Understanding denotation and connotation is the starting point for all Media Studies analysis. Remember the definitions: Denotation: the literal meaning of something E.g. A rose is a garden plant Connotation: the suggestion behind this literal meaning (reading between the lines) E.g .The rose suggests romance and love. When writing media analysis, you need to consider the following questions:
Denotation: what do you see?
Connotation: what is suggested? What does it mean?
Analysis: what is the effect on the audience? How is this effect created? Example: Skittles
Denotation: There is some text with colourful streams behind each letter set around a pack shot of the product itself. The background appears to be sky. Connotation: The advert builds on the slogan for Skittles ‘Taste the rainbow’. The connotation of the colour suggests that Skittles are joyful, fun and will provide a positive experience for the audience. The colours are vibrant and the sky in the background creates connotations of flying – this suggests to the audience that this is an exciting product.
Analysis: The advert helps the audience understand the product as the colours reflect the actual Skittles themselves. In addition, the text across the top of the advert (referring to a ‘punch in the mouth’) uses humour to connect with the audience and suggests the brand doesn’t take itself too seriously. This adds to the positive, happy brand values that are suggested by the construction of the advert.
Denotation & Connotation blog tasks: advert analysis
Create a new blogpost in your GCSE Media blog called 'Denotation and connotation'.
1) Write an analysis of the WaterAid advert above using denotation, connotation and analysis. What can you see? What are the deeper meanings in the advert? What does the advert communicate to the audience? How might an audience react after seeing the advert?
2) Now choose your own choice of advert from Google images. Save it to your documents, insert it into your blogpost and write an analysis using denotation and connotation, explaining what the advert is communicating to the audience. Extension: Print advert research Read this design blog on some of the best print adverts of all time. Choose one advert that you feel is particularly powerful in terms of its use of connotations and analyse why it is so successful
Finish this for homework if you don't complete it in the lesson - due date on Google Classroom.
The fruit bowl task is a wonderfully creative way to learn some key skills in Photoshop. Once you have finished your fruit bowl, you need to post it to your blog. Create a blog post called 'Photoshop fruit bowl' and complete the following tasks: 1) Save your fruit bowl as a JPEG image in Photoshop - remember to save it in your own folder on the Media Shared drive. To save as a JPEG image, go to 'Save as' and then use the drop-down menu for 'File type' and choose JPEG.
2) Post your fruit bowl (or fruit bowls if you did more than one) to your blog by clicking the 'add image' icon and locating the correct JPEG image from your folder on Media Shared. 3) Write a short explanation of the colour palette you used and the effect you were trying to create when designing your fruit bowl.
Everything we study in GCSE Media over the next two years will be based around the theoretical framework. This means four key concepts: Language, Industries, Audience and Representation. If you missed any of the notes from the lesson this should help: Language
The Language of Media Studies
How we ‘read’ media texts
Recognising the codes and conventions of media texts
Key media terms e.g. genre… denotation… connotation… narrative…
Industries
The companies, organisations or regulators behind the media
Most aspects of the media are a commodity: something that is bought and sold. There is competition and a demand for profit.
Huge institutions are called multinationals e.g. News International
Smaller institutions can include media texts we create ourselves (blogs etc.)
Audience
The people who consume media products
How does the media influence its audience? Who holds the power?
How is an audience targeted? What do the audience enjoy or learn from the media product?
Audience research: who exactly is buying our product?
Representation
The people who consume media products
How does the media influence its audience? Who holds the power?
How is an audience targeted? What do the audience enjoy or learn from the media product?
Audience research: who exactly is buying our product?
Key Concepts homework blog task Create a new blogpost called 'Key Concepts film poster analysis' and complete the following tasks: 1) Find a film poster of your choice (use Google images) and add it to your blog post. You'll need to save it to My Pictures or a similar folder and then import the image using the 'insert image' icon in Blogger. 2) Write an analysis of the film poster on your blog using the four key media concepts: language, industries, audience and representation.
Grade 8/9 Extension task: choose a different media text - for example, a magazine cover or advert - and do another key concept analysis using language, industries, audience and representation.
The key questions to ask:
Language: how do we know it is a film poster? What key conventions (typical features) of a film poster can you spot and what do they communicate to the audience? Industries: who are the companies behind the film? Who directs or stars in the film? Who is making money from this media product? You may need to research this on the internet if it isn't clear on the poster. Audience: who is the target audience for this film? How can we tell? Representation: what representation of people or groups can we find in this poster? What does it tell the audience?
