How is the BBC funded?

The BBC is funded principally by the television licence fee, paid by households that watch or record live broadcasts or use BBC iPlayer, with the level of the fee set by the UK Government.

Name the two main sources of funding for UK television and give one consequence of each.

Public funding through the licence fee allows programmes to be made without chasing ratings but ties the broadcaster to political decisions about its income, while commercial funding through advertising gives independence from government but pushes producers towards the audiences advertisers will pay for.

How does the BBC contribute to S4C's schedule?

Under a statutory obligation the BBC supplies S4C with around ten hours of Welsh-language programming each week at no cost to the channel, including news and the long-running soap Pobol y Cwm.

WJEC A-Level Media Studies 603-1976-8

Contexts of Media

Topic overview The conceptual framework and its four inter-related areas The map of critical perspectives across the framework Ownership, funding and regulation as industry context Industry context, messages and ideologies Historical context and its effect on representations The time a product is made in and the time it is set in Social and cultural contexts and the discourses of a product Cultural influences: genres, styles, movements and other producers Why the same product is read differently in different places Wales as a media context: social, economic and industry factors S4C and Welsh-language broadcasting The global dimension and media beyond the US and UK

Media Language

Topic overview What media language is Technical, visual and audio codes Print design and layout conventions Camerawork and mise-en-scène Editing and sound Online media language and design conventions Mode of address Semiotics and Roland Barthes Narrative and Tzvetan Todorov Genre theory and Steve Neale Structuralism and Claude Lévi-Strauss Postmodernism and Jean Baudrillard Intertextuality and hybridity Viewpoints, values and ideology in media language How developing technologies change media language

Media Representations

Topic overview What representation means Stereotypes and their uses Representations of gender Representations of ethnicity and Stuart Hall Representations of age Representations of place, region and nation Representations of Wales and Welsh identity Representations of issues and events Identity and David Gauntlett Positioning the audience Context and its effect on representation Analysing and evaluating representations Representations of social class Representation and the global media Reinforcement of representations across products Constructing a representation in your own production

Media Industries

Topic overview What a media industry is Ownership and control Funding models Regulation of the media Public service broadcasting Production, commissioning and finance Distribution, marketing and exhibition Technological change and convergence Globalisation of the media industries The media industries in Wales News industries and their economics Brands, intellectual property and franchises Entering and working in the media industries Industry context and its effect on content Analysing a product's industry

Media Audiences

Topic overview What an audience is Grouping and categorising audiences Targeting, attracting and reaching an audience Media effects and Albert Bandura Cultivation theory and George Gerbner Reception theory and Stuart Hall The end of audience and Clay Shirky Fandom and Henry Jenkins Uses and gratifications Interaction, participation and specialised audiences Regulation, protection and audience harm Researching and measuring audiences Audience positioning and preferred readings Audiences and social and cultural circumstance Audiences and media technology Analysing an audience for a product

Advertising, Marketing and Music Video

Topic overview Print advertising: layout, typography and design codes Audio-visual advertising: camerawork, editing and sound Online advertising and its design conventions Charity and public information campaigns Commercial advertising for consumer goods Historical advertising before 1980 Barthes, semiotics and the meanings of an advertisement Representations of gender in advertising and music video Representations of ethnicity and age, and Stuart Hall on representation Gauntlett, identity and the audience as pick-and-mix Music video: performance, narrative and concept Music video before 2000 and the changing form Marketing, audience categories and targeting Audience response, reception theory and media effects

News in the Online Age

Topic overview Design and language conventions of print and online news The Guardian in print and online The Daily Mirror in print and online The Times in print and online BBC News Online and public service news The Huffington Post and digital-native news Wales Online and news for a Welsh audience Radio news conventions and Today on BBC Radio 4 Radio Wales Drive and Post Prynhawn News values and the construction of a news event Representation, ideology and re-presenting reality in news Ownership, control and public service in news Technology, convergence and the circulation of news News audiences, citizen journalism and the end of audience

Film Industries: From Wales to Hollywood

Topic overview Film language: camerawork, mise-en-scène, editing and sound Genre codes, iconography and Neale's repertoire of elements Narrative construction and Todorov's equilibrium Film production and funding in Wales Co-productions, festivals and national cinema Hollywood ownership, vertical integration and diversification Distribution, marketing and exhibition in a digital age Regulation of film in the United Kingdom and the BBFC Film audiences: targeting, positioning and reception Don't Knock Twice and Drag Me To Hell Submarine and Clueless The Machine and Blade Runner Y Llyfrgell/The Library Suicides and Shutter Island Yr Ymadawiad/The Passing and The Village

