Coursework: Summer Project 2021

The summer project is a fantastic opportunity to start planning your TV drama sequence.

Your summer project contains compulsory and optional elements; everybody will be researching TV drama ending scenes, creating a new TV drama idea and then writing a Statement of Intent first draft. However, if you wish to plan and film your production over the summer while you have time and actors available we would fully support you in this approach.

Summer project tasks

Complete the following tasks on a blogpost on your Media blog called 'Summer Project: coursework planning':

1) Research: Science Fiction / Fantasy TV drama endings

Watch the following Science Fiction TV drama clips and write an NCIS analysis of each one.

Clip 1: Class Episode 4

You can now watch Class Episode 4 (Co-Owner of a Lonely Heart - our CSP episode) on BBC iPlayer here. Watch from 36.45 - end of episode. If you don't have a BBC login, you can also access every episode of Class using this Greenford Google Drive link.

Narrative: How is drama created? How is the story communicated to the audience? How is the storyline resolved? 

Character: How do the characters appeal to the audience? Can you apply Propp's character theory to any of the characters in this extract? Do the characters reinforce or subvert stereotypes?

Iconography: Study the mise-en-scene (CLAMPS). How does the mise-en-scene communicate the narrative and Science Fiction/Fantasy genres?

Setting: How does the setting fit the Science Fiction/Fantasy genre? What audience pleasures might the setting provide for the audience? Think about Blumler and Katz Uses and Gratifications theory e.g. personal identity.

Clip 2: The 100

Narrative: How is drama created? How is the story communicated to the audience? How is the storyline resolved? 

Character: How do the characters appeal to the audience? Are the characters clearly from the Science Fiction / Fantasy genre? Can you apply Propp's character theory to any of the characters in this extract? Do the characters reinforce or subvert stereotypes?

Iconography: Study the mise-en-scene (CLAMPS). How does the mise-en-scene communicate the narrative and Science Fiction/Fantasy genres?

Setting: How does the setting fit the Science Fiction/Fantasy genre? What audience pleasures might the setting provide for the audience? Think about Blumler and Katz Uses and Gratifications theory e.g. personal identity.

Clip 3: Stranger Things

Narrative: How is drama created? How is the story communicated to the audience? How is the storyline resolved? 

Character: How do the characters appeal to the audience? Can you apply Propp's character theory to any of the characters in this extract? Do the characters reinforce or subvert stereotypes?

Iconography: Study the mise-en-scene (CLAMPS). How does the mise-en-scene communicate the narrative and Science Fiction/Fantasy genres?

Setting: How does the setting fit the Science Fiction/Fantasy genre? What audience pleasures might the setting provide for the audience? Think about Blumler and Katz Uses and Gratifications theory e.g. personal identity.

Additional research: optional extension
Depending on your coursework plan and the type of TV drama sequence you wish to create, you may want to research additional TV drama endings - such as the end scenes for the other episodes of Class. We also recommend watching a range of other TV dramas in the Science Fiction / Fantasy genre - this Insider feature on the best 7 teen sci-fi shows on Netflix might give you some ideas. 

Whatever you watch, make sure you write some additional notes or bullet points about these TV dramas on your blog so you are documenting your research.


2) TV drama planning 

Plan out the title and narrative for your new, original Science Fiction / Fantasy TV drama so you know how your ending scene will fit into the overall series.

Complete this TV drama pitch document with your NEW original idea for a Science Fiction / Fantasy TV drama aimed at teenagers and young adults.

3) Statement of Intent

On the same Summer Project blogpost, write the rough first draft of your genuine 300-word Statement of Intent for the two-minute sequence you plan to create. The final draft of this document will be submitted to the exam board alongside your Science Fiction TV drama extract and is worth 10 marks of the overall 60 marks available.

Guidance is provided by AQA in their NEA Student Booklet but we strongly recommend you also look at our Statement of Intent suggested content document too.


Summer project deadline: all tasks above due in the second lesson back in September.


Summer project: optional extensions

Pre-production tasks
Some students have already expressed an interest in filming their TV drama over the summer break. This makes a huge amount of sense - far more availability of actors, much more time to schedule filming etc. However, if you want to do this, you need to complete the following aspects of pre-production and make sure you have parental permission and that you are staying safe at all times:

Script
Write a script for your TV drama ending scene. You'll find guidance and professional examples of TV  drama scripts on the BBC Writers' Room website.

