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Example TV Drama context response. Worth a read

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Example TV Drama context response. Worth a read

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Extracts from this document...

Introduction

'With reference to at least four police dramas explain how the genre of police crime drama has changed over time.' Crime drama has always been featured as one of the most popular genres of our society. However over the year's crime drama has been changed and adapted to fit into different times. Many aspects of crime drama have been changed such as camera shots, seriousness of crimes and police language/jargon in order for crime drama to change with the times, become more realistic and retain its former popularity. Throughout time many crime programmes featured on T.V have changed through Media language (Iconography, editing, camerawork and music). The Bill, first created in 1984 featured a lot of Iconography. At the start of the title sequence the camera focuses on a police shield on top of a police hat. This can be seen as one of the obvious symbols of the police. It can be compared to a later title sequence in the late 80's, which featured a close up of a blue light. This can be seen as more symbolic, symbolising the way in which good overcomes evil compared to the way police overcome crime. ...read more.

Middle

Music has also changed. The original title sequence (1984) featured reggae style music and used off beat instruments. This suggested that the programme was based in a multi-cultural area. The music in the late 80's was more upbeat and faster paced, however it featured the same theme tune. The music in the mid 90's was jazzy and sophisticated. Music has become more upbeat due to changes of personalities in society. However the theme tune has remained the same in order for people of different times to identify the programme as a long remaining classic. The storylines of each title sequence have also changed over time. In the original title sequence we do not see the police's face. This indicates that the main emphasis of the programme is on the job of the police rather than their characters. The slow moving music and camera shots convey the sense that the programme does not feature dangerous crimes but simple crimes such as theft or burglary. However the late 80's title sequence shows clips of the police in action. ...read more.

Conclusion

This proves it is an important asset to ITV. Over the years police drama has become very popular. To some people this is because crime drama features tension and suspense, a way in which people can experience danger without getting involved themselves. To others crime drama is popular as it is realistic, as crime is something that happens in every society and in all social classes, a genre that affects everyone. For other people crime drama is simply reassuring, a genre in which good always overcomes evil and where you feel that society is under the right protection. Police drama has good as well as bad points. Crime drama is popular as the seamy side of life fascinates people and allows them to identify with that side of their character. However crime drama also makes us believe that crime is a regular thing that we should not be shocked by. Crime drama always features the police overcoming crime. In this way police are always represented as positive contributors to the running of society whether in 1952 or 2004. Police drama will always feature a crime that is the most horrific in their time and this is one-way crime drama will adapt in the future. By Sonam Raja 10:16 ...read more.

This student written piece of work is one of many that can be found in our AS and A Level Crime & Deviance section.

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With reference to at least four police dramas explain how the genre of police crime drama has changed over time - A-Level Sociology - Marked by Teachers.com

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Extracts from this document... Introduction 'With reference to at least four police dramas explain how the genre of police crime drama has changed over time.' Crime drama has always been featured as one of the most popular genres of our society. However over the year's crime drama has been changed and adapted to fit into different times.

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Please read this for context question on Paper 2

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WHEN your big brother is a bit special, you have to do something out of the ordinary to keep up - that is how we got The Sweeney.
Ian Kennedy Martin, the man who wrote the groundbreaking TV series, was younger sibling of Troy Kennedy Martin.

Troy, born in Rothesay, Scotland, was the man who gave us cinematic favourites The Italian Job and Kelly's Heroes, along with such small-screen delights as Z-Cars.

Clearly, when Ian began making Redcap, a 1964 TV series starring a fresh-faced young John Thaw as a military police special investigations officer, he had a lot to live up to.

It's fair to say that when he realised how good the 22-year-old Thaw was and created The Sweeney around him, he was on to a winner to rival anything Troy did.

The Sweeney first hit our screens almost a decade after Redcap's end, but it was just the job for a mass British audience.

It would last four series and over 50 episodes, with well over a quarter-of-a-million quid spent on each episode.

For that kind of dosh, we got car chases, shoot-outs, hard-drinking coppers taking no nonsense from gangsters or demanding girlfriends, and it really would have the PC brigade up in arms for so many reasons today.

