TV Drama: Stranger Things

Stranger Things Narrative and Genre

1. What are the formal codes and conventions of Long-Form TV Drama?
Few primary central characters (about 1/2)
Main plot and sub plots
A problem that needs to be resolved
Scheduled prime time
Exaggerated, hyper real representations of character – cultural stereotyping for entertainment values
Long, high budget title sequence

2. How similar or different are the formal conventions used in Stranger Things?
No scheduled prime time- Netflix original
Multiple primary and secondary characters introduced within the first episode
Has main plot as well as sub plots
Includes a problem established that needs to be resolved
Stranger Things adheres to most of the conventions above however due to the platform of Netflix the show does not have a Prime time slot on TV. The show was instead released all in one, possibly to encourage 'binge-watching' from their audiences. The dramatic narrative is illustrated through the disappearance of Will Byers. Along with this, there are multiple sub-plots regarding Eleven, Hopper, Nacy and Steve which are to be resolved later in the series. The lighting, character and general mise en scene relates closely to the zeitgeist atmosphere of the 80s. The high production of the drama is presented through the large budget presented through CGI and mise en scene. This in enforced through the title sequence that uses multiple graphics and an 80s style. In episode one the characters are introduced briefly through a series of clips illustrating their setting and importance to the plot. Through their introductions multiple sub-plots are introduced. The dramatic narrative is driven by the disappearance of Will which is then continued as the police and his friends search for him and find Eleven who is also introduced earlier in the episode. The main plot has not yet been solved in the first episode which adheres to the codes and conventions of TV drama.

3. How does this help to develop the genre and the way in which audiences respond (positively or negatively) to long form TV dramas?

 The genres of the set texts for example, Stranger Things as a Science Fiction/Horror hybrid genre drama or Deutschland 83 as a Spy Thriller genre drama.
 The codes and conventions of long form TV drama help to develop the genre as the length allows for multiple plots to be explored, thus allowing hybrid genres to be explored. The context of the film allows the genre to be explored - especially with the context of secrecy and government conspiracies of the time.

 4. What codes and conventions are used to help audiences recognise their genre?

Through use of the unrevealed and unnamed monster the horror genre is presented at the start of the episode as the establishing and tracking shots build up the tension as the monster chases the scientist. Horror narratives are unsettling and made to frighten and panic their audience but entertain them at the same time. Different forms have different codes and conventions that separate them into genres and sub- genres but most horror narratives have similar codes and conventions and specific symbols to make up the narratives iconography which allows the audience to identify the genre. Stranger Things also features elements of the sci-fi in the drama narrative due to the themes of government conspiracies and secrecy involving the extra-terrestrial. The sci-fi genre incorporates hypothetical and science based themes into the plot of the narrative. The genre often includes futuristic elements and technologies to explore social, political, and philosophical issues. The generic convention of sci-fi incorporates heroes, villains, quest, advanced technology and unfamiliar locations. The genre is also supposed to be set in a futuristic or apocalyptic environment however stranger things is set during the 80s.

5. How may these two set products contribute to changes or developments within the genre in their current form?


6. What similarities and/or differences are there between the genres in Stranger Things? How do these help to popularise the form?

BBC Radio 1: Audience Appeal

Are they playing a range of new music?

Dua Lipa - younger target audience

 Are they supporting emerging artists - especially those from the UK? 

'Top of the charts Tuesday' and a range of UK artists 

Are they providing a platform for live music? 

Radio 1 live lounge

Are they providing news, documentaries and advice campaigns to cover areas of relevance to young adults? 

Are they offering at least 2 major social action campaigns across daytime and online each year, together with a number of other initiatives? 

Charity - Children in need - Ethan - broadcast live

Are they interacting with their audience and how?

text number for audience to message in

Audience interaction

 How are they appealing to all demographics within the 15-29 age group? How?

Simplistic, brief

20 year old - interview - age group

Brexit - 

Liverpool - sport

Rising fuel tax - age group drive

18-24 year old - social mobility - age group demographic 

BBC Radio 1 Breakfast Show: Eccles

Background Information

BBC age: 96 years (1922)

Lord Reith is the founder of the BBC and first manager.

Radio 1 began broadcasting in September of 1967.

The BBC's mission is to inform, entertain and educate.

The BBC's vision is to be the most creative organisation in the world.

The BBC's values are trust, audience, quality, value for money, creativity and respect.

The license fee covers services to remain free of ads and independent of shareholder/political interest. Aroud £150 per year.

BBC is regulated via Ofcom and does not apply to all area of the BBC where it has been regulated itself.

BBC Radio 1 Breakfast Show: Audience

Audience

Categorisation

Audiences catergorised/measured by RAJAR (Radio Joint Audience Research) UK.  Jointly owned by the BBC and Radiocentre on behalf of the commercial sector. Subscriptions for the full service are expensive. 

The BBC aims to reflect a diverse young audience for Radio 1; its Service License 2016 says it should be: reflecting and representing the whole UK population.

 BBC Radio 1 should play a part in this purpose amongst its audience, particularly focusing on the diversity of young people in the UK today. Its presenter line-up, music and content should reflect the audience it is targeting.

 The station should host several live events each year which connect the station directly with listeners that are not served by other areas of the media, particularly in ethnic minorities. These events should reflect the diverse range of music enjoyed by different cultures across the UK. Radio 1 should contribute to BBC Radio’s commitment to ensure that at least one third of relevant expenditure is incurred outside the M25 area.

