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.

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. 

You can read more about the history of Radio 1 on this timeline 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

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

Television: Final index

We have now completed our work on Television - our first in-depth topic and one guaranteed to come up in Paper 2.  

We now now need to create an index to make sure we have completed all the blog work for this topic. Every index you create is an excellent way to make sure you are revising the course as we go - as well as highlighting if you've missed anything. Your index should include the following:

1) Television: Introduction to Science-fiction TV drama

2) Doctor Who: Language and Representation

3) Doctor Who: Industry and Audience

4) Class: Industry and Audience

5) Class: Language and Representation

For your index, the text should link to YOUR blogpost for that topic so you can access your work quickly and easily for checking and revision. This also means if you have missed anything you can catch up with the work and notes and won't underperform in assessments and exams due to gaps in your knowledge. Look at the video below if you're not sure how to create an index.

Assessment revision

You will have an assessment on the Television topic on Tuesday 22 June. This will be an assessment based on Paper 2 Section A to help prepare for this aspect of the final exams. You'll need to revise everything you've learned for Television across the four key concepts - Language, Representations, Industries and Audience.

You can find both CSP episodes on our Greenford Google drive if you want to re-watch key scenes as part of your revision.

Recap: How to create an index

To create an index on your Media blog, first copy the list of tasks above and paste it as plain text into a new blogpost called 'Advertising & Marketing: Final index'. Then, open your Media blog in another tab and use your blog archive to open up all your work from last term. For each post, copy the URL - this is the web address that will end .blogspot.com/name of the post. For example: 

https://mediamacguffingcseyear1.blogspot.com/2020/01/representation-introduction.html

Once you've got the hang of it, you should find the index only takes 10-15 minutes to produce. Here's a short video showing you how to create a blog index in Media in case you've forgotten:

Class: Language and Representation

Our second television Close-Study Product is Doctor Who spin-off Class from 2016.

Remember, TV is an in-depth study which means we need to analyse the products in terms of media language, industries, audience and representation. Television will be examined in Paper 2 with a short clip to analyse - either from Class or from Doctor Who - An Unearthly Child. 

Notes from the lessons: Class

Language

Key terminology for studying Class:

• Brand Identity: how a business presents itself and wants to be perceived by the consumer.
• Spin Off: a by-product of another, main product (e.g. this is from the Doctor Who universe).
• Ethos: characteristics of a product based on the attitudes it shows.
• Hybridity: Two genres or media types combined e.g. Stranger Things is a science fiction / horror television drama. 
• Intertextuality: When one media text references another media text (e.g The Doctor appears in Class)
• Multi-strand: when a narrative is made up of lots of different storylines

Reminder - TV drama conventions: 

• Dramatic narrative, usually linear (with continuity across episodes.) This is called narrative arc e.g 13 Reasons Why and The Killing where the mystery spans the series.
• Ensemble cast (characters with own storylines). Sometimes an episode will focus more on one character e.g. in LOST.
• Specific technical codes e.g. realistic lighting and editing for social dramas to keep it gritty.
• Use of stereotypical characters to get messages across quickly.
• Narrative formula that is always followed e.g. Casualty (3 Strand); Homeland (multi-strand narrative).
• Common use of flashback, point of view shots, dialogue and voice over, enigma and action codes throughout. 

Reminder - Science Fiction conventions (NCIS):

Narrative

• Alien invasion
• Scientific advancement
• Artificial intelligence
• Time travel  
• Mutation
• Post-apocalyptic struggles to survive
• Chemical poisoning
• Advanced technology
• Experimentation
• Disease / Contamination
• Space travel 

Characters

• Doubles / Doppelgangers / Clones
• Aliens who look like humans
• Aliens who look different 
• New species
• Scientists 
• People with advanced / superior intelligence
• Robots and advanced AI e.g. computers who can think

Iconography

• Futuristic hair and clothing
• Military uniforms
• Spaceships
• Space suits and helmets
• Futuristic weapons (light sabers / laser guns)
• Laboratories and experimental props
• Prosthetics / make-up
• Colours- blue, silver, grey, green 
• Time machines / advanced computers/gadgets

Settings

• Futuristic worlds
• Parallel universes / alternate dimensions
• Different time periods
• Space or other planets
• Dystopian or post-apocalyptic environments
• Laboratories
• Contaminated or toxic environments

Class: background information

Class is a spin-off series from Doctor Who and was shown on BBC3 and iPlayer in 2016.

