Respsonse to feedback on pitch

What went well:

• The group responded well to the treatment, as they liked the level of detail I went into, and my presentation of it to them.
• The group responded positively to the large amount of forward planning I had undertaken, most namely the fact that I had a whole episode planned so there was a basis for any possible footage.
• The group liked the fact that I had taken into considered the relevance of my programme to the target audience and why I thought it would be popular.
• The group liked that I had considered multiple elements within my mood board, and that I had explained it to them.

How I could improve:

• My script was somewhat underplayed in my presentation  as such, in future I should take more time to explain my script in greater detail.
• Some important details of my overall pitch were missed as I included almost too much information within it. As such, in the future I shall attempt to condense the information in a presentation down to the essential information.
• I felt that my presentational skills were somewhat lacking as I explained elements of the pitch somewhat poorly to my group, as I had to go over certain elements twice. In future I shall practice my presentation before I actually present it.

Pitch/treatment

Summary of group research

Summary of research from Stalkyprawn

Overall summary of research

Overall summary of research

In my secondary audience research I read multiple online reviews of two chosen example TV products. These products were Shameless and Dead set. I chose to read of these particular shows, as they both share the same genre that we intend to use for our own product (drama), and I also took into account that both of these shows were (and in the case of the shameless still continues to be) very well received by audiences. This factor of popularity ultimately validated my research more so, as the information I took was positive feedback, so would benefit my show when taking these things into account. My research found many things. Firstly, in the case of shameless, the depiction (and emphasis for comedic effect) of the working class was heavily praised by fans and critics alike. From this, it would be wise for me to attempt to include some kind of portrayal of the class system in Britain. Another element of shameless that was praised was its mix of humour and drama (in particular the dark humour within it). This again will influence the content of my show, as it can be seen to be popular with audiences. Dead sets praise came largely from two elements. Firstly its use of gore. Whilst I am producing a pre watershed programme, so would not be able to use this element, this praise has influenced me somewhat to try to create a distinctive feature within my programme. Secondly, further praise came from the portrayal and characterization of the leading character and villain. This has influenced to put a great deal of thought into creating parts for the ‘hero and villain’ in my own show (so I intend to put Propps narrative theory into practice at least partly), , in order to make sure that the themes of 'good' and 'evil' are connoted to the audience as much as possible.

My primary audience research was an analysis of the E4 show “Beaver falls.” Within my analysis, I took note of semiotic features, micro aspects and the effect they had, and the meaning the connoted to the audience. Overall I found that the most effective elements that ‘Beaver falls’ uses to appeal to its audience is the dialogue between characters and the situation of the characters. There is a heavy on the dialogue of the characters, as this is the predominant element which drives the narrative. Emphasis is put on this with the use of high key lighting and shot reverse shot editing. Both of these techniques allow more focus to be put on the conversation at hand, and indeed make the content itself seem more immersive. This is a technique I may consider using in my own programme as it offers a larger element of escapism within the show. The situation of the characters presents them as ‘underdogs’ in a situation where they are somewhat alienated from the other characters around them. I would consider using this technique my own show, as I have seen it been used for effective appeal to the audience in this and other shows, as it gives the audience the impression that they are almost ‘supporting’ the characters’ struggle by watching the show, which overall makes it more entertaining for the audience.

 My secondary production research was to find out details of existing production companies, and select information that may be beneficial to take into account when producing my own content. The production that I selected to research into where; Cowboy films (top boy), Bwark productions (the inbetweeners) and company pictures (Beaver Falls, Shameless). From these production companies  I leant multiple things to take into account when producing my own show. Most namely, I found that having an extensive knowledge of the selected broadcaster, and indeed other broadcasters and television institutions appears to assist in the production of successful products. I have derived this information as both Bwark productions and company pictures have knowledge of broadcasters and other media institutions, due to some of their staff have worked for broadcasters in the past. Both of these producers have subsequently produced successful shows, when taking this into account, my research is somewhat validated. I also learnt from cowboy films’ page that some of their staff also have extensive knowledge in the area of film. When taking this into account, I will use my existing knowledge of film also when producing my own TV product.

For my primary production research I contacted production companies via telephone call. I contacted Clerkenwell films, producers of Misfits, and Company Pictures, producers of Beaver Falls. Company pictures were unable to answer my questions due to time constraints. However through Clerkenwell Films, I was able to speak to Petra Fried, the executive producer for Misfits.  I asked her questions concerning target audience, characterisation, Mise En Scene and crew training. All of the information that I gathered from this source is incredibly useful to me. This information was useful as, firstly, it was information given from a perspective that I had not considered before. For example, I was told, that Clerkenwell do not create Misfits with solely a certain target audience in mind, rather they aim to simply produce a product of high quality. I also learnt that elements that Clerkenwell aim for (which ultimately contribute to its success) are realistic characters and setting, characters who are distinctive from one another, and a more working class backdrop for their show. I further learnt that use of a 'pre synced' location for my product could prove very successful  Additionally this information was given to me by and industry professional, who is heavily involved with the production of a very popular show on E4. This fact validates my research somewhat, as I know due to the success of the content that Petra has been involved in making, that the information she gave me would be accurate and valid.

Phone call to production company primary production research

Phone Call to Clerkenwell Films (Petra Fried, executive producer, Misfits)

OK firstly, when making your programmes, what specific measures to ensure that it appeals to the target audience?