Shot list
Write a shot list containing EVERY shot you plan to film for your drama scene AND additional shots to create flexibility when editing. These additional shots are often close-ups, cutaways, alternative angles or similar. I advise using a simple table on Microsoft Word to set out your shot list - you can find an example here for a student film shot list. It makes sense to write your shot list by scene or location rather than a huge list of every shot in the extract in chronological order. 

Mise-en-scene
What iconography or mise-en-scene are you including to ensure your audience understands the genre and narrative of your TV drama? Plan your cast, costume, make-up, props, lighting and setting. This can be simply completed using your blog or Microsoft Word - the key aspect is to have planned all the critical details. 

Shooting schedule 
Plan a shooting schedule for your filming over the summer. Include when, where, who is required and what shots you will complete at each time/location. Again, this can be on Word or Excel or you could simply use your blog. The most important thing is that you've planned it!

Non-assessed participants
You will need to provide a written record of all non-assessed participants in your production work. Keep a record of everyone involved - actors, camerawork, sound etc. You will also need a keep a record of any non-original sound you used and note it on the Candidate Record Form. Keep these on your blog for easy reference when submitting your work later this year.

Production: Filming 
Once you have completed your pre-production tasks, you can film as planned. If you are unable to film over the summer, we will have time to film this production in September.

Good luck!

Radio: Apple Beats 1 radio CSP case study

Our second Radio CSP is Apple Beats 1 Radio (2015).

Remember, our Radio products are targeted CSPs and need to be studied with reference to two elements of the theoretical framework - Audiences and Industries as well as Historical, Social and Cultural Contexts. This means we need to study the way radio audiences and industries have changed over time and what impact this may have on society.

If you missed the lesson or are currently isolating, here's a video lesson from last year's lockdown that covers this CSP. 

Notes from the lesson: Apple Beats 1 Radio

Beats 1 is wholly owned by Apple and launched in 2015 as a free live streaming global 'always on' radio station. It claims to work across genres but often focuses on indie and rap music. 

It launched with three DJs representing different music scenes:

Zane Lowe: poached from Radio 1
Ebro Darden: from New York radio station Hot 97
Julie Adenuga: London DJ from former pirate station Rinse FM - expert on grime music

Beats 1 demonstrates emerging, future developments in the media and provides an opportunity to study issues linked to ownership, globalisation and convergence.




Audience

How does Apple Beats 1 target its audience?

• Established DJs who will bring their own fan base –  there are ‘guest’ DJs who are well known singers and groups. 
• DJs are well-known in the niche music genre and bring an audience and reputation with them.  DJs are recruited for their knowledge and reputation (and are paid a lot to work with Apple.)
• Content exclusive to Beats1 such as Taylor Swift back catalogue (which is not available on Spotify).  Artists sign exclusivity deals with certain online providers.  This does influence what music DJs can play as artists who have signed up to Apple may get preference.
• Beats1 sells itself on the quality of the DJs and in this it is different to Spotify, Deezer and Amazon Music as it allows the audience to develop Personal Relationship (Blumler and Katz) with the DJs. 

Active v passive audience

What opportunities are there on Beats1 to actively engage?

• Listeners can send in requests via social media platforms (interaction happens over Twitter but the @Beats1 account only has 565k) so it’s not a huge attention driver.
• Beats 1 includes a Mixtape segment where you can submit songs: there is the space to do these recommendations right within Music.
• It’s interactive in that you can buy the music you hear, so you can ‘shift’ music from ‘radio’ to your own playlist.
• You can then ‘Share’ these playlists with other users (as in Spotify) which allows you to be more of a Prosumer. 

Industry contexts

What is the difference between iTunes, Apple Beats 1 Radio and Apple Music?

iTunes is all about media ownership, functioning as both a virtual record store and an efficient digital library for music and other media (movies, TV shows, etc) that you own personally. The software comes pre-installed on all Apple devices, and is available as a free download for non-Apple PCs and mobile devices. iTunes doesn’t require a subscription fee to use.

Beats 1 Radio is an internet-based global radio station.

Apple Music is all about streaming. You pay a flat fee to unlock access to Apple Music’s entire catalogue, but you don’t actually own the music you listen to. 


Why did Apple launch a radio station?

To market Apple Music - its subscription streaming product. If consumers have access to all the world's music at their fingertips, they'll need a guide: Someone to suggest things to listen to.  If Apple can control the music we listen to through their radio channels, they can link it to their iTunes presence where music purchases can happen (which means REVENUE!)

To boost iTunes purchasing - as part of the deal, Apple acquired Beats Music, which was an established subscription streaming music service.  There were rumours that Apple was only interested in Beats Music in an effort to boost a decline in iTunes numbers.