The story focuses on five of the students and staff at Coal Hill Academy (which is the same school featured in Episode 1: An Unearthly Child - an example of intertextuality) who are tasked by the Doctor to deal with alien threats while trying to deal with their personal lives. 

Class is aimed specifically at a young adult audience and contains sexual content, violence and language above the level allowed on the parent series.

The premise of series one is that some characters are the last survivors of an alien war (with the Shadow Kin) and are hiding on Earth after being rescued by the Doctor.  The Doctor appoints Miss Quill and the pupils as protectors of the school, noting that it has become a beacon throughout space-time. Until that moment a normal student, April is left sharing a heart with the Shadow Kin king, Corakinus, after a short fight in the first episode.

The narrative structure in each episode and across the series is built using a multi-strand narrative which means that there are a range of plots building across each episode and  narrative arcs which span the whole series. 

 

Characters

Charlie Smith, an alien posing as a human student. He is the gay prince of the Rhodians, and the last of his species.

Ram Singh, a tough, antisocial student and gifted football player.  Lost his leg in a fight with Corakinus on S1 Ep1.  Key episode Ep2.

April MacLean, an ordinary, unremarkable student whose life is forever changed when she encounters the king of the Shadow Kin, Corakinus.  She shares a heart with him in Ep1 [which is key to understanding Ep4].

Andrea Quill, real name Andra'ath, the physics teacher at Coal Hill Academy. Like Charlie, she is secretly an alien and the last of her species, the Quill, long-time war enemies of the Rhodians. 

Tanya Adeola, a child prodigy of Nigerian origin who moved up three years at due to her cleverness. Key episode Ep3

Corakinus, the evil king of the Shadow Kin.  Shares a heart with April.  Travels through time/space tear at Coal Hill.

Episode 1: For Tonight We Might Die

This is NOT the CSP that will come up in the exam but is useful to introduce the characters, setting and main themes of the show. You can find out details on the episode (and the rest of the series) on the BBC3 Class episodes page but unfortunately the programme is no longer on iPlayer. 


Class: Co-owner of a Lonely Heart

Episode analysis

Focus on your notes from class (or make your own notes) based around NCIS.

Narrative: multi-strand narrative

There are a number of narrative strands running through this episode.  They include:

• April's story
• Corakinus's story
• New Headteacher at Coal Hill Academy
• Flower petal invasion/danger

Representations

Diversity in Class

Much has been made of the diverse casting for Class, as well as the LGBT lead which was touted by the BBC prior to Class’ release. Do you think these representations and narratives are executed well? 

RACE & CLASS: The actors are from a range of ethnic and social class backgrounds, and it seems as though more may be to come about that in future episodes, since the premiere seemed to hint at some difficulties between Ram and his father. 

SEXUALITY: The homosexual kiss that Charlie shares with his date is normalised due to his role as an alien who only follows feelings and has no preconceptions of sexuality. 

GENDER: Tanya (a member of the BAME community) and April have intelligence and an academic prowess that they’re rightfully proud of, and Ram has emotions that he’s not afraid to show or speak about.  Miss Quill is presented as an unemotional leader. These facts show that Class is trying to break barriers and subvert previous media stereotypes.

DISABILITY: April has a mother who is disabled and their relationship is explored.

AGE: The Doctor and Miss Quill are both powerful, older characters and the young characters are seen displaying maturity and making tough decisions. On the other hand, some characters (e.g. Tanya's Mum) reinforce stereotypes of the strict parent and some aspects of the main characters also reinforce teen stereotypes.

Class: Language and Representation blog tasks

Create a new blogpost called 'Class: Language and Representation blog tasks' and work through the following tasks:

Language and close-textual analysis

1) Write an analysis for the episode - using notes from the screening in class. Make specific, detailed reference to moments in the text using media terminology (e.g. media language - camera shots and movement, editing, diegetic/non-diegetic sound, mise-en-scene etc.)

