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
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Ownership, marketing, distribution