Videogames case study 1: Lara Croft Go

Our first videogames Close-Study Product is phone/tablet game Lara Croft Go.

This is an in-depth topic so we need to make sure we have studied this product across media language, audience, industry and representation. Here's a video introducing your first OSP & Videogames CSP and giving you an outline of what we need to know for each key concept of media:



Lara Croft Go: notes

Lara Croft: history

Lara Croft first appeared in 1996 Eidos Playstation game Tomb Raider and was the first computer game to feature a female character as the protagonist rather than a supporting role or a secondary character.

The narrative of Tomb Raider was influenced by Indiana Jones and featured the daughter of a Lord (later a famous archaeologist), called Lara Croft on various missions through settings such as jungles, tombs and jungles. The genre is action-adventure and involves many conventions of this genre such as fighting villains using weaponry.

Evolution of Tomb Raider:




Lara Croft: beyond a videogame character

Lara Croft has featured in films (the first starring Angelina Jolie; 2018 version rebooted the character). She has appeared on magazine covers more times than any supermodel.

There have been advertising tie-ins, merchandise, comic books and  spin-offs featuring the character. The franchise has had numerous incarnations before Lara Croft Go in 2015. 

Lara Croft has been credited with bringing success on the Play Station for the games’ creators (selling 7 million copies world wide) and launching the female protagonist in games. She has also been widely thought of as a sex symbol. 

Lara Croft Go 

Lara Croft Go explores the ruins of an ancient civilization in the Amazon Jungle while fighting menacing enemies, overcome dangerous obstacles and traps, and ultimately, uncover the myth of the Queen of Venom.  There is no specific timescale – but is modern-day in Lara’s weaponry.

This concept of action adventure exploring and uncovering relics from ancient civilisations is not new and there is some intertextuality here with the Indiana Jones movies, original Tomb Raider games, Tomb Raider films and more.

Watch this online review of Lara Croft Go:



What are the features of the Lara Croft Go game?

In many ways, there are traditional Action Adventure elements to this game (she moves, she shoots, she avoids hazards).  However, this game is a ‘turn-based puzzle’ which involves by-passing enemies and unlocking paths in a sequential manner which suits the ‘short timespan’ that people can sometimes commit to mobile gaming. It faithfully preserves element of original Tomb Raider game and brings the original adventure up to date. 

The game also involves collecting items that unlock special powers and tools that help your progress through the game.  On the image to the left you can see many of the opponents that Lara comes across (Lizards, Snakes, Spiders) and some of the collectables. There are not many different enemies as memory is key.  

The three-act narrative structure proceeds from an orientation stage through various complications and blockages to a simple resolution.

Evolution of the character of Lara Croft

• Lara is depicted as athletic with brown eyes and hair, frequently tied back in a plait or ponytail.
• Her costume is usually a blue tank top, light brown shorts, calf high boots and long socks. 
• Accessories / Props include gloves, a backpack, a utility belt with holsters and two pistols. 
• Her original back story was that she was the daughter of an aristocrat who had a plane crash in the Himalayas, causing her to re-evaluate her life and seek adventure, leading her to become a thief and mercenary, living outside the law. The second era changed the narrative to her father being an archaeologist and her wanting to discover the reason for her mother’s disappearance. A third era focused more on both her parents being archaeologists and her mother disappearing and her father dying.
• All three narratives feature her transition from a vulnerable girl to an independent, fierce adventurer (hero).
• Most stories feature her being stranded on a mysterious, far away island although the location of this changes. 

Audience

We need to think about the following for the audience key concept:

• Audience pleasures
• Target audience for Lara Croft Go – and whether videogame audiences are changing

What is the appeal of Lara Croft Go?

“Acrobatics and platforming are key features of a Tomb Raider adventure, and we quickly realized that Lara had to be fully animated. Our animator did an amazing job of quickly producing a first batch of short animations for Lara, and immediately everything felt better. Again, we looked back at Lara’s classic animations from the first Tomb Raider and they fit right in with our turn-based game.”

