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8/20/2019 Bfi Media Conference 2013 Tv Drama Stories Audiences
http://slidepdf.com/reader/full/bfi-media-conference-2013-tv-drama-stories-audiences 1/19
8/20/2019 Bfi Media Conference 2013 Tv Drama Stories Audiences
http://slidepdf.com/reader/full/bfi-media-conference-2013-tv-drama-stories-audiences 2/19
Television Drama
Genre codes and conventions
Audience pleasures and responses
8/20/2019 Bfi Media Conference 2013 Tv Drama Stories Audiences
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Television drama is one of the longest running
and most popular of television genres, mainly
because it cuts across a range of differenthybrid and sub-genres including soaps,costume dramas and hospital dramas. Thedefining features of the genre are:
CHARACTERS SETTING NARRATIVE.
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Television dramas are the fictional recreation ofreal life stories. The best television dramasengage the audience because we believe in
the characters and the worlds they create,even if those worlds and characters areseemingly unbelievable, for example, Dr Who.
8/20/2019 Bfi Media Conference 2013 Tv Drama Stories Audiences
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Costume drama
Science fiction/fantasy
Hospital Teen
Soap opera
Action/adventure
comedy
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•Narrative within media texts is a specialist term andrefers to the sequence of events that is re-mediated into a story.
•The way in which the narrative is constructedencourages different responses from differentaudiences.
•According to the genre an audience will haveexpectations of the narrative.
•Audiences recognise the genre conventions andmake assumptions.
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Narrative techniques in
audio visual texts
The way in which narratives are constructed are oftencomplex and challenging. Audiences have to workhard to make sense of the story.
Manipulation of time and space
Split screen narratives
Three strand narratives
Flexi-narratives
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Narrative in Television Drama
How is the narrative ‘shown’ to theaudience?
Technical codes Audio codes – dialogue, non diegetic
music, sound effects, voice over
charcter Editing
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Narrative conventions in
audio visual texts
Flashbacks – these manipulateaudience feelings. Consider how an
audience may view the narrativedifferently if they did not have access toa back story e.g. Brodie’s warexperiences in Homeland.
Point of view shots – similarly manipulatethe audience perceptions and emotionsand create empathetic responses.
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Narrative conventions in audio
visual texts
Audiences are positioned within the narrativeto enhance audience pleasure:
•
Apparently impossible positions•Privileged spectator position
•Enigma codes
•Action codes
•Dialogue/ voice over
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This is more complex because of the range of sub-genres:
Characters:
Use of stereotypical characters to transmitmessages quickly.
Characters related to specific genres – expectations of behaviour.
Recognisable but also exceptional
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Technical codes
•Specific to sub-genre : Realistic lighting and editing of socialdramas e.g. Skins
•Editing techniques
•Shots and angles
Audio codes:
•Voice over – 1st person narrative from pov of character can
manipulate the audience.•Music – highlights narrative tension, mood etc
•Sound effects
•dialogue
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Setting and iconography:
Recognisable settings related to the genre
Iconography specific to the genre
Narrative formula –
• Casualty (three strand), Homeland (flexi-narrative).
• Restricted narrative
•
Format linked to production values – one-off, shortseries have high production values e.g. Downton
Abbey
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•Expectations of narrative and genre conventions
•Changing viewing habits effecting engagement e.g. Boxedsets, catch up etc.
•Literal responses, blogs, forums etc
•Theoretical:
•
Uses and gratifications. What pleasures do audiences get fromtelevision drama?
•Hall – preffered, negotiated, oppositional
•Factors effecting response.
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DR WHO AND
THE BBC1963-2012
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The audience is loyaland passionate:
‘Most kids care moreabout the Doctorthan God, and he
shouldn't die just forthe sake of a clever
plot.’
Uses andgratification:
Escapism – everyweek we are taken
to new worldsSocial interaction – everyone is talking
about it!
Pleasures and
expectations:
Some audiences will take
pleasure out of being scared
and being able to predict
outcomes.
Plays on fear of the
unknown
Interactivity:
The websiteincludes quizzes and
gamesDr Who free partypacks to celebrate
the series 6 DVDlaunch
Target audience is broad:Older viewers
WhoviansYoung children new to
the programme
familiesThose who have
expectations of qualityfrom BBC
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SPIN OFFS:Torchwood
The Sarah Jane
Adventures
Dr Who
Confidential
New series 2010 stats:•Opener was watched by 10.1 million
viewers live or within 7 days.•1.4 million watched repeats the
following week•2.24m requests to watch on iPlayer
April – end of 2010 making it the mostpopular video-on-demand
programme
280,000 DVDs andBlu-rays of the newseries were sold in
2010 along with220,000 tickets to aDr Who Live show.
Scheduling:Dr Who is part of the
BBC’s aim to reintroduceearly Saturday evening
family viewing and‘event television’. Other
programmes include
Strictly and Merlin
New writerStephen
Moffat has alsowritten
Sherlock forthe BBC
Public Service
Broadcasting:Part of the BBC’s remitis to produce
programmes with highproduction values for a
broad audience
MARKETING•Trailers
•Website•Games
•Live events
•comic