2. Magazine Front Cover

This is the front page cover of the Time magazine. This is the christmas issue and the last of the year 2006. When looking at the cover, the sophisticated, traditional looking serif typography gives the news magazine a more traditional and conservative feel, which places the audience in a traditional view and to read and view the magazine in a serious way.

The border which is also an identifivation for the Time magazine of having a red border which connotes the conservitive and marxist ideologies, as well as that, there is one image seen in the centre of the magazine in this case there is a modern and futuristic computer coloured in greay and whites which connotes state-of-the-art, futuristic and technological, this means that the image is promoting the modern and contemporary day and age, the computer also features a large, sans serif heading of 'You,' this word signifies that the magazine is targeted at 'you' it is also noticable that the computer screen has the 'You Tube' layout which means that it is targeting a younger audience too that actually watch the videos on this website.

Below in a more smaller typography, the sentence talks directly at the audience where it is informing the audience that the world now belongs to us the people which can also suggest a pluralistic model and link with Blumler and Katz theory of Uses and Gratifications that we now live in a more freedom society.

Taking this into account, the magazine front cover has many reading however the preffered reading would read that the Time magazine is promoting a pluralistic and a non hegemonic society.

1. Film Poster Analysis

This is a film poster of the 2003 comedy 'Bruce Almighty.' When looking at the film poster, you are firstly seen with a large image of the protagonist of the film 'Bruce' (Jim Carrey) positioned at a slight high angle and dressed in relaxed clothing, however he is seen holding a globe on on ih index finger which automatically signifies that the protagonist is controling the planet earth as he is also seen high in the sky with a clear blue sky which connotes peace and tranquility and the large thick cloud behing him with the sun rays right at the top to illustrate the protagonist as being 'almighty' and God like.

The title of the film 'Bruce ALMIGHTY' has a significance of two opposite collours in on the spectrum, the protagonists name 'Bruce is typed normally and in a calm blue colour which connotes peace and calmness, however the second half 'ALMIGHTY' has been typed in red, which connotes danger, mahem, problem. This shows that the names have been coloured with the wrong shade, which hints the film being a comedy and family fun.

When looking at the poster, we are shown with no other gender bu a white male, this signifies the film to be patriarchal by showing an active authoritive male figure positioned to control the world. The lack of any woman shown on the film poster comes to state that women are still in contemporary society are subordinate to men and even though they have reached many heights since the rise of femenism in the 1970s, women still remain passive and less authoritive to men, which also links to women theorist Laura Mulvey that society portray men as active and women as passive. This also come to state that even though we are living in a more modern and liberal society, we are still compressed by ideologies such as partriarchy and misogyny.

The rest of the poster features the typical aspects used on film posters, such as the credits written at the bottom of the page which states the institutions, cast and crew of the particular film. The release date is written below all the credit block and is written in red which shows the audience when they can watch the film. As well as that, the protagonist 'Jim Carrey's' name is written right at the top and in a sans serif typography which connotes a relaxed and modern day film, also as he is the main hero, and a very popular comedian, audiences are familiar with his previous comedy films and would then automatically identify the film to be a comedy and light hearted.

Finaly the tagline, the tagline has a two meanings, firstly as it states 'In Bruce We Trust' this connotes to the audience that the protagonist is seen as an almighty God or supernatural being, however after the tagline it has a question mark '?,' this straight away brings into mind that we must not start believing in him as a God as he is just trying to be God but is not him, which shows that there is onely one supernatural being who can actually control the world and nobody else.

In conclusion, the film poster has many preffered readings, however mainly shows the audience that this film is a comedy by the doubtful and thoughtful slogan, the cross colours used fot the title and the relaxed and funny looking personality 'Jim Carrey' portraying himself as God. Another preffered reading could be that this film is promoting patriarchy and misogyny even though we are living in a more liberal and contemporary society, these traditional values still hold us back from certain freedom and equality.

Summary of Theories

1. Uses and Gratifications Theory:

Blumler and Katz’s uses and gratification theory suggests that media users play an active role in choosing and using the media. Users take an active part in the communication process and are goal oriented in their media use. The theorist say that a media user seeks out a media source that best fulfills the needs of the user. Uses and gratifications assume that the user has alternate choices to satisfy their need.

