Section 1A

DIGITAL TECHNOLOGY

-          Basic Sony DV film cameras (AS)

-          SONY HD 1000p (A2)

-          Premiere PRO (AS)

-          Final Cut PRO (A2)

-          Dafont.com for fonts (AS) ALREADY EXISTING FONTS WITH CREATIVE STYLES

-          Adobe Photoshop (A2)

-          Blogger and YouTube (AS)

-          Blogger, WIX and Social Networking (Facebook and Twitter)

CREATIVITY

Do you think you were creative (in terms of discussion on ppt) or not throughout your coursework?• Did the technology enhance your creativity or not?• What ideas did you communicate and what stylistic techniques did you use? How did it relate to your interests/vision of identity?• Was your product influenced by your social environmental?• Was this original or did you add something extra to an original media text?•Would you take any creative skills into future projects or have you been influenced to engage these skills in any other projects?

RESEARCH AND PLANNING

-         Existing websites research

-         Video analysis (Goodwin)

-         Mr Brightside (practice with green screen, multiclips)

-         Audience research (existing artists profiles (fb twitter youtube) to creating our own for our artist to be.

-         Meetings on regular basis

-         Location ideas

-         Location recee, call sheet

-         Our song Lyrics timecode and anylsis

-         Digipack research and planning

-         Image and costume

-         Marketing strategy

-         Moodboard for hyperreality ideas

USING CONVENTIONS OF REAL MEDIA

-         Editing pace (number of shots, length of shots)

-         Use of logos, intertitles

-         Locations

-         Lighting

-         Character types

-         Costume

-         Use of sound

POST-PRODUCTION

-         Prelim task (prem pro for sound diegetic sound intro to timeline, basic transitions, no filters relied on natural lighting (thriller))

-         Final cut pro (lip syncing, filters, lighting etc)

-         Picnic (AS) Adobe photoshop (A2) digipak

-         Motion (intro banner)

NARRATIVE essay

The production I produced in relation to a Narrative was the ‘Thriller’ opening as I was able to make use of linear structure, where the events in the film would be told in a chronological order of beginning, middle and 

end.

The storyline and concept of the Thriller, involved a male character who had the ‘villain’ character role as he kidnaps a female who the audience believe to be as the ‘victim’ who later on comes out as the ‘hero’. The villain character in this film struggles against the hero because he believes that the other character has something of his that would ruin him. Propp does suggest that when an audience reads a media text it deploys its knowledge of character types in order to decode the meaning of text. Similarly to a connotation or stereotype, for example, the villain in my Thriller was dressed in all black and the particular camera shot used (extreme close up, it night vision) helped to construct this connotation.

Where I had used a linear structure I made use of Todorov’s concept of ‘Equilibrium’ (norm state at the beginning) where the innocent ‘victim’ character was walking home. This was followed on by ‘Dis-equilibrium’ where conflict was introduced by the mysterious phone calls, the female being followed home, then the she is taken. This then results in ‘New Equilibrium’ (the resolution) where the conflict is then resolved and the narrative strands are tied together. This would be evident in my Thriller at the end of the film, where villain is captured.

In order to create enigma, that Barthes identifies as one of the five narrative codes in which the audience use to decode texts, I made use of Narrative style of ‘objective point of view’ where the viewer is treated as the observer who watches from omniscient vantage points for example keeping the camera still whilst the subject moves towards or away from it. I used this when the female character was being followed home, where I took many shots of the female actor walking away from the camera towards an alley way and then her walking towards the camera nearer to the house. 

Similarly I made use of ‘Invisible editing’ which is used in Hollywood, where I created shots that supported the narrative rather than dominating the narrative enabling the storyline and characters being the main focal point. Through doing this I was able to achieve the technique which gives the impression that the edits are always motivated by the events in ‘reality’ that the camera is recording rather than the result of a desire to tell a story, for example the long takes where the female was walking from stairs down towards the door where she was taken.

Further on I did also make use of mis-en-scene in order to convey understanding and relationship in single shots as this helped a lot with creating enigma. Also when doing this, I found the composition is important as this shows importance of the object and character depending on whether the object is shot from a high or low angle and how much screen time it has.

Even though, Barthes identified the use of narrative codes, Levi-Strauss (structuralist) argued that the narrative structures have binary opposites (the symbolic) for example, good vs evil which is evident in my thriller piece with the conflict between the two different types of characters of being the good (victim/hero) to the bad (villain), also these characters where female vs male.