– Square Enix

Audience pleasures: Blumler and Katz Uses and Gratifications Theory

Remember that audiences consume media products for a variety of reasons (from Blumler and Katz: Uses and Gratification Theory)

1. The need to be INFORMED and EDUCATED about the world in which we live (Surveillance) 
2. The need to IDENTIFY personally with characters and situations in order to learn more about themselves (Personal Identity)
3. The need to be ENTERTAINED (Diversion) and escape daily life. 
4. The need for SOCIAL INTERACTION (Personal Relationships)

Which of these apply to Lara Croft Go?

Target audience

Who is the target audience for Tomb Raider / Lara Croft games?  They fall into various groups and may be a mixture of all three:

1. Those interested in the quality of the innovative gameplay.
2. Those with brand loyalty to the Hitman Go series.
3. Those with brand loyalty based on the feminine empowerment displayed.
4. Those with brand loyalty based on nostalgia or even the sexualisation of Lara Croft (especially if they played older Croft games when at a formative age)

Representation

Does Lara Croft reinforce female stereotypes in the media?

Yes (reinforces traditional stereotype):

• Object of sexual desire. Her body features were particularly exaggerated in early versions of games.
• Scantily-clad designed for male audience. Would a male character be designed like this?  
• Is Lara Croft is designed to be attractive to the male audience as she basically acquires all the features that some men would describe as perfect.

 No (subverts female stereotype):

• She is an action hero – traditionally a male stereotype in gaming.
• She is empowered female heroine – rare in gaming industry at the time.  “The heroine, Lara Croft, is an intelligent, butt-kicking, gun-wielding, sexpot, ready to take on whatever comes her way.” Katherine Walker, Portrayal of Women in Media (Video Games)

Industry

We need to learn about two distinct areas for the industries key concept:

• Videogame regulation
• The companies/franchises behind the game

Regulation: PEGI

PEGI stands for Pan European Game Information and is a European video game rating system established to help consumers make informed decisions when buying video games or apps through the use of age recommendations and content descriptors.

PEGI was set up by the ISFE* – an independent group that represents European software companies. Important: this is an example of self-regulation, not government.

Lara Croft Go: companies and franchises

Lara Croft Go is the combination of two successful franchises – Lara Croft Tomb Raider and the Hitman Go mobile game.

Tomb Raider is a media franchise that originated with an action-adventure video game series created by British gaming company Core Design. Formerly owned by Eidos Interactive, it is now controlled by Square Enix after their acquisition of Eidos in 2009. 

Square Enix developed Hitman Go in 2014 based on the successful Hitman game franchise.

Videogames case study 1: Lara Croft Go blog tasks

Create a blogpost called 'Lara Croft Go CSP case study' and complete all the following questions under the subheadings Language, Representation, Industries and Audience. 

Language

1) Who is Lara Croft and when did she first appear in a videogame?

2) What classic films influenced the creation of Lara Croft and the Tomb Raider games?

3) How has Lara Croft and Tomb Raider moved beyond just being a videogame?

4) What devices can you play Lara Croft Go on?

5) What type of game is Lara Croft Go?

6) How does Lara Croft Go use narrative (storyline)?

7) What iconography can be found in Lara Croft Go? How does this help communicate the sub-genre of videogame?

8) What other characters or enemies feature in the game?

9) What is the setting for Lara Croft Go? How does this compare to previous Lara Croft or Tomb Raider games?

10) Read this BBC article on the history of Lara Croft and Tomb Raider. How has the character of Lara Croft evolved over the last 20 years?  


Audience

1) Why might an audience enjoy playing Lara Croft Go?

2) Where and when might an audience play a game like Lara Croft Go? Think about the device it is played on and the times of the day someone might want to play the game.

3) How did Square Enix design Lara Croft to make it appealing to an audience?

4) Which of Blumler and Katz's Uses and Gratifications theory might apply to Lara Croft Go?

5) Who is the target audience for Lara Croft Go? How does brand loyalty contribute to this target audience?