•  We just try to make something that is good instead of something that just appeals to a certain audience. 
• When we first made the show we didn't consider a certain audience, we just aimed for people aged 16-34. E4 asked us to produce another drama for them that would go alongside Skins, but something that was different from Skins, something that dealt with issues that where different from relationships. 
• E4 asked for something more Working class. Whilst they wanted something different from Skins, they still wanted something that was funny, dramatic and real.

Secondly, what do you take into consideration when choosing your characters costumes, personalities etc?

•  Try to make the characters feel real. 
• Even though we give the characters superpowers, we give them a power that reflects their personality in some way.
•  Try to reflect the characters personality in their costume aswell, we try to make each characters outfit distinctive.

 What factors do you take into account when choosing the set for your programme?

• We aim for a location to be pre-synced. Because Misfits is a low budget, we have to make it affordable. That's why we use the community centre, because it's a pre-synced location so as such its a lot cheaper. 
• We shoot most of the programme on that one location, in the community centre. Sometimes we use other sets like flats. 
• We use a set for two effects, heightened and realistic. Ee obviously use realistic to make the show seem more real, and those kind of sets are the communtiy centre or someones flat. The heightened sets we use, are things like superhoodies lair, which are more over the top, usually used for dramatic effect.

How long do you spend  training your crew ?

• We sometimes offer work placements and some training, but we don't train our crew very often, rather we look for previous work that is impressive.
• We have used inexperienced directors on Misfits, but when using someone who has little experience  we often surround them with people who have a lot of experience

Research plan

Production secondary research

http://www.cowboyfilms.co.uk/scroller.php
Cowboy films produced Top Boy. The information on Cowboy films' founding and key staff members indicates that many members of the Cowboy Films team have wither knowledge of film or past experience within working in film. This has proved useful in Cowboy Films' case as Top Boy received positive reviews. This proves useful, as when making our own show, we can both use our existing knowledge of film to assist us in appealing to our target audience, and perhaps research on films techniques to assist us further.

http://www.zodiakmedia.com/our-companies/uk-belgium-netherlands/companies/bwark.php

Bwark production were the producers of the inbetweeners. the information on this page reveals that the founders of this production company (Iain Morris and Damon Beesley) where both previously commissioning editors for Channel 4, prior to founding the company. this is useful information as it reveals that extensive knowledge of the broadcaster of the selected programme, may well help in producing a show, this can be verified by the fact that the inbetweeners was hugely successful.



http://www.companypictures.co.uk/content.aspx?code=theteam
Company pictures are the producers of Beaver Falls, Skins and Shameless. Company was established by George Faber and Charles Pattinson, both of whom previously worked at the BBC. This is useful information to take into consideration when making our own show, as it shows that instead of just researching information into the broadcaster we are allotted (E4), it may be worth doing some research into other broadcasters, and the TV industry as whole, in order to look at production in a different perspective, and how our programme may compete against broadcasters with a similar target audience.

Audience secondary research-Drama show reviews

Chosen example show: shameless

http://www.imdb.com/title/tt0377260/
These reviews, whilst short proves useful as it demonstrates what it is viewers like about Drama shows. whilst it does not state whether the person in question is part of the target audience that we seek to appeal to, this review lists some of the things that viewers enjoy from drama shows, which include; immersion in the story, developed characters and well written dialogue.furthermore, the element of comedy within this drama show proves very well received from audiences. this shows that a light hearted approach to some aspects of our drama show may prove very successful.

http://www.telegraph.co.uk/culture/tvandradio/8731730/Shameless-Channel-4-review.html
This review continues to praise the comedic side of shameless, whilst also praising the aspects of the show which step away from moral boundaries  and the dark humour aspect of the show. this proves useful to keep in mind when trying to apply a humorous side to a show, as it shows that a different approach to the humour often proves succcesful.

http://aerialtelly.co.uk/shameless.php
This review shows that the representation of the social diversity within the UK is a popular motif of the show. in this instance the portray of working class people in particular proves very popular. this is emphasized by the fact that most of the characters featured are of the same social group. this shows that the representation of a specific social class in Britain in an emphasized manner proves popular.

http://www.tv.com/shows/shameless-uk/reviews/
Here it is demonstrated that the portrayl of working class people within the show is well received due to it giving the programme a more realistic element, which as a drama, proves succesful with audiences. furthermore, the variety of different character types and personalities proves popular as it increases the amount of people who can relate to at least one character within the show, which ultimately makes the show more immersive and again adds to the realism of the show. from this it can be seen that realism within drama (whilst still providing a narrative that allows a sufficient amount of escapism) is successful in the sense that it is opften praised by audiences, as its relationship with real life appears to make the show more immersive.