RQIV Framework:

Reach: Extent to which BBC services are used 

Quality: Measured in terms of audience perception aspects

Impact: Extent to which context delivers the BBC's pulic purposes, can be found out through audience research and public consultation.

Value for money: Consideration of performance alongside cost to provide a perspective on cost-effectiveness.

Diverse young audience, representing the whole UK population. Focusing on the diversity of young people. Its pesenter, line up, music and content should reflect the audience it is targeting. They try to make sure events draw in another sector of the audience e.g. ethnic minorities. 

Reach

• 9/10 adults in the UK listen to the radio each week.
• Reach is increasing
• 67% listen to Radio 1
• 3% decrease in 25-34yo listeners
• Richer abc1 demographic are more likely to listen to the radio
• More men listen to Radio 1 than women
• 1.6% listener increase from 2010 to 2014
• Wales listening increased
• Losing younger listeners, gaining older
• 15-29 dropped by 3% in 4 years
• BAME (Black, Asian, Minority, Ethnic) listening increased
• Median age of listeners: 30

Reaching audiences

People aged between 15-24 listened to just over 14 hours of radio per week last year - seven hours less than the average adult, and 15% less than they did a decade earlier, according to broadcasting regulator Ofcom. Radio 1 is suffering because its core audience is turning away from live radio. This is largely thanks to the arrival of streaming services.

The Breakfast Show has been losing audience numbers year-on-year since Grimshaw took over (see above) but Grimshaw was brought in especially to develop larger audiences in its target range of 15-29 and shed the over 30s Targeting Specific Audiences. Radio 1’s controller Ben Cooper has argued that the station should not be judged solely on RAJAR figures. ‘Radio 1 is evolving with its young audiences as we live through changing times for traditional radio, so it’s particularly gratifying to see that in addition to around 10 million listeners, we have seen record figures for Radio 1 videos on Facebook with 80 million monthly views, and 1.4 billion total views on Radio 1’s YouTube channel. You can't judge Radio 1 on RAJAR figures alone – just as you can't judge a newspaper solely on physical sales – you have to take into account our digital innovations as well. I’m pleased that Grimmy is doing what I’ve asked of him by keeping his young audience happy and scaring off the over-30s.’ 90% of the dip in Grimshaw's figures were from losing the over-30s.

Audience Interaction

Radio's 1 remit is to entertain young listeners with a distinctive mix of contemporary music and speech. Target Audience: 15-29 year olds. 

It should offer:

• A range of new music
• Support emerging artists, especially those from the UK
• Provide a live music platform
• news, documentaries, and advice campaigns and should cover areas of relevance to young adults
• broadcast at least 40 new documentaries each year
• offer at least 2 major social action campaigns across daytime and online each year, together with a number of other initiatives. 

They often have the audience on the phone who choose what tracks get played and encourage them to think they are producing a segment (10min takeover).

 

'Mates round the table' collective presentation style and mode of address.

The Jungle Book(2016): Homework Task

Questions

1) How did Disney successfully use cross-media promotion as part of The Jungle Book’s marketing campaign? 

They had a Snapchat Discover platform with Mashable as an intractable media platformed movie poster. 'Snapchat Discover, which has 18 media partners including Mashable, has become a notable tool for companies to share articles and videos. The social media app reportedly has 4 billion daily video views, with its core audience made up of mostly young users.'

 They also had their own Snapchat filter, Kaa the snake being able to be used as a face filter which helped to promote and campaign the movie. They also promoted the movie through a 3D cinema trailer on all screenings of Star Wars : The Force Awakens. 

  A Super Bowl ad placement and a 3D preview in auditoria before the Star Wars movie helped to promote marketing as well.

2) To what extent were digital marketing techniques vital to The Jungle Book’s box office success? 

The 2016 version of the Jungle Book used digital marketing techniques which helped to create the box office success. Disney teamed up with Snapchat where users could take pictures of themselves with a Kaa themed filter. Users could then share these images with friends, which circulates promotion and marketing through social media. 

The Jungle Book also has its own Instagram, Twitter and Facebook accounts which released teaser trailers and behind-the-scenes photos and videos, all in the months running up to its theatrical release.

 The use of digital techniques is especially effective as they reach out to the widest possible audience, as users are able to share and interact with the elements of marketing.

3) List the ways the film was exhibited (shown). How did Disney’s strength as an institution enable the film to be exhibited in all these ways? (think about financial backing, use of 3D, marketing strength and vertical integration) 

 Theatrical release (2D, 3D & IMAX), DVD, Blu Ray digital downloads, iTunes, Disney Movies, Amazon, Movies.

 Due to Disney's previous success with other franchises it has created a well-known and trusted brand, hence other companies would have been keen to be involved. Disney is also heavily backed, financially. This is due to its ownership, marketing and distribution as the company is involved within multiple different industries. Walt Disney Records produced soundtracks, the Disney Store sold related merchandise (in-store and online). Unlike the 1967 version, the remake wasn't vertically integrated, hence Disney was able to use the expertise of producer and manufactures around the world, enabling the film to be the biggest success.

4) How did Disney attempt to broaden the audience for The Jungle Book? Was this successful?

