Theory and the Media Professional

7/27/2019 Theory and the Media Professional

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Theory & the Media Professional

Stephen Hill


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Objectives

Does the proliferation of web 2.0user generated content and affordable

creative technologies pose a threat to the integrity of the media

professional?

LINK TO THEORY(MARXISM):Does the deregulation of the means of production'

(Karl Marx, 1848)pose a threat to the integrity of the media professional?

AIM: To explore the ways that academic media theorycan help the

media professionalunderstand the interactive potential of the audience in adigital age.

To explore how three classic theories ofaudiencemight help answer thequestion:


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OverviewForms and Conventions Audience Institution Representation

Three Theories of Audience

1. Roland BarthesDeath of the Author(1967)

2. Dick HebdigeSubculture (1979)3. Chris AndersonThe Long Tail(2006)

Does the proliferation of web 2.0 and affordable creative technologies pose a threat to the integrity of the media

professional?

How academic media theory can help the professional understand the interactive potential of the audience in a digital age.

Five InstitutionalModels1. Music Video Production

(Foundation Degree Popular Music)

2. Multi-media Journalism

(BA Hons Journalism and Communication)

3. Advertising and Marketing

(BA Hons Marketing and Communication)

4. Television Production

(BA Hons Media Production)

5. Computer Animation

(BA Hons Computer Animation)


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The Media Theory Timeline

Forms and Conventions Audience Institution Representation

1900 1950 2000

Roland Barthes

Death of the Autho r

(1967)

Dick Hebdige

Subcul ture: The

Meaning of Style

(1979)

Chris Anderson

The Lon g Tail

(2006)

. . .
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Roland Barthes, Death o f the Author(1967)


Contemporary Relevance: Web 2.0user

generated content is blurring distinction

between producersand consumers.

Influence on: Stuart HallEncodin g/ Decoding(1973)

Influenced by: Ferdinand de SaussureCours

de Linguist ic(1912)

The Big Idea: The meaning of a text is inscribed

by the audiencewho essentially re-write it. The

reader becomes an authorrendering the real

author dead.


6/13

Dick Hebdige, Subcultu re: The Meaning o f Style(1979)


Contemporary Relevance:With the proliferation of

digital technology and multi-platform branding,

niche marketsand defined communitiesof

consumers are the key to profitability across media

platforms e.g EMAPs Kerrang!

The Big Idea: Subcultural audiencesconstruct their

identity by using material objects as symbolsof

group belonging e.g Punks and safety pins. These

objects become ideologically loadedand stable

signs in their own right.

Influenced by:Jean BaudrillardThe Consum er

Society(1970).

Influence on: Stuart EwanAl l Cons um ing Images

(1987).


7/13

Chris Anderson, The Long Tai l, 2006


Contemporary Relevance:The future of Media

industries isselling more of less. For example, BBC

received 4.7% of funding though it only has 1.8% of

BBC1s audience its niche market programming

can be sold on more easily. Excess capacity in

schedule = mother of invention?

Influence on: Too early to say.

Influenced by:Vance Packard - The Hidden

Persuaders(1957)

The Big Idea: The fragmentation of media audiences

into niche markets has transformed patterns of

media consumption. Combined with the marketing

and distributionpossibilities created by the Internet,

possibilities have now opened up for the

profitability of fringe creative industries.
http://www.longtailbook.co.uk/Buy


8/13

Music Video


Impact on professional:destabilised therelationship between producers and

consumers.

Barthes:The interpretation of the musical

soundtrack by the video director

exemplifies the authorial tension in

Death o f an Au thor.

Hebdige:Sub-cultural codes that denote

particular niche market have become

central to the visual style of music videos

aimed at defined communities of

consumers.

Anderson:Multi-platform branding has

seen the emergence of some very

specialised markets for music video:

Smash Hits TV, Q TV, Kerrang ! TVetc

Foundation Degree - Popular Music

Digital age:audience embracing cheap digital

video editing software and YouTube

Traditional view: Music videos are the ultimate

example of the post-modern text.

Prospects for future:reinstated some of the

key conventions of the genre.
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9/13

Multi-Media Journalism


Barthes:questions the truth of

objective reporting. Meaning of

news inscribed by the audience.