To conclude, I believe that I successfully met the important aspects that create a strong narrative relating specifically to the genre of a ‘Thriller’ mainly because I was able to connect my ideas well to the theorists I have mentioned.

Representation NOTES

REPRESENTATION: (MUSIC VIDEO)

*Identify characters, issues, themes from your production…

*What representational concepts are highlighted? (race, age, gender etc)

*Discuss specific elements of character representation (facial expression, mode of address, costume etc

*Does the representation challenge or conform with stereotypes/expectations

Media producers have no choice but to be selective in their choice of material, however naturalistic their approach
so….
texts will always represent individuals, groups and issues, whatever the intentions of the producer.

What is being visually represented in a music video?
-A form of hyper-reality?
-The lyrics of the song?
-The music?
-The artist?
-A theme within the narrative?
-A movement – feminism?

Stereotypes - why have they proved popular/identify with:
—With audiences?
—With institutions (marketing and creative)?

David Gauntlett - constructing identity : Audiences and representation, Gauntlett says that we reconfirm or challenge our identity through watching media texts.

Laura Mulvey - the male gaze
One theory in media studies is the idea of the ‘male gaze’. This explores the idea that the camera ‘sees’ images through male eyes.

Postmodernism: Hyper-Reality - Baudrillard
—Representation of reality or simulacra

Stuart Hall - encoding and decoding texts
—Particular representations become established through repetition in the media e.g. villain characters / antagonists
-they develop a ‘common sense’ status through their ‘per formative nature’
-Hall focuses on issues of race and culture but his theory can be applied to any representation.

How to construct your answer:

Introduction: Definition. Which product will you use to discuss? What is being represented within your music video? A form of reality? The lyrics of the song? The music? The artist? A theme within the narrative? A movement – feminism?

Paragraph 1: Stereotypes
What stereotypes have you represented? How have you done this (tie in with media language) What are the risks/benefits for audiences/institutions? Are there any stereotypes that are under represented/ misrepresented?
Gauntlett’s theory of reconfirming or challenging our identity through watching media texts. Using texts as toolbox. How does this relate your own work?

Paragraph 2: Ideology
How does your coursework re-enforce or challenge stereotypes, are they hegemonic representations? 

Paragraph 3: Stuart Hall - Preferred Readings and encoding/decoding texts
How might different audience ‘readings’ of texts affect how the representation of the text is formed. Stuart Hall’s theory of representations becoming established through ‘repetition’ and a ‘common sense status’ through the ‘performative nature’ of texts (we know what a car chase feels like because we have seen in within a media text).

Paragraph 4: Gender representation
Judith Butler Gender as a performance – masculine or feminine?
Laura Mulvey The Male Gaze

Post Feminist

Paragraph 5: Postmodernism
Baudrillard Hyper-reality & simulacra, how can we apply this to your music videos, how are they focusing on media constructions of representations, to what extent have you used intertextuality to represent reality?

Conclusion
How have you made use of the issue of representation in your text? What are the advantages of representation within a media text for audiences? What limitations are there?

Narrative NOTES

NARRATIVE: (THRILLER)

Story= events in the order of their occurrence.

Plot= order in which they are told to the audience.

Linear narrative= where the story has a start, middle and end (in that order).

Non-linear narrative= this is where the narrative is not in chronological order e.g. flashbacks.

Open narrative= no resolution at the end and events are left open for the plot to continue.

Closed narrative= at the end of the narrative events have been explained and resolution has been achieved e.g. the killer has been caught= case has been solved.

O’Sullivan:

Barthes: Enigma code, semantic, cultural and symbolic codes.

Todorov- Equilibrium(norm state at the beginning of the text). Any opposing forces are in balance), Dis-equilibrium (an action or conflict introduced into the narrative) and New Equalibrium (Resolution) (the conflict is resolved and the narrative strands are tied together).

Levi-Strauss: Binary opposites= Good vs Bad, Man vs Woman.

Propp: There are a limited number of character roles within a narrative (in my case The Villain (struggles against the hero (will be found out later on in sequence), Victim/Hero (reacts to the donor). When an audience reads a media text it deploys its knowledge of these character types in order to decode the meaning of the text. Connotation?

Narrative style: objective treatment- ‘objective point of view’ involves treating the viewer as an observer (Watching from omniscient vantage points). Keeping the camera still whilst the subject moves towards or away from it is an objective camera effect.