Chosen example show: Dead set

http://uk.imdb.com/title/tt1285482/reviews
Some of the reviews on this page are firstly made relevant and useful by the fact they are audience reviews. secondly. It is seen by observing some for the reviews on this page, that the dark humor and pop culture references and satires proved very popular with audience. This information may be useful to us when we are making our own TV show, as we may choose to incorporate this into our own show, due to its proven popularity with audiences. Additionally, it may be worth considering the praise that this (horror) show has received for its use of gore and special effects. This is another aspect worth considering when making our own TV show (but only if we choose to make a horror show).

http://www.guardian.co.uk/culture/tvandradioblog/2008/oct/28/dead-set
From this source it can be noted that a very strong performance from the leading character proves very popular amongst audiences. This can assist us in our production as it may prompt us to spend a longer amount of time both writing a significant part for a leading character so the performance can be appreciated, and spend longer choosing someone to play the leading character.

http://www.guardian.co.uk/culture/tvandradioblog/2008/oct/28/dead-set
http://www.amazon.co.uk/product-reviews/B001CMV1GM/ref=dp_top_cm_cr_acr_txt?ie=UTF8&showViewpoints=1
These two examples both point out and both praise the (somewhat subtle) satirical criticism of reality television within the show. Even though that our show will only be a two minute segment, from these reviews we can allow the prospect of introducing a more subtle connotative element into our show, to convey whatever message we see fit.

http://horror.about.com/od/theatricalhorrorreviews/fr/Dead-Set-Review.htm
This review praises the shows use and emphasis of established conventions of the shows (zombie horror) genre. In seeing the positive reception on this shows behalf, when making our show, it may be wise and beneficial if we identify the key conventions of our chosen genre, and then seek to use them in an entertaining and perhaps emphasized manner.

Production company/broadcaster write up (Beaver falls)

Production company/broadcaster write up

'Company pictures' was founded in 1998, by previous BBC employees George Faber and Charles Pattinson. They have produced multiple  dramas for channel 4 (and its subsidiaries) including;' Shameless', 'The Devils whore', 'Beaver falls 'and 'Skins'.  The predominant amount of these shows (all excluding 'The Devils whore')  contain elements and conventions of drama, whilst also showing some aspect of comedy.

The frequent portrayal of young people within these programmes, strongly appeals to E4’s target audience of young people aged 15-35, due to the fact that many can relate to these characters and their experiences.This shows slight horizontal integration on Company’s part, as their shows  all contain similar elements and issues. Company makes good use of convergence by cooperating with the broadcaster of these programmes (channel 4+E4) services, most namely, their 4OD service, which allows the programmes to be viewed at any time online. Company is a subsidiary of ALL3MEDIA. ALL3MEDIA also produce (thorough other subsidiaries) programmes with a similar target audience to the 

 a fore mentioned programmes (which are also distributed through the same broadcaster), and with similar content and format, such as' Hollyoaks', and' Fresh meat'. This shows horizontal integration on the conglomerates part, in again producing drama shows that also provide some elements of comic relief.   Channel 4 was started in 1982. It is a publicly owned and commercially funded channel, meaning it receives most of its funding from advertising. Channel 4 has many subsidiaries, including E4,4+1,More 4,4Music, and Film 4. Through film 4, Channel 4 claims to be a ‘key supporter of British film making talent'.  The subsidiary in question, (as a broadcaster for Beaver Falls), E4, was started in 2001. It’s target audience is mainly young people aged 15-35. E4 has shown and continues to show a variety of British dramas, including;' Misfits',' Dead set', 'Skins', and' Beaver falls'. E4 also broadcasts some shows first broadcast on Channel 4 such as 'Hollyoaks'. Company pictures relates to E4 as a broadcaster, due to the common target audience.

Sources:

http://www.companypictures.co.uk/index.aspx

http://www.all3media.com/programList.php?id=2&cat_name=DRAMA%20AND%20SOAPS

http://www.channel4.com/info/corporate/about

http://www.channel4.com/4viewers/faq/name/when-did-e4-start-broadcasting/id/400286710

http://www.e4.com/tv-shows/

Beaver Falls website analysis

Beaver Falls website analysis

The signified item in question is the homepage of the 'Beaver falls' website. Multiple signifiers are used to portray meaning and increase appeal of the show to the target audience. The central image (in a denotative sense), is a close up shot of the character of ‘Flynn’ (one of the three main characters from the show) with an out of focus background in an extremely high key lighted environment.  The use of the lighting and background in this image, causes a great amount of attention to be drawn to the character in question. Within the show, this particular character is considered to be the attractive one amongst the main characters, by female characters within the show. The choice of this character within the central image, appeals to the audience in two ways: firstly it appeals to the female target audience because when choosing the character whom is considered to have the most sex appeal to them, the show is connoted overall to have a more desirable theme to it. In relation to the male section of the target audience, by choosing this character whom is portrayed as ‘cool’,  the male side of the audience may well forge a link between this character and themselves,thus achieving a higher social status, by in turn watching the show. This choice in character ultimately creates appeal for the show, as it plays into the well known phrase ‘women want him' and 'men want to be him.’ This helps to market the show successfully to the audience, as it causes elements of the show to become desirable. The background image of a pale white cabin from the camp in which the show is set,  also helps to create an appeal to the audience. The fact that the cabin is white and plain, signifies that the setting itself is somewhat irrelevant in the narrative and the elements of escapism within the show. This in turn suggests that the characters are what will ultimately make the show popular (which ties in with the central image).This creates somewhat of an enigma, as it leaves many to question what may happen in the show, and subsequently may lead to more viewers and a wider target audience. Finally,  the choice of thumbnails for video links on the page (one of the characters getting married), provides anchorage within the drama genre for the show, as the event in question which is being pictured, is something that is typically thought of as something that (while still a happy and light-hearted occasion, which supports the comedic element of the show)  effects a large amount of a person’s life, and is stereo typically used in drama to amplify certain aspects, or to play across dramatic plot turning points.

