Tuesday 25 February 2020

Regulation and Long Form TV Drama: Fact-finding


Regulation topic
Relevant information
Topic 1 - The regulation of global practices of production, distribution and circulation


















What Netflix, Comcast and others are saying about the FCC’s plan to end net neutrality

The FCC simply would require internet service providers to be transparent so that consumers can buy the plan that’s best for them. And entrepreneurs and other small businesses would have the technical information they need to innovate.”
Netflix Inc. NFLX, +0.99%  tweeted on Tuesday that it supports strong net-neutrality rules, and that it opposes the commission’s proposal to roll back protections.
“Comcast does not and will not block, throttle, or discriminate against lawful content,” wrote Comcast Cable’s Chief Executive Dave Watson. “We will continue to make sure that our policies are clear for consumers and we will not change our commitment to these principles.”
In 2015, the launch of HBO Now opened the floodgates for all major players in media and entertainment to launch their own stand-alone video streaming service that is not linked to a cable subscription.
Netflix continues to amass global subscribers to consolidate itself as a market share leader. Last week it announced that it garnered 7 million net new members in the fourth quarter of 2016, beating its record for quarterly growth and smashing expectations thanks to its international expansion. Currently at 94 million subscribers, it is only a matter of months before it reaches 100 million subscribers worldwide.
Months after its global rollout, Netflix Inc (NFLX.O) is facing problems in several major Asian markets as it struggles to provide enough strong content to attract consumers amid tough local competition, and also faces many regulatory hurdles, underlining concerns about disappointing subscriber numbers reported this week.
State telecoms company PT Telekomunikasi Indonesia Tbk (Telkom) (TLKM.JK) will continue blocking Netflix until it adheres to regulations, Arif Prabowo, vice president for corporate communications at the carrier, told Reuters, declining to give details.
“Korean Netflix’s library in terms of content is pretty thin,” said Jung Dong-yoon



Regulation topic
Relevant information
Topic 2 - The regulation of media and long form drama in the UK






















Video-on-demand services include TV catch-up and online film services. The platform on which these on-demand services are delivered does not matter, so services on connected TVs, apps on mobile phones and programmes you view through set-top boxes may all be regulated.

What rules do on demand programme services have to follow?

Regulated on demand programme services must ensure that:
Protecting the under-18s:
  • "specially restricted material" (which has been or would be classified in the R18 category by the British Board of Film Classification (BBFC), or material which might seriously impair the physical, mental or moral development of under-18s, is made available in a way which secures that under-18s will not normally see or hear it;
  • "prohibited material" (which would be refused a classification by the BBFC) does not appear.
Incitement to hatred:
  • they do not contain any material likely to incite hatred based on race, sex, religion or nationality; and
Commercial references in programmes
  • they comply with rules about product placement and sponsorship.

“Currently, European TV broadcasters invest around 20% of their revenues in original content and on-demand providers less than 1%,” said the European Commission. “The Commission wants TV broadcasters to continue to dedicate at least half of viewing time to European works and will oblige on-demand providers to ensure that at least 20% share of European content in their catalogues.”

Topic 3 - The impact of new media technologies on regulation







When the new regulations come into effect in early 2018, online services must provide a service to its customers regardless of their current location, as long as they stay within the EU.
For example, this means that a person from the UK (pre-Brexit) could buy a Netflix subscription in their resident country, and then go abroad to Spain for holiday. Netflix would then have to allow the customer to use their same subscription in Spain with access to the same content that they get in the UK …
 The new policy would allow customers to keep using their subscription anywhere in the European Union. It gives customers more flexible about when and where they can use music and video subscription services.


Monday 24 February 2020

LIVINGSTONE and LUNT

LIVINGSTONE AND LUNT 

Some ideas of how to apply: 

 • Look at the age rating on DVDs for it. Why it got this etc... 
• Where it was shown in the UK and how that might fit into PSB regulation (giving choice to consumers) under OFCOM. 
• Linking content to post-watershed scheduling, but how scheduling is not a relevant system of regulation in the contemporary media landscape of place and time-shifted media. If it was available on Iplayer which as a BBC service, it is regulated in a similar way to a standard TV, so it is less of a risk. 


What is Livingstone and Lunt's theory? 