Even back then, though, it was shocking, for its scenes of violence, bad language and deliberate lack of glamour.

When thugs wearing tights over their heads leapt out of vans, or vans of equally terrifying Flying Squad - "Sweeney Todd" - officers did likewise, you could almost smell the fear and aggression.

Thaw, of course, was Detective Inspector Jack Regan, and Dennis Waterman his sidekick Detective Sergeant George Carter.

From the start of 1975 to the end of 1978 - its original release dates - it had us glued to our screens every week, and many of us tended to view the police in a very different light.

Thames Television, who brought us it, had hit a rich seam, and it made the old favourites like Dixon Of Dock Green seem cosy and friendly in comparison.

This was all booze and sweat, knuckledusters and truncheons, a world where the hardmen got sorted out by equally fearsome goodies, and The Sweeney surely put several thousand young viewers off a potential life of crime.

It just looked too scary if these coppers caught you.

This month, the two feature films spawned by the TV hit are being released on high definition Blu-ray and DVD, and Sweeney and Sweeney 2 will be manna from heaven for fans of the show.

For a younger generation, they will be a mind-blowing first taste of what was an astonishing TV hit in its Seventies heyday.

Sweeney, which came out in 1977, featured our hardbitten anti-heroes getting caught up in a political plot, a suspicious death at its heart.

The follow-up, Sweeney 2, saw Denholm Elliott co-star, in a tale of bank robbers creating mayhem around the streets of London.

The reason that even real cops were intrigued by The Sweeney was because it's a warts 'n' all depiction - Regan and Carter are real, make mistakes, bend the rules, behave in a very naughty fashion every chance they get.

When they go head-to-head with the brutal ganglords who try to rule London, they behave in a likewise manner, and such old-fashioned ideas as "You don't kick a man when he's down" never come into it.

Real police officers loved the realism of it all, and it was actually created during what was a bad spell for the real Flying Squad.

Drawn into legal battles and newspaper stories of bribery, corruption and accusations that they were too close to the criminals they were supposed to hate, it wasn't a good time to be a member of the Flying Squad.

So The Sweeney was timely, too, and you can bet plenty of hardened criminals revelled in every minute of it as well.

The wonderful Garfield Morgan played Regan and Carter's boss, a thankless task, and he was perfect as Detective Chief Inspector Frank Haskins.

Shot around Notting Hill, Fulham, Hammersmith, Acton and Shepherd's Bush, you can only imagine the sheer terror of turning a corner during filming and finding one of The Sweeney's gruesome fight scenes taking place before your eyes.

They made nine books based around it, too, and Ray Winstone was star of the 2012 film version, while there has been everything from comic strips to mentions in songs by Squeeze and Kate Bush.

Spoof TV adverts, too, have featured pretend Regans and Carters, but of course nothing rivals the real thing.

John Thaw, sadly, died at just 60 in 2002. Dennis Waterman is 70 now, and most recently has been known for New Tricks, where he played Gerry "Last Man" Standing.

The Flying Squad wouldn't have thanked Regan and Carter for their portrayal of surveillance officers using supposed British Telecom tents, there to cover manholes but actually for the cops to observe any suspects.

This was a real Scotland Yard technique, which they had to stop using after Regan and Carter showed it on telly!

Even Robert de Niro and Al Pacino would have thought twice about taking on this pair, and The Sweeney really did cause a revolution in TV cop shows.

You can buy Sweeney and Sweeney 2, £17.99 for the Blu-ray, £12.99 for DVD, on Amazon.

They are released on Network's The British Film label.

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How big budget The Sweeney kept viewers glued to the screen in the 1970s - Sunday Post

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WHEN your big brother is a bit special, you have to do something out of the ordinary to keep up - that is how we got The Sweeney. Ian Kennedy Martin, the man who wrote the groundbreaking TV series, was younger sibling of Troy Kennedy Martin.