The recurring use of the cabin as a background image to base the content of the page on, (especially due to the fact that upon the page is links to videos which contain footage of the events from the show), continues to connote that there are other elements of the show that will be more significant and appealing to the audience.  The use of the ability to comment and leave opinions on the videos that are available on this section of the site, causes the users of the site (who are largely the target audience and viewers of the show), to feel as if they have a more established and personal relationship with the show itself, which contributes to a more immersive experience for the audience. The use of the colour purple, (throughout both pages and indeed the entirety of the website), creates a non-gender specific appeal on the website. This ties in with the choice of central image on the home page, as it widens the parameters of the target audience. The choice of central image on this page, depicting a scoreboard for some kind of game, creates appeal and enigma for the audience. The connotation of this sign of competitiveness, provides anchorage and signification of the drama aspect of the show, with the competitive element, due to its ambiguity in not displaying what the ‘game’ is, thus leaving the enigma to be created, whether a more significant aspect is being competed over. In contrast to this, the light hearted element of the show is also signified, due to the associations with light hearted and fun games like football etc. that signs like this have to them. 

Beaver Falls analysis

Beaver Falls analysis (S01E01 6:55-11:55)

Beaver Falls uses different aspects in order to appeal to its target audience. The target audience is young people aged 15-30. This can be seen from the use of a representation of paradigms within the show. Different aspects of Mise en scene contribute to the appeal of the show. Firstly, the setting of an American ‘summer camp’ located in a beautiful rural American setting, benefits the show as it brings a large amount of appeal with it, as due to its beauty and signified tranquility.It is presented as a desirable location for the audience to want to visit.  This appeal is furthered by the means by which the characters got to this location (by working as camp workers), which is a realistic and common method of young British people visiting America. This creates a sense of realism and perhaps some are able to relate to it, which benefits the programme as a drama, as it creates a greater sense of escapism. Another aspect of Mise En scene which creates more appeal to the target audience, is their choice of clothes. The character of ‘Flynn’ is shown wearing ’trendy’ or 'fashionable' clothing. This makes the programme seem more desirable, as it appeals to the target audience in a materialistic sense. The character of ‘Barry’ is wearing a t shirt with a comedic slogan on it. This connotes to the audience that the show will have comedy aspects, which makes the show more desirable, as whilst it is a drama, the element of comedy within it causes the show to distance itself from reality somewhat, which adds to the sense of escapism within the programme. Finally the character ‘Adil’,  who is shown to be wearing an England football shirt, helps to create and emphasize a sense of sympathy and support for the characters, as they are portrayed as being outsiders and somewhat alienated due to the fact that they are  the only British characters amongst an ensemble of Americans. This generates support for the characters,  as they come across as being somewhat  the ‘underdogs’ in the situation.

The use of no 'non diegetic' music in the sequence,  helps to create a greater focus of the events in which the characters are taking part in. The use of quiet 'diegetic '(and upbeat ‘party') music in the background in the instances of the characters of ‘Flynn’ and ‘Barry’, signify that these two characters are in an exciting environment, in which the audience can assume they will provide a comic relief and light hearted element to the programme. In contrast, the use of no 'diegetic' music in the segment featuring solely the character of Adil, tied in with the dramatic nature and content of the segment,  (in which  Adil is shown to be concerned over his apparent collapsed love life),  both amplifies the dramatic element of the segment, in creating focus on the drama, and not lifting the mood through music, and creates anchorage in the dramatic aspect of the programme. The lighting is used in conjunction with the sound, as in both Flynn and Barry’s segment, the lighting is kept very high key to signify their overall pleasant experience, whereas in Adils segment the lighting shifts to a slightly lower key to again play across a more serious and dramatic narrative for the character. These multiple dimensions within the programme,  cause the experiences of the characters to appear more diverse and interesting, which ultimately makes the show more appealing to the audience.

The shots in the sequence are predominately either medium close ups/ medium shots and OTS shots. Both of these types of shots are used for the same purpose. They are used when the characters are interacting with other characters in order to show their body language,  facial expressions and reactions in interacting with the other characters of the show. This connotes the significance of interactions of a flirtatious manner within the show,  which further anchors the programme in the drama bracket. Long shots are also used in order to show a change in mood within a scene within the segment. The majority of editing within the segment is' shot reverse shot' editing.  This type of editing supports and emphasises the importance of conversations and creates a greater amount of ‘flow’ in conversations, and immerses the audience to a greater extent.

In conclusion,  the multiple aspects of this show helps it to successfully immerse the audience in a dramatic fashion, but still add comedic and light hearted elements, in order to create a greater sense of escapism within the show.  The syntagm of the show in which we see events play out in the logical sequence, fits in with the conventions of a typical drama.

Sources:

http://www.youtube.com/watch?v=YM7eG1X_oYI

http://www.comedy.co.uk/images/library/comedies/180x200_eps/b/beaver_falls_episode_0101.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo-cxfWr2JkWs662wYrmLQg2M6Sf4OKXgDp9j9zhKkehUwMsmh_2NPqoMUGZ3MyJYGQUQcVBxlH8Ac5gwNgbOjPbTQFygvqTT8AsfBhAxN2xgpQEFxhAnw0COpXK9dHUMTsJYcSc2bcAc/s400/Beaver+Falls.jpg

Narrative theories with Beaver Falls (episode 1)

Narrative theories within Beaver Falls (episode 1)

Todorov

Equilibrium: The main characters appear to embarking on a seemingly carefree holiday, where  they will visit America, and, whilst have to supervise children, they are under the impression that they will want little to do with them.