You can currently watch Class on BBC iPlayer here.

Our notes from class can be found on this Google document here (you'll also need your Greenford Google login to access this).

Co-owner of a Lonely Heart

NCIS / Narrative: 

Camerawork: 

Editing: 

Sound: 

Mise-en-scene: 

2) How does Todorov's theory of equilibrium apply to Co-owner of a Lonely Heart? Try and use the expanded version of Todorov's theory: Equilibrium - Disruption - Recognition - Reparation - New equilibrium. You can find reminder notes on all these narrative theories here - just scroll down to narrative.

3) Applying Propp's character theory, what character roles do each of the main characters in Class fit into? Alternatively, you may wish to discuss how characters do not fit Propp's character types.

4) What enigma and action codes (Barthes) can you find in Co-owner of a Lonely Heart? Make specific, detailed reference to the text using media terminology (e.g. media language - camera shots, diegetic/non-diegetic sound, mise-en-scene etc.)

5) What examples of binary opposition (Levi-Strauss) can you find in Co-owner of a Lonely Heart? How do these create narrative or drama for the audience? You can find reminder notes on all these narrative theories here - just scroll down to narrative.


Representations

1) How is gender represented in Class - Co-owner of a Lonely Heart? Are gender stereotypes reinforced or subverted?

2) How is age (e.g. teenagers; older people like teachers or parents) represented in Class - Co-owner of a Lonely Heart? Does the show reinforce or challenge stereotypes about young people?

3) How is race and ethnicity represented in Class - Co-owner of a Lonely Heart? Are  stereotypes reinforced or subverted?

4) How is sexuality represented in Class - Co-owner of a Lonely Heart? How does this reflect the BBC's remit to represent modern Britain?

5) How is disability represented in Class - Co-owner of a Lonely Heart? Why are disabled people generally under-represented in the media and how does Class try to address this?

Due date on Google Classroom

Class: Industry and Audience

There are some important contexts we need to learn for the Industry and Audience key concepts for Class.

You can find the notes from the lessons below and then simply scroll down to find the blog tasks you need to complete.

Industries

Class failed to make an impact for the BBC, with some mixed reviews and poor viewing figures. Class failed to make the BBC iPlayer Top 20 in its first seven weeks, and failed to secure over 1m viewers at any point when repeated on BBC One. This was for a number of reasons:

• iPlayer release only initially.
• BBC One late showing (after 10.30 slots).  Poor scheduling.
• The show was axed after one series.  Why was this?
• No-one – not even the BBC – seemed entirely sure who the show was for. A teen-oriented drama with adult themes, spun off from a series intended (primarily) for children, the tone of Class was confused.
• Creator Patrick Ness was baffled by the decision to air the series in double-bills, late at night, more than two months after its BBC Three debut.
• It sorely lacked a big selling point. Clearly, spinning itself off from Doctor Who was not enough to guarantee success.

Class distribution

Media distribution is a term for the way the product reaches audiences. In the case of Class it was originally distributed (shown) online only on BBC Three. It was then shown weeks later in a late night slot “the graveyard slot” on BBC One.

It was also shown on BBC America where it was slightly more popular. In America, the episodes were paired with Doctor Who episodes to create a ‘Whoinverse’ double bill.

Overall, the confused distribution model was almost certainly part of its downfall.

Class marketing and promotion

As Class was aimed at an older audience, there was a clear shift in the way it was marketed from traditional Doctor Who episodes (on a Saturday early evening slot).

Online marketing: Strong web presence.  Highly interactive.  Lots of video clips, interviews, fan art and fiction.  Trying to build brand loyalty BUT criticised for not making more of its link to Doctor Who.

Teaser trailer:

 

Longer trailer:

 


BBC3 focus

What is BBC Three and how does it fit into the profile of the BBC remit?

BBC Three launched as a TV channel in 2003 and its remit was to provide "innovative" programming to a target audience of viewers between 16 and 34 years old:

“The remit of BBC Three is to bring younger audiences to high quality public service broadcasting through a mixed-genre schedule of innovative UK content featuring new UK talent. The channel should use the full range of digital platforms to deliver its content and to build an interactive relationship with its audience. The channel's target audience is 16–34-year-olds.”