Representation

1) How are women usually represented in videogames?

2) How does the character of Lara Croft reinforce female stereotypes in the media?

3) How does the character of Lara Croft subvert female stereotypes in the media?

4) Why do some people believe the videogames industry is sexist and needs to change?

5) Do you think Lara Croft is an empowering feminist icon or just another objectified woman designed to appeal to male gamers?

Industries

1) What does PEGI stand for?

2) What is PEGI's job?

3) Which company created Lara Croft Go?

4) What two popular videogame franchises were combined to create Lara Croft Go?

5) What else is part of the Lara Croft/Tomb Raider franchise?




Grade 8/9 extension tasks


Exam practice extension task:

“Videogames are increasingly played and enjoyed by a wider and more diverse audience." 

Does your study of Lara Croft Go support this view?

Write a detailed three-paragraph answer to this question using the information you have learned in this case study.

Language
1) Watch some Lara Croft Go gameplay online or, even better, play the game yourself. How is the game constructed to attract and maintain the engagement of an audience?

2) How is narrative, character, iconography and setting used to create intertextuality? (Links to other genres and media texts)

Representation
1) Read this NME feature on the history of the Lara Croft character. Do you agree that she is now a 'feminist icon' rather than a 'trapezoid-boobed pinup'? What do these terms mean?

2) Have later versions of the Tomb Raider/Lara Croft franchise featured a less-sexualised version of the character? Does this suggest society is changing in its attitude towards women?

Industries
1) Why do videogame producers prefer the self-regulation of PEGI to government regulation? Why is videogame regulation increasingly important in the 21st century?

2) Watch the full lecture embedded above: Distilling a franchise - the making of Lara Croft Go. How did the designers make conscious decisions based on previous franchises to create a successful game?

Audience
1) How has the marketing of Lara Croft/Tomb Raider franchise changed over the last 20 years and how might an audience respond to this? Think about reception theory - preferred and oppositional readings. 

2) Does Lara Croft Go target a female audience? Why do you think female gamers dominate the phone/tablet market?



Due: next Monday

OSP & Videogames: An introduction

Our new media topic is called Online, Social, Participatory media and Videogames - an in-depth area of study on new and digital media with three Close-Study Products.

Here's a short video updating where we are and what we are studying this half-term:





Over the next half-term, we need to study the following CSPs:

Lara Croft GO
Kim Kardashian: Hollywood
Zoella (YouTube channel link - a quick video about Zoella's background is here)

We need to study these products using all four key concepts: Language, Industry, Audience and Representation. We will start with videogames as Lara Croft GO and Kim Kardashian: Hollywood are both good examples of the changing nature of the videogames industry.

However, this week we will simply be introducing the videogames topic by learning about the history of videogames and how this type of media has developed hugely in the last 40 years.

A brief history of videogames: blog task

Watch this YouTube video outlining the history of the videogames industry from the 1970s to the 2010s. Now answer the following questions:

1) What were the first videogames like?

2) How have videogames changed over time?

3) What do the most successful games have in common? Answer this in as much detail as you can. Think about audience pleasures - what do people like about playing videogames?

4) What criticisms have been made towards videogames over the years? Here's a good article on the impact of videogames on players that might be helpful.

Read this Guardian feature from about the sensationally popular videogame Fortnite: Battle Royale and watch the original trailer below.




Now answer the following questions:

1) How many Fortnite players are there worldwide? Here's an updated article with recent figures for you.

2) Why is it so popular? What are the audience pleasures of the game?

3) Why might some people criticise Fortnite?

4) Copy and paste two comments from 'below the line' of the Guardian article - these are comments written by Guardian readers in response to the feature. Select one comment you agree with and one you disagree with and explain why.

Grade 8/9 extension tasks

Read this news story reporting that Prince Harry has called for Fortnite to be banned. Why does the Prince think Fortnite producer Epic Games is irresponsible?

Due: next Monday

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.

First, here's an update on school reopening and a lesson video for you:




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 new 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: next Monday

Radio: Launch of Radio 1 CSP case study

Our next unit is Radio - a targeted topic that involves looking at the history of radio in the UK.