Disruption:The Trio arrive at the camp and soon realize that they will have to look after a group of socially inept and dependent children.

Recognition of disruption: The children show hostility towards the trio, and the characters learn that they have gained access to the country based on a poor lie,  that the character of Flynn told in order to ensure their placement in the camp.

Attempt to repair: The characters save the children from being harassed by a group of ‘jocks’ by standing up for them and presenting themselves as strong leaders.

New/return to equilibrium: The main characters and the children establish an understanding, reconcile their differences, and agree to help one another.

Propp

Hero: Adil

Villain: Jake

Donor: Flynn (gives the characters opportunity to be in this situation)

Helper: Barry

Princess:

(Barry): Kimberly

(Adil): Rachel

(Flynn): the promise of being at the camp

False hero: Flynn (reveal lied to fellows)

Barthes

Action: In presenting the main characters interactions of a flirtatious and friendly manner with other female characters in the show, the probability that more serious relationships will be pursued and possibly obtained by the characters, is very strong, and becomes expectant from the audience.

Enigma: Enigma presented by Flynn’s strange behaviour  receiving phone calls and not answering them, and hesitating when sending a text to his mother. The enigma is not solved at the end of the episode, but remains as a recurring element throughout the series. An enigma is also presented early on with Adil, as it is hinted that he has had some kind of failed relationship, but this is kept mysterious. This is confirmed later on in the episode.

Semic: The signs used within the set,( like sunshine, a perfect lake, set in America) and cast members (mostly young attractive people), are used to convey the (perfectionist) image of the ‘American dream,’ something considered to be very desirable. This causes the product to be more appealing and enticing, as it gives the viewers the sense that they are experiencing the ‘American dream.’

Symbolic: Conflict is expressed through Barry’s attempt to seduce Kimberly,  whilst his plans are thwarted due to her already being in a relationship. Furthermore, conflict is shown against the juxtapositions of the group of children presented to be the side of ‘good’, (all of whom are physically unfit and socially inept), against those who are presented as 'bad', (all of whom are shown as very confident and athletic).

Cultural: Cultural stereotypes are reinforced by the juxtaposition of the groups of children within the show. One group who are physically unfit and do not fit into any particular social group, reinforce the stereotype that these traits make them ‘uncool’ or ‘unpopular.’ Whereas their opposition whom are athletic and confident, enforce the stereotype seen in many American set or made TV shows that these traits make them ‘popular’ or ‘cool’

assignment brief word cloud

checklist of duties

Audience:
primary-analyses
secondary-read online reviews

Production:
primary- phone up e4 producers
secondary- research into production companies

summary of assessment brief

I work for Silver Lining Productions, a multimedia company that has had recent television success with fly on the wall documentaries, structured reality programming and fiction productions. We have also developed supporting media for their broadcast productions in print, audio and e-media. company is well known for its work in pushing the boundaries of existing formats.

I have been given the opportunity to prepare a pitch for development funding and so will need to present sample production work. The programme will have a target audience similar to E4’s demographic (15-35) and will be suitable for pre-watershed broadcasting. We are free to work in any format you wish. Working in groups of no more than four, we will produce the opening few scenes of a drama TV programme establishing narrative themes, characters and location. we are able to include a title sequence and our finished product should be approximately two minutes long. Our programme will be supported by a three page fan site. We will use the website to try and encourage as much audience interactivity and communication as possible. Our production materials should will be produced to a professional standard.

Todorov,Propp and Barthes

Todorov,Propp and Barthes

Todorov's theory is concerned predominantly with the story within the narrative. It is presented in 5 steps. Firstly, equilibrium, where a state of normality is established within the diegisis of the film. Secondly, the disruption, where some kind of conflict is introduced into the narrative. Thirdly, the recognition, where  the protagonist acknowledges the disruption-  this may be brought about by an effect the disruption has upon the protagonist or others. Next, the attempt to repair, which sees the protagonists trying to restore the balance and be rid of the disruption. Finally, the new/return to equilibrium, where things return to as they were, or situation dependent, a new state of equilibrium has been established in order to grant a sense of closure, whilst still taking into account the events of the narrative. This change in equilibrium (or indeed the whole narrative), often sees a change in the characters, environment, or multiple other aspects. Propp’s theory majorly gravitates around the character types within a narrative. According to Propp, there are 8 character types. These include; the hero- the protagonist within the narrative, the villain- the antagonist within the narrative, the Donor- someone who gives the hero some kind of item that will assist them, the helper- someone who assists the hero, the princess-the hero’s reward ( note that the princess is not always a person, but can be an object etc.), the princess’ father- this character is the one who rewards the hero, the dispatcher- the one who sends the hero on their quest and the false hero- someone whom we are led to believe is a hero. Propps' theory is somewhat flawed, as it's predominantly based upon folklore tales which commonly present the struggle between good and evil. As this struggle is not apparent within all narratives, this makes this not applicable to all narratives. Finally, Barthes theory is based on 5 codes that readers use to decode the text. The first is action- events which have logical consequences e.g. when food is presented, there is a probability that characters will eat it. Next is the enigma- the mystery that audiences are left to decode, and questions raised by the narrative. Thirdly is Semics- signs used to express stereotype, objects and sets etc. e.g. spaceships connote sci fi. Fourthly symbolic code which is meaning expressed through juxtapositions and conflict within the narrative. Finally, cultural code is anything from stereotype to pop culture references or even knowledge we know and share together. This is an element very typical of spoof movies.

narrative theories in the inbetweeners

The Inbetweeners, Thorpe park (Todorov)

Equilibrium: the equilibrium is put forth to the audience, by the boys being at school, within a  normal school day environment.

