Institutional Context of E4

E4 is a subsidiary of the popular Channel 4. It was launched on the 18th of January 2001. It is a 'pay-tv' companion to Channel 4. Therefore only being possible to view via a subscription based agreement, provided by satellite/cable TV providers. E4 itself is aimed at 15-35 age group, which coincides with its name, the 'E' standing for entertainment. It is part of a large portfolio owned by the conglomerate,Channel Four Television Corporation, which is comprised of such channels as: Channel 4, More 4, 4Music etc. E4 and its parent, Channel 4. These channels use synergy to promote similar products, for example, when watching one of the previously mentioned channels, advertisements for shows that are broadcast on a different sister channel are shown. Channel 4 uses its subsidiaries to its advantage in this way, being able to promote various things on various formats/channels. Channel 4, interestingly, was not originally the conglomerate. It began as a subsidiary of the  International Broadcasting Authority (IBA). This was the case until 1993, when it came under control of the Channel Four Television Corporation.

A good example of cross media ownership from E4 would be the combination of the broadcasting of certain television shows, like Misfits, Skins and Beaver Falls etc, and additionally allowing people to play games that are related to these shows. This allows E4 to produce various types of media and link them all together. From this, I can also see the combination of e-media and broadcast media, which is a clear example of convergence, because these two types of media are coming together.

A great example of horizontal integration is displayed here, E4 being a part of it. The Channel Four Television Corporation owns several businesses. Most notably the television channels. It does however, also own the websites associated with its television channels. Despite them being recently abandoned, the corporation previously owned radio stations, such as 4radio and Oneword. Futhermore, it has a large part in the film production of Film4, which is yet another business that the corporation is affiliated with.

Check list of duties

Audience ResearchNathan- Focus Group, Online Stats, webistes
Jake - Analysis, read online reviews
Hannah - Online polls/questionnaires, Online analysis
Zac - Focus Group, UK Tribes, Books

Production ResearchNathan-  Typical conventions websites
Jake - Phone-up producers, online reviews into production companies
Hannah - Questionnaires/polls, popular genre research
Zac - E-mail producers , quote media productions

Summary of assignment brief

Record our research, intentions and pre-production on your blog.

Research should include the following:

• Primary and secondary research into similar products (TV programmes and webistes)
• Research into target audiences for exisiting products and your own product

Work should be undertaken individually.

My intentuions need to demonstrate how I intend my particular productions to work, they should consider specific audience for your products and how I intend to target them, both in terms of content of the production, both interms of how the content of the production pieces themselves and of the relevant platform. This should be clearly signposted on my blog with the heading ‘Intentions’. I may want to draft individual intentions but I must make firm decisions as a group and therefore my final intentions should all be the same.
My research and intentions need to be completed by Friday 16th November 2012.
I have been given a checklist for my pre-production and I must ensure that, as a minimum, I complete all the documents listed for each of the products I am creating.
Although I am working in groups, I must produce my own individual drafts of pre-production documents and then come together as a group to produce our finished paperwork. Therefore, everyone in the group should have their own planning documents, such as treatments, scripts, storyboards, draft layout of websites, etc, as well as group documents.

Summary of Narrative Theories

Izetan Todorov

• We can decode media texts through the use of narrative.
• These instances can be easily identified by noticing how conventions are challenged/changed.
  
  Todorov's theory:
  Equilibrium: a state of peace/normailty.
  Disruption: a conflict/event that is introduced to the narrative.
  -Recognition of disruption: the conflict is noticed by the protagonists.
  -Attempt to repair: the character begins to change, often the case.
  Return: the narrative strands come together as the conflict is resolved.

Vladimir Propp

-Created the principal of 8 character roles and 31 narrative functions

• The Villian.
• The Hero
• The Donor (provides hero with magical property)
• The Helper (aids the hero)
• The Princess (rewards the hero/is object of villain's schemes)
• Princesse's Father (rewards hero)
• The Dispatcher (who sends hero on his way)
• The False Hero

Criticism of Propp:
His theory cannot be applied to all types of narrative, in addition, many narratives have the potential to be sophisticated and therefore deliberately defy the traditional folk tale conventions.
There is not a clear definition of a female hero.
Not all narratives are the same and cannot therefore be clearly categorised as such.