This theory is very similar to the pluralistic model.

2. Effects Theory:

The effects theroy suggests that the audience are passive and they are manipulated by the society (Hegemony)

The hypodermic needle model:

certain texts are injected into the passive audience with certain ideologies.

3. Reception Theory:

This theory concentrates on the audience and how the audiences respond to a media text, and also that the texts that the audience consume have more than one meaning and the audience are there to decode.

Similarities & Differences:

Uses and Gratification Theory and Reception Theory inludes more about the active audience and how the audeicnes are more media literate, whereas the Effects theory argues that the audience are passive and are injectedwith certain ideoligies by the ruling class.

Fourth Estate Programmes

1. Question Time - BBC ONE

Each year, some 30,000 members of the public apply to join the debate.

The panels are drawn from significant figures in politics, industry, the media and entertainment.

2. Frost Tonight - ITV

David Frost presents news, interviews and features of interest to Londoners, meeting guests from the worlds of entertainment and politics.

3. The Sunday Edition - ITV

Political and current affairs round-up, featuring interviews with leading figures. Andrew Rawnsley and Andrea Catherwood present.

4. Power to the people - Channel 4

Dermot O'Leary narrates an A-Z look at protests, including the different types, how they are staged, and whether protesting can really make a difference.

5. Watchdog - BBC

Nicky Campbell, Julia Bradbury and Paul Heiney look at the latest consumer news, scams and grievances every Tuesday at 7pm on BBC One.

A pluralist will argue that the media are a fourth estate as these channels also the terrestrial channels are keeping the public informed about the other three estates (government, legal system and church), this means that a pluralist will argue that the media are fulfilling their role as the fourth estate, especially about the BBC broadcasting such informative programmes to meet their PSB role.

Marxism Summary

Marxism refers to the philosophy and social theory based on Karl Marx's work on one hand, and to the political practice based on Marxist theory on the other hand.Marx describes several social classes in capitalist societies, including primarily:

~The proletariat:

"Those individuals who sell their labour power, (and therefore add value to the products), and who, in the capitalist mode of production, do not own the means of production". According to Marx, the capitalist mode of production establishes the conditions that enable the bourgeoisie to exploit the proletariat due to the fact that the worker's labour power generates an added value greater than the worker's salary.

~The bourgeoisie:

Those who "own the means of production" and buy labour power from the proletariat, who are recompensed by a salary, thus exploiting the proletariat.

Marxism and the Media

~Media producers produce texts within this society, which maintain these social divides.

~The culture industries, constantly see greater audiences becuase of the profit motive.

~Mass media are seen as a way of entertaining the workers while drip feeding them ideologies and beliefs.

Globalisation Homework!!!

Action Point:

How much of the media you consume is global?

Well i think almost all the media i consume is global, predominantly British and American sometimes Asian.

Do you watch US TV programmes or visit US websites, for example?

Well, i do like watching British programmes, however i think i tend to wach more of the US TV, i think its because theres something different about it and i tend to enjoy it. Website i don't really know which ones are British or American (lol).

Do you consume media from other cultures as well or does the US dominate?

I think the most dominating and obvious media i consume is from the US, after that i like to stick to my culture and watch Bollywood films and asian programmes, then i think its the British programmes which i believe to me is very rare.

Media Institutions: Channel 4!!!

"The Channel Four Television Corporationis a publicly-owned not-for-profit broadcaster operating in the UK. The main public service channel, Channel 4, is a free-to-air service funded entirely by advertising and sponsorship. Unlike the BBC, it does not receive license fee funds."

Channel 4

Channel 4 transmits across the whole of the UK, except some parts of Wales, which are covered by the Welsh language S4C. It is available on all digital platforms (terrestrial, satellite and cable) as well as through traditional analogue transmission.

Channel 4 also operates a number of other services, including the free-to-air digital TV channels E4 and more, the subscription service FilmFour (which will be relaunched as a free-to-air channel in summer 2006), and an ever-growing range of online activities at channel4.com, including the broadband service FourDocs. The FilmFour production division produces and co-produces feature films for the UK and global markets.