Disruption: disruption presented with the promise of a trip to Thorpe park, that at present is not necessarily definite due to the character of Simons lack of a drivers licence.

Recognition of disruption: the disruption is recognized with Simons character  both passing his driving test and acquiring a car. 

Attempt to repair: the repair is attempted by the journey that commences with the start of the journey to Thorpe park, which result in multiple mishaps and wrong doings.

New/return to equilibrium:  after eventually getting to Thorpe park and having the car ruined. The characters achieve the goal they set out to do, resolving the conflict, but achieve a new sense of equilibrium, as by the end of the episode Simons car is ruined, but equilibrium has been restored

Propp

Hero: Will 

Villain: Mark

Donor: Simon's dad

Helper: Simon

Princess: 

(Simon): the ability to drive/a car

(Will): Roller-coasters at Thorpe park

(Jay): the promise of girl at Thorpe park

Princesses Father: (applicable to only Simon): Simon's dad

False Hero: Neil

Dispatcher: Jay


Barthes:

 Action: the characters are both heard discussing going to a theme park, and seen going to the a fore mentioned theme park.From this it can be assumed by the audience that upon arriving at the park they will ride on the roller coasters etc. there.

Enigma: The enigma presented within the show is the question whether or not the characters will arrive at the theme park, due to the constant mishaps that befall them.

Semic- Clothing is the sign in question is used to express the generation,
age group and class of the characters  they are all in what would be considered fashionable of this era, indicating that they are part of this generations working/middle class youth. The behavior of the characters also expresses their age group. Throughout the majority of the episode, they discuss or actively take part in pursuing girls, a trait commonly associated with their age group of young adult males.

Symbolic- The symbol used to express the stereotype that the characters befall (Young adult males who are somewhat social misfits) is the car used by the characters. The car in question is a bright yellow car, which normally would be associated with females, however it juxtaposes not only the gender of the characters, but the actions, due to their masculine behavior.

Cultural- The cultural element that is portrayed in the episode is the location that the characters desire to go (a theme park). As an audience we know that this is an exciting and fun place to go to, so as such the audience can relate to this, and understand why the characters have such a  strong desire to go their.

                                                   

production company write up

Bwark productions/ Young films
                                                                                                                                                                                         

Bwark productions was founded in 2004 by Iain Moris and Damon Beesley. Moris had recently left channel 4 at the time,  where he had worked as the commissioning editor for comedy for 4 years. Bwark productions seems to produce multiple comedy shows and DVDs  including many Jimmy Carr stand up shows on DVD, the show 'free agents' and 'the persuasionist'. This gives them an overall image as a producer of comedy, which ties into the chosen show ('the inbetweeners'). In July 2011,  Bwark productions became a subsidiary of the Zodiak media group.The Zodiak media group demonstrates examples of horizontal integration as it owns multiple other companies which produce TV shows. These include RDF television, the foundation and IWC media. Bwar uses synergy in the form of apps and DVDs to promote 'the inbetweeners.' These appeal more to their target audience of young people, aged roughly 15-25 (for 'the inbetweeners'), as these forms of media are those that have proved popular with that audience, so in carefully selecting how to promote the show, they have successfully promoted it to its fullest extent. Young films was founded in 1986 by 'inbetweeners' producer, Chris Young. Its past credits include a number of various short films including; 'believe' and'seachd': the inaccessible pinnacle. Bwark/Young make use of convergence in making 'the  inbetweeners' available to view on the online '4OD' service, which can be viewed on both computer and smart phone. However this is predominantly controlled by the broadcaster (E4),which is of benefit to E4 as a broadcaster, as it is able to use different methods to promote the show. Bwark relates to E4 firstly,  because E4 broadcasts shows that are produced by companies who are owned by the same conglomerate (Zodiak media group). These include 'Shipwrecked the island' and 'wife swap'. It further relates to E4 due to its programmes (the' inbetweeners' in this case) content and target audience. The show itself is a 'sitcom'. E4 shows a number of other sitcoms and comedy shows in general, such as skins,. misfits, phone shop, Noel Fielding's luxury comedy, to name but a few. This establishes the programme with a broadcaster that already has a reputation for showing comedy programmes. This provides both anchorage within the shows genre and helps to gather in a wider audience from the broadcasters other shows, whom this show may appeal to. Thus in short, Bwark productions ties into E4 as its show that is broadcast on E4 appeals to E4s target audience as a whole.

