:00-0:35

• She is in a dark room and the only thing illuminating her face is a small ray of light which I will attempt to recreate in my music video 
• This music video is performance based because she is singing to the camera a large majority of the time 
• The clothing she is wearing is considered "indie" which is the aesthetic I will attempt to recreate with my artist 
• There is an emphasis on colour in her music video which is the same emphasis that my music video will have 

3) Write your music video treatment (this is basically a script for your music video). You can find an example of a treatment here.

- Scene 1: Introduction of the music video with a vinyl record spinning which fades into the next scene

- Scene 2: A candid shot of the artist which shows off her natural personality and the type of message the artist is trying to get across 

- Scene 3: A shot of an audience at a concert which is colourful in order to match the colourful aesthetic of the artist 

- Scene 4: Due to the fast pace of the music, the shots will also have a fast pace of editing and there will be multiple continuous shots of the artist in different environments 

- Scene 5: Time-lapse of the sky 

- Scene 6: Another clip of the artist with a boarder around her which makes the shot look like it was taken on a disposable camera which also reinforces the nature of her music 

- Scene 7: A shot of the London streets in the dark 

- Scene 8: A shot with the artist holding a cat in colourful lighting which makes the audience see her as a friend and establishes a personal relationship with her rather than just watching from a screen 

- Scene 9: A series of "disposable camera shots" after each other to make it look like a photoshoot 

- Scene 10: A shot of the artist running towards the camera slowed down (handheld camera) 

- Scene 11: The title of the song "Decode" switching between different fonts in a nature that matches the colourful aesthetic of the artist 

- Scene 12: The artist finally begins singing to the camera and she lip syncs to the song while there are phone torches in the background (which reflects the atmosphere of a concert) and the lights are flashing and then the music video fades to black 

4) Write a shot list containing EVERY shot you plan to film AND additional shots to create flexibility when editing (in a music video you will find you need FAR more shots than you think, particularly close-ups). These additional shots can be close-ups, alternative angles or something more creative. I advise using a simple table on Microsoft Word/Google Docs to set out your shot list - you can find an example here (this is from narrative film making but the same format can be used for any video project). 

SHOT NUMBER	SHOT DESCRIPTION	FILMED?
1	Close-up of vinyl record spinning	YES
2	A medium close-up candid shot of the artist	YES
3	A shot of an audience at a concert which is colourful	YES
4	Medium shot of the artist walking away in a dull hallway	YES
5	Medium shot of the artist in a dark room being illuminated by a small ray of light	YES
	A shot where the artist turns around to face the camera and covers the camera with her hand	YES
6	Time-lapse of the sky	YES
7	Clip of the artist back in the dark room being illuminated by the small light but she is looking down and away from the camera	YES
8	Shot of the streets of London in the dark	YES
9	Medium close-up of the artist holding a cat in a room that is illuminated in purple	YES
10	A collage of the same clip which has been taken at a concert	YES
11	Another candid shot of the artist where she looks like she is preparing herself for being filmed	YES
12	Another clip taken from a concert	YES
13	The artist running towards the camera in the same dull hallway with a handheld camera	YES
14	The artist lip syncing to the song while maintaining eye contact with the camera and there are phone flashlights being waved in the background	YES

5) Plan your mise-en-scene: what iconography are you including to ensure your audience understands the genre and style of your artist? Plan your settings, costume, make-up, props and lighting. 

Costume: She will be wearing a green crop top which appeals to her colourful aesthetic which will be covered by a black puffer jacket in some shots 

Lighting: Lighting is a very important aspect in this music video so there will be some shots in the dark where the only light is coming from a small ray of light shining onto her face and in other shots, it is a relatively dark room and there are phone flashlights waving around behind the artist. The shots in the hallway are illuminated by the lights that are already in there but the purple lights in the bedroom shots are done using purple LED lights around the room 

Actor: There is only one artist in this video and she is a young woman who looks like a university student and dresses relatively simple and matches the typical "indie" aesthetic which may present her as a role model for her target audience 

Make-up: She is wearing colourful makeup which again emphasises the importance of colour in her brand and aesthetic 

Props: I will be using a vinyl record for the beginning of the video and there will also be a cat appearing around halfway through as well as the phone flashlights that appear at the end 

Setting: The shots with the tapestry have been shot in my bedroom as well as the shots in the dark where only a small light illuminates her. The shots in the hallway have been shot in an apartment building hallway. The shots of the streets have been taken in Central London 

6) Plan a shooting schedule that will ensure everything is filmed by the deadline. Include when, where, who is required, planned equipment and any other aspects you need to arrange. 