Until February 2016, BBC Three aired as a freeview TV channel. However,  as a result of planned £100 million budget cut across the BBC, it was proposed that BBC Three be discontinued as a television service, and be converted to online only. The BBC recognised that younger people may watch TV at different times, on different devices using different services (iPlayer, YouTube, Netflix, etc) due to the rise of streaming and on-demand services.

BBC3’s content budget was slashed from £85m to £30m, with around £10m now spent on comedy, £10m on serious factual, £3m for drama and the rest on new types of content, such as short-form YouTube videos.

Why the change? There were changes to its audience’s viewing habits. Less than 50% of the video consumed by 16-24 year olds is now via ‘live’ TV (back in 2003 it was 100%), while over 90% of them now own a smartphone and have at least one social media account.

BBC: Industry notes reminder

The BBC (British Broadcasting Corporation) is a public service organisation and the oldest national broadcaster and the biggest in terms of employees [over 20,000]. It is different from other TV broadcasters in that funding comes from us all as BBC licence fee payers whereas other channels rely on advertising and sponsorship.  The BBC has 3 key purposes: To Inform, Educate & Entertain. This means:

• To provide information (that is supposed to be balanced)
• To support learning for people of all ages
• To produce creative output
• To have diverse content (such as with its representations)
• To reflect the United Kingdom, its culture and values to the world

Where does Class fit into these objectives and the BBC mission statement?


BBC regulation reminder

The BBC (British Broadcasting Corporation) has a board of governing members and is independent of government intervention.  This means that it can produce content free impartially.

Since 2017, The BBC is now regulated by OfCOM (the Office of Communications).  OfCOM oversees all media channels and produces a code of conduct that all media channels must follow or have their licence to make content removed and/or be fined heavily.  

This includes suitable programmes before the 9pm watershed and various other quality standards.

Audience

Unlike Doctor Who and more in line with Torchwood before it (which also debuted on BBC3), Class is aimed specifically at a young adult audience and contains sexual content, violence and language above the level allowed in Doctor Who.

It was broadcast initially on BBC Three (online only) to poor audience figures and later broadcast on BBC One between 10.45pm and 11.15pm slots.

When the programme was on BBC One it was aired at 11.30pm had an audience of 0.28 million, a share of 5.1% of total TV audience. Around 250,000 have accessed the episode on iPlayer 

Target audience

• Some mainstream appeal as it is linked to the ‘Whoniverse’ (Doctor Who universe) but too niche perhaps for a mass audience?
• The show tried to appeal to young adult audience by including sexual scenes, more violence and more daring representations. Why was this not effective?
• 15 certificate: ‘strong bloody violence, gory images, injury detail’
• References to popular culture (pop culture) has meant an appeal to a wider age range. 
• Demographics: A-E class as some complex plot points but also action and SFX that are easy to understand
• More diverse representation regarding gender, race and sexuality.

Fans - the 'Whoniverse' reaction

Watch this fan reaction video on Co-owner of a Lonely Heart from the Doctor Who YouTube channel:

 

Class: Industry and Audience blog tasks

Create a new blogpost called 'Class: Industry and Audience blog tasks' and answer the following questions:

Industries

1) What was the objective of BBC3 when it was launched? You can find the answer in the notes above.

2) Why did BBC3 go online-only in February 2016? 

3) How does Class meet the BBC's mission statement to 'inform, educate and entertain'?

4) How did the distribution of Class contribute to the failure of the show with audiences?

5) What advertising and marketing was used to try and promote Class to an audience? Why do you think this wasn't very successful?

Audience

1) What were the viewing figures for Class and why do you think it did so badly? Look at the notes above to find out the answers.

2) What audience psychographic groups might particularly enjoy Class? You can revise Pyschographics here.

3) What audience pleasures are offered by Class - Co-owner of a Lonely Heart? Apply Blumler and Katz's Uses and Gratifications theory to the episode. Make sure you provide specific examples from the episode to support your ideas.

Personal Identity:

Personal Relationships:

Diversion (Escapism):

Surveillance (Information / Facts):

4) Thinking of the 3 Vs audience pleasures (Visceral, Vicarious and Voyeuristic pleasures), which of these can be applied to Class - Co-owner of a Lonely Heart?