Example: Splice (2009)
Language
The title and tag-line, release date and billing block (information about the Director and the production company) all follow the expected codes and conventions of a film poster. The effect created here is…
Industries
The film was produced by Dark Castle (for Universal Entertainment) who are associated with horror… It was executively produced by Guillermo del Toro who is a well known director. It was commercially successful (being the highest grossing Canadian feature film in 2010)…
Audience
This looks like it would be targeted at an audience of mixed gender (although perhaps slightly more female?) An adult age range might apply due to the 15 certificate and the content which includes hybridity and genetic experimentation…
Representation
The focal picture shows a female in a dominant position with another female confronting her. There is a male in the background which is perhaps unusual, particularly in science fiction…
Example: The Meg (2018)
Language
The Meg film poster is immediately recognisable as a film poster because the actor names are placed across the poster along the bottom just above the film's title. The title 'The Meg' is the largest text on the poster which clearly communicates to the audience that this is the title. The title is in bright green which stands out against the murky blue background and the greenish blue colour scheme has connotations of the sea and the science fiction film genre. The central image is of one person above a shark which is in turn above a much bigger shark. The light in the top left of the image could suggest safety or life - emphasising the danger and death of the sharks below. This image suggests the film has elements of horror.
Industries
The Meg is a Warner Brothers film starring Jason Statham and it made $530m at the worldwide box office against a production budget of $130m. The director was Jon Turteltaub.
Audience
The target audience for The Meg would likely be teenagers - perhaps from 13-37 years old. The film was rated 12A by the BBFC. The target gender for The Meg would be both males and females but perhaps slightly more males as it involves giant sharks. In terms of audience pleasures, someone might enjoy The Meg because the shark attacks will be dramatic and full of action and danger. The film will provide escapism and jump scares to make them forget about normal life. The audience will also want the main character to survive and will be scared when they are in danger.
Representation
There is only one person on the film poster which makes it difficult to analyse the representation. However, the main star is Jason Statham and the character on the poster appears to be male so this perhaps reinforces the stereotype that action heroes are male. The sharks are represented in a very stereotypical way as they are presented as dangerous, hungry beasts. This is emphasised by the size differences of the sharks and person.
Welcome to GCSE Media Studies - we have a brilliant two-year journey ahead of us and can't wait to get started! Over the next two years you will create some amazing production work, learn a huge amount about analysing the media and end up with an excellent GCSE grade. All you need to do is work hard and be creative! Your first job is to start your GCSE Media blog and sign up to Google Classroom.
Once you have your blog URL, email it to your teacher. The URL is the address on the browser that ends with .blogspot.co.uk or similar. For example: Mr Pall's blog: http://mediamacguffingcse.blogspot.co.uk/ IMPORTANT: It is absolutely essential you remember your log-in details for this blog - it is your Media work book for next two years. Make sure you do the following:
If possible, add your mobile phone number so you can get a code by text if you forget your password
Email your log-in details to yourself using your SCHOOL email address
Write a reminder of your blog URL, log-in and password in your planner
First blog task When you have set up your blog, it's time for your first blog post! Click on 'New Post' and put the title as 'First 10 questions'. You need to answer the following questions (detailed answers in full sentences please) as your first post: 1) Which part of the course are you looking forward to most? 2) What knowledge and skills do you hope to learn in Media?
3) What grade are you realistically hoping to achieve in Media (5-9)?
4) What was the last TV programme or film you watched?
5) Why do you think that TV programme or film appealed to an audience? Why would an audience like it?
6) What technology have you used to access the media in the last 24 hours? (Radio, TV, phone etc.)
7) What device do you use most to access the media?
8) Watch this clip from acclaimed BBC drama series Doctor Who:
9) Why was the casting of Jodie Whittaker a significant moment in the history of Doctor Who?
10) What aspects of this scene do you think an audience might enjoy? List at least three things and explain why the audience would enjoy each aspect. Extension question: What can you spot in Doctor Who that you will find in most television dramas? (E.g. characters, dramatic music etc.) These are called key conventions - list as many as you can think of. Extension question 2: What would a Doctor Who fan ('Whovian') particularly enjoy about this scene? Note: If the YouTube clip isn't working please let your Media teacher know. While you're waiting for the issue to be resolved, read up on this episode of Doctor Who on the brilliant IMDB website.
Finish these questions for homework if you don't manage to get through them in the lesson - due first lesson next week.
If you DO finish everything - well done! Spend some time looking through our Media blog, particularly at last year's Media student blogs. This will give you an idea of the fantastic work you will be producing over the next two years.
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.
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!
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.
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
Our next unit is Radio - a targeted topic that involves looking at the history of radio in the UK. We need to study the key concepts of Industries and Audiences for Radio.
Here's a lesson video from last year's lockdown covering this topic if you have missed any lessons on the launch of BBC Radio 1. Watch from 1.00 - 9.40 (the rest is an update for last year's GCSE class on lockdown school!):
Radio CSPs Our two radio CSPs are the launch of BBC Radio 1 in 1967 - a historical CSP - and Julie Adenuga Apple Beats 1 Radio, 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 (£159 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.
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 Look at this BBC Radio 1 timeline from its launch in 1967 to today. What do you notice has changed in BBC radio over those 50+ years?
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 date on Google Classroom