To gain more control of the streaming market:  Apple already has a loyal and substantial consumer base through iTunes.  Apple Beats 1 is another method of keeping Apple customers away from competitors such as Spotify, Deezer, Amazon Music etc.

How much is Beats 1 Radio a threat to traditional industries?

Read a range of answers to this question in this BBC feature on the launch of Apple Beats 1 Radio. A selection of quotes:

“Beats 1 isn't about radio, it's about music. Most radio stations offer local news, travel, information and entertainment so Apple's new single radio station won't have much of an impact on most of them. People who listen to local radio generally don't listen for the music. However, specialist music stations such as 1Xtra, Kiss, 6 Music (and to an extent, Capital and Radio 1) will be more at risk.” - Roy Martin - managing editor, Radio Today

“Apple Music is by it own admission a music service for music people and I'd contend great music stations like BBC Radio 6 Music, Australia's Triple J and LA's KCRW already do this…. This lack of appeal to mainstream listeners is I think the reason I found Apple Music - as it stands - a bit underwhelming; it's a version of Spotify with its music streaming service, a bit of BBC Introducing with Connect and a bit of 6 Music with Beats 1” - Jeff Smith - head of music, BBC Radio 2 and 6 Music


The changing nature of radio

Young people tend to listen to radio much less as the media landscape is saturated with other products for them to consume (games, apps, numerous TV channels, streaming services, etc).  

Also, people now expect to consume media products not in a linear fashion (you turn on the radio and hear what’s currently broadcast) but on-demand (streaming services such as Spotify, Amazon Music and Deezer).

Radio in the 1960s v radio today

There are many differences in the radio industry between the launch of BBC Radio 1 in 1967 and the global online marketplace we see today:

• More radio stations broadcasting (There are around 600 licensed radio stations in the country) and thousands of online broadcasters.
• Improved quality as radio moved from AM to FM and now to DAB (Digital Audio Broadcasting).
• Radio stations have become increasingly specialised (look at Absolute 60s, 70s, 80s, etc.)
• Many shows are downloadable on-demand (e.g. as podcasts), on a range of devices (e.g. using iPlayer on TV) and streaming-only ‘stations’ (e.g. Spotify ‘stations with no DJs')

Apple Beats 1 Radio CSP: blog tasks

Work through the following questions to complete your final Radio case study on Apple Beats Radio:

Background, industries and the impact of the internet

1) How have our music listening habits changed since 1960?

2) When did Apple Beats 1 Radio launch and what is it?

3) What is the difference between Beats 1 Radio, iTunes and Apple Music?

4) Why was Apple so keen to enter the online music world and compete with Spotify, Deezer and Amazon Music (and others)?

5) Why did Apple choose the three selected DJs for launch? 

6) How does the use of DJs differ from Spotify, Amazon Music and other streaming services? 

7) How does the content of the Julia Adenuga show differ from Radio 1? 

8) Why does Beats 1 radio give Apple the power to make or break new artists? Is this a good thing or a bad thing for the music industry?

9) Read the BBC feature on the launch of Apple Beats 1 Radio. Did the industry experts think it would be a success? Why?

10) Give arguments for and against the idea that Beats 1 will be a threat to traditional media industries (e.g. radio stations, record shops, online music retailers etc.)

Audience

1) Who is the target audience for Beats1 and Julia Adenuga in particular? Refer to demographics and psychographics.

2) Why do people listen to Beats1? Which aspects of Blumler and Katz’s Uses and Gratifications theory relate to Beats 1 and its audience?

3) Can the audience actively interact with the Apple Beats 1 Radio or are they passive when listening? How? Give examples. 

4) Is Apple Beats 1 aimed at a mass or niche audience? How does this differ to BBC Radio 1?

5) Do you think Apple Beats 1 radio will be popular with young audiences or are streaming services the future of audio-based media?


Grade 8/9 extension tasks

Read this Computer World feature on Apple Beats 1 Radio. Why does it describe it as 'genius'? 

Read this BBC interview with Julie Adenuga regarding her new role at Apple Beats 1 Radio. Why is she so influential in terms of breaking new artists? 

Read this Fader interview with Julie Adenuga. Why is she the 'most trusted voice on UK music' and why did this appeal to Apple to hire her for Beats 1 Radio?

Finally, try this exam question on Radio: How far do you agree that Beats 1 and similar online providers are a threat to conventional radio stations?

Due date on Google Classroom