Television in the Global Age

Topic overview Genre and the television crime drama Camerawork, mise-en-scène, editing and sound in crime drama Narrative structure and ideology in television crime drama Constructing representations of crime, gender and place The global television industry: ownership, funding and regulation Television audiences in the global age Y Gwyll/Hinterland, S4C and Welsh-language television The Bridge (2012), Denmark and Sweden The Killing (2007), Denmark The Disappearance (2015), France Arne Dahl (2015), Sweden Prime Suspect (1991), ITV Touching Evil (1997), ITV Morse: 'The Way Through the Woods' (1995), ITV Cracker: 'To be a Somebody' (1994), ITV

Magazines: Changing Representations

Topic overview Magazine media language: codes, conventions and design Constructing representations in magazines The magazine industry and its audiences Vogue, July 1965: the historical fashion magazine Woman, 23–29 August 1964 Woman's Realm, 7–13 February 1965 Cosmopolitan online Hello! online Men's Health online Vogue online Adbusters Attitude Huck Pride

Video Games in the Digital Age

Topic overview Media language and the codes of video games Interactivity, immersion and ludic qualities Video game genres and intertextuality Representations of gender and ethnicity in video games The global video games industry: ownership, synergy and economics Video game audiences, fandom and media effects Assassin's Creed Grand Theft Auto Mass Effect Tomb Raider Wii Sports Cooking Mama Minecraft The Sims

Creating Media Productions

Topic overview Researching the codes and conventions of a form Audience research and defining a target audience Analysing comparable products: genre and competitor research Investigative research and the development outline Treatments, storyboards, scripts and flat plans Schedules, shot lists and risk assessment Production in audio-visual, print and online form Working to a brief Applying media language to construct a representation Original material, copyright and ethics Independent, collaborative and cross-media production Reflective and critical analysis

Television in the Global Age

The global television industry: ownership, funding and regulation

3 things to know
A2 Unit 3

Overview

S4C and why was it created, co-production and why is it attractive to broadcasters and how technological change has altered television distribution.

What you need to know

Answer each one before you reveal it.

Your recallNot started

Key term

Distinguish production, distribution and circulation in television.

Key term

What obligations does a public service broadcaster carry that a commercial one does not?

Numbers

What is S4C and why was it created?

Questions from this subtopic

Each one with the model answer underneath.

1
Distinguish production, distribution and circulation in television.
Model answer
Production is the making of the programme, distribution is the business of getting it to broadcasters and platforms in different territories, and circulation is how it then moves and is talked about among audiences.
2
What obligations does a public service broadcaster carry that a commercial one does not?
Model answer
Impartial news, provision for minority audiences, original production across the nations and regions, and content for children, none of which need be profitable.
3
How is the BBC funded?
Model answer
The BBC is funded principally by the television licence fee, paid by households that watch or record live broadcasts or use BBC iPlayer, with the level of the fee set by the UK Government.
4
Name the two main sources of funding for UK television and give one consequence of each.
Model answer
Public funding through the licence fee allows programmes to be made without chasing ratings but ties the broadcaster to political decisions about its income, while commercial funding through advertising gives independence from government but pushes producers towards the audiences advertisers will pay for.
5
What is S4C and why was it created?
Model answer
S4C is the Welsh-language public service channel, launched on 1 November 1982 after a long campaign that included Gwynfor Evans's threat to fast to death, in order to give Welsh speakers a dedicated television service.
6
How does the BBC contribute to S4C's schedule?
Model answer
Under a statutory obligation the BBC supplies S4C with around ten hours of Welsh-language programming each week at no cost to the channel, including news and the long-running soap Pobol y Cwm.

See the rest and revise

Other ways to work this

The same content, four other ways.

What is inside Levo

Six ways to work the same material.

1Closed book

2Open book

3Closed book

The 3-step method, run for you

Answer cold, learn it, then prove it stuck. Levo tracks the jump between your first attempt and your last.

Contexts of Media

Media Language

Media Representations

Media Industries

Cram a whole paper in one sitting

Sort every topic into what you know and what you do not, then drill only the weak ones.

Submarine is set in .

SwanseaCardiffAberystwyth

Blank Blitz makes facts automatic

Rapid timed gap-fills on the terms and numbers you need to recall without thinking.

AQuantitative data counts how many.

BQualitative data explains why.

CA production usually needs both.

Build It gets the exam shape right

Assemble a full-mark answer from its marking points, in the order an examiner wants them.

An audience receives what is offered.

TrueFalse

Test It catches misconceptions

Spot the fault in a statement. The traps are the mistakes students actually make.

721941163128510

Brain Breaks between sessions

Short focus games to reset attention, so the next set lands better than the last.

Every question in Television in the Global Age, on a schedule.

Attempt a question from memory, write the correct version, then attempt it again. Levo records the jump between your first attempt and your last, and brings each question back on the day you are due to forget it.

Start revising, £5 a month See how the method works

Or £46 a year, about £3.83 a month. Cancel anytime.