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, Teacher of Media and English at QE School

Published on

Luther, Crime Drama, BBC, Industry and Audience, WJEC, MS4, Section B

1. 1. Series 3 Episode 1

2. 2. Production Creator: Neil Cross (Spooks & Doctor Who) Production Company: BBC (and BBC America Series 3 & 4) Producer: Kate Swinden Director: Sam Miller Distributed by BBC Worldwide 4 Episodes per series

3. 3. BBC One * Tuesday 2nd July 3013 - 23rd July 2013 * Aired at 9pm - Watershed * PSB requirement * Regulated by OFCOM * Also available on iPlayer for 3 weeks after broadcast

4. 4. Production * Creator Neil Cross has said that Luther is influenced by both Sherlock Holmes and Columbo; the nature of Luther's intellect and its application to solving crimes is comparable to Holmes', whereas the show's use of the inverted detective format was inspired by Columbo

5. 5. Budget (medium range) Although the budget per episode is unknown - we can make comparisons to other successful drams: * The BBC delivers more drama with less money than Netflix: * For the value of 2 series (22 hours) of House of Cards, British audiences got 14 series and nearly 80 hours of drama; from Luther to Crimson Field, from Call the Midwife to The Fall, from Sherlock to Burton and Taylor.

6. 6. Budget (comparison)

7. 7. Distribution * For the BBC One detective show Luther, the marketing team used social media to promote the lead character, who happened to be black, to ethnic minority audiences as well as the overall British population. * The marketers worked with the programme makers to create some extra show content that they could put out on Facebook, while Idris Alba - the actor who played Luther and who had previously starred in hit US show The Wire - promoted the show himself through Twitter. * https://www.marketingweek.com/2012/06/27/branding- the-bbc/

8. 8. Fragmentation * Justin Bairamian, director of creative marketing at the BBC, says: "Audiences are consuming us in a more fragmented way than in previous generations. We have to help them join the dots and show them the full breadth of what we have on offer." * This fragmentation of consumption has been a driving force behind how the BBC has structured its content promotion and the marketing teams themselves. With access to the BBC available through television, radio, websites or online catch-up service iPlayer, Bairamian says the BBC's creative marketing teams now work across the organisation rather than by channel or division.

9. 9. The Independent online news Sherlock and Luther lead British TV invasion of Sub-Saharan Africa The region has become one of the fastest growing buyers of UK-produced television programmes Industry - Distribution ABOUT US BBC Worldwide is the main commercial arm and a wholly owned subsidiary of the British Broadcasting Corporation (BBC). The business exists to support the BBC public service mission and to maximise profits on its behalf. We do this through investing in, commercialising and showcasing content from the BBC around the world, in a way that is consistent with BBC standards and values. We also build the reach and reputation of the BBC brand overseas and champion British creativity. "British crime drama is hugely popular around the world and accounts for over 40% of our drama revenue. Showcase is the perfect opportunity to celebrate the range and quality of our crime slate in the company of some of the world's most watched heroes and villains." Paul Dempsey, President Global Markets, BBC Worldwide

10. 10. Traditional * Official Trailer: https://www.youtube.com/watch?v=_5yY7MOUKIs

11. 11. Industry - Marketing & Promotion BBC Branding Branding the BBC Senior executives from the Marketing Week Engage Awards 2012 Brand of the Year talk to Ruth Mortimer about how the BBC overcame huge budget cuts by restructuring its entire marketing operation and focusing on the masterbrand and cross-promotion While Normoyle acknowledges that creating material such as trailers or posters for its content is a marketer's "bread and butter", she is keen to move away from BBC marketers being seen as the ad people towards a more business-focused approach. As well as working across multiple parts of the BBC, the marketing teams are also using a wider range of media to promote it than ever before. In addition to the BBC's own TV channels, radio stations and websites, it now regularly uses social media to draw in audiences. Jess Finning, brand marketing manager for BBC One and drama, explains: "It's important to get audiences to continue the conversation in their own forums."

12. 12. For the BBC One detective show Luther, the marketing team used social media to promote the lead character, who happened to be black, to ethnic minority audiences as well as the overall British population. The marketers worked with the programme makers to create some extra show content that they could put out on Facebook, while Idris Alba - the actor who played Luther and who had previously starred in hit US show The Wire - promoted the show himself through Twitter. Normoyle believes that the social media activity was responsible for encouraging a "way above average" ethnic minority audience to watch the show. How and why are the BBC using this strategy?