- ‘Invisible editing’, used in Hollywood. Cuts are intended to be unobtrusive except for special dramatic shots. Supports narrative rather than dominating it (the story and characters being the main attention). This technique gives the impression that the edits are always motivated by the events in the ‘reality’ that the cam is recording in rather than the result of a desire to tell a story. Includes: long takes, changes of shot through camera movement, motivated cuts!!!

Misenscene: meaning is conveyed through the relationship of things visible within a sing shot. Composition is important!!!!

*What is the narrative structure of the product?

*Does the trailer follow a linear narrative?

*Does the production adhere to or subvert narrative conventions?

*How does the narrative support the establishment of genre?

*How have narrative techniques been used to appeal to the audience?

*Does the trailer have a clear narrative (in other words, are the audience able to understand what is happening)

*Is there a narrative thread?

*Is there any suggestion of resolution in the trailer or, instead, do we have elements of the beginning/middle of the film, but not its end?

*How does the narrative of the trailer mirror or follow the film’s narrative?

*How did you make use of narrative theory in desigining your trailer? OR How can your trailer be interpreted using narrative theory? Propp / Todorov/ Levi-Strauss etc

*What response from the audience was I anticipating and what has the actual response been. In other words, what did I hope my audience wouldunderstand and what did they in fact understand.

Make use of the following terms:

multi-strand narrative: telling a story from more than one person’s point of view. or two stories of two different people that intertwine

restricted narrative: narrative from only one character in the story. Audience has limited access to narrative events as only sees them as this character does. The opposite of this is a non-restricted narrative.

linear narrative: where the story is told chronologically with a beginning, middle and end. The oppoisite of this is a non-linear narrative.

Genre NOTES

GENRE: (THRILLER or MUSIC VID??????)

*To what genre does my trailer belong?
Hard to define the exact genre of my music video..

*To what extent is your film/trailer a hybrid of different genres?
Where the music video has a mixture of genre types such as ambient, dubstep and electro.

*What are the genre conventions that you have tried to follow? RESEARCH

*How successful have you been in following these conventions? AUDIENCE RESEARCH

- Music

- Text (language and font style)

- Camera /style (mise-en-scene)

- tone (sound & voiceover)

- pace/editing

*Have you challenged conventions and expectations in any way? If so, how/why?

*How significant is genre across your whole marketing strategy

ESSAY FRAMEWORK:

Introduction: (What production am I talking about?)

Main body: 150 words- 4-5 theorists per paragraph with examples!

P2: Neale (1995)- ‘genres are not systems they are processes’ – they are dynamic and evolve over time. Here talk about how genres/subgenres have become more varied and less distinguishable.

‘It is difficult to make clearcut distinctions between one genre and another: genres overlap, and there are 'mixed genres' (such as comedy-thrillers). Specific genres tend to be easy to recognize intuitively but difficult (if not impossible) to define. Particular features which are characteristic of a genre are not normally unique to it; it is their relative prominence, combination and functions which are distinctive’.

P3: However, Chandler says that subgenres are divided up into more specific categories that allow audiences to identify them specifically by their familiar and what become recognisable characteristics. – This is true to some extent however, in the music video I created it was very difficult to distinguish the specific genre of the track used in relation to the visual style and mis-en-scene used in order to represent this.

P4: Mittell (2001)- genres are cultural categories. Industries use genre to sell products to audiences. – How did I use genre to sell the product? Existing audiences and fan bases.

P5: Abercrombie (1996)- ‘the boundaries between genres are shifting and becoming more permeable’. Genres are not fixed; they constantly change and evolve over time. 'genres permit the creation and maintenance of a loyal audience which becomes used to seeing programmes within a genre'.

Conclusion: (50 words on how successfully does your work meet this structural theory or challenge it)- How effective did I meet this in my production?

Genre: Music Video

This music video challenged genre conventions because of the combination of more than one genre, which attract a larger audience.

What genre is the production?

What are the codes and conventions of the production?

How is genre established?

How does the mise en scene support the genre?

What role of the specific elements of the mise en scene? E.g. props, costume, makeup, location, theme etc

Have generic conventions been adhered to or subverted?