The Channel's primary purpose is the fulfilment of its public service remit, which was most recently defined in the 2003 Communications Act. This states that "the public service remit for Channel 4 is the provision of a broad range of high quality and diverse programming which, in particular:

(a) demonstrates innovation, experiment and creativity in the form and content of programmes;

(b) appeals to the tastes and interests of a culturally diverse society;

(c) makes a significant contribution to meeting the need for the licensed public service channels to include programmes of an educational nature and other programmes of educative value; and

(d) exhibits a distinctive character."

As a publisher-broadcaster, Channel 4 does not produce its own programmes but commissions them from more than 300 independent production companies across the UK, a far greater number than any other broadcaster, including the whole of the BBC. It works very closely with the independent production sector, and invests heavily in training and talent development throughout the industry.

The Channel 4 service was originally established under the Broadcasting Act 1981 and was provided for by the Independent Broadcasting Authority. The Channel Four Television Corporation was subsequently established under the Broadcasting Act 1990 and the Channel's functions were transferred over to the new Corporation in 1993. The Corporation's board is appointed by OFCOM in agreement with the Secretary of State for Culture, Media and Sport.

The Building

The Headquarters was a value-for-money, design and build, project with a £35 million cost limit (a long way from the Lloyds of London-type budget). Despite this, it still manages to greatly enhance the street scene by its fullblooded display of all the elegant brand features of the Rogers style-a combination of hi-tech details, repetitive use of a few simple design elements, and visual emphasis on its use of glass, pewter-grey aluminium and exposed structural steelwork.

Independence: 1990–Today

Its new independence helped bring in a rash of programming changes. Instead of aiming for the fringes of society, it began to focus on the edges of the mainstream, and the centre of the mass market itself. It began to show many US programmes in peak viewing time, previously a rarity on UK terrestrial television. It premiered such shows as Friends and ER.

It also started broadcasting reality formats (including Big Brother), and sports like cricket and horse racing. This new direction increased ratings and revenues. However, the Channel 4 contract to broadcast test match cricket ceased with the end of the Summer 2005 Ashes series.

The future

Channel 4 has in recent years raised concerns over how it might finance its public service obligations after digital switch-over. Channel 4 has projected it will have a £100m funding gap. It has stated that it will need further help, possibly in the form of a slice of the licence fee in order to meet these commitments. On April 25, 2006 it was announced that Channel 4's digital switch-over costs would be paid for by licence fee revenues.

Other Channels

Film4

E4

Quiz Call

More4

T4

4Learning

FourDocs

Radio

Oneword

4radio

Programming

Comedy:Shown on Friday Nights e.g. Father Ted,

Drama: American drama is a key part of Channel 4's portfolio, initially with NYPD Blue and ER. These were followed by Without a Trace, The Sopranos, The West Wing and Six Feet Under.

Factual: Channel 4 also has a strong reputation for history programmes and real-life documentaries. It has also courted controversy, for example by broadcasting live the first public autopsy to be carried out in the UK for 170 years, carried out by Gunther von Hagens in 2002

Film: The channel has established a tradition of broadcasting the animated film of Raymond Briggs's picture book The Snowman, which in 1982 was the new channel's first major animated commission, every Christmas

Psychoanalysis Homework!!!

CHARLIE AND THE CHOCOLATE FACTORY (2005, Tim Burton)

The film that I have chosen for a scene with psychoanalysis is: Charlie and the Chocolate Factory

The scene that i have chosen is when there is a flashback when Willy Wonka is remembering his lonely and isolated childhood experience.

In this scene, there is a flashback used, which indicates that the character is remembering the past, which also tells the audience to see what he is thinking.

Another, feature is when young Willy Wonka is getting told off by his strict and cold-hearted father, the director has shown him lookingdown at him, where the camera is tilted downwards for the audience to view willy wonka in that state, where he is getting scraed and frightened.

The mise-en-scene is very cold and stern, with isolated and a not warm house which makes the audience understand the characters psychological state.