It's similar to Music Video in the sense that we need to study it using the Industry and Audience key concepts. It's also another type of media that has been massively changed by the growth of the internet - just like we found with Arctic Monkeys and how they became famous in 2005 using MySpace. Radio is a short unit that we'll study up until half-term and then see what the situation is regarding whether we'll be back at school for the rest of the summer term. Here's a quick video to explain the new topic:



Radio CSPs

Our two radio CSPs are the launch of BBC Radio 1 in 1967 - a historical CSP - and Apple Beats 1, a global internet radio station run by the hugely powerful technology company Apple in California. 

BBC Radio 1 launch 1967

Our first Radio CSP is the launch of BBC Radio 1 in 1967.

Our Radio products are targeted CSPs and need to be studied with reference to two elements of the 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.

Notes from the lesson: BBC Radio 1 launch

The launch of Radio 1 was an event of historical and social significance and an important turning point in the history of radio. You would not normally be aware of this historical period in radio, but it provides a useful point of contrast with modern radio stations that can be online / niche / youth-orientated / available on a number of different platforms.

The history of BBC Radio


It is key in this unit of work to understand the importance of radio in 1967. Television was not yet universally available and radio was the key entertainment device. The radio provision in the mid-1960s was:

BBC Radio Home (1939-1967) broadcasting education programmes and news. Mainly speech-based. Replaced by Radio 4.

BBC Radio Light (1945-1967) broadcasting mainly light entertainment (comedy / drama) and music. Replaced by Radio 2.

BBC Third (1946-1970) broadcasting intellectual arts-based talk and music. Replaced by Radio 3.

BBC: funding and reorganisation of radio

As you have seen from our work on Doctor Who and Class, the BBC is funded through the compulsory licence fee (£154.50 now; it was around £4 a year in the 1960s). As everybody pays, then everybody should receive content suitable for their needs. Given the growth of pirate radio in the mid 1960s, the BBC realised that it was not providing content for this growth market of younger people. 

In response, the BBC reorganised and renamed their radio channels. On 30 September 1967, the Light Programme was split into Radio 1 offering continuous "Popular" music and Radio 2 for more 'Easy Listening'.
  
The "Third" programme became Radio 3 offering classical music and cultural programming. The Home Service became Radio 4 offering news, and non-musical content such as quiz shows, readings, dramas and plays. 

Historical context: the 1960s and pirate radio

There were changing attitudes to music and youth culture in the early 1960s.  ‘Pop’ music was becoming more popular and attitudes in young people were becoming more relaxed.  There was clearly a need for a radio outlet for this music with a less formal presentation style; but there was nothing on the BBC. This led to the growth of ‘pirate’ radio stations who could produce these shows for young people, but were beyond the control of regulators.

Needle time

There were concerns that too much music on the radio would mean that people would no longer buy records, so the  Musicians' Union and Phonographic Performance Limited (a music licensing company) restricted the amount of recorded music that could be transmitted by the BBC during the course of any 24-hour period. This was called ‘Needle Time’ and in 1967 meant they could only play five hours of music per day. Pirate stations did not have these restrictions imposed on them because the law was difficult to apply offshore - and so could play more music. They were, therefore, more popular with young people than the BBC.

BBC Radio 1 launch: successful?

When first launched in 1967, Radio 1 was not as popular as the BBC had hoped. There were a number of reasons why Radio 1 was not a success initially:

• It was not seen as ‘cool’ by many young people as the BBC stood for traditional, conservative values.
• It struggled financially as there was no increase in the licence fee to pay for this extra radio station.
• Whilst Radio 1 tried to copy the pirate radio’s style, it didn’t quite do it effectively initially as it broadcast simultaneously with Radio 2 – so it had to have a more formal style than the pirate broadcasters.  Some young people didn’t respond positively to this.