Roland Barthes

- Identified 5 narrative codes. These can be used to decode texts.

- Barthes emphasises active roles of readers, creating meaning. In addition, their 'culturally formed expectations'.

5 codes:

• Action
• Enigma
• Semic
• Symbolic
• Cultural

Research Plan

What legislation covers the internet?

There are multiple laws and legislations that govern and control the internet. Most notably the 'Data Protection Act 1998'. This act covers all personal data that is found on the internet, additionally, any company that requires/uses personal details must abide by it. Examples of such personal details are things like telephone numbers, email addresses and dates of birth. This act protects the information from being used and utilised by a third part member in a manner that has not been agreed upon by the owner of the details. The details can also be personal opinions and experiences.

Copyright laws are also in effect on the internet, exactly the same as they are in magazines/newspapers and various other media.
"The law gives the creators of literary, dramatic, musical, artistic works, sound recordings, broadcasts, films and typographical arrangement of published editions, rights to control the ways in which their material may be used. The rights cover; broadcast and public performance, copying, adapting, issuing, renting and lending copies to the public.In many cases, the creator will also have the right to be identified as the author and to object to distortions of his work. International conventions give protection in most countries, subject to national laws." - A direct quote from copyrightservice.co.uk.

Homework: production company

Zeppotron ltd was formed in 2000 by Channel 4 writers: Charlie Brooker, Ben Caudell, Peter Holmes and Neil Webster. It is now an online and television comedy production company that produces primarily for Channel 4, it does however, produce shows for the BBC and Sky 1, among others. Zeppotron produces some of the most successful Channel 4 comedy shows. Such as the panel shows 8 out of 10 Cats and Would I Lie to You? It is a subsidiary of the production company Endemol, a Television production company based in the Netherlands. Endemol's most successful show being the reality show 'Big Brother'. Zeppotron produced the show 'Dead Set', which is based on the actual Big Brother. Endemol currently has Subsidiaries and Joint Ventures in 23 countries, including the UK, US, France and Australia. It is controlled by Endemol's co-founder John De Mol. From which the name is derived. (Joop Van Den Ende and John De Mol). This is a good example of vertical and horizontal integration, as Endemol is the parent of Zeppotron and additionally comprises a global network of over 80 companies in 31 countries. "Endemol works with approximately 300 broadcasters, digital platforms and licensees worldwide and covers all elements of the entertainment spectrum including development, production, marketing, distribution and franchise management." -A direct quote from the Endemol website. www.Endemol.com.

Endemol currently produces about 20,000 hours of content annually across all genres. Endemol is also one of the largest independent distributors of formats and finished programming, with a growing library of over 3,000 and 24,000 hours of content. Endemol uses its resources and global network to offer internal and third party producers the broadest distribution service. Endemol makes use of convergence by making its shows accessible on multiple formats such as: 4oD, gaming consoles and various others. It also makes heavy use of synergy by combining all of its subsidiaries around the world to bring together a large global network of Television production, in addition, working closely with the most popular channel's such as Channel 4, BBC 1, 2 and 3 and Sky 1. For example, it produces shows for many different countries and therefore reaches a broader audience.  Various companies aided in distributing Dead Set on various formats, including DVD's. These companies include: E4 (TV)
                                       Madman Entertainment (DVD) (Austrailia)
                                       AXN (Hungary) (TV)
                                       HBO Hungary (TV)

References: www.endemol.com
                  www.zuppotron.com
                  www.imdb.com
               