5) How did fans in the 'Whoniverse' (also known as 'Whovians') react to Class? Watch the fan reaction video (and read the YouTube comments) embedded above or check the comments in the extension articles below to help with this.


Comparison: An Unearthly Child and Co-owner of a Lonely Heart

1) How are the technical conventions different between 1963 Doctor Who and 2016 Class (e.g. camerawork, editing, sound and mise-en-scene)?

2) What similarities and differences are there between An Unearthly Child and Co-owner of a Lonely Heart in terms of the science-fiction genre?

3) What similarities and differences are there between An Unearthly Child and Co-owner of a Lonely Heart in terms of how they meet the BBC's remit to inform, educate and entertain?

4) How are representations of people, places and groups similar or different in the two shows?

5) What similarities and differences can you find in terms of the audience pleasures for An Unearthly Child and Co-owner of a Lonely Heart?


Grade 8/9 extension tasks and reading

Read this Digital Spy feature on why Class was cancelled after only one series. Do you agree with its criticisms regarding scheduling, audience and character development?

This Guardian review of Class is much more positive - but the comments 'below the line' (BTL) are largely critical. Do you agree with the original review or the comments - and why?

Read this Den of Geek fan review of Co-owner of a Lonely Heart. Do you agree with the praise and criticism in it and why?

Finally, read this Indiewire feature on Class. It contains plenty of references to other films and TV shows (intertextuality) - what popular culture references can you find in this article?

Due date on Google Classroom.

Doctor Who: Industry and Audience blog tasks

The second half of our Doctor Who: An Unearthly Child case study focuses on the key concepts of Industry and Audience.

You'll find all the answers you need in the notes and clips below. You can then complete the blog tasks at the bottom of this blogpost.

Notes from the lessons

Audience

General audience notes:

• Mainstream – broad appeal as millions of people watch the BBC
• Long-running which shows it appeals to masses (12-40) and the reboot helped gain younger fans.
• 12 certificate so maybe young teens
• References to popular culture (pop culture) has meant an appeal to a wider age range.
• Demographics: A-E class as some complex plot points but also action and SFX that are easy to understand
• Gender- split down middle (although boys are more usually fans of science fiction, this has changed over time. Also introduction of romance and drama in narrative. From 1970-2010 the female audience grew by 22%.
• More diverse representation over recent years (gay characters, black central characters, strong female characters and of course the new female doctor) have all encouraged a wider audience.

Audience pleasures

We can apply Blumler and Katz's Uses and Gratifications theory when analysing the audience pleasures offered by Doctor Who: An Unearthly Child. Remember, we must consider it from the perspective of a viewer in the 1960s who would have reacted in quite a different way to an audience in 2020. Remember, the four key categories for Uses and Gratifications theory:

INFORMATION/SURVEILLANCE: learning information that you did not already know. Doctor Who offers its audience an education about space travel, science and history.  

PERSONAL IDENTITY: personally relating to something - seeing your lifestyle on screen. Think about how different audiences may identify with Susan, her teachers or the Doctor.

DIVERSION/ENTERTAINMENT: escapism and being entertained away from your normal life. Science Fiction is a classic genre for escapism - what examples of this could be found in the episode?

PERSONAL RELATIONSHIPS: caring about characters and wanting to find out what happens to them. This is the first episode of four - which characters do you think the audience will want to follow on their journey? 

The 3 Vs

VISCERAL PLEASURE: Physical thrill of watching something e.g hairs on the back of your neck in a horror film, sport, big explosions. 

VICARIOUS PLEASURE: Experiencing something through the characters (e.g. time/space travel). 

VOYEURISTIC PLEASURE: Watching something you wouldn't normally get a chance to see (e.g. inside TARDIS).

Industries

Importance of Doctor Who to BBC

Doctor Who is one of the most iconic franchises that the BBC has.  It has been launched all over the world through BBC Worldwide and generates huge income for the BBC.

In 2014, a BBC Worldwide Report stated Sherlock and Doctor Who as the BBC’s biggest exports of the past year. The worldwide simulcast (simultaneous transmission) of “The Day of the Doctor” in 2013 saw this episode air at the same time in 98 countries on six continents.