When: Wednesday 12th October 

Who: Deema Mehdi

Equipment: Vinyl record, phone flashlights, my cat 

Final Product

Coursework Summer Project 2022: Blog Tasks :)

Research: music videos and music promos

You need to write a 150-word close-textual analysis of selected videos that will inform your production work. The music video videos you analyse are up to you but focus on a different aspect of media language for each one (see guidance below). For promos, we've suggested a few options but if you can find your own examples you are welcome to study those. Focus more on interviews, cutaways, structure and graphics/brand identity for the promos. 

Music videos: 

Music Video 1: Narrative

1) How is narrative used in the music video and what impact does this have on the audience? Can you apply any narrative theories to the story in the music video?

In this music video, the female lead played by Taylor Swift begins the story of how she met a man who is seemingly perfect at the start. This is reflected by the luxurious setting in which the music video takes place alongside the fancy clothing worn by her and the man. They are seen taking part in activities together such as eating dinner together, dancing in a ballroom, riding their bikes around the house and walking their dogs. She then carves their names into a tree but in the following scene, she is laying on his lap while he pays her no mind and uses his phone instead. A linear narrative is portrayed through this music video through the parallel sound that narrates the story of their relationship as it progresses and goes downhill. By the middle of the music video, she is arguing with him and the line “screaming, crying, perfect storms” is sung while she is yelling at him. After the argument, she is shown destroying his belongings by dropping his phone in the pool, cutting up a portrait that she painted of him, cutting up his clothes and burning the rest and destroying his car with a golf club. Todorov’s theory of equilibrium can be applied where the equilibrium is the female lead getting into a relationship with a seemingly perfect man. The disequilibrium is when he is caught cheating on her. The new equilibrium is when she gets revenge by destroying all of his belongings to make herself feel better. 

Music Video 2: Technical codes (camerawork, mise-en-scene, editing)

1) What do you notice about the use of mise-en-scene to create meanings for the audience? Use CLAMPS to help you here and think in particular about how mise-en-scene is used to communicate the genre of music. Look for particular camera shots and movement - remember that movement is a critical convention of most music videos and camerawork can contribute to this. For editing, analyse pace, transitions, the number of shots and juxtaposition. How does the music video create pace and excitement - or does it create a different effect for the audience? 

This music video starts off with a steadicam and the camera remains still in one spot and when the camera does begin moving, the movement is relatively slow. Once the beat of the song picks up, the camera begins tilting and panning but still in a relatively slow manner. As she is being injected, the camera movement becomes still again but then does a slow zoom on her face in order for the audience to see the effects of what she was drugged with. There is a lack of consistency in the camera movement throughout the video which perhaps reflects the inconsistency of her state of mind. A slow Dutch tilt takes place about half-way through the video before returning to the steadicam. A dolly shot takes place as she walks down the corridor but then returns to being stationary. This is however changed when a 360 degree tilt takes place which is when the camera movement becomes more erratic and becomes handheld which is apparent due to the visible shaking of the camera- this increasingly erratic movement of the camera successfully mirrors the increased feeling of anxiety that is being felt and portrayed. The tilt at the end of the music video portrays the idea that her overthinking never got closure and she remained in a constant state of confusion and thinking. With regards to editing, this video starts off with very slow paced editing where each scene is around 10 seconds each. However, the pace of editing increases as the beat of the song increases. This faster pace of editing matched with the constant flickering of the lights paired with the eerie music presents a strong feeling of anxiety. There is no storyline in the music video and the same locations are repeatedly used in order to reflect that she is overthinking specific things and cannot move on from them. She is trapped in a cycle of anxiety that cannot be stopped despite the “medication” she was injected with and the multiple hands trying to silence her- there is no closure or cure to the way she is feeling. She starts off by wearing a completely white outfit which has connotations of purity and innocence but the hands rip her shirt in order to inject her which presents the idea that she was a pure and clean canvas that was ruined by her mental state and the effects of it. 