Web page analysis

The Dead Set page on the C4 website is predominantly layed out to represent gore, horror and blood. In the background of the page, the viewer can see blood splatter all around the page, and also on the E4 logo. This is a representation of the shows genre of horror, in addition, it has signified a lot of things associated with the genre. Such as, blood, gore, murder, death etc. The significance of the blood on the E4 is that it perhaps, considering it is a page within the actual E4 site, signifies that E4 has been 'taken over' which links with the concept of the show. The central image of Davina McCall dressed as a zombie and eating human guts is a signifier, which signifies the strong violence and horror. It also allows the viewer to make links to familiar Channel 4 faces, and adds to the realism of the show because Davina presents the actual Big Brother. Additionally, the text that accompanies it, anchors the image. The text states "Contains images of a gory nature and adult content", which is exactly what is shown in the central image. The title is also above the image in dark red, connoting blood and gore. Furthermore, it is accompanied by a tag line "Reality bites", clearly referencing the show itself, being as though it is set in the Big Brother house under attack by zombies. The majority of the pages text is red or at least on a red background. Red/black being the primary colours used, signifies, again, blood, gore and violence. When looked at all together, we can clearly see that the main theme of the show is of a dark nature. Particularly because the whole background is black. Despite the main colour scheme being red/black, the website still sticks to the channel's (E4) primary colours, purple/white. This allows the viewer to maintain an opinion of authenticity and know that it is definitely E4 and trustworthy. Within the areas of purple/white, are the features associated with the site itself. Such as logging in to an existing account, returning to the home or browsing more shows from the channel. This allows the viewer to distinguish between the Dead Set associated products, and those associated with E4. There is a syntagm on the page of blood/gore. Seen as though the page is dominated by colours and images associated with it, eg. blood splatters, zombies, guts etc. The web pages paradigmatic choices are to heavily connote things of a dark nature, to further develop the story of zombies and anarchy. Below the central image is yet another image of Davina attacking somebody.The repetition of Davina shows that it is a Channel 4 related production. It again also adds to realism, because she is a familiar celebrity. The image is also a link to the cast and crew, which allows the viewer to explore the show in more depth and get to know the characters more. The small tag line that accompanies the image, anchors it. This is because the image depicts an attack, to which the tag line responds "Incoming!". Underneath both, is text in red that states "Just in time for Halloween". Halloween obviously being a holiday of horror and scare, this links with the theme of the show. On the left of the screen is a note with blood splatter on it. On this note is various references to things associated with the show, such as: an interview with the writer, story, pictures, cast guide and episode guide. This feature enables viewers to navigate around the page easily and find out the necessary information simply.

Questions to consider

• Do I have to be aware of what conventions appeal to my target audience?
• Will my micro-aspects reflect my target audience?
• What will I present to the audience in my establishing shots?
• How can I ensure that my audience are drawn in and entertained?
• How heavily should I rely on dialogue, do I need to compose a script?
• What locations would best convey and represent the correct atmosphere for my show?
• How will I convey my narrative?
• What types of shot should I use to construct my scenes appropriately?
• To what extent am I capable of, considering my lack of experience with Media software?
• How much do I need to familiarise myself with Media terminology?

Dead Set analysis.

Dead Set Analysis

Considering Dead Set is modelled on the actual show ‘Big Brother’. The Mise En Scene is typically comprised of crowds, cameramen, paparazzi, TV presenters, Studios and things that we associate with television in general. The Mise En Scene, when looked at as a whole, can connote the extents to which the contestants of the show are subject to. It highlights how the contestants really have no privacy and are constantly being watched and surveyed. Specifically the crowd, which can be a connotation of the hordes of zombies and how they’re really no different from the animals they’re soon to become. The strong portrayal of the media is used a lot in this scene. The director wants to show to us as an audience just how the general consensus of society is to accept whatever is thrown at them, and judge others by how they act whilst being watched, this is also an underlying theme of the show, how society is distracted by a lot of entertainment in this day and age. When we see the eviction, the director purposely emphasises the ‘crowd effect’. The ‘crowd effect’ seems to be a connotation of animals in packs, screaming and shouting and obsessing over one individual, essentially how zombies act, zombies being the main focus of the series. The performance of the director, somewhat connotes an evil mastermind. The scene frequently cuts to the director of the show (Big Brother) overseeing the events unfold and focusing his efforts on what shall benefit him and nobody else. This is once again enforced later on in the scene when he abandons everybody else and distracts zombies with other people. Clearly, the director of the show itself (Dead Set) wants the audience to see the representation of humans, and basic human instinct of survival, in contrast to the zombies who have the basic instinct to kill and feed. This gives the audience an understanding of the zombies and their characteristics in the series, who they are, or indeed, ‘what’ they are. Relating back to the point about distractions, the performance of Davina McCall (as herself) as she interviews the evicted contestant, conveys to the audience how entertainment such as this leaves people completely oblivious to more serious topics, such as the impending spiral of chaos when the zombie infection spreads. Casting the presenter of Big Brother herself (Davina) is used to enable the audience to relate and link the two shows together, adding a lot more realism and believability to the scene.