The Jungle Book reboot stills and videos were created emphasising the actors that voiced the characters. Targeting older audiences and parents in this way created a wide-ranging appeal that ensured three weeks at the top of the box office.

The original 1967 version of the Jungle Book was targeted to the traditional Disney audience of children and family. The re-make of the film used this fact to its advantage as Disney already had a whole generation, of now parents, who have a love for the original and its story line. Hence, many were keen to introduce the film to their children and friends. The film itself also targeted a wider audience, such as targeting 'action adventure' fans as well as Disney's traditional family audience. As well as this, the Jungle Book also reached out to a wider male audience, as the use of technology and visual-effects is stereotypical to attracting a male audience. Furthermore, 50% of audiences were over the age of 25, showing that Disney childish audience does no longer apply often to re-made classics. 
The film's audience was also widened by the help of backing by critics, as when films are highly rated by professionals, audiences are more likely to spend the money and purchase tickets or a DVD. By targeting this wider audience it was another factor which influenced the great success of the film.

 5) What is the difference between Copyright and Trademark? 

Copyright and trademark protect different assets as Copyright is targeted towards literacy and artistic work, e.g. books and films. Trademark protects items which define a brand or company, such as a logo.

6) What was Favreau’s approach to the remake? 

He knew that when animals talk in a movie, unless it’s a comedy, older moviegoers tend to skip it. Most of Favreau’s animals are not cartoonish and cuddly (not by a long shot), but Disney could not rely on trailers and TV spots to convey that message. So Disney used bloggers and entertainment news sites to hammer home a point: Mr. Favreau used sophisticated filmmaking techniques to create the animal characters. In part to make “The Jungle Book” appeal to a finicky high school crowd — older siblings tend to influence younger brothers and sisters — Disney packed the first trailer with scary moments (pouncing panther, snarling tiger, stampeding buffalo) while hiding the musical numbers and keeping Baloo’s goofier moments to a minimum. Favreau noted which of the images from the original 1968 version he could remember, as if these were memorable to him they were also likely to be memorable to the target audience. He wanted the focus on these images as they 'cut through the years', helping to ensure the re-make gives credit to its original influence. When re-producing classics such as the Jungle Book, Favreau wanted to ensure he helped to create a lasting legacy and a part homage, rather than creating a product which will sit in the shadows of its original.

7) How did new digital technology impact on the production process (principally the use of CGI and previz)? 

The 2016 version of the Jungle Book used some live-action technology, but the largest part of what is seen on screen was produced using CGI. Favreau also included a part homage to its original inspiration as the opening shot fades from hand-drawn to CGI, which was used to remind audiences of the Disney classics, such as Bambi. As well as this all the landscapes, animals etc were created on computers by the British digital effects house MPC.

8) Explain how CGI works (re-watch video clips). Focus on blue screen and motion capture. 

CGI includes: script, story boarding, layout (3D story board), animation and final revision. Blue screen allows a character to be placed in any environment, for instance news readers don't need to actually be on location due to the use of blue screen. Motion capture is the method used to digitally record character movements, which allows characters in films to be realistic copies of real life humans or animals.

9) Were there any similarities between the 1967 and 2016 versions of the film in term of the production process?

The 2016 version of the Jungle Book's opening shot used cel animation to part homage the original classic, before merging into CGI. Memorable scenes were included from the 1967 version, such as when Mowgli rides on Baloo down the river. The later version also included some songs from the original soundtrack, 'bear necessities' and 'i wanna be like you'; though this was due to the competition which became between Disney and Warner Brothers who were also producing a Jungle Book re-make. Finally, on the 2016 production there were some individuals who were also involved on the 1967 versions production, hence they were able to add input which wouldn't be available without their inside knowledge. Similarly, the re-make also used Disney's huge archives to source inspiration, such as deleted scenes from the original.

Media Industries: The Jungle Book 2016

The Jungle Book 2016

Production

Produced by Walt Disney Pictures, directed and co-produced by Jon Favreau, written by Justin Marks. Partly based on Disney's original version, but drew on Ripling's original book, giving it a darker tone. Created to be a live action movie but a large majority of it to be CGI animated but Favreau believed it to be still considered live action but wanted it to be part homeage. The development from hand drawn to CGI in the opening helped it to keep a strong sense of branding. Animals, landscapes were all created by CGI by the British Digital Effects House (MPC). The animals were given a realistic look, not a cute cuddly cartoon style to target older movie goers. 1967 humour would have been too broad for a live action. Disney were faily open to this idea as Favreau's new approach. 

The narrative was structured differently as it developed from the 1967 film and Kipling's book. Favreau focused on the images he remembered from the original film to create homage.


Technonolgy


Regulation
Sex & Nudity:
 Violence & Gore:
 Profanity:
 Alcohol, Drugs and Smoking: 
Frightening & Intense Scenes:




Ownership, marketing, distribution

Media Industries: The Jungle Book (1967)

The Jungle Book (1967)

Production and Technology

Film process

Concept(idea) --> 

pre-production (storyboard, scripting) --> 

production (filming) --> 

post production (editing, sound) --> 

marketing distribution --> 

release (cinema, online DVD).