13. 13. The big story about marketing at the BBC has been how we have focused; we don't stand for absolutely everything," says BBC director-general Mark Thompson. "The need to make savings really concentrates your mind. It has helped us concentrate on what matters most and then marketing that to the public." Back in 2010, it was decided that the corporation's sole source of funding - the licence fee - would be frozen until 2017, resulting in 20% spending cuts across the organisation, with the marketing department asked to save 25%. While many brands would have struggled to deal with such financial restrictions, the BBC has restructured its entire marketing operations over the last 18 months to be more efficient with less cost. Rather than simply promoting individual TV and radio programmes, channels and websites, it has pulled together its marketing output into packages with overarching messages about the core principles that drive the BBC. Departing director of marketing and audiences Helen Normoyle, who has overseen the BBC's marketing over the last 18 months, explains the thinking behind the new strategy. She says: "A lot of our marketing will always be promoting individual programmes, so we can ensure people know about all the services they can get from the BBC and where to find them.

14. 14. DCI Crime Board Series 3 Trailer BBC Media Pack BBC Online fan resources

15. 15. Released in August 2011 (after Series 2) Sue Turnbull of The Age describes the book as providing "some clever but uncomfortable reading". She concludes by comparing the novel to the television series stating "What this book offers is bleaker, more confronting and, well, terrifying. Be prepared". Rob Farquhar of the Carins Post commended Neil Cross on the creation of DCI John Luther describing Luther as a man "possessed of brilliance and by an animal ferocity that he keeps from all but the monsters he seeks out". He concluded by stating fans of the "TV series will love this". In 2012, Luther: The Calling won the Ngaio Marsh Award for Best Crime Novel

16. 16. Digital media * Teaser snippet - released on 23rd June: https://www.youtube.com/watch?v=kZK8VLZz t4c * Interactive Trailer: http://creative.wirewax.com/luther.php

17. 17. Digital media

18. 18. Series 2 & 3 Graphic Novel

19. 19. bbc.co.uk/ luther

20. 20. @bbcluther

21. 21. OST Paul Englishby composed Luther's soundtrack. He incorporated many pop and rock songs into the soundtrack, using these generally in the end credits. A CD titled Luther - Songs and Score From Series 1, 2 and 3 was released on 19 August 2013 and contains many of the themes and songs used in the television series

22. 22. Released: 29 July 2013

23. 23. Fan Made (Prosumers)

24. 25. IdrisElba-StarImage -Film

25. 26. TV Credits

26. 27. RuthWilson

27. 28. Series Broadcast dates

28. 29. Viewing figures (live not including iPlayer or streamed views) * Series 1: Episode 1: 6.35 million * Series 2: Episode 1: 6.49 million * Series 3: Episode 1: 6.43 million * Series 4: Episode 1: 6.71 million (Source: BARB.co.uk)

29. 30. BBC America 3rd September 2013 10/9c Due to BBC America involving themselves in the production of Luther, BBC America aired all four episodes of series three on consecutive nights, as if the show was a miniseries. This raised the profile massively in the States with Fox claiming the rights to make a 'remake'.

30. 31. BBC America (Anglophenia) * Oooh, we're getting closer. (BBC1) Luther returns to BBC America as a four-night mini series, September 3-6, 2013 at 10pm Eastern. Idris Elba (Pacific Rim, Thor) returns to the title role, as DCI John Luther, which won him a 2012 Golden Globe for "Best Actor".

31. 32. Fox Remake * Although Neil Cross was happy to write the re- write screenplays, Idris Elba was came on board but only as an exectutive producer. * This meant Fox had to find a replacement. They couldn't. It was announced on 6th March that the remake was to be 'shelved'.

32. 33. Film * After Series 3 aired, Idris Elba and others involved in the production claimed there would be a feature length film version of the Crime Drama. This has yet to be made, yet Idris Elba

33. 34. Intended Productions * In 2011, Idris Elba expressed his enthusiasm for making a film adaptation of the show, saying, "That's where the ultimate Luther story will unfold, is in the big silver screen - London as a huge backdrop and a very menacing, horrible character to play against." * During a BBC Radio 4 interview in March 2012, co- creator Neil Cross revealed that plans were being made for a Luther film that would begin production at the conclusion of the third series, the show's last. * In May 2012, Elba stated in an interview that the third series would serve as the lead-in for the planned film. * Neil Cross previously had confirmed there would not be a fourth series but did not rule out the possibility of a feature film.