Tim Burton (Auteur Theory)

A lot of things you see as a child remain with you…you spend a lot of your life trying to recapture the experience.

– Tim Burton

Biography

Timothy William Burton (born August 25, 1958) is an American film director, writer and designer known for his off-beat and quirky style. Especially in his stop-motion animated films, he is known for the exaggerated style of his characters, which still retain their serious, humanlike characteristics. He first came to note directing the Warner Brothers film Beetlejuice, which was followed by the blockbuster success of Batman in 1989. Following which he continued to make blockbusters as well as smaller dramas that continue to study loneliness in a style influenced by Gothic fairy tales.

Visual Style, cinematography, editing technique, mise-en-scene, use of sound

Before long young Burton was making horror films with a Super 8 camera, but he felt more like an artist than a filmmaker. He began drawing at an early age, but, it wasn't until he has spent some time at California Institute of the Arts, that he was given an opportunity that would change his life. Disney, after seeing Burton's artwork, hired him immediately. Amazingly, they didn't even have a job that specifically fit what he could do.

Themes and issues that are recurrent and identifiable in their works.

Burton uses special effects and visual tricks to create sights that have never been seen before. The movie takes place in an entirely artificial world, where a haunting gothic castle crouches on a mountain-top high above a storybook suburb, a goofy sitcom neighbourhood where all of the houses are shades of pastels and all of the inhabitants seem to be emotional clones of the Jetsons.

Their level of input into the work

Filmography as: Director, Producer, Writer, Miscellaneous Crew, Actor, Art Department, Production Designer

Trademarks

A few of his trademarks:

Frequently uses the name Edward

Visual style and themes heavily influenced by Gothic horror films of the twenties and thirties, especially those of James Whale and F.W. Murnau, along with the films of German Expressionism.

The illustrations of Edward Gorey are another major influence.

Frequently works with actor Johnny Depp. The two collaborated in the films Edward Scissorhands, Ed Wood, Sleepy Hollow, Charlie and the Chocolate Factory, and Corpse Bride. Tim wanted to cast Johnny in his movie Mars Attacks (he wanted cast him in the role that eventually went to Michael J Fox .

Frequently shows dead dogs, clowns, sheep, twisted trees, jack-o'-lanterns, scarecrows, butterflies, and redheads in his films.

His films frequently have dinner table scenes.

His films often have gothic subtexts

Personalizes the production logo in the beginning of his films.

Opening credits usually utilize a tracking shot. They also tend to go either on, through, or into something.

His long standing collaboration with Danny Elfman, who scored all his films since Pee-wee's Big

Adventure, except Ed Wood, which featured the noted composer Howard Shore.

He often uses an uplifting ending theme for his theatrical trailers by Danny Elfman but is never used for the films.

His artwork, and lots of his films are notoriously influenced by the artist Edward Gorey, and his pen and ink drawings.

Often uses shadows for a scary, ominous effect.

His main characters tend to be outsiders, and are usually shy, with a pale complexion and unruly black hair, similar to his own.

Media News Story of this week

Readership decline in line with falling sales http://blogs.guardian.co.uk/greenslade/2006/09/readership_decline_in_line_wit.html

"This is the news story that i had found on the media guardian website, i decided to use this story as it is a real serious issue about the decline in newspapers and how its affecting the economy and also this story needs to be looked in-depth."

It may not be sexy, but measuring how many people read newspapers - and, especially, their digital offshoots - has become hugely significant. It also means that the way the analysis is carried out has become important too. There is an obvious disparity between the readership figures provided by the National Readership Survey (NRS) and the circulation figures provided by the Audit Bureau of Circulations (ABC).

This has always been the case but it's never really troubled publishers and editors in the past. They have largely placed their faith in the "hard numbers" of sales rather than the readership totals revealed through opinion poll sampling. But they all know that things have to change because of the urgent need to paint a coherent picture of a paper's total "reach", aggregating print readership and online users, and this cannot be obtained through a straightforward audit.
I'm going to look at the methodology of audience measurement later this week, but today - with the release of the latest set of (NRS) statistics - let's consider what they tell us about the current state of the print industry. The year-long comparisons, showing the differences between readership sizes in the 12 months June 2005-June 2006 compared to those between June 2004-June 2005, provide the best glimpse of long-term trends.