 

BBC: Industry notes

The BBC (British Broadcasting Corporation) is a public service organisation and the oldest national broadcaster and the biggest in terms of employees [over 20,000]. It is different from other TV broadcasters in that funding comes from us all as BBC licence fee payers whereas other channels rely on advertising and sponsorship.  The BBC has 3 key purposes: To Inform, Educate & Entertain. This means:

• To provide information (that is supposed to be balanced)
• To support learning for people of all ages
• To produce creative output
• To have diverse content (such as with its representations)
• To reflect the United Kingdom, its culture and values to the world

BBC regulation

The BBC (British Broadcasting Corporation) has a board of governing members and is independent of government intervention.  This means that it can produce content free impartially.

Since 2017, The BBC is now regulated by OfCOM (the Office of Communications).  OfCOM oversees all media channels and produces a code of conduct that all media channels must follow or have their licence to make content removed and/or be fined heavily.  

This includes suitable programmes before the 9pm watershed and various other quality standards.

Audience and Industry: blog tasks

Create a new blogpost called 'Doctor Who: Audience and Industry blog tasks' and answer the following questions:

Audience

1) Who is the target audience for Doctor Who? Has it changed since 1963?

2) What audience psychographic groups might particularly enjoy Doctor Who?

3) What audience pleasures are offered by An Unearthly Child? Apply Blumler and Katz's Uses and Gratifications theory to the episode. Make sure you provide specific examples from the episode to support your ideas.

Personal Identity:

Personal Relationships:

Diversion (Escapism):

Surveillance (Information / Facts):

4) What additional Uses and Gratifications would this episode provide to a modern 2020 audience?

5) Thinking of the 3 Vs audience pleasures (Visceral, Vicarious and Voyeuristic pleasures), which of these can be applied to An Unearthly Child?


Industries

1) What was the television industry like in 1963? How many channels were there?

2) Why is Doctor Who such an important franchise for the BBC? 

3) How does Doctor Who meet the BBC's mission statement to 'inform, educate and entertain'?

4) How is the BBC funded?

5) Who regulates the BBC and what is the watershed?


Grade 8/9 extension tasks and reading

Read this New Statesman feature on Doctor Who as a global phenomenon. What does it suggest about Doctor Who fandom, British identity and the importance of the brand to the BBC?

Read this Guardian feature on the representations of race and ethnicity in Doctor Who over the last 55 years. How has the programme changed in its representations of race and how does this fit the BBC's remit to inform, educate and entertain? 

You will have some lesson time to work on this but will need to complete this for homework - due date on Google Classroom.

Doctor Who: Language and Representation blog tasks

Our first television Close-Study Product is Doctor Who - An Unearthly Child from 1963.

This is an in-depth study which means we need to analyse the product in terms of media language, industries, audience and representation. In addition, this CSP will be examined in Paper 2 with a short clip to analyse. This means we need to put in extra work on this media topic to ensure we are confident analysing clips in detail.

Notes from the lessons

Reminder: Narrative theories

Todorov: equilibrium

Todorov suggested that all narratives follow a three part structure.

They begin with equilibrium, where everything is balanced, progress as something comes along to disrupt that equilibrium, and finally reach a resolution, when a new equilibrium is restored.

Equilibrium > Disequilibrium > New equilibrium

This can be applied to most media narratives.


Propp: character types

Vladimir Propp stated that there were seven basic character roles when he analysed classic fairy tales and that these were present in most narratives. Media products still use these recognisable character types today:

Hero, Villain, Heroine/Princess, Father, Donor, Helper/Sidekick, False Hero

Roland Barthes: Enigma and Action Codes

Action Codes: anything that suggests something dramatic is about to happen. E.g. when the TARDIS begins to take off or when the shadow appears in the final shot of the episode. 

Enigma Codes: a narrative code that creates mystery and gives the audience questions to keep them watching e.g. who is the Doctor and where is he taking them? Will the teachers get home? What is the mysterious shadow in the final scene?

Levi-Strauss: Binary opposition

Binary opposition is a theory that all narratives are driven by conflict of a series of opposing forces. There are many examples that can be found in this Doctor Who episode e.g. good v evil; young v old; human v alien; dark v light etc.