Music Video 3: Conventions

1) Think back to our Introduction to Music Video and our work on Andrew Goodwin's theory on music video conventions as part of the Ghost Town CSP. How many key conventions of music video can you find in your fifth music video example?

This music video is highly applicable to Goodwin’s music convention theory- the first convention from Goodwin’s theory that can be applied to this music video is the link between visuals and lyrics. The song is titled “Remember The Time” and it takes place in Ancient Egypt where Michael Jackson is singing to an Egyptian Goddess which is reflective of his reminiscent attitude. Genre characteristics also take place in this song as this song has been classified as a dance pop genre and there is a two-minute long dance break at 6:30 to reflect this genre. The notion of looking could also be applied to this music video because it looks like Michael is singing to the audience at one angle but when the angle moves, we can see that he is singing to the woman in front of him. Other than that, there doesn’t seem to be much eye contact with the camera and the rest of the eye contact in the music video is between the characters. There is definitely an element of female objectification through the use of costume. The women are wearing outfits which make their breasts the focus due to the gold coloured bras they’re wearing and this attracts the male gaze (Mulvey’s theory). Goodwin suggests that music videos are either performance, narrative or concept based but this music video is a hybrid of performance and narrative. There is a short story at the start of the music video that sets the scene for what the music video is about which leads into the narrative of the music video which is about how he is reminiscing about when he loved a woman who was very special to him. However, there were also performance elements where he is singing and dancing which presents this as a hybrid of performance and narrative. 

Music promos: 

Music Promo 1: Frank Palangi - Artist Promo - No Plan B

1) How does this video use mise-en-scene to create meanings for the audience? Look for settings/locations, cutaways, use of colour/black and white, lighting and costume:

The mention of the studio is then followed by him setting up in the studio which is also then done again when he mentions wanting to get the instruments he saw in movies which is the followed by a shot of him walking into a guitar shop and taking a look at the guitar straps and instruments. A range of different lighting and colours have been used in order to draw attention. At the start, the artist is in black and white which is then followed by some buildings in natural light and then in a studio with purple lights. The camerawork used for the interview is handheld as you can see the camera moving. There were also a lot of close-ups of Palangi playing drums, guitar and singing in front of a microphone to show off his talent in detail. 

Music Promo 2: Bel Thomson Artist Promo Video

1) Focus on the content here: what camera shots are used? What topics are covered in the interview? What other interviews are included aside from the artist herself? How are graphics or text-on-screen used? 

For the interview element, the camera shots are medium close-ups and with occasional close-ups of her hands on the piano which links to the story about a condition she has that causes her hands to swell. Different songs by Bel Thomson are being played in the background of the interviews which is a subtle promotion to her music. She discusses the way her music career came to be and the struggles she encountered in her teenage years. The graphics on screen summarise the topic of the interview as well as introducing Paul in an easily communicated way to the audience

Music Promo 3: SBTV interview with Slaughterhouse

1) This is more an interview than a promo but contains many of the conventions we will want to use. How does the video begin? What questions are covered in the interview? How does the video incorporate live performance/music video elements? 

This video begins with audio taken from a concert which introduces the group to the audience by saying there isn't a group in the rap game that can out-rap Slaughterhouse which introduces their talent before even hearing their work. The interview discusses the way in which the group came together and the way they interact with their fans as well as their individual experience in terms of rapping and their relationship each other. The framing makes it so that the whole group is captured at the same time until one person is speaking and then there is a close-up of them to draw in focus to them 

Planning: music promo script and treatment

In many ways, a music promo is a mix between an advert, a documentary and a music video. In order to produce this, you'll need to write a script but you should also plan to write a music video treatment too. A treatment is like a script for a music video - it tells the band or artist exactly what will happen in the video and the kind of style or effect the video will have. You'll need choose what songs you are going to use at this point - remember, you can use an existing artist's work but it needs to be appropriate for the brief. 

You can find further music video treatment guidance here plus an example of a genuine director's treatment for the brilliant alt-J video Breezeblocks. 

1) For this aspect of your summer project, write a combination script/treatment that will tell a reader what your three-minute promo will be made up of.