However, the 1967 the Marine Broadcasting Offences Act officially outlawed pirate radio stations. The Government had closed the legal loophole that allowed these stations to broadcast and these had a British audience of 10 to 15 million. This meant the audience had to go to Radio 1 if they wanted to listen to popular music.

Many of the pirate station broadcasters then were then employed by BBC Radio 1, thus bringing many of the their loyal listeners with them. Commercial radio didn’t broadcast until 1973 so it had no competition. Radio 1 also developed better content more suitable to the target audience as it became more popular. In the 1970s and 1980s, Radio 1 became the most listened to station in the world with audiences regularly over 10 million. 

You can read and watch more about the launch of BBC Radio 1 here.

Radio 1 Launch CSP: blog tasks

Work through the following questions to complete your first Radio case study on the launch of BBC Radio 1:

Historical, social and cultural context

1) What radio stations were offered by the BBC before 1967?

2) How was BBC radio reorganised in September 1967? What were the new stations that launched?

3) What was pirate radio and why was it popular?

4) Why did pirate radio stop broadcasting in 1967?

5) How did the BBC attract young audiences to Radio 1 after pirate radio stations were closed down?

6) What was 'needle time' and why was it a problem for BBC Radio?

7) How did BBC Radio 1 offer different content to previous BBC radio stations?

8) Who was the first presenter for BBC Radio 1 and why did these new Radio 1 DJs cause upset initially at the traditional BBC?

9) Listen to excerpts from the Tony Blackburn's first 1967 broadcast - how might it have appealed to young listeners?

10) What conventions did Tony Blackburn's radio show borrow from pirate radio - which made it very different to previous BBC radio content?

Audience and industry

1) What was the target audience for BBC Radio 1 in 1967?

2) Why did Radio 1 initially struggle to attract young listeners?

3) What audience pleasures did Radio 1 offer listeners in 1967? (Use Blumler and Katz Uses and Gratifications theory).

4) How is the BBC funded?

5) Applying Stuart Hall's Reception theory, what would the preferred and oppositional reading have been of BBC Radio 1 in 1967? 


Grade 8/9 extension tasks

Go to this history of BBC Radio on the BBC website. Read and watch the content. Why was the launch of BBC Radio 1 such an important cultural moment in British history?

Read this Guardian interview with the second DJ to broadcast on BBC Radio 1. How does he describe the 1960s and his move to the BBC?

The BBC is a public service broadcaster. What does this mean and why is it an important part of the history of BBC Radio 1?


Due: next Monday

Music video: Arctic Monkeys - I Bet You Look Good On The Dancefloor

Our second music video CSP is Arctic Monkeys - I Bet You Look Good On The Dancefloor.

Arctic Monkeys are an English indie rock band from Sheffield. The lead singer is called Alex Turner. Since forming in 2002, they have released six albums and won seven Brit Awards. They were one of the first bands to come to the public’s attention due to the internet, heralding a new way that bands are produced and marketed.

I Bet You Look Good on the Dancefloor is their first single from debut album Whatever People Say I Am, That’s What I’m Not released with niche, independent record label Domino. It was released in 2005 and went straight to number 1 on the singles chart.

Unlike One Direction, Arctic Monkeys weren’t put together by a record label, they were all friends from school. They formed in 2002 and wrote songs based on their lives and what they saw on nights out in Sheffield. They played pubs and small venues in and around Sheffield, and built up a huge following online using Myspace.



Video analysis and audience appeal

The power of the internet

• Social Media was only starting to be introduced in the early 2000s.
• You could chat to people with similar interests on chatroom or forums
• You used AOL or MSN Messenger to talk to your friends, send emojis and share pictures and music
• Myspace was released in 2003 and was one of the first major social networking sites. Myspace was used by bands and artists to gain fans without the need for a record company.
• Arctic Monkeys' music was shared on P2P sites, though this wasn’t known by the band or promoted when they found out. It allowed their music to be heard by their audience
• The sharing of their music encouraged people to talk about and share their music, which created a buzz about the band.
• Their fan base moved online, creating online communities where they could share songs and information