Doctor Who: An introduction

• Listed in Guinness World Records as the longest-running science fiction television show in the world with over 800 episodes.
• The Doctor explores the universe in a time-travelling space ship called the TARDIS [Time And Relative Dimension In Space]. The TARDIS has a vast interior but appears smaller on the outside.
• The Doctor travels through space and time preventing evil aliens or people from harming innocent people or changing history.
• The Doctor has gained numerous reoccurring enemies during his travels, including the Daleks and the Cybermen.
• Twelve male actors have headlined the series as the Doctor. The transition from one actor to another is written into the plot of the show with the concept of regeneration into a new incarnation. In 2018 the BBC had their first female incarnation for the thirteenth Doctor.

Doctor Who: An Unearthly Child

Social and historical context

First episode: Saturday, November 23rd,  1963 on the BBC. The plot was a narrative arc (a story over several episodes) involving the Doctor and his companions voyaging 100,000 years into Earth’s past to help some cavemen discover fire. 

William Hartnell was the first Doctor, as an anti-hero who frequently put his companions in jeopardy for his own curiosity. Daleks made an appearance in the first series, as the arch enemies of the Doctor.

Jodie Whittaker took over the role as the Thirteenth Doctor in 2018 and is the first woman to be cast as the character. 

1960s Britain

1961- First man in space

1963- American President J.F. Kennedy assassinated

1963- Martin Luther King gives his “I have a dream” speech

1964- Beatlemania takes over America

1965- The introduction of the mini skirt in a fashion show

1966- England wins the football world cup

1968- Martin Luther King assassinated

1969- First Man on the moon

1969- Concorde is flown for the first time

The ‘hippy’ sixties as they are often called, had a shift in culture. There was more freedom for young people and a breakaway from traditions.

Episode analysis: An Unearthly Child

An Unearthly Child (sometimes referred to as 100,000 BC) is the first narrative arc in the British science fiction television series Doctor Who. It was first broadcast on BBC TV in four weekly parts from 23 November to 14 December 1963. Scripted by the Australian writer Anthony Coburn, it introduces William Hartnell as the First Doctor and original companions; Carole Ann Ford as the Doctor's granddaughter Susan Foreman, with Jacqueline Hill and William Russell as school teachers Barbara Wright and Ian Chesterton. The first episode deals with Ian and Barbara's discovery of the Doctor and his time-space ship TARDIS in a junkyard in contemporary London. 

Plot of episode 1

Schoolteachers Ian Chesterton and Barbara Wright are concerned about one of their pupils, Susan Foreman, who seems to have a very ‘alien’ outlook on England. They have come to her listed address to investigate. They arrive in a junkyard and find a police box, which proves to be no ordinary police box. When Ian and Barbara enter, they discover it to be much bigger on the inside than the outside. In the TARDIS is Susan and her grandfather, the Doctor. Fearing that Barbara and Ian will give away the secret of the TARDIS, he kidnaps them and takes the machine to the Stone Age, where they will have to fight for their lives.

The First Doctor was played as less mischievous and more cruel than later incarnations. He also seems less concerned about saving the human race. 

His companion was made his ‘granddaughter’ because it was thought inappropriate for an old man to be accompanied by a young girl if she were unrelated to him. 

Representations

Daniel Chandler's representation theory: CAGE

This is a theory about how the media constructs or represents individuals or groups of people through the media. Key markers of identity can be remembered through the acronym CAGE:

C- Class
A- Age
G- Gender
E- Ethnicity

Characters and representation in An Unearthly Child

Susan Foreman
Susan Foreman is the first of a long-standing tradition of Doctor Who companions.  It was felt improper in 1963 for an older man, such as the Doctor, to be travelling through space with a young 15 year old girl; so she was written as his Granddaughter.  She is a strong link to the young target audience and will often react in ways that the audience might in future episodes [e.g. screaming at aliens].  Classically relatable.

She also provides a link between the chaotic alien madness of the Doctor and the human confusion embodied by Barbara and Ian (and the audience).  She is therefore a translator of the more Sci-Fi elements of the story to a naïve 1960s audience.   She can often be seen explaining some of the Doctor’s stranger outbursts to the humans Barbara and Ian.  Another example of exposition.