References:

http://theinbetweeners.blogspot.co.uk/2008/05/production-team.html

http://www.zodiakmedia.com/our-companies/uk-belgium-netherlands/companies/bwark.php

http://www.e4.com/

http://www.imdb.com/company/co0186328/

http://www.imdb.com/company/co0185138/

http://youngfilms.typepad.com/about.html

Legislation of the internet

What legislation covers the internet

multiple different legislations and laws cover the internet. these are for different purposes, to achieve different things, and create a safe environment on the internet overall a safe environment. A law that covers the interenet is the Data protection act 1998. "The Data Protection Act 1998 covers personal data that finds itself on the Internet, and any web site that collects personal information will need to comply with the Act." personal information may include email addresses credit card details, telephone numbers, even addresses  this act protects information from being used in a way that has not been agreed by the person themselves when giving this information to a website. as such under the data protection act 1998 websites are obliged to:

•  state what they do with the data (and stick to it)
•  register with the Information Commissioner, a government official that Related Documents
•  not export the data outside the EC without the subject's permission
•  keep the data secure, reveal it and delete it if requested by the subjects.

copyright laws also cover the internet. the effect the content of the website in the same way that they effect content of other media, such as magazine, tv shows, films and music. copyright and piracy online is still a source of much debate, with new acts like SOPA (stop online piracy act) and PIPA (protect ip act) trying to push more restrictive bounds on sharing content on the internet, in order to reduce the amount of piracy and copyright infringement online.

the UK eCommerce regulations are in effect to regulate and monitor the buying and selling of goods within the UK. websites who trade products within the uk should:

•  display the name of their business
• display their company registration number or proprietor's name 
• show their geographic address (street number etc)
• show thier contact information such as phone number and email address
• show their VAT number
• Refer to trade or professional recognition schemes, with registration number, if applicable
• Provide clear information on price, tax and delivery.
• Show clear Terms and Conditions and acknowledge order

children are protected from content that is considered innapropiate. the company websense provides filtering software within the uk for this.

"in the UK, Websense is accredited with approved Internet Filtering Product certification by the British Educational Communications and Technology Agency (Becta). As an approved supplier, Websense is certified to provide schools with Web security and Web filtering solutions in line with national strategies and regulations on safe Internet use in education."

sources:
-http://www.computerweekly.com/feature/Internet-law-Essential-Guide
-http://www.clickdocs.co.uk/ecommerce-information.htm
-http://www.websense.com/content/childrens-internet-protection-act.aspx

The inbetweeners website analysis

The home screen of the 'inbetweener's' website is the referent in question.  It uses signifiers to portray meaning across to the audience. Firstly. its use of a school chalk board, with childish drawings and scribblings on it. This connotes childishness and immaturity which  partially assists in anchoring the programme with an immature (and thus presumably comedy) theme. This remains in context with the genre and setting of the programme. The genre is anchored further by the central image on the homepage which depicts the main characters with various different comical and immature expressions .This anchors the meaning,  as from this image it can be assumed by the audience that the characters are not going to behave sensibly, but rather they will behave immaturely, thus anchoring the show within the comedy genre. This  anchoring technique also ties into the representation of young adult males. The immature expression of the two characters on the right,  connotes that these two are both immature, fitting into the stereotype of 'yobbish' persona that is attributed to most young adult males of this generation. Another stereotype is explored within the page, that of the 'nerdy' or 'geeky' teenage male. The character of Will (central image second from right),  is shown as being smartly dressed,  with a disapproving expression,  whilst his peers are dressed in a  far more relaxed manner and have far more humorous expressions.  This stereotype is further represented by the image below the central image  depicting the same character (Will) standing with a young girl, looking uncomfortable. This enforces the stereotype of the 'geeky' teenager,  by showing the typical traits of formality and social ineptness. This connotes to the audience that this show is not just for the 'yobbish' of its target audience, but is also aimed at those, who perhaps posses similar traits as Will.  The use of including this stereotype in with the other stereotype within the show,  offers a more realistic show as it allows the show to cover a more broad social range, that is seen within everyday society. The use of the colour purple in the page layout is non-gender specific. This connotes to the audience that the humour and elements in this show are catering for everyone, whilst also been  representative of  the channel it is shown on (E4). Whilst the layout remains non gender specific in terms of colour usage, the images lean more towards a male target audience,  as they predominantly depict men within them.

This is a page that branches off from the homepage of the 'inbetweener's'  home page.This remains the same in target audience, but differs in purpose.The background of a school chalkboard,  is kept a constant, which  helps to maintain the tone of the genre of the programme in question. Furthermore,  the thumbnail images shown are in keeping with the homepages central images theme of comical situations, to continue the anchoring of the show.  Additionally, the use of the colours purple and white, are continued to make the show seem more non gender specific. However,  the 'videos' section of the website differs in its purpose. The page has videos titled 'behind the scenes' and 'trailers and prequels.' This connotes to fans of the show that they are getting a sense of exclusivity, whilst for people who are new to the show,  this seems like an enticing offer, after which they may consider to view the show. The page, also somewhat diminishes the stereotypes portrayed by the central image of the homepage. The signifier in question in this instance is the yellow car (in which the characters are depicted to be sat). This, used in the context of the TV show (which depicts young adult males)  diminishes the stereotype set forth by the previous image. Instead of reinforcing it, depicting them within a car that is say red or black (commonly masculine associated colours) the characters have been depicted in a yellow car, which is typically attributed to females and femininity. This is used for comedic effect,  to play into the programmes genre of comedy.

questions to consider

from my analysis i have raised the following questions to consider when making my own content.