Convergence and technology

• ‘Convergence’ is the process of combining different, often old and new, technologies to create a new or better product.
• Technological convergence is the development of technology (such as phones and tablets) that allows us to access all types of media through one device. This has fundamentally changed the way music videos are produced, consumed and shared. 
• Technological convergence has created both challenges and opportunities for the music industry - both artists and record companies.
• Piracy became a huge problem for the music industry as they could not keep up with illegal downloading and streaming services where fans shared content for free therefore…
• The 2000s saw the rise of streaming services with subscriptions such as Spotify, Apple Music, Beats Music and (most recently) Youtube Music. 
• New platforms and music apps on smart phones mean that listeners are now becoming one-device consumers and using their phones for all media access. 

Arctic Monkeys: performance video

• This is a performance video designed to look like a 1980s TV performance on programmes such as Top of the Pops or The Old Grey Whistle Test'. It was filmed using old 1980s Ikegami 3-tube colour TV cameras to give it an authentic, nostalgic effect.
• The simple performance video subverts music video conventions that became steadily more complicated and narrative-based in the 1980s and 1990s.
• It opens with the singer introducing the song and adding the words 'Don't believe the hype'. This could be a reference to the online following the band built up using Myspace.  

Audience 

• Arctic Monkeys' audience are likely to be white, middle class and reasonably young. Psychographic groups might include Reformers and Explorers. Recent global success pushed the band into bigger psychographic groups such as Mainstreamers.
• Audience pleasures would include diversion - the song is upbeat and fast-paced. Fans who followed the band from the early days might find a sense of personal relationship while many young people would get a sense of personal identity from the lyrics to the song (about going out to a club and drinking).
• Older fans would enjoy a sense of nostalgia from the 1980s-style performance video.
• In the context of music video, I Bet You Look Good on the Dance Floor has cultural significance as a key moment in major structural changes within the music industry. The product relates to emerging, future developments in the media as it represents a change in the way that artists could, potentially, build and communicate with an audience. 

Arctic Monkeys - I Bet You Look Good On The Dancefloor: Blog tasks

Impact of new/digital media on music industry

You'll need to read back to our music video introduction and notes blogpost to answer some of these questions.

1) How do audiences generally watch music videos these days?

2) What opportunities has the growth of digital technology and YouTube created for new music artists?

3) What is P2P and why did it cause huge problems for the music industry?

4) Do you think the internet has given audiences more power over who becomes successful in the music industry? Why? 

5) How has Fortnite demonstrated the potential future for music videos and promotional opportunities for the music industry? You can read more on this event in this Verge feature.


Arctic Monkeys: Industry

1) How did the Arctic Monkeys first achieve success and build up their fanbase?

2) Why was P2P file sharing an unexpected aspect to Arctic Monkeys' early success?

3) How does the rise of Arctic Monkeys differ from how One Direction were formed and became famous?

4) How has technological convergence changed the music industry?

5) Has the internet been a positive or negative development for traditional record companies? Why?


Arctic Monkeys: Audience

1) What is the main Arctic Monkeys audience - demographics and psychographics?

2) What audience pleasures are offered by the music video for I Bet You Look Good On The Dancefloor?

3) Pick out three particular shots, scenes or moments in the video that would particularly appeal to Arctic Monkeys fans. Why did you choose those moments?

4) What is nostalgia and why is it a key audience pleasure for the Arctic Monkeys music video?

5) How are fans positioned to respond to the video? What does the artist want fans to take from their video?


Grade 8/9 extension tasks

Read this excellent Guardian feature on the Arctic Monkeys on the 10th anniversary of I Bet You Look Good on the Dancefloor. What key statistics can you take from the article concerning developments in the industry and the Arctic Monkeys' role in these changes?

Read this BBC News report from the time - documenting the records Arctic Monkeys broke.

Read this short blog on how the social media website Myspace helped the Arctic Monkeys make it big. What did the website allow the band to do?

Finally, read this short Guardian feature asking if Arctic Monkeys changed the music industry. What does the article suggest?


Due: next Monday