How will the generic elements of the production appeal to the audience?

example essay (DIGITAL TECH)

EXAMPLE ESSAY:

Introduction:

Over the two years of Media Studies I have constructed to major productions which were a Thriller Opening and a Music video, which consisted of using different digital technologies in order to complete the productions to highest standard.

Main paragraphs:

Throughout the course including AS and A2 I used Blogger to document each section of my work. Blogger functions not only as a way in which I can display and write up posts regarding anything of interest or importance but also a type of social networking site, as I was able to interact with other pupils and individuals on the internet through connecting with them and commenting on their blogs. This was a great way to display all the work that I had created throughout my AS project as I was able to get constant feedback from others. However, in A2 I used another way to document the work I had produced through using a website called WIX. WIX was not only a way in which I documented majority of the work; I also used this as a marketing method for the Music Video that I created. The website I created went live, which meant that any person around the world was able to access my website and visualise it. I was able to access my website and Blogger from any computer that I had access to because I was using the Internet.

Premiere PRO for AS was relatively easy to learn how to use, whereas Final Cut Pro was more advanced but it did however have similarities to Premiere Pro. I had to spend longer getting to know how to use it. I was able to pick up the tools and develop my skills quickly ready for the post production of my music video where I completed preliminary tasks which offered me the opportunity to test and practice before my final production. Both programmes allowed me to use a variety of effects and transitions which enabled me to be very creative and explore different styles to make my work more aesthetically pleasing especially for my Music video however Premiere Pro introduced me to the use of timelines and the basic transitions of the dissolves and fades and layering audio over images. When it came to producing my music video the skills I learnt and used were more advanced where I had to become skilled in the ability to be able to lip sync, use filters and more quality effects such as ‘Earthquake’. Through doing this I was able to ensure that my music video would be exciting and engaging to an audience. The major tool I used over the course of two years was the ‘trim’. ‘cut/scissor’ tool which enables footage to be cut at appropriate times. In AS where I was beginning to learn the use of these I found that I struggled to cut footage in time with the imagery and sound. However, from this experience I had to ensure that I improved these skills for the music video as being able to cut and trim shots in pace with the music was going to be challenging.

Photoshop was used to edit and manipulate photos taken throughout the process of A2 especially for the professional photographs taken of the music artist I created. This is a professional editing software that has enabled me to hone my skills for further and also create the professional and stylistic photographs that are attractive to the target audience. I often used the ‘lasso’ tools to remove the background because when it came to stylising each shot to match a consistent style with the banner I created and the digipack I created.

As part of the A2 course I was required to find an unsigned artist, therefore the best place to look for this was on the music social networking site MySpace, where it is bombarded with artists and bands who are unsigned and are wanting to be. This technology was beneficial as it meant I could search online for an artist and even find an already existing fan base which helped me out when it came to creating the fan base/target audience for my music video. Through the use of FaceBook, YouTube and Twitter, I was able to reach out to many different individuals with different taste and expectations. This benefited me as I was able to gather plenty of feedback and constructive ideas about my music video for development and improvement. I was also able to see the type of standard I needed to in order for my work to be on the professional scale. With the use of web 2.0 we were able to reach a wider audience for people to share and comment on our video for development of our rough-cut, whereas in the previous year we relied heavily on the constructive criticisms given by our peers in class.

Lastly the use of my camera skills which have had a major improvement; my ability to use more technical and creative shots in A2 had developed especially where I had to be more creative as I was making a music video.

What were the technical pros and cons of the hardware/software?

In what ways was technology used to create the production?

In what ways did the technology constrain or enable the production?

You might make some observations about how easy it is to get used to technology these days, particularly for young people who have access to it outside of an educational setting. Refer specifically to how you used the technology in particular tasks.

Now open up the question of creativity: what does it mean to you, and where have your ideas about creativity come from? What do other people say about what creativity might mean? How have the tasks themselves encouraged creativity? Refer to examples from what you have done.

Conclusion

Finally, try to bring together these strands - technology and creativity - to answer the question. Here you might refer to ways in which the technology has also allowed you to develop other skills - teamwork, organisation, planning, research, negotiation. You might finish by opening up to a wider conclusion - that digital technology has given media consumers the opportunity to become media producers too -particularly via web distribution, and that this, in turn, has allowed creative comment in wider communities such as YouTube.