Unsurprisingly, the majority of national titles have lost substantial numbers of readers, but that requires some context. Despite the generally depressing state of affairs, the total readership of the 10 national daily titles in the first six months of this year was 26.96m. That means a reasonable slice of the 47.97m estimated adult population of Britain reads a paper on a daily basis, and that figure is boosted by 2.75m reading Scottish dailies and many hundreds of thousands reading provincial mornings or evenings. So I always try to keep that in the front of my mind when analysing the increasingly poor performance of print.

The worst results recorded were for the Financial Times, down by 22% (within its UK audience); the Daily Star (-12%); the Daily Express (-11%); and the Daily Mirror (-10%). The Daily Telegraph lost 6% of its readers and the Daily Mail lost 4%, though it was still able to boast the second-largest daily readership with 5.45m regular readers. The Sun, despite a 1% drop, remained way ahead with a readership of 8.07m. Then there were the success stories: The Independent recorded a 24% increase, lifting it from 617,000 readers to 766,000; The Times went up by 3% to 1.79m, taking it within 300,000 of the Daily Telegraph, (and, incidentally, making it more popular than the Daily Star); while The Guardian increased by 1%.
The reason for the trio of successes is obvious. All of them changed format and benefited from uplifts in sales and greater public interest stimulated by publicity and increased promotional activity. It will be fascinating to see if they can maintain that upward trend over the course of the next 12 months. Somehow, I doubt it.

A similar pattern was apparent among the Sunday national titles. The two shape-changers (Independent on Sunday and Observer) recorded rises of 9% and 8% respectively. The only other paper to add extra readers was the Sunday Times (2%). All the other titles lost readers, with the Sunday Telegraph (-8%) doing worst of all. Again, the benefits of novelty and promotion will surely wear off before this year is out. What these figures reveal is that the pace of change (meaning print decline) is speeding up. Readership tends to be more volatile than circulation but that is not the case here. The same story is told by both.

The readership trends for magazines are fascinating too, confirming the vibrancy of some sectors - such as women's weeklies - and the continuing decline of others. It would seem that magazines are finding it more difficult also to attract an online following as successfully as newspapers, though we need much more evidence. It is clear, for instance, that the readers of certain specialist magazines that are bought as much for their adverts as their editorial are turning in ever greater numbers to the net. Note, for example, the slump of the car periodicals: Auto Express (-27%); Autocar (25%); Autosport (-9%); and Auto Trader (-8%). Exchange & Mart, fell by 18%, and the situation is getting worse by the month for a mag that cannot compete with online offerings.

The TV magazine market is crowded and competitive, with a variety of ups and downs reflecting shifting loyalties. The four largest all lost substantially - What's on TV (-9%), Radio Times (-6%), TV Quick (-8%), and TV Times (-10%) - while the newer Total TV Guide rose by 41% and TV Easy made its first entrance into the chart. Among the women's weeklies, Closer enjoyed a 22% increase, New! advanced by 17%, Heat rose by 10% and OK! leapt by a further 9% to boast 2.54m readers while its rival Hello! slipped back by 7% to 2.09m. The women's monthlies also revealed decline, with slight falls for Cosmo, Marie Claire, Elle and Prima, though Glamour recorded a 5% rise and Good Housekeeping eased up a little.

There was a noticeable readership decline for the overall monthly market, especially for the men's mags. Down went the market leader FHM (-14%), followed by Loaded (-19%), Maxim (-19%), Esquire (-13%) and GQ (-13%). Again, car magazines also proved less popular, as did most of the mags dedicated to sports and leisure pursuits.

In sum, these latest set of NRS results point to the continuing decline of the print market as a whole. That is not a surprise, though the scale does imply that the decline has been speeding up. But I reiterate: these measurements, despite the polling sophistication employed, no longer provide an accurate assessment of the pulling power of newspapers and magazines. Unless the industry agrees to a new form of measuring its combined print and online audience then it will not be serving itself properly. Advertisers urgently need that currency to have confidence in the future of our media brands.