  • A key aspect of the theory is the underlying struggle in recent UK regulation policy between the need to further the interests of citizens on the other hand, and the need to further the interests of consumers on the other. 
  • This is shown through Ofcom which regulates UK media. The main regulatory duties of Ofcom appear to address the needs of citizens while others seem to address the needs of consumers. 
  • Livingstone and Lunt argue that the interests of citizens and those of consumers cannot be easily reconciled. This suggests that there is an increasing tendency in recent UK regulation policy to place the interests of consumers above those of citizens. 
Both Stranger Things and Deutschland 83 is rated 15: 

- strong language (ST + D) 
- sexual nudity 
- sexual activity 
- threat and horror (ST + D) 
- violence without dwelling on the infliction of injury or pain (D)
- drug-taking 
- verbal references to sexual violence 

Traditional television - after 9pm (9:10) regulation is minimalised, however Ofcom has no power to issue sanctions on both Netflix and Channel 4, as it is regulated by the Dutch regulator.  

The idea that the rise of convergent technologies puts traditional regulation at risk. 


OFCOM rules:

  • Protect under 18s
  • Prohibited material doesn't appear
  • Don't insight hatred
  • The commercial reference needs to be regulated

What are the pros and cons of regulating online media and streaming services? 

- Protects younger children 

- Enables the parents/carers to have power/control over what their children watch 
- Some streamers require passwords/information to access 
- On-demand reduces the regulation - can watch any time, any place 
- Can lie about age/who they are to watch
- Ofcom has no power to issue sanctions 

Deutscland 83 notes

Deutschland 83:

The episode reflects the social contradictions in divided 1980's Germany: East Germany is represented as a rigidly controlled state that promotes women's equality, with Lenora as the powerful woman who sets up the spying operation, where as in East Germany, which is less controlled, the military is represented as rigidly patriarchal.

Both Germanys are represented as a white and the representation of the racial integration of the American military appears to add to their 'otherness'. The episode shows the influence of social anxieties about facing up to Germany's divided past.

Netflix plans to get everyone watching foreign language TV:
- company's bid to fund high-quality foreign-language content and promote it to audiences around the world. They'll also help Netflix thrive if Europe enacts a new law stipulating that 30% of content on streaming services must be created in European countries.

Narrative structure:
- Novelistic - multiple storylines and characters that stretch over a number of episodes and seasons. Cross cutting between East Germany and West Germany as well as individual character arcs for Alexander, Yvonne, Martin.
- The spy narrative is of global cultural resonance and helps explain the international success of the series, despite its poor audience figures in Germany.

West Germany
East Germany

- Similar to the US as under US influence - CAPITALIST ECONOMY.
 - Department stores, restaurants, cars, highways, Western Entertainment - television, films etc  
- Fashion was less conservative and more radical due to access to pop culture
- Vibrant music scene
- Free movement
- Large discrepancy between rich and poor

- Under USSR control - COMMUNIST
- No billboards, neon signs or advertisements
- Very little choice of product
- State department stores were stark and was hard to find a variety of supplies
- No entertainment that wasn't politically altered or focused
- Secret police were very observant and had many informers
- Strict curfew

It is a co-production of AMC Networks' SundanceTV and RTL Television
International distribution by RTL Group's Fremantle Media International and North American distribution by Kino Lorber.

Budget of £35 million

What is Channel 4? - it is a publically-owned and commercially-funded UK public service broadcaster, with a statutory remit to deliver high-quality, innovative, alternative content that challenges that status quo.

Walter presents is a video on demand service of channel 4

Production: created by Anna Winger and Joerg Winger.

premiered on Channel 4 on 3rd January 2016

- Direct synergy with programme and 1980's soundtrack


Intertextual link to The Loves of Others and Run Lola Run 

Thursday 6 February 2020

Stranger Things audience notes

  • 15-49 year olds
  • Why they love it- 80's nostalgia
  • How is the audience been targeted
  • Synergy with Netflix
  • Extensive Narrative Enigmas- Always wanting to know more about the story
  • Emotive representations
  • Realism- Friendship/loyalty, young protagonists, collective identity
  • Retro styling- Nostalgia, soundtrack, hybridisation- sci-fi, thriller
  • Must see appointment tv 
Gratifications theory- Personalisation (identify with characters), Information (anything that it teaches you), Entertainment (what viewers want), Social interaction (water cooler chat)
    • Escapist, non realist entertaining drama- Diversion
    • Discussed, written about, hyped and virally sold- Social interaction
    • Identity is key appeal e.g. Personal identity with notions of difference
    • Information is given on 1980's cultural history- Surveillance culture

