media a level tv chapter 1 a how TV becomes global

contents : - media language - how tv creates meaning , representation - who and what tv represents industries - who produces , funds and distributes tv , audueinces - who watches and why , context - the world surrounding the product

what tv shows are we going to study ?

• Peaky blinders

• The bridge - non - english crime

what is Streaming and on-demand viewing?

Streaming and on-demand services allow audiences to decide when they watch, where they watch and
how quickly they move through a series.

That means the old fixed schedule matters much less.

does this mean audiences have more control ?

The platform still decides what is available.

The platform can remove programmes.

It decides the subscription model.

It controls the interface and the recommendation system.

So the better argument is not that power has simply moved from the broadcaster to the audience.

It may be more accurate to say that power has been redistributed

can niche audienes still lead to a sucsess ?

Its success can come from serving a more specialised audience with particular tastes.

The Bridge is useful because it appealed to a niche audience interested in international, subtitled crime drama.

And digital distribution makes niche audiences even more valuable, because a relatively small audience in one
country can become a significant audience when that same niche is reached across multiple countries.

what is meant by tv in the global age ?

Globalisation can affect television at several stages.

A programme can be produced through more than one organisation or country.

It can then be sold into different territories.

It can later circulate on global platforms

does a tv show being global mean its cultrally nuetral ?

Global does not mean culturally neutral.

Peaky Blinders is intensely British and specifically Birmingham-based.

The Bridge is intensely Scandinavian.

Both products retain a strong cultural identity, but both travel internationally.

That is important because local identity can actually become part of the appeal.

what is meant by Local stories and global appeal ?

A programme does not have to remove its cultural identity to become globally successful. Sometimesdifference becomes part of the attraction.

An international audience may recognise familiar themes such as crime, family, conflict or power, but experience those themes through a culture or location that feels different from their own.

That combination of familiarity and difference can be extremely attractive.

what is Production, distribution and circulational ?

hree words are connected, but they are not interchangeable.

Production means making the programme.

Distribution means making the programme available.

Circulation means the wider movement and reach of the programme once it
travels through different markets, broadcasters and platforms.

Production, distribution and circulational bridge ?

With The Bridge, the Swedish and Danish production arrangements belong to production.

BBC Four showing the programme in Britain and ZDF Enterprises selling it internationally belong to
distribution.

The fact that the programme then reaches audiences in more than 150 countries demonstrates circulation.

Production, distribution and circulational - peaky blinders

With Peaky Blinders, the original BBC Two production is one stage. Netflix later distributing the programme internationally expands its circulation and audience reach.

what is National and global audience reach ?

Later distribution can expose the same programme to audiences in other territories.

A niche programme can also become a global niche.

Apply this to bridge and peaky blinders

A small specialist audience in Britain, another specialist audience in Scandinavia, another in theUnited States and another elsewhere can combine into a significant international audience.

The Bridge again offers a clear example because BBC Four targeted a niche British audience, while the programme also circulated globally.

Peaky Blinders also demonstrates how a British product can move from a national broadcaster into a much wider international streaming market.

who really has control ?

A stronger argument is:

Technological change has increased audience agency, but institutional control has not disappeared it has changed form

Task 5: Higher-Band Analytical Application

ARGUE → EVIDENCE → ANALYSE → CONNECT → QUALIFY → JUDGE