The Jungle Book was released in 1976 by Walt Disney Productions and was made by traditional cel animation in Walt Disney Studios to keep the costs at a minimum. The use of multiplane was developed to create a 3D effect.  Disney's personal control affected all stages of production and distribution. Bil Peet helped to storyboard the plot and did tasks which 'more than 40 men had once been assigned to.'
Cel animation: background layer, hold layer (characters), animation layer (mouths, eyes etc).

The Jungle Book is the final film Walt Disney helped make and was more personally involved in the production of the film. The original book by Rudyard Kipling was too dark for family audiences which they wouldn't identify with the character of Mowgli and Shere Kahn would've been a cliche antagonist. 

They wanted to make a successful film, therefore many of the original characters and situations had been cut out to create a clear story line. The drawings became based upon the actors. The director, Wolfgang Reitherman said 'we tried to incorporate the personalities of the actors into the cartoon characters, Baloo was intended to be a minor figure but became the co-star.' The wolf cubs were based on the puppies from 101 Dalmatians and the story was trimmed so a lot of original minor characters had been cut as well as using animal movements based on real animals. 

Backgrounds were hand painted, except the waterfall which was mostly consisting of footage from the Angel Falls in Venezuela. Some of the scenery was put within the foreground to create depth. 

It was created on transparent cels, a technique patented by Earl Hund in 1914, the backgrounds didn't need to be repainted as a result. Multipane camera created more layers. TJB used xerography, copying the animators drawings onto light sensitive aluminium plates, then onto cels, unlike the old time consuming process, tracing them from paper drawings. This helped to speed up the process of TJB as cel animation was becoming too expensive and time wasting. 

Ownership, Distribution and Marketing

Walt was interested in all stages of production and distribution as he was worried about his failures, therefore took control of TJB. At the same time Theme Parks were being developed, as well as TV series and live action films. Walt was conservative (right wing), therefore the representations in the Jungle Book would have been effected by his beliefs. For example, the black jazz music associated with the apish behaviour of the orangutan, reinforcing racial stereotypes.The 2016 version avoided this. It was re-released in 1978, 1984 and 1990 (US)and 1980 (Europe).

The crew wanted to make a good story but 'never thought it would be a box office smash'. A cast member said that 'if it was a flop and Walt was happy, we were happy.' The budget was $4m but has now made $141m (US- 29th highest grossing film of all time), $205m worldwide. $6.8m and was the highest grossing film in Germany.

Walt Disney Home Entertainment released it on VHS in 1991 and DVD in 2007. It was re-released several times on DVD and Blu-ray. Occasionally Disney 'vaulted' its films so they weren't available for purchase which increases the demand. The diamond edition disappeared into the vault un Jan 2017. There was also a release of a vinyl soundtrack which achieved gold status and was also released as a digital download.There was also a live action version in 1994 and an animated sequel in 2003 which helped to promote the original film. 

Disney's Buena Vista Distribution Company were vertically integrated - they owned every stage of production which ultimately help them to save costs. 
The distribution was diversified to the focus on the theme parks, creating Disneyland and the production of TV programmes. Disney helped to found CalArts. After Walt's death, the company declined for a few decades which strongly indicated how important his personal influences were on on the success of the company.

Regulation

Copyright

The US Copyright Amendment Act of 1998 gave protection for works published before January 1, 1978 which had been actively lobbied for by Walt Disney Company since 1990 and was nicknamed 'The Mickey Mouse Protection Act'. Walt Disney Lobbied for The Mickey Mouse Protection Act so that the companies products and characters are licensed, therefore people not certified by Disney can't use the product.

The copyright law is essential for big selling brands like Disney as they need to protect their products from being sold and profited by other companies.

The 1998 Act extended these terms to life of the author plus 70 years and for works of corporate authorship to 120 years after creation or 95 years after publication, whichever end is earlier.[3] Copyright protection for works published before January 1, 1978, was increased by 20 years to a total of 95 years from their publication date.

Copyright in artistic works generally lasts for the lifetime of the artist plus 70 years after their death.

Certification

Maintaining Audiences

Disney was highly aware of how to build and maintain audiences nationally and globally, from the shaping of the original product to appeal more to a family audience, the marketing and distribution by its own company, merchandising etc. Disney was an early master of synergy, persuading companies to tie in with their film’s release, running a character merchandising department. ‘In addition to pioneering synergy, branding and merchandising beginning in the 1930s, Walt Disney also developed the idea of synergy between media consumption and theme park visits in the 1950s. The producer of animated films used the popularity of his famous cartoon characters for a weekly show on ABC that served as an advertisement for his theme park. In turn, visiting Disneyland helped secure customers’ brand loyalty to the Disney trademark for the future. This strategy of cross-promotion has become a basis for the Walt Disney Company’s rapid growth.

Thus Disney constantly renewed interest in their products, not only through re-releasing on DVD but through tie ins with other companies – MacDonalds had Jungle Book 2 Happy Meals in the 1990s, for example, which in turn promoted the first film. ‘Disney offers an immense potential for both cross-promotional campaigns in cooperation with other companies and in-house cross-promotion marketing strategies...Cross promotion – marketing activities carried out in cooperation by two different companies using the popularity of their brand names to promote one another’s – is today a major profit source for Disney’. 

