Mass Media In Britain Media Essay

Mass Media In Britain Media EssayThe overall aim of this authorship is to explore current-day British media language, and how it has changed, or is changing, and how this affects peoples view of the world. Also, to look at the reverse, at how the recent British media whitethorn be affecting language. Of course, in all this, language is inevitably interweave with broader trends and issues.Three chief(prenominal) topics provide the cornerst champions of the present paper, and these make up the three chapters.Chapter I, Mass-media in Britain, contains subchapters which outline and discuss how British media has evolved and changed in recent years.Chapter II, New selection British Media models, explores various ways in which British media is realized at the current duration, focusing on the representation of particular topics such as vane media so popular nowadays . We entrust show how these can influence the perceptions of readers or the audience.Chapter III , Future Media in UK- BBC iPlayer, looks at the high-tech level employ by the British Media and analyses its success and downfalls.Each chapter of this paper therefore has a separate main theme. However, in an new(prenominal) way, the chapters overlap, in that certain key points recur. globalisation versus fragmentation may be the virtually(prenominal) noticeable two-way alternative in British media. intelligence agency reports leap crossways the globe in seconds, and this has resulted in some similarities in media styles across widely separated geographical regions. In other cases, the reverse has happened, the immensity of the world has led to a tightening of small(a) networks, resulting in some fragmentation, as people try to maintain local ties and their own identity.1This paper is an attempt to address some fundamental concerns underlying the British media studies. I first outline the academic and theoretical grow of this field. Then I discuss its major disciplinary dimensions and critical issues.The specific aim of this paper is to set out the approximate sequence of development of the present-day set of British voltaic pile-media. It is also to indicate major turning points and to tell briefly something of the component of time and place in which different British media acquired their public definitions in the sense of their perceived utility for audiences and their role in society. These definitions have tended to contour line archaean in the story of some(prenominal) given mediocre and to have been subsequently adapted in the light of newer media and changed conditions. This is a continuing process.The paper concludes with some reflections on the two main dimensions of variation between British media one relates to the degree of freedom and the other to the conditions of use.CHAPTER I. MASS-MEDIA IN BRITAINI.1. British media-evolution and perspectivesThe domestic media market in the UK is proper ever more competitive . In broadcasting, the stable relation ship that existed for numerous years between the BBC, a public corporation funded by a certify fee, and the Independent Television sector, a network of private regional broadcasters funded by advertising revenue, has fragmented, as a consequence of the arrival of satellite and cable companies whose main revenues atomic number 18 derived from subscriptions. Particularly significant is the summon and rise of SKY satellite TV and its multi-channel packages, which is owned by Rupert Murdochs News Corporation.The terrestrial stations themselves have also recently entered the digital market place, with varying success. The BBCs non-subscription Free View service has so far proved moderately successful, delivering more dedicated programming aimed at niche audiences and subject atomic number 18as.However, ITVs ventures into pay-view digital TV, launched as OnDigital in 1998, proved disastrous, being re-launched and then ending up as ITV digital in 2002 after subject unsustainable los ses.2The national newspaper market in the UK has always been a crowded one. There argon currently nine daily and weekly up-market broadsheet titles and 10 tabloids that are distributed across the UK. This is by far the largest national newspaper press in Europe and has led some to question whether this is sustainable in a market the size of Britain. Long-term decline in readership figures (down 20% since 1990), rising doing costs and falling advertising revenues have placed significant fiscal pressures across the sector, squeezing certain titles to the margins of viability.3These pressures are also evident at local and regional levels of the British newspaper market and have been exacerbated by the rise of free newspaper titles that are funded entirely by advertising revenue.This intensifying competition has led to a growing concentration in ownership patterns two within and across British media sectors, as small outlets are acquired by multi-media corporations whose economies of scale protect them to some degree from market pressures.Today, in the UK, the press is mute characterised by a metropolitan focus almost all its national newspapers are published in London, and its diversity, there are 11 national dailies, and 12 Sunday newspapers. Of these, 11 are tabloids, which focus mainly on light news and entertainment, whereas the so-called quality press is more