-Who is my target audience?
my target audience is that of my broadcaster (E4) (, young people aged 15-35
-How will i appeal to the target audience?
I will follow the conventions of the genre selected, whilst tweaking it to add issues and content that the target audience can relate to
-What kind of setting will I use to make my content more immersive?
A realistic working class setting will make my content more immerisive, again due to the majority of the target audience's ability to relate to it
 -How will i cast the characters to make them more appealing to the target audience and make the target audience relate to the characters?
I will cast most of my main characters within the age bracket of my target audience, in order to make the issues raised in the programme (that will be designed to be typical of that age group) seem more believable and ultimately make my programme have a greater degree of escapism
- What kind of editing will I use to convey desired meaning to my target audience?
I will use a variety of editing. in dramatic moments i will use fast paced editing in order to convey an exciting tone to the audience, where as in slower moments with a heavy ammount of dialogue i will use a lot of shot reverse shot editing in order to put emphasis on the importance of the conversations
 -What kind of lighting will I use to maintain my desired mood and atmosphere?
In light hearted situations i will use a lot of high key lighting mainly. However in darker situations, i may use low key lighting, and perhaps even some chiaroscuro lighting in order to convey a sense of mystery to the audience
- What signifiers will i use to convey desired meanings?
I will use signifiers that can be appropriately structured and presented within the scene i am producing
- how will i make sure the signified aspects of my show are in context?
I will make sure the signifiers within my show are in context, bby implanting them within scene that fit the mood and tone of what is being signified
 -How will i anchor the meaning of the signs in my show?
I will anchor meaning by using conventions of the sleected genre (drama) that i am producing

The Inbetweeners Analysis

The Inbetweeners analysis 7;00-11:40       

The 'inbetweeners' uses different aspects to appeal to its target audience. Its target audience is young people aged 15-25. This can be seen from its use of young characters and its implementation of the characters within a modern social and school environment. It appeals to its target audience through its' mise en scene' in a variety of ways. Firstly,  the use of costumes on the main characters in the segment,  help appeal to the target audience. The referent of the main characters costumes,  are what would normally be considered ‘trendy’ or 'in fashion 'clothing. This signifies that as these characters are ‘trendy’ in appearance  this show must also be ‘trendy.’ This is a marketing technique used to engage the target audience more so as it makes the characters seem more appealing, and more people can relate to them.  The suburban setting of the show also remains appealing for many,  as this again enables more people to relate to it. This setting also signifies a more realistic element to the show, which in turn makes it more immersive.  The performance within the show is appealing as the comedic value of it offers a sense of escapism. Furthermore,  the crude humour used in the show  appeals to the target audience far more than other comedy shows. The fact that this humour is also used in the context of situations,  (like having an embarrassing first car) further assists in enabling more people to relate to it and it is overall more appealing for the target audience.

The use of no' non diegetic' music whilst the characters are in direct conversation, makes the dialogue and conversations so more realistic and as much more immersive. This ultimately offers a greater sense of escapism,  which makes the show more appealing to the viewer,  as it  means they can forget about everyday life more easily. Furthermore,  the use of 'non-diegetic' and 'diegetic' music when the characters are traveling in a car,  makes the traveling seem more instant, thus creating a greater sense of excitement and interest for what would otherwise be seen as a boring, pointless scene. In addition to this, the use of narration or “voice of God” in these sequences, not only helps to continue the narrative through these scenes, but allows the viewer to establish a more personal relationship with characters. This appeals to the target audience more,   because the characters are put into situations which the target audience can easily relate to -  the more personal link with them,  causes the viewer to feel as if they too are experiencing the characters experiences with them.

The shots are predominantly 'medium close ups'. This fits in  with the fact that most of the scenes are predominantly dialogue. This connotes a more personal aspect to the conversations,  and makes the audience feel more immersed -  almost as if they themselves are part of the conversation. Additionally,  this element is developed further by the large use of' shot reverse shot' editing to keep the conversations fast paced and to again keep the viewer’s concentration and attention. This also helps the dialogue seem quicker and more realistic. Other camera angles are used for comedic effect, like long shots focusing on the yellow car (a figure of fun, and main joke point of the segment).  This helps contribute to the comedic aspect of the show and ultimately helps the show fit into its purpose of making the audience laugh and entertaining them. However the yellow car is only successful as a comedic device,  in the context that it has been given to a young adult male, whereas stereotypically,  the colour yellow is associated with females. The editing (as previously mentioned) is mostly 'shot reverse shot' as the programme revolves around and relies upon its dialogue for comedy. When not using 'shot reverse shot', mainly regular cuts are used. This is because the genre (sitcom) does not typically try to convey messages through editing, rather the main aim is to just try to entertain the audience.

Finally,  the lighting is kept fairly high key. This is to fit in with the genre and humour of the programme,  to appeal to and entertain the target audience. The high key lighting,  promotes general light heartedness, which links to the crude humour in the show,  as it connotes that it is not something to be taken too seriously and is generally there to be laughed at. This light hearted atmosphere achieved from the lighting,  also helps to anchor the shows in the comedy genre. This appeals to the target audience as they find that with this they can simply watch this show, be entertained and laugh at it, without taking it too seriously. This appeals to THIS shows target audience as they, (young people aged 15-25), are people who are stereotypically thought to enjoy comedy shows more than drama. The syntagmatic order of the show is basic and linear with standard continuity. This helps to anchor the show also as it fits the conventions of syntagm’s of sitcoms.

In conclusion, this show uses multiple aspects to appeal to its target audience, entertain audience, and to overall immerse the target audience in the programme more. This is achieved successfully as the show occurs in a realistic suburban environment. Given the regularity of this setting,  this creates another easily forged link that the audience can form between themselves and the show, making the events and occurrences more relative and ultimately making the show more immersive and entertaining.