Disney also licensed the characters for use by other companies, such as Virgin who developed a Jungle Book video game for Sega, Gameboy and PC in the early 1990s

Media industries: Disney timeline

Disney Timeline of key events

1923: Walt Disney signed a contract with M.J. Winkler to create a series of Alice Comedies. Walt and Roy Disney, as equal partners began the Disney company under 'Disney Brothers Cartoon Studio'. 1926: The company name changed to 'The Walt Disney Studio' after moving into a new studio.

1927: Oswald the Lucky Rabbit debuts.

1928: Walt loses the contract to the Oswald series. Walt and Roy create Mickey and Minnie Mouse. Mickey Mouse debuts and Steamboat Willie created (first sound synchronised cartoon).

1929: 'The Walt Disney Studio' replaced by 'Walt Disney Productions Ltd'. 3 more companies were also established. The Skeleton Dance cartoon created.

1930: Distribution moved to Columbia Pictures.

1932: Distribution moved from CP to United Artists. Flowers and Trees (first technicolour cartoon and animated short to win and award for Best Animated Short Film). Mickey's Revue, premiering Goofy ('Dippy Dawg').

1934: The Wise Little Hen - premiere of Donald Duck.

1936: Distribution moved from United Artists to RKO Radio Pictures.

1937: First feature film released: Snow White and the Seven Dwarfs.

1938: All Disney companies  now merged to create 'Walt Disney Productions'.

1940: Studio moves to California. Company goes public. Pinocchio and Fantasia movies created.

1941: Animators' strike. Studio creates morale boosting propaganda for the US during WWII.  Dumbo created. 

1942: Bambi created.

1943: Saludos Amigos created.

1944: Company short on money- theatrical release of Snow White generates revenue.

1945: The Three Caballeros created.

1946: Make Mine Music and Song of the South created.

1947: Fun and Fancy free created.

1948: True Life Adventures nature film (until 1960) begins. Melody Time and Seal Island created.

1949: Studio begins production on first all live movie: Treasure Island. The Adventures of Ichabod and Mr.Toad created. 

1950: Cinderella and Treasure Island produced. 

1951: Alice in Wonderland produced.

1953: WED Enterprises later own and operate several attractions inside Disneyland including the monorail and railroad. Programming deal with Paramount Theatres to fund itself. Peter Pan produced.

1954: Ends distribution with RKO Radio Pictures and founds Buena Vista Film Distribution Company Inc to distribute its feature films. 20,000 Leagues Under the Sea produced.

1955: Lady and the Tramp produced. Disneyland opens in California.

1957: Old Yeller produced.

1959: Sleeping Beauty, The Shaggy Dog produced.

1960: Pollyanna and Swiss Family Robinson produced.

1961: Purchases the film and merchandise rights to A.A Milne's Winnie the Pooh books which creates a huge source of revenue to this day.  101 Dalmatians and The Parent Trap produced.

1963: The Sword in the Stone produced. Walt Disney's Enchanted Tiki Room opens at Disneyland (first attraction to feature audio animatronics).

1964: Mary Poppins produced.

1965: Disney News begins publication.

1966: Walt diagnosed with lung cancer and died December 15th. Winnie the Pooh and the Honey Tree produced.

1967: Construction begins on Walt Disney World Resort in Orlando, Florida. The Jungle Book produced. Pirates of the Caribbean opens at Disneyland.

1969: Haunted Mansion opens at Disneyland.

1970: The Aristocats produced. 

1971: Roy Oliver dies and Donn Tatum becomes chairman and Card Walker president. Eastern Airlines branded as 'Offical Airline of Walt Disney World'. Bedknobs and Broomsticks produced. Walt Disney World Resort opens.

1973: Robin Hood produced.

1974: Winnie the Pooh and Tigger Too produced.

1976: Freaky Friday and The Muppet Show produced.

1977: Walt's nephew Roy E. Disney resigns as a decline in overall product quality and manager issues. The Rescuers, Pete's Dragon and The Many Adventures of Winnie the Pooh produced.

1979: 13 animators leave Disney to found their own studio. The Back Hole (first PG rated Disney film) produced.

1981: Walt Disney's World on Ice produced by Feld Entertainment. The Fox and the Hound produced. First home video release of Dumbo.

1982: Coca Cola unsuccessfully tries to buyout Disney. Walt's son in law Ron.W.Miller succeeds Card Walker as CEO. Tron produced. Experimental Prototype Community Of Tomorrow center opens (EPCOT).

1983: Disney Channel begins. Live action studio renamed 'Walt Disney Pictures'. Mickey's Christmas Carol produced. Tokyo Disneyland opens in Japan.

1984: Michael Eisner (new CEO) and Frank Wells (president). Touchstone Films label created to produce films for more mature audiences. Splash, Tiger Town and Country produced.

1985: Touchstone Television is founded. Return to Oz produced. Home release of Pinocchio becomes best seller. Animation studio renamed 'Walt Disney Feature Animation'.

1986: Company name now 'The Walt Disney Company'. Teamed up with Studio Ghibli to distribute anime films internationally.

1987: First Disney store opens in California. Euro Disney project starts.

1988: Walt Disney Computer Software founded as a video game division. Who framed Roger Rabbit and Oliver & Company produced.

1989: The Little Mermaid, Turner & Hooch produced. Disney MGM Studios opens.

1991: First Disney Vacation Club Resorts opened in Walt Disney World. Beauty and the Beast produced.

1992: Aladdin produced. Euro Disney Resort opens (Paris).