• First 10 seconds: Artist introduces themselves and their brand 
• 10secs-30secs: 20 second music video clip to "Hard Times" by Paramore which takes place in the artist's bedroom 
• 30secs-55min: Behind the scenes of the "Hard Times" music video in the artist's bedroom 
• 55sec-1min40secs: 45 second interview where the question is presented on the screen with a font that matches the artist's genre rather than spoken out loud by the interviewer  
• 1min40secs-2min: Another 20 second music video clip to "Rose-Coloured Boy" by Paramore in Shoreditch with the graffiti visible 
• 2min-2min25sec: The making of the "Rose-Coloured Boy" music video 
• 2min25sec-2min40sec: Artist going through her phone and her apps showing the places where she interacts with her fans 
• 2min40-sec-3min: Playing with her cat while talking to the camera about the way she came to fame 

Statement of Intent

The original AQA brief is here: NEA Student Booklet - brief 3. We also strongly recommend you look at our Statement of Intent 2023 questions to consider document too (you'll need to log in with your Greenford Google account to read this).

1) Write the first draft for your genuine 500-word Statement of Intent. This will be submitted to the exam board alongside your media products and is worth 10 marks of the overall 60 marks available.

Introduction: 

- My artist is called Dee which is a nickname and this allows the audience to establish a personal relationship with her (Blumler and Katz Uses and Gratifications theory). Her aesthetic is that of the alternative/indie band Paramore 

- Her aesthetic is like that of the alternative/indie band Paramore 

- The source of the songs that I am using are from a variety of albums from Paramore which I believe match the artist’s aesthetic the best 

Media Language: 

- I aim to meet brief three by ensuring multiple shooting locations as well as using a range of camera shots, angles and movement in order to establish the locations and representations. I plan to use a bedroom scene for interviews and Shoreditch for music video elements as that matches her aesthetic

- I will include close-ups of the artist and handheld camera shots 

- The diegetic sound will take place during the interviews and behind the scenes content 

- The non-diegetic sound will take place for the soundtrack playing in the background 

- The songs that Paramore produce are relatively fast paced so I will match the editing with the speed of the song- the faster paced songs will have faster editing than the slower paced songs. The first song I plan to use is “Decode” which has a relatively fast paced beat which means that I must ensure fast editing to match the song 

- The costume for my artist will be colourful due to the colourful nature of her aesthetic so the costume will likely be clothing that matches her red hair or clothing that is typically seen as "indie" style clothing in order to represent her genre 

- Much of the lighting I use for the video will be coloured which is simply due to the aesthetic of the artist where dull lighting does not match her aesthetic 

Media Representations: 

- Arguably my music videos will reinforce Judith Butler’s idea that gender is a performance due to the performance given by the female artist  

- My artist is not a political performer so there is no need for the subversion of Goodwin’s music video conventions because there is not a particular message she is trying to convey through her music 

- For the print adverts, it can be said that Laura Mulvey’s male gaze theory is being subverted because the target audience for my artist is a female audience so the male gaze theory cannot be applied because she is not being sexualised for the pleasure of a male audience  

Media Audiences: 

- The target audience for my artist is a teenage female audience that aspire to be like my artist and look up to her as a role model 

- The psychographics for my artist are the aspirers who place emphasis on image, appearance, charisma, persona and fashion 

- Blumler & Katz Uses and Gratifications theory can be applied for personal identity due to the relatable aesthetic and the popularity of the location 

Media Industries and Digital Convergence: 

- My artist will have a very strong social media presence where she interacts with her fans and posts TikToks with her music and makes tweets to promote her music 

- She will be an independent artist because she wants to inspire young people that they can achieve their goals without goals that seem unattainable (like getting signed to a record company)

Ignite presentation

Prepare a 5-minute, 20-slide presentation using the Ignite format in which you present your coursework project. In effect, this is your statement of intent in presentation format. You must cover:

• Your music promo video and print advert concept: artist, genre, songs, interviews, narrative/performance/effects, photoshoot, branding etc

• Media language: how you will use music promo video conventions and print advert conventions - e.g. camerawork, editing and mise-en-scene to create meanings for your audience

• Media representations: how you will use or subvert stereotypes in your music promo and print adverts; applications of representation theory; social and cultural contexts - how your coursework will reflect contemporary media culture and society

• Media audiences: your target audience demographics and psychographics; audience pleasures - why they would enjoy your promo; audience theory if relevant