34. 35. BBC News: 22nd March * BBC Drama Luther 'to move from TV to film' * The BBC psychological crime show Luther been named best drama series at the Royal Television Society awards. * Now its writer, Neil Cross, is hoping success on the small screen will be repeated by a novel based on murder detective John Luther's exploits, named The Calling. * Speaking to Radio 4's Front Row, he explained how he had came up with the name for the character, played by Idris Elba. * Mr Cross also revealed that the TV series will be wrapped up but will then probably "make the leap to the big screen".

35. 36. Spin off - series * In September 2012, Cross announced that he was in the process of creating a spin-off of Luther centred around the character Alice Morgan, starring Ruth Wilson. Cross stated, "The BBC is very interested in the project. The only real question would be how many and how often we would do it - whether it would be a one-off miniseries or a returning miniseries, a co-production or not."

36. 37. Global Appeal * The first series of the show premiered in Australia on ABC1 on 15 October 2010 and in the United States on BBC America two days later. * It was also broadcast in Germany (Series 1: September/October 2011; Series 2: March 2012) where it was dubbed and cut, in France on Canal+ and in Poland on Ale Kino+ channel. * The second series debuted in the United States on BBC America on 29 September 2011 and Australia on ABC1 on 24 February 2012. The third series ran in the United States on BBC America on four consecutive nights beginning 3 September 2013. * The show is available on Netflix in Argentina, Australia, Austria, Belgium, Brazil, Canada, Chile, Colombia, Denmark, Estonia, Finland, France, Germany, Greece, Iceland, India, Ireland, Israel, Italy, Luxembourg, Mexico, the Netherlands, New Zealand, Norway, Poland, Portugal, South Africa, Spain, Sweden, Switzerland, the UK, and the USA.

37. 38. US Viewing figures * Idris Elba returned as Detective Inspector John Luther to BBC America on Tuesday and drew 206,000 viewers. * That's up from the 168,000 that Luther's Season 2 debut pulled in on September 28, 2011, * The best Tuesday drama debut in the cable network's 15-year history, the Season 3 U.S. premiere of the show was also just slightly ahead of the 205,000 viewers that Season 2 of Luther pulled in when Live+7 was added. * This week's debut received 90,000 viewers among the adults 25-54 demo. * These numbers are all well below what the Emmy-nominated series garnered in the UK. http://deadline.com/2013/09/bbc-americas-luther-season-3- premiere-up-from-season-2-debut-577795/

38. 39. Critical Acclaim

39. 40. Think of as many different audience groups as you can who might enjoy Luther Apply audience concepts: * Primary/secondary * Demographics * Socio-economics * Uses and Gratifications etc * Preferred, negotiated and oppositional readings What aspects or elements of the series might be appealing to each audience group you identify?

40. 41. Audience debate: NEWSWEEK OPINION: * WHY TV SHOWS LIKE 'GAME OF THRONES' AND 'LUTHER' NORMALIZE VIOLENCE AGAINST WOMEN * http://www.newsweek.com/game-thrones- luther-fall-violence-women-female- representation-female-513408

41. 42. Regulation * PSB * OFCOM * DVD - rated by BBFC as a 15 Certificate 'Contains strong violence and grisly images'

42. 43. Regulation * Remember that the BBC is a PSB (Public Service Broadcaster). * Consider the importance of Luther being broadcast on the BBC at 9pm. * Consider PSB requirements and regulatory body OFCOM (Office of Communications)

43. 44. Industry - Regulation The 9pm Watershed in television * In the UK, the BBC has a well-established policy of making 9pm the pivotal point of the evening's television, a Watershed before which, except in exceptional circumstances, all programmes on our domestic channels should be suitable for a general audience including children. * The Watershed reminds broadcasters that particular care should be taken over inclusion of explicit scenes of sex and violence, and the use of strong language. * Particular care should also be taken in the period immediately after the Watershed. * There should be a gradual transition towards more adult material and sudden changes in tone should be avoided but, where unavoidable, they must be clearly signposted. Adult material should never be positioned close to the Watershed simply to attract audiences in a sensationalist way. * Material which is particularly adult in tone should be scheduled at an appropriate time, where necessary sometime after the Watershed. The post Watershed period runs from 2100 until 05:30 the following morning.