1993: Winnie the Pooh merch outsells Mickey Mouse. The Nightmare before Christmas produced.

1994: Beauty and the Beast Broadway. Euro Disneyland now called Disneyland Paris. The Lion King, The Jungle Book produced.

1995: Michael Ovitz president. Disney Channel in UK and Ireland. DiC Entertainment part of Disney. Toy Story, Pocahontas produced.

1996: Parent company 'The Walt Disney Company'. Acquires Jumbo Pictures. The Hunchback of Notre Dame produced.

1997: Releases first DVDs. The Lion King Broadway. Hercules and George of the Jungle produced as well as multiple TV shows.

1998: Disney Cruise Line first ship. Toon Disney begins. Mulan and A Bug's Life produced. Animal Kingdom opens.

1999: Toy Story 2, Tarzan produced.

2000: Robert Iger becomes president. Disney shuts down Jumbo Pictures. The Tigger Movie, 102 Dalmatians produced. Disney sold DiC Entertainment.

2001: Disney buys Fox Family Network including Saban Entertainment which was changed to ABC Family. Monsters, Inc produced.  Disney California Adventure Park open.
2002: Walt Disney Studios Park opens. Lilo and Stitch produced. Disney releases Spirited Away in the US.
2003: Finding Nemo published. Pixar plans to seek a new distribution partner.
2004: Comcast makes an unsuccessful 66 billion bid for the company. The Incredibles produced. Disney buys The Muppets for 75m.
2005: CEO, Robert Iger. Disney purchased Pixar for 7 billion. Hong Kong Disneyland opens. Chicken Little produced.
2006: Disney acquired Pixar Animation Studios. Disney Cinemagic launched in the UK. Introduced its logo in Pirates of the Caribbean.
2007: Acquires Club Penguin. Drops Buena Vista brand from its division.

2008: Disney Store chain created. WALL-E and Bolt produced.
2009: Mickey Mouse's Voice Actor dies. Disney XD replaces Toon Disney. Distribution deal with DreamWorks. Acquires Marvel Entertainment.
2010: Sells Power Rangers for 100m. Lost rights to Digimon. Disney ends Hannah Montana.
2011: Licenses theme park rights to Avatar. Playhouse Disney rebrands to Disney Junior.
2012: Wreck it Ralph, Brave produced. Rich Ross resigns as chairman, replaced by Alan F.Horn.
2013: Frozen produced. Disney Cinemagic replaced with Sky Movies Disney. Frozen became the highest grossing animated feature.
2014: Frozen wins Best Animated Feature. Acquired Maker Studios for 500m. Big Hero 6 produced.
2015: Big Hero 6 wins Best Animated Feature. Marvel studios reorganised under Walt Disney Studios. Cinderella produced.
2016: ABC family changed to Freeform. Construction of Star Wars Land begins in Hollywood Studios. DreamWorks ends its film distribution deal with Disney.
2017: Zootopia wins Best Animated Feature. Beauty and the Beast produced.
2018: Shuts down DisneyToon Studios. Comcast 65b cash counter to acquire the 21 Century Fox assets that Disney was set to purchase which then was counterbid and won by Disney with 71.3b.

Music Video

Website Link

Website Link:

Website: First Draft Evaluation

Requirements of the brief:

I am going to take at least 2 original images when filming the music video and add them to my website. Currently I have place holder images which are going to be similar to the ones I will try and take. These images reinforce the brand identity as it is linked with holidays and summer with the upbeat vibe of their music. There are also images below the holder of the band with dance themed which I hope to take similar pictures of as well as pictures of the artists themselves next to their bio.
I have also included an original title and menu bar alongside the links to social media and a logo.
There are also working links from the home page to the other pages.
Media language is also used as I have included images, typography, fonts and a logo.
There is also an original audio playlist on the side of the homepage as well as a visual music video after I make it.







Explain how your webpage seeks to represent your band/artist. 
The website shows the band as relatively contemporary dance music artists with a summer vibe. It creates an upbeat tone for the music to suit the style as their music is summer-themed.

Explain how your webpage seeks to appeal to the target audience? 
It appeals to the target audience as it is easy to navigate but looks professionally designed to suit the sophisticated AB demographic.

Think about each element of your webpage (title, colours etc.), what elements of it need to improve? How will you achieve this? 
I need to add more features but keep it simple as well as adding original images which I plan to do when I film my video. I will try and stick to a theme/colour scheme throughout my layout with a summer vibe and happy holiday feel. I need to include an introduction bio on the about page, introducing my members.

Dance Music Video Storyboard/Plan

Shot:                                                                 Scene:

Opening establishing shot                                             Morning sunrise (beach horizon)

Connotations: This shows the start of a new day with a summer beach setting, creating the mood for summer, freedom and joy which links to the end shot of the same shot.

Wide shot                                                                      Beach

Connotations: Sets the scene into a holiday setting of the beach, creating visual pleasure for the audience. 

Establishing shot (fade to black)                                  Evening Sunset

Connotations: Shows the end of the day, signifying night when party and dance comes into action. Used mid-way through the video as a mid-marker.

Ending establishing shot                                              Morning sunrise

Connotations: Duplicate of the first shot to link them together as a loop of the day starting again; a continuous cycle of a happy summer dance holiday vibe.