• Media industries and digital convergence: the potential record company that would promote your band or artist; the brand identity for your artist; how fans would engage with your products etc

Your Ignite presentation will be marked out of 30 on the following criteria (each worth a possible 5 marks):

1) Research (through the presentation AND your blog) 

- The music video needs a narrative (Todorov’s equilibrium theory can be applied) 

- Film the music videos in a location that matches the genre of the artist 

- Majority of camerawork will be handheld to provide a less formal video 

2) Coursework concept

- Alternative/indie with elements of pop 

- Clothes that match her hair or just ‘Indie’ inspired clothes 

- Shoreditch for location of a music video 

- Bright pastel colours for the general colour scheme of the music videos 

3) Language: terminology and theory

- Establishing shot of artist 

- Variety of transitions (fast paced)

- Transitions and zooms that fit in with the music 

- Reinforces music video conventions: Goodwin’s Theory of genre conventions (location and props) and close-ups of artist as well as being performance based 

4) Representations / social and cultural contexts

- Female representation 

- Representation of talented youth
- Representation of genres that are not ‘mainstream’ 

5) Audience and Industry / digital convergence

- Psychographics: Aspirers: Affiliative, oriented to extrinsics, image, appearance, charisma, persona and fashion. Attractive packaging more important than quality of contents (Younger, clerical/sales type occupation) due to the emphasis of aesthetic for this artist 

- Blumler & Katz- Uses and Gratifications theory: Personal identity due to the relatable aesthetic and the popularity of the location 

6) Presentation delivery

Presentation

Final Index: Radio :)

My Final Radio Index 

1) Radio: Introduction to Radio

2) Radio: BBC Radio 1 Newsbeat

3) Radio: War of the Worlds

War of the Worlds: Blog Tasks :)

Media Factsheet

Read Media Factsheet #176: CSP Radio - War of the Worlds. You'll need your Greenford Google login to download it. Then answer the following questions:

1) What is the history and narrative behind War of the Worlds?

The history and narrative behind War of the Worlds is that it is one of Orson Welles' radio plays and it tells the story of an alien invasion and the ensuing conflict between mankind and an extra-terrestrial race from Mars 

2) When was it first broadcast and what is the popular myth regarding the reaction from the audience?

War of the Worlds was first broadcast live on 30th October 1938. The popular myth regarding the reaction from the audience was that thousands of New Yorkers fled their homes in panic, and all across America people crowded the streets to witness for themselves the real space battle between earth and the Martians. The Trenton Police Department received over 2000 calls in less than two hours, while the New York Times switchboard received 875 calls from concerned listeners wanting to know where they would be safe

3) How did the New York Times report the reaction the next day?

The New York Times reported the reaction the next day as a 'wave of mass hysteria' using the headline, “Radio Listeners in Panic, Taking War Drama as Fact” 

4) How did author Brad Schwartz describe the the broadcast and its reaction?

Author Brad Schwartz described the broadcast and its reaction highlights the role the news media can have in distorting the truth and even creating moral panic. Schwartz suggests that the hysteria it caused was not entirely a myth. “Instead it was something decades ahead of its time: history’s first viral-media phenomenon”. He argues that “the stories of those whom the show frightened offer a fascinating window onto how users engage with media content, spreading and reinterpreting it to suit their own world views. It’s even more important to understand how the press magnified and distorted those reactions, creating a story that terrified the nation all over again, so that we can recognise when the same thing happens today 

5) Why did Orson Welles use hybrid genres and pastiche and what effect might it have had on the audience?

Orson Welles used hybrid genres and pastiche to create real moments of shock and awe, which almost certainly account for the strong reaction it received and to blur the boundaries between fact and fiction in a way that audiences had never experienced which could have added to their confusion

6) How did world events in 1938 affect the way audiences interpreted the show?

World events in 1938 affected the way audiences interpreted the show particularly as one month prior to the broadcast in September 1938, Hitler signed the Munich Agreement which left audiences with concern and for many it seemed that another world war was inevitable. At this time, both the radio networks, including CBS, frequently interrupted programmes to issue news bulletins with updates on the situation in Europe which caused audiences to become familiar with such interruptions and were more accepting of Welles’ faux newscasts at the beginning of the play 

7) Which company broadcast War of the Worlds in 1938?