GENRE- (Thriller)

CONVENTION, ICONOGRAPHY, CODES, PRODUCT DIFFERENTIATION, CAPITALIST, SYSTEMS OF EXPECTATION AND INTELLIGIBILY, SOCIO-CULTURAL, MYTHS, GENRE SUPERVISES THE RELATIONSHIP BETWEEN PRODUCER AND AUDIENCE.

Introduction: (What production am I talking about?)

Main body: 150 words- 4-5 theorists per paragraph with examples!

P2: Neale (1995)- ‘genres are not systems they are processes’ – they are dynamic and evolve over time. Here talk about how genres/subgenres have become more varied and less distinguishable.

P3: However, Chandler says that subgenres are divided up into more specific categories that allow audiences to identify them specifically by their familiar and what become recognisable characteristics. – This is true to some extent however, in the music video I created it was very difficult to distinguish the specific genre of the track used in relation to the visual style and mis-en-scene used in order to represent this.

P4: Mittell (2001)- genres are cultural categories. Industries use genre to sell products to audiences. – How did I use genre to sell the product? Existing audiences and fan bases.

P5: Abercrombie (1996)- ‘the boundaries between genres are shifting and becoming more permeable’. Genres are not fixed; they constantly change and evolve over time. Similar to Neale.

Conclusion: (50 words on how successfully does your work meet this structural theory or challenge it)- How effective did I meet this in my production?

Genre is a critical tool that helps us study texts and audience responses to texts through the division of categories in which separate those into groups in which help us to distinguish certain elements. For the music video I created it was very hard to define the exact genre because the music a bricolage/hybrid of house/dance/pop with hints of dubstep. Over time, genres have become more dynamic and continue to evolve over time therefore it makes it harder to put songs into specific genres over subgenres.

With the music video I created I was able to creative with the visual style in relation to the track I used as I did not use a narrative. Yet through the mixture of subgenres the audience we were targeting at could identify with the recognisable characteristics of the mis-en-scene and shots used in order to relate to the genre.


Genre is a critical tool that helps us study texts and audience responses to texts through the division of categories in which separate those into groups in which help us to distinguish certain elements. In particular I created a 'Thriller' 

"To what extent do Post-Modernism challenge form and conventions of traditional media"

Good source for X-Factor info: www.bfi.org.uk/education/conferences/.../x_factor.pdf

 "To what extent do Post-Modernism challenge form and conventions of traditional media"

i) Do they/Don't they & in what different ways DO THEY CHALLENGE FORM AND CONVENTIONS OF TRADITIONAL MEDIA? HOW ARE THEY POMO? how each text does not challenge traditional forms & style?

X-Factor’s is a great example of postmodern text, this can be identified through the narrative that is used for the competition style show  where contestants have to go through many stages in order to succeed. Majority of the population enjoy the show for the whole rejection/selection process which has a major effect on the audience as the judges are the key in this process from the beginning stages where the audience have no control of who goes through to the next stages. The judges roles are constructed around the narrative and contestants back story. Each contestant have their own narrative which could / is mostly a personal tragedy that has happened to them in their life which has caused them to go on to the show to better their situation, this ‘ordinariness’ of a contestant allows the audience to develop a sense of audience identification. This ties in with the genre in which this show holds as it is an example of a ‘hybrid text’ where is uses familiar codes and conventions of a talent show (‘knocks and new faces’), reality TV and a variety show, involving the audience in being active where voting, hosts and judges, journey of contestants take a sharing a house, progress in which the contestants make, showing of contestants as “real people” with their strengths and flaws. In modernist TV, the audience would not be active or have control over the outcome of a situation like this. X-Factor holds a similar style ‘fly on the wall’ footage which is like Big Brother and the panopticon where the contestants know they are being watched therefore they change their behavior. Contestants on the show become self-reflexive as they are aware that their being watched and the development process of each stage on show is becoming less and less fake.

Between the judges on the show they all have distinguished characteristics that the audiences learn and begin to side with the judges. Louis is seen as the more emotional and rude judge who shows childish qualities, where Simon (SYCO records) his honesty enables him to be cast as the type of ‘villain’. When it comes to the female judges (Danii and Cheryl) they are caring and emotional who develop a connection between them and the contestants (which usually involves drama and tears!) this resembles the typical dominant ideas of gender. Similarly all of the contestants are presented according to their narrative for example, Stacey Solomon who is an Essex girl who was a single parent at the time, which represented her as the ‘victim’.