Point of view shot                                                        Walking around streets/beach/attractions

Connotations: Creates the movement as if the audience is in one's shoes so they feel part of the action, getting a view of the sights first hand.

Hand held camera                                                         Shows/fireworks etc

Connotations: Making the music video look not overly constructed with parts that include something interesting to look at so the audience doesn't focus on the camera movement as much e.g. fireworks.

Shallow focus                                                                 On objects/people/palm trees etc

Connotations: Focus on something for emphasis for the audience to see significance in the main object of focus.

Statment of Intent

Media Coursework: Statement of Intent

1

For this brief I intend to create a music video which is both beneficial and influential on my target audience through using a variety of media elements within dance music videos. I will do this by using many different cuts and transitions in my camerawork and editing to reinforce the fast paced movement of a dance performance.

 The Universal Music Group will provide me with a basic sum in which I plan to use to bring the video together with the elements of character, camera, lighting and location to create an overall a thoroughly edited and strong motif of dance throughout. This will benefit my target audience overall as I intend to add musical synaesthesia through the music to create a easy understandable visual for a strong ranging demographic. 

My artist is going to be a remix DJ and singer who interprets old music into a new contemporary style as well as creating her own music. I chose a remix of the song Just Dance by David Bowie as it is relevant to the unique concept of my artist's branding as well as strong connotations to dance music. 


My video will begin with a drone establishing shot of a dance school and will contain the element of performance and narrative as I hope to show visual synchronisations which will cooperate alongside the music. I intend to do this through lip syncing, dance choreography and editing on the beat of the music to emphasise the convergence of dance music with my video to illustrate to an audience the many different elements of dance music and feel part of the artists' fanbase. 

I also intent to create a small narrative alongside my dance montage as this will be shown through cutbacks as my narrative is intended to show a novice dancer joining a dance club who becomes overwhelmed by how talented the others are, feeling as if they are being judged and don't fit in.This is created though a first person perspective therefore the audience feels like they are in the video themselves, making them feel part of the music video and artist as a brand. This is concluded with the realisation that the dancers are just normal people who accept the novice by establishing a relationship to influence the audience to not be afraid of trying new things. 

2

In my website I am going to include all media theoretical framework elements that link and promote my artist to create a memorable branding which will be shown through different elements of media website branding as well as having external links to other media platforms, tour dates, merchandise and visual to create an easy navigation for my audience. This helps to create digital convergence as cross media platforms have been linked within my site and all relevant information that dance artists include within their website. For example, my website automatically plays music when on the homepage from the album which has links to purchasing and tour date pricing which creates uniqueness and a strong brand identity. 

 All the pictures in my site are going to be taken by myself to create a personal branding which is simplistic but aesthetic and professional to my audience. For example, the background image on the homepage will be a simplistic photograph of a palm tree and an island which will illustrate the theme of dance music which usually takes place in exotic locations which I will show through the use of my background images.

The name of my artist, Synth, was chosen as a inference to synthesizer, in which is used typically within Synth's music, creating a memorable branding. My logo consists of the letter 'S' (for Synth), overlaying a simplistic sound wave pattern, to create a strong connotation of music and my artist. 


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 I intend to link my two products by having a clear brand focus through my logo text which will be both on my website, as well as in my music video through the use of the same font style to reinforce banding and convergence as the audience will associate the font with Synth. I will include it at the end of my video by layering it on the last shot which will be accompanied by my artists name and the title of the song in a fade to black with the outro of the music, as done in many dance music videos, for example, Avicii. Throughout my website, there are elements of the colour red, in connotation to the dancers in my video, my artist will be wearing red clothing and makeup to reinforce the convergence and create a strong brand focus. 

Target Audience Research

• Culturally sophisticated - multiple cultures shown 
• Professional video
• 
  

Dance Music Video Websites

Sigala

Sigala's website includes a range of conventions including multiple links to social media e.g. Facebook, Twitter, Instagram and YouTube. It also has a link to Spotify where a following count is displayed next to it (453.9k). There are 3 separate fonts: one that's the logo for the artist, one for the collaborative artist (Paloma Faith) and a font for the title of the song (Lullaby). 

Dance Music Videos Analysis

Music Video 1:

Pitbull- Give Me Everything

Mise en scene:

Costumes and props- The men in the video are seen to be wearing suits to create some sort of formality and idolisation to the audience. Within the video, Pitbull has alcohol as a prop which contrasts with the girl sitting next to him in feminine clothing with her legs crossed as she plays with her hair. Another girl is wearing tiger print, such animal prints are associated with the sexualisation of women, therefore creating male gaze. Another girl is introduced with flashing strobe lights relevant to club lighting, highlighting the music genre. She is wearing black with her stomach shown and dancing in a way that shows off her body which could also highlight the perspective of the male gaze.

Background- A big long dark corridor of a mansion(?) with back slow strobe lights. A cut to city buildings lit up at night. A red backdrop which could connotate the colour of passion and love. Another cut to a busy nightclub with people crowded and dancing.

Editing:

The beginning fades in from black then cuts to a close up then a high angle shot and back to a close up then a mid shot. These shots vary throughout to emphasise the jump cut feel to compliment and go along with the beat of the music as when any of the other singers sing the camera focuses on them. Many jump cuts are used, especially at the climax beat of the music usually alongside flashing lights. Slow motion is also used in few places, mainly dance club scenes to focus on the people dancing to show they are having fun as well as at the end of the video. All of these elements added together are created through fast paced editing.