    Stranger Things Industry notes

    • Season 1 had a budget of $6 million per episode, season 2 increased to $8 million
    • The teens reportedly made $20,000 per episode in season 1
    • Original story created by Matt and Ross Duffer
    • Season 1 consists of 8 episodes
    • Was filmed at the beginning of 2016 and premiered worldwide on Netflix on July 15th 2016
    • Filmed in Atlanta, Georgia in a town known as Jackson
    • Filming took six months and seven days to film an episode
    • Used a 4k medium camera, and various lenses and colours to help in fitting the time period
    • Netflix distributed the show
    • 21 Laps Entertainment
    • Netflix, Amazon- Which contains DVD and Blu Ray box sets
    • Television, laptop, game console, smart phones, computer and tablets all of which can view Stranger Things
    • The release date was simultaneous across the globe and all episodes were released all at once
    • Marketing- trailer, poster
    • Fandom- merchandise (mugs, clothes, posters and etc)
    • Merchandise includes, Lego, Funko Pop, etc.

    D83

    • Episode 1 - Quantum Jump
    • October 2015- released in USA
    • January 2016 on Channel 4 in the UK
    • Episode titles taken from actual NATO military exercises
    • Subtitled 
    • ABC1 audience- Lexus advertisement, subtitles and knowledge of the cold war
    • Split screen from the two sides of Germany- Strauss- binary opposition 
    • Genre- Romance, action
    • Similar to Stranger Things as it follows the point of view of young people fighting against an evil.
    • Cold war Spy thriller set in 1983
    • Early action sequence- Barthes proairetic code
    • Iconic 80's signifiers- Ronald Reagan, Frankie goes to Hollywood- Two Tribes song
    • Potentially sexualised narrative with romantic sub plot
    • Action sequences as USP, high production values
    • Surveillance equipment as part of the mise-en-scene encodes spy conventions
    • Spy thriller but also a hybrid coming of age drama- Steve Neale repetition and difference theory.
    • Medium/ high production value drama
    • Moritz Stamm/ Martin Rauch- 2 characters- Moritz (West) Martin (East)
    • Evil Empire- 1983 Ronald Reagan speech
    • Walter Presents- This is the distributor
    • Costs a lot to recreate the 80's- Industry
    • Culturally relevant German export
    • East German Socialist ideology- Seen as aspirational through the character of Martin Rauch but then reverts to stereotype e.g. harsh eastern block representations
    • Using Gauntlett D83 oscillates between diversity and encoding at times a singular, straightforward east/west identity
    • Premiered at the Berlin Film Festival, globally distributed
    • Critical success
    • Commercial success- highest rated subtitled drama in the UK but flopped in Germany
    • East VS West symbolism
    • Sundance TV and RTL TV German/American co-production
    • Sundance are U.S. pay TV channel owned by AMC specialising in non mainstream content
    • RTL largest free-to-air TV channel in Germany
    • Point- D83 had pedigree and backing in terms or production and distribution
    • June 2015 Sundance TV premiere, Germany November 2015, UK January 2016
    • Direct synergy with programme and 1980's soundtrack. Spotify playlist for each episode- marketing to youth audiences also nostalgia as key appeal
    • Todorovian equilibrium
    • Episodic it is open ended- micro narratives connected by narrative arcs.
    • Disruption- Aunt pushes him to join East secret service. Gets job as aide to West German General in charge of nuclear deterrence 

    Deutschland 83 scene by scene

    https://docs.google.com/document/d/1LJ2Sa-c1owXNrTL9-D7yfNkJWTVjx78MspVtXdyurg0/edit

    representation analysis Deutschland 83

    https://docs.google.com/document/d/1XAq2LszxWnkxBz0Mee3wkbL8EzmqOk2lT0Gd2R0mlOE/edit

    • Communism 
    • East Vs West
    • Threat of nuclear war
    • Gender-East women vs West woman and East men vs West men
    • Family relationships
    • Representation of Americans 
    • Young males
    • Classes
    • Women
    • Action war
    • Government

    Deutschland 83 characters

    https://docs.google.com/document/d/e/2PACX-1vQ0hYyTfxPHSg5dATRdMuzk3spin0iJa1jRy73CXcWmDgZZ_t7yG0XQYoNEVLn0O9tOTtWxlloYU4kZ/pub

    Jean Baudrillard