The Doctor
The Doctor represents the new age of technology and science that was emerging in the 1960s.  The ‘space race’ was underway and the world was fascinated with all things space travel and linked to other planets.  He represents this new world of discovery.

He is a Time Lord from the planet Gallifrey and he explores the universe with usually human companions who serve as audience surrogate characters to ask questions which allow the Doctor to provide relevant exposition.  He is often eccentric, distracted and dark in mood.  Some commentators have said he symbolises the struggle between good and evil, some have said he is a symbol of a God-like presence who wanders through time and space trying to change history for the better. 

Teachers Barbara Wright and Ian Chesterton

Barbara and Ian represent traditional human values and are classically middle class. They are the people the Doctor explains everything to, so that the audience understands as well.  This is known as exposition.

They are also Science and History teachers so often offer advice and opinions to the Doctor on matters of space and time.  They also have very clearly defined gender roles in the series.

Barbara and Ian also play the narrative role of mother and father to Susan who is very naive and who has not had that paternal guidance from the Doctor.  They are very traditional in their gender roles.  Ian is very physical when there is fighting or physical work to be done. Barbara is represented in a more homely, caring role in the series. These were stereotypical gender roles in the early 60s – but times were changing.  Ian and Barbara are bonded by their human characteristics in their Space adventures.  They represent the caring, empathetic part of the human condition in how they look after Susan and, in later episodes, the Doctor himself. 

Language and Representation: blog tasks

Create a new blogpost called Doctor Who: Language and Representation blog tasks and complete the following questions on your blog:

Social and Historical context

1) How does An Unearthly Child reflect the social and historical contexts of the 1960s?

2) How might audiences have felt towards science fiction in the 1960s?

Language and close-textual analysis

1) Choose three key moments in the episode and write an NCIS analysis for those clips. You can use your notes from the screening in class or use this Google document of our class notes combined (you'll need your GHS Google login). Make specific, detailed references using media terminology (e.g. media language - camera shots, diegetic/non-diegetic sound, mise-en-scene etc.)

An Unearthly Child scene analysis

Narrative: 

Character: 

Iconography: 

Setting: 

2) How does Todorov's theory of equilibrium apply to An Unearthly Child? Try and use the expanded version of Todorov's theory: Equilibrium - Disruption - Recognition - Reparation - New equilibrium.

3) Applying Propp's character theory, what character roles do each of the main characters in An Unearthly Child fit into? Alternatively, you may wish to discuss how characters do not fit Propp's character types.

4) What enigma and action codes (Barthes) can you find in An Unearthly Child? Make specific, detailed reference to the text using media terminology (e.g. media language - camera shots, diegetic/non-diegetic sound, mise-en-scene etc.)

5) What examples of binary opposition (Levi-Strauss) can you find in An Unearthly Child? How do these create narrative or drama for the audience? You can find notes on binary opposition if you scroll up this page if you haven't covered this in class yet.


Representations

1) What stereotypes of men are reinforced and subverted in Doctor Who: An Unearthly Child? How?

2) What stereotypes of women/girls are reinforced and subverted in Doctor Who: An Unearthly Child? How?

3) What are common media stereotypes of young people and old people? Do any of the characters or scenarios reinforce or subvert these conventional stereotypes (consider this was 1963)? 

4) What representations of race/ethnicity can be found in Doctor Who: An Earthly Child? Is this surprising or not? Give reasons for your answer and consider historical / cultural context (the 1960s). Has this changed in more recent series of Doctor Who?

5) How is social class represented in An Unearthly Child? Think about how education and knowledge is presented in the episode.

Grade 8/9 extension tasks and reading

Read this Media Magazine article tracing the cultural impact of Doctor Who. What does it suggest regarding the importance of Doctor Who, representations and industry?

Read this Guardian feature on female characters in Doctor Who. What does it suggest regarding the representation of women over time in Doctor Who?

Consider representations of age in Doctor Who. How have representations of age changed over the 50-year history of the show?

You will have some lesson time to start this but will need to complete this for homework - due date set by your teacher and on Google Classroom.