Camera:

There are a multiple range of shots used to create a dance feel of being a bit everywhere in terms of all media elements so that the video compliments the music alongside it. There are close ups, mid shots, head shots, shallow focus on main singers, tracking shots, low angle and high angle shots. A lot of lighting is shone into the camera to create a lense flare, adding to the club feel of strobe lighting on and off.

Making Media: Textual Analysis of a Dance Music Video

Tiësto - Red Lights - YouTube

Editing: Cuts and Jump cuts in time with music.
Camera:  Hand held camera for a first person perspective so audience feels within the action. Tracking shot used to follow characters and narrative.
Sound: The music starts off with a guitar base beat. The tempo builds up to a climax and the visual perspective changes to an upbeat environment as when the climax was reached the characters were in a club.
Mise en scene: The narrative starts of at a diner where the characters are at work and then proceeds to follow them as they get on a motorbike and travel. It cuts to them at a car wash where some camera angles are intended for the male gaze. It ends up in a club in Las Vegas with strobe lighting and people dancing along to the music.

Sigma - Nobody To Love (Official Video) HD - YouTube

Editing: Cuts to the music beat are made along with jump cuts to emphasise the climax in the music to create a dance feel.
Camera: Tracking shots have been used to follow the two main characters on their adventure in the narrative as well as low angle shots.
Sound: The music starts off with a piano and vocals by a male singer. A base beat is introduced with a climax to the chorus. The order starts off with background piano and then a vocal on top which builds up to a climactic base. The music also has a repetitvive beat and vocal in a loop.
Mise en scene: The scene takes place in a foreign country in the summer as it is a hot climate with the main characters driving on a road next to the see which then cuts to the beach where the two main characters go in the sea and dance. Other background characters dance along to the beat of the music as the main characters go by.

Comparison:

Jonas Blue - Mama ft. William Singe - YouTube

Editing:Camera:
Sound:
Mise en scene:

History of Dance Music

Disco:

Disco is a musical style that emerged in the early 1970s from America's urban nightlife scene, where it originated in house parties and can be seen as a reaction against both the domination of rock music and the stigmatization of dance music by the counterculture during this period.

Examples:

Village People - YMCA OFFICIAL Music Video 1978 - YouTube

Michael Jackson - Don't Stop 'Til You Get Enough (Official Video ...

House:

House music is a genre of electronic dance music created by club DJs and music producers in Chicago in the early 1980s. Early house music was generally characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, which preceded and influenced it, as both were DJ and record producer-created dance music, house was more electronic and minimalistic. The mechanical, repetitive rhythm of house was one of its main components. Many house songs were instrumental, with no vocals; some had singing throughout the song with lyrics; and some had singing but no actual words.
Examples:

Daft Punk - One More Time - YouTube
Technotronic - Pump Up The Jam - YouTube

Techno:

Techno is a form of electronic dance music that emerged in Detroit, Michigan, in the United States during the mid-to-late 1980s.The first recorded use of the word techno in reference to a specific genre of music was in 1988. Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of subgenres have been built. In Detroit, techno resulted from the melding of African American music including Chicago house, funk, electro, and electric jazz with electronic music.
Examples:

Darude - Sandstorm - YouTube
Haddaway - What Is Love [Official] - YouTube

EDM:

is a broad range of percussive electronic music genres made largely for nightclubs, raves, and festivals. EDM is generally produced for playback by disc jockeys (DJs) who create seamless selections of tracks, called a mix, by segueing from one recording to another. EDM producers also perform their music live in a concert or festival setting in what is sometimes called a live PA.
Examples:

Avicii - Hey Brother - YouTube

Daft Punk - Harder Better Faster - YouTube

Dance Pop:

Dance-pop is a pop and dance subgenre that originated in the early 1980s. It is generally uptempo music intended for nightclubs with the intention of being danceable but also suitable for contemporary hit radio. Developing from a combination of electronic dance music and pop music, with influences of disco, post-disco and synth-pop, it is generally characterised by strong beats with easy, uncomplicated song structures which are generally more similar to pop music than the more free-form dance genre, with an emphasis on melody as well as catchy tunes. The genre, on the whole, tends to be producer-driven, despite some notable exceptions.

Examples:

OutKast - Hey Ya! (Video) - YouTube

Kylie Minogue - Can't Get You Out Of My Head (HD) - YouTube

Quizlet: Media Theories

https://quizlet.com/_4sva6v

Advertising: A Comparison

Gucci portrays its brand as upper class and trustworthy which is connotated through the use of colour as the only colour other than black and white is gold. This colour is usually associated with money and richness, influencing to the audience that the brand and product is high class and by buying and wearing it, they will feel upper class.

Theresa May newspaper cover representations

Theresa May cover news stories:

 

All the covers above portray Theresa in a negative untrustworthy light do to the image used as all of these are unflattering and make her look ridiculous, creating humor for the audience. This makes her look like her whole political perspective is a joke as she is supposed  to look serious but is portrayed as the opposite. Many puns in the text headlines have also been used with her surname May to create the play on words of 'Mayhem' linking Theresa with the idea of uncertainty, therefore making her seem untrustworthy.