Editing is used very effectively here, when combined with camerawork and how both aspects benefit each other. Particularly the way they both represent chaos, anarchy and obliviousness to the situation. When the zombie transformation begins, the director uses a lot of alternation in rhythm and pace. For example, when the camera focuses on the guard who has been bitten, the pace is fast, tense and shaky. This then switches and creates a contrast when the camera shows the interview and the producers in the studio, which is calm, collected and considered a ‘normal’ pace. The quick cuts between these situations, build the tension and suspense of the scene, foreshadowing the coming turn of events. The infection is then shown to be spreading quicker and quicker and causing more people to panic and scream. However, this would generally be considered the ‘turning point’ of the scene, yet the studios are still unaffected, which reinforces how the viewers and TV crew are totally fixed on the show and not what is happening around them. The scene then cuts to the housemates, enjoying themselves, drinking and partying. It then shows the ‘outcast’ of the group, standing in a state of deep thought, followed by an insert cut to the giant screen outside, which also shows him watching, while the audience can see the public being slaughtered by zombies. This suggests to the audience that this character in particular is associated with dark things to come and should be considered evil. The overall audience response to the fast pace, violet scenes and character development would be horror, thrill and realisation that the show is taking a huge turn for the worse. There is a POV style effect made by the camerawork while showing the chaos and violence of the zombies. The camera moves, shakes and weaves in and out of zombies/people to create the illusion that the audience is there and is experiencing the horror first hand. This technique prompts a response of shock and horror from the audience, the director wants them to feel included and emphasise how scary such a situation would be. When the zombie attack spreads to the directors studio, there is an interesting transition used to show communication failing and anarchy is ensuing. The camera broadcasting Davina McCall’s interview fuzzes and cuts off. Showing to the audience that order has been consumed by chaos.

Lighting in this scene is predominantly low key. There are times in the scene when it switches to high key, such as when it shows inside the Big Brother House. However, due to the shows dark underlying themes, low key is more dominant. Low key lighting creates drama and emphasises dark tones, this matches well with the action that is happening on screen, because it is so action packed and dramatic. The low key effect also contrasts with the high key lighting in the Big Brother House. The housemates are having fun and enjoying themselves, safe from the horrors of the outside world, but the outside world is subject to darkness. This allows the audience to identify that the housemates are blissfully unaware of the gory events outside, representing the house as a sanctuary and utopia from the zombies.

Sound in the scene is comprised of various things. Most notably during the action sequences. Non-diegetic screams and roars reiterate the chaos and animalistic connotations. This makes the audience respond with shock and confusion, because so much is happening at once. What’s interesting however is that when the scene becomes completely revolved around the zombie attack, an upbeat and cheerful song is played, this is contrapuntal, because the audience can see people being attacked and killed violently. In addition, the song being played is the same as the song that the housemates are dancing to. This gives the impression that the housemates are completely immersed in the music and dancing that it drowns out all the evil and violence that is taking place in the outside world. This shows to the audience that the Big Brother House can be viewed by anyone and the housemates are continuously watched, but they’re completely shut out from the outside world and oblivious to what is happening.  Reinforcing the concept of a sanctuary and utopia from the unsafe world.