Hebdige:Lifestyle journalism

cohered around sub-cultural

niche markets: Angl ing Times to

Liv ing in France

Anderson:Traditional journalism

increasingly fragmented

specialist television news

channels etc.

BA Hons Journalism and Communication

Digital age:Traditional journalism competing with

blogs, message boards, Amazon reviews, forums etc.

Impact on professional:boundaries blurred between

current affairs and entertainment.

Traditional view: press as the Fourth Estate

(Peter Wright/David Kelly)

Prospects for future:multi-platform branding of old-

guard.High quality journalistic = niche market
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10/13

Television Production


Traditional view: Concept of broadcasting.Tension

between paternalistic sensibility of BBC and populist

awareness of independent channels

has been replaced by narrowcasting.The schedule has

been replaced by TV on demand.

Barthes:Interactivity means

audiences are now the

authors of their own viewing

schedule.

Hebdige:Narrowcasting to

sub-cultural groups has

replaced broadcasting.

Anderson:Lower production

costs and increased channel

numbers means minority

television production is now

profitable.

BA Hons Media Production

Digital age:Narrow casting. Multi-channelling. Greater

audience interactivity(pressing the red button) +

convergence

Impact on professional: More television being made morecheaply, less freedom about its content. Reality television

placing greater emphasis on audience participation.

Prospects for future:YouTube, reality television reinforce

old conventions. More sophisticated audiencemore

receptive to hybridity.
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11/13


12/13

Computer Animation


Traditional view: animation discrete genre of film-making -

19thCentury (flip books and zoetropes).

Barthes:Animation

supposes authorial

creativity on the part of theaudience in the form of the

willing suspension of

disbelief.

Hebdige:Animation is a

discrete sub-culture of the

film industry with its own

sub-genres.

Anderson:Proliferation of

New Media technologies

has opened new niche

markets for software and

animation based film.

BA Hons Computer Animation

Digital age:Proliferation of anime. Domestic packages like

GIF Movie Gearallowing audiences to produce their own

animation for broadcast on YouTube

Impact on professional: Convergence of animation withspecial effects in mainstream film is opening up new

cinematic possibilities.

Prospects for future:Amateur productions e.g Anime pop

music videos widening audiences for animation films.
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13/13

Conclusion


Roland Barthes, Death o f the Author, 1967.

The shift is irrelevant. The audience has always been in procession of the

means of production in the way in which they inscribe meaninginto thereception of a text; creative media technologies are an extension of this.

To explore how three classic media theories of audiencemight help answer the question:Does the proliferation of web 2.0 and affordable creative technologies pose a threat to the

integrity of the media professional?

Dick Hebdige, Subcu lture and the Meaning of Style, 1979.

The output of the media professional is always open to appropriation by

subcultural groupswho will re-work its meaning. Moreover subversive

readings are always dependent on the hegemonyof the mediaprofessional and thereby reinforce it.

Chris Anderson, The Lon g Tai l, 2006

Much of the creativity is fairly illusory. Though products may be niche

marketed most domestic technologies reinforce the conventions of the

dominant means of production. Long tail opens up new opportunities.
http://www.longtailbook.co.uk/Buyhttp://h/wiki/Image:RolandBarthes.jpghttp://uk.wrs.yahoo.com/_ylt=A0WTf212aTBIC7wA0EZNBQx.;_ylu=X3oDMTBqaHBscmZmBHBvcwMxMwRzZWMDc3IEdnRpZAM-/SIG=1j02j19qh/EXP=1211218678/**http:/uk.images.search.yahoo.com/images/view?back=http://uk.images.search.yahoo.com/search/images?p=chris+anderson&fr=yfp-t-501&ei=utf-8&js=1&x=wrt&w=375&h=500&imgurl=static.flickr.com/153/393769576_aa9239bcbb.jpg&rurl=http://www.flickr.com/photos/uncleweed/393769576/&size=137.6kB&name=Chris%20Anderson%20speaks&p=chris%20anderson&type=JPG&oid=0e86ffbb835285ac&fusr=Uncleweed&tit=Chris%20Anderson%20speaks&hurl=http:/www.flickr.com/photos/uncleweed/&no=13&tt=26,228

Theory and the Media Professional

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Transcript of Theory and the Media Professional