The whole idea of being on the X-Factor is of course the reward, which involves the boot camp stage which is a reward in itself as the contestants are given a taste of the lifestyle associated with fame and success when they spend time at the judges homes (mostly somewhere sunny and luxurious). Once they have passed this stage and they become finalists they are fed more of the notion of celebrity culture through their opinion of ‘living the dream’ where they have their own stylists, presentational advice and are involved in parties and film premieres. However the styling they receive does not always reflect their personality or music choice. The prize money reward at the end of the show does not really have much effect on the contestant because do they really even see the money? They see very little and very little is spoken about this as it is mainly spent on the recording and marketing processes.

So further on, how post-modern is the X-Factor? Well it definitely breaks down the traditional barriers of modernist media by reinforcing the importance of the audiences activity within the show, the audience is present at each stage of the competition apart from the boot camp (judges houses) here the audience are only shown the judges and audience interacting with each other demonstrating loyalty and rapport. The audiences are encouraged to vote and interact by supporting through a cross-media approach involving Internet (social networking), TV interaction (red button) and apps. This text reflects the fixated celeb culture that we live in, the promises of wealth and fame to ‘normal people’.

This show is very ‘style over substance’ which is apparent through the modern culture preferences of glamour over the event content and its meaning. In the live final stages, the show have themed weeks which indicate the need for songs that fit into a wide variety of popular styles rather than developing their own styles or sound. Similarly the artistic approach and impression that the contestant has is more important than the music, which is performed on the show.

The contestants hold a similar look, sound a performance to existing artists, which present the contestants as simulations/imitators of the real artist, for example Alexandra Burke who performed ‘Candy Man’ by Christina Aguilera which was consisted of iconic images from 1940s big music bands. X-Factor is very ironic when it comes to reality tv being postmodern. How often on X-Factor are we presented with something new and authentic? Not on today’s TV, last year’s winners Little Mix were the first band to have reached the final, essentially this group is just a recycled version of Girls Aloud. There is no ‘originality’ in any performance anymore as all contestants aspire to be like an existing artist, similarly to Little Mix with Girls Aloud.  There's no authenticity anymore, due to the use of self-reflexivity in the use of Autotune and the way in which the show is edited.

Unlike earlier modernist reality programming with those who succeed have to go through the process of the grueling audition process and the live finals. Changes in format of the show are made to keep the brand fresh and exciting to keep in the audience engaged and to maintain the shows success. Today the audiences have a wide variety of media entertainment options and new digital media has helped to maximize the audiences reach thus keeping the competition in the public eye.

Gorillaz show very specific traits of being post modern through style and convention. They are very much style over substance as their band identity is based around a simulation of a real band. This is represented around the intertextuality of japanese anime as the style of their bands identity. Their a band that use 'virtual personalities' which has become more important than the actual music itself, as this is what appeals to the audience in a playful and more pleasurable way at the same time hiding their real identities of the band members to the audience to avoid the price that comes to fame. The simulation of the band and the use of animation which is applied to their music videos. When they collaborate with another artist they are often ‘disembodied’ for example in ‘Feel Good Inc’ De La Soul appears on a large screen. All their live performances are performed in the virtual simulations of the band. This affect is has on consumer culture is the band productize themselves, therefore the audience then buy into their art and not just their music, this is easier for them for the hyperreal state. Along with the idea of this identity and the challenging of the concept of ‘reality’ they are a hybrid band that have an eclectic mix of genres such as hip-hop, punk, dub and reggae incorporated into their sound (known as bricolage), which according to Lyotard is postmodern.

Conclusion

To what extent does Gorillaz & Reality TV challenge traditional forms?

What aspects do you see as influential in developing Media Futures - where is our Media Culture headed?

In conclusion the extent of these two media texts both challenge traditional forms through stylistic approaches which have successfully made these become very postmodern. To the extent of whether or not what society is watching is particularly 'good' or 'bad' TV the ideology of 'mass culture' suggests that people watch programmes because of it's high profile and popular culture and also because other people are watching it therefore as long as it has an audience then it will be sold.
I believe that the development of future media culture is headed towards more programmes that will challenge the traditional forms yet us a society will be so brainwashed into the style and form we will not even consider this. However, I also believe that the use of Television will decline because of the ability and development that technology now has on audiences becoming prosumer and being able to create and upload their own videos and media that will be recycled from existing shows and ideas already out there, nothing new will be created. Things are only going to become more media saturated than they are now (if thats even possible!?)