44. 45. Eight of the finest reasons why Volvo-driving, moody b****** Luther helps make BBC favourite TV's slickest crime drama Third and final series of cop thriller begins tonight - and this is why you should be watching The Daily Mirror review Luther recap: series three, episode one With both a particularly twisted murderer to catch and a colleague who will stop at nothing to destroy his career, the brooding detective had plenty to get his teeth into The Guardian review Huffington Post review 'Luther' Series 3 Episode 1 Review: Unbearable Tension, And That's Just Idris Elba And Warren Brown... Audience responses IMDB Luther User reviews List some positive and the negative statements from each review

45. 46. Audience/Users Targeting - consider how media industries target audiences through stereotyping, scheduling and profiling (200 words). How is social media and internet tagging becoming an important part of targeting (200 words)? Responses - How do your texts use the internet to involve their audience e.g. interactivity, phone-ins, Twitter, etc.? (200 words) Apply Uses and Gratifications Theory to your text - what will your texts provide for viewers? (250-300 words) Consider how gender plays a part in audience responses. (200- 250 words)

46. 47. Positioning - how does your text position its audience? Is there always agreement? Stuart Hall's Reception Theory is vital here. Write 50-75 words on how your text positions its audience. Debates - You need to be aware of current media debates : freedom of choice vs. censorship; moral panics; two-step flow theory, as opposed to the hypodermic syringe theory; the new wave of Feminism and the relevance of the Male Gaze; political bias, propaganda; recent events involving spying and the internet. Write 50 words explaining each one. Can you identify any more?

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Luther - MS4 WJEC Media Case Study- Industry and Audience

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Teacher of Media and English at QE School Published on Luther, Crime Drama, BBC, Industry and Audience, WJEC, MS4, Section B 1. Series 3 Episode 1 2. Production Creator: Neil Cross (Spooks & Doctor Who) Production Company: BBC (and BBC America Series 3 & 4) Producer: Kate Swinden Director: Sam Miller Distributed by BBC Worldwide 4 Episodes per series 3.

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GCSE Media Studies Component 2 walkthrough (exemplar exam paper)

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Daily Motion link

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the sweeney season 1 episode 1 ringer - Bing video

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The Ringer Full Movie 2005 Ringer Season 2 1 Food Hospital Season 1 Episode Ringer Season 1 Episode 23 Ringer Season 1 Episode 7 Ringer Season 1 Episode 12 Ringer Season 1 Episode 4 Ringer Season 1 Episode 17 Ringer Season 1 Episode 3 Ringer TV Show Full Episodes Free Spider-Man the Animated Series Season 1 Episode 1 Ringer Season 1 Pilot

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Clips and activities

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Codes and Conventions of the TV crime drama

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Codes and Conventions of the TV crime drama

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Nice little video on Steve Neale's genre theory explained

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Nice little video on Steve Neale's genre theory explained

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Media Studies - Steve Neale's Genre Theory - Simple Guide for Students & Teachers

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Recap on what we are doing here

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Component 2 Section A overview: TV crime drama

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Use insight in how OFCOM respond to viewer complaints

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A weekly report of complaints assessed under the Broadcasting Code.

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Use for TV crime drama and Spectre

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Exam question walk through

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GCSE Media Studies Component 2 walkthrough (exemplar exam paper 2)

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Useful, in depth analysis of Luther to help deepen your knowledge of the whole series

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Luther is produced by the BBC. Here how the BBC get their funding

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BBC - BBC - Inside the BBC - The Licence Fee - Inside the BBC

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This is the episode which will be in your exam

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Watch Luther Season 1 - Episode 1 by Gabriel Babatunde on Dailymotion here