Relevant theorists

David Hesmondhalgh

Hesmondhalgh's theory of 'The Cultural Industries' states that large media corporations and conglomerates minimize risk in order to maximize profits through the use of tried-and-tested formulae and horizontal and vertical integration. This applies to my coursework as a commercial broadcaster like ITV would generally follow these rules by maximising its audience (as it specifies in its remit) and would generally adopt more generic, tried and tested formulas (with slight tweaks) in favour of more original and risky concepts (which PSBs like the BBC aim to create).

Steve Neale

Neale's theory of repetition and difference states that media texts appeal to audiences by repeating tried-and-tested formulas, however with elements of variation to avoid boring the audience. If I end up creating a TV show which falls into a specific genre (probably crime) then I will be following this theory by including enough genre cliches which audiences would be familiar with, but also adding in variations (which could also be a unique selling point). In a show like The Bridge, for example, many crime conventions are followed such as the use of an urban location, low-key lighting and plot twists. However, it adds variation to the genre through its multi-cultural nature, being set in both Sweden and Denmark, in addition to the character of Saga, a socially awkward detective who is likely on the autism spectrum.

Claude Levi-Strauss

Levi-Strauss' theory of binary oppositions states that media texts use so-called 'binary opposites' in order to create meaning and accentuate difference. In a TV context, specifically crime TV, this could mean a pair of detectives with opposing personalities/methods (*cough cough* Broadchurch), good vs evil, or work vs personal. Furthermore, from a technical point of view, it could involve combining moments of silence with louder moments or contrasting shaky camera-work with stable camera-work.

Vladmir Propp

Propp's narrative theory states that there are a set of eight character types which are used in stories (originating from fairytales): the hero, the helper, the villain, the donor, the princess, the princess' father, the dispatcher and the false hero. In a modern context, multiple characters may fall into one or more of these characters, however it still can be applied to many texts. In order for my coursework to meet genre conventions, I may want to think about how I may include different character types in my scene and how I may want to add variety.

Tzetvan Todorov

Todorov's theory of narratology states that stories are comprised of five stages: equilibrium, disruption, recognition of disruption, attempt to repair and new equilibrium. This theory can, to some degree, be applied to almost all stories, and the exam board almost forces us to follow it. We are told that the sequence which we create must either be a key turning point (moving from one stage to the next), a point of significant conflict (either part of the disruption or attempt to repair) or a resolution (the new equilibrium).

Stuart Hall

Hall's reception theory states that producers encode media texts with codes in order to convey meaning. He says that there are three responses which an audience may have to a given text: the preferred reading, the negotiated reading, or the oppositional reading. This applies to both the TV show aspect and the lifestyle magazine aspect of the coursework. In the TV show sequence I create, I will be attempting to convey a set of values or morals to the viewer through the use of micro and macro elements. In the article, part of the purpose (from the TV channel's perspective) is promotion for the show, so the preferred reading in this instance would be for the reader to want to watch the show.