War of the Worlds was broadcast by the CBS Radio network in 1938 

8) Why might the newspaper industry have deliberately exaggerated the response to the broadcast?

The newspaper industry might have deliberately exaggerated the response to the broadcast as a means of sabotaging this new medium which it viewed as a huge threat so the papers seized the opportunity presented by Welles’s programme, perhaps to discredit radio as a source of news. The newspaper industry sensationalised the panic to prove to advertisers, and regulators, that radio management was irresponsible and not to be trusted 

9) Does War of the Worlds provide evidence to support the Frankfurt School's Hypodermic Needle theory?

War of the Worlds provides plenty of evidence to support the Frankfurt School's Hypodermic Needle Model if the response was anything like the media reported. This is because it fully exemplifies how an audience can be passive and practically listen to everything that they're told without taking a moment to think for themselves and ponder over whether it's actually true or not 

10) How might Gerbner's cultivation theory be applied to the broadcast?

Gerbner's Cultivation theory could also be applied to the broadcast as audiences were used to the frequent interruptions to the radio after Europe's failure to appease Germany which put people on edge. It is as a result of this frequent exposure that audiences were perhaps more prone to believe that this radio play was real as they were already used to such interruptions taking place regarding updates on the situation 

11) Applying Hall's Reception Theory, what could be the preferred and oppositional readings of the original broadcast?

Applying Hall's Reception Theory, I think that the preferred reading of the original broadcast was for it to just be taken as a form of entertainment for audiences wondering what next would happen following the attack of the Martians but not so much as to take it seriously. The oppositional reading seems to be the much more prominent reading taken away from the broadcast which is that it caused public unrest and deceived audiences into believing that they were truly in danger and people were being killed by Martians a view taken especially by the New York Times and their report 

Analysis and opinion

1) Why do you think the 1938 broadcast of War of the Worlds has become such a significant moment in media history?

The 1938 broadcast of War of the Worlds has become such a significant moment in media history as radio was still a relatively new medium and for it to have affected audiences on such a large scale (according to how it was reported) it truly exemplified the potential of the media in influencing audiences into believing that something as absurd as Martians invading and killing people 

2) War of the Worlds feels like a 1938 version of 'fake news'. But which is the greater example of fake news - Orson Welles's use of radio conventions to create realism or the newspapers exaggerating the audience reaction to discredit radio?

War of the Worlds feels like a 1938 version of 'fake news' but I believe that the newspapers exaggerating the audience's reaction to discredit radio is a greater example of fake news than Orson Welles's use of radio conventions to create realism. Orson Welles's intention was to entertain audiences and while he did intentionally make it seem realistic he did constantly inform audiences that the radio play was fictional which settled audiences. However, the newspaper's intention was to influence its reader's opinions on radio as a medium by extending and manipulating the truth in a way that benefitted them without ever clarifying if this over-exaggeration was true or not 

3) Do you agree with the Frankfurt School's Hypodermic Needle theory? If not, was there a point in history audiences were more susceptible to believing anything they saw or heard in the media?

I wholeheartedly agree that the Frankfurt School's Hypodermic Needle Theory was reinforced by the further development of the media that the audience became more susceptible to believing passively 

4) Has the digital media age made the Hypodermic Needle model more or less relevant? Why?

The digital media age has made the Hypodermic Needle Model more relevant today in some aspects and less relevant in others. The Hypodermic Needle Model has become less relevant in that audiences have become more sceptical of certain stories as we are aware of fake news and unreliable sources. However, certain social media platforms are proof that the Hypodermic Needle Model may be more relevant than we think because it is likely that some people are more likely to believe something if many others also appear to believe it 

5) Do you agree with George Gerbner's Cultivation theory - that suggests exposure to the media has a gradual but significant effect on audience's views and beliefs? Give examples to support your argument.

I agree with Gerbner's Cultivation theory due to the belief that frequent exposure to fake news results in pessimistic views of the world which is known as Mean World Syndrome 

6) Is Gerbner's Cultivation theory more or less valid today than it would have been in 1938? Why?

I believe that Gerbner's Cultivation theory is more valid today than it would have been in 1938 because of our increased exposure to opinion influences. In 1938, sources would have been limited but social media now has an impact on people's beliefs