focused on politics, economics and foreign news.Regional and weekly newspapers, paid-for and free, concentrate almost entirely on local issues. Newspapers are free from political control and funded entirely by squeeze price and advertising. Working practices in newspapers and the broadcast media have been changed dramatically both(prenominal) by the opportunities provided by new engine room and by the political and industrial humor created by the Thatcher government of the 1980s and unchanged in the 21st century.In the broadcast industry, de-regulation since the 1990s has both fragmented the a udience and, conversely, concentrated ownership. There are about 15 regionalcommercial television licenses, though ownership is concentrated hundreds of commercial receiving set stations, although the sector is characterised by large-groups and there is also a new wave of community radio stations.4Television viewers can also access 24-hour news stations such as BBC 24, SKY News and CNN via cable and satellite and web sites complement some, if not most, of the news outlets.The distinctive character of the UK media, metropolitan, historically rooted in an early emancipation from political troupe control of the press, thoroughly commercial in structure and organisation, yet with a seminal public service broadcasting institution at its core, is unique.News time is time in relation to place what matters is the fastest news from the most distant or most important place.In the evolving British media landscape, probability abounds. The roots of British media studies are traceable in t he inquiries about the relationship between media and culture. The early attempts to this direction started during the 1920s following the rise of British mass media forms equal radio networks, newspapers and magazines of mass circulation, and after mid 1930s with the advent of television media.The initial studies into British media were influenced by the Eurocentric obsessions on high cultureclaimed by many to be the best that has been said and thought.5The media of the time were assigned the role of representing that high culture ignoring the world outside Europe and colonies of European powers. The period was marked by widespread British hegemony in media deed and circulation with news agencies like Reuters and BBC, which projected the image of media as powerful and influential, media as vehicles of nation-state or class propaganda, media as exemplars of newfangled technologically sophisticated professionalism.Development of academic media discourse, nevertheless, was remarkab ly slow during these formative years because it lacked a specific theoretical direction as a result of what Denis MacQuail (2002) calls the absence of a fixed disciplinary base.6Postmodernism promotes the worldview that the present is the age when identities are determined by whose information is disseminated fastest . It further recognizes the role of mass media in integrating people by reducing boundaries of space and time. It acknowledges the presence of multiple technologies as vehicles creating more spaces and more possibilities of switching across them. According to Carl Eric Rosengren, As new media for communication have been created, the old ones have become specialized, but none have been completely eliminated.This notion fully applies to British medias evolution.More than any other technologies for mass communication, contemporary media allow for a greater quantity of information transmission and retrieval, place more control over both content human race and selection in the hands of their users, and do so with less cost to the average consumer.The Internet serves as the best example and, through digital convergence, will form the backbone of most future mediated communication. The Internet was designed to be decentralized, meaning that control is distributed to all users who have relatively equal opportunity to contribute content. The increased bandwidth of the Internet further enhances users ability to become content producers and to produce material that is fairly sophisticated at low cost. In addition, many of the new technologies in UK are more portable and, therefore, more convenient to use compared with older mass media.These characteristics of the new media are breaking the foundations of our conception of mass communication. Today, media institutions are changing such that mass production is less mass. The explosion of available channels afforded by the new technologies contributes to the demassification of the media by diffusing the audien ce for any particular media product. This has resulted in channel specialization, and the old model of broadcasting to the masses has given way to market segmentation and targeting to niche audiences.7Although existing British media institutions are well positioned to adapt to these changing conditions, the fact that the new British media shrink the size of the audience for any particular channel is likely to create opportunities for others. That is, if smaller audiences mean reduced costs of production and distribution, then more content producers will be able to enter the media market. In the near future, the issue may be less about what media companies are doing to people and more about what people are doing with the media.8This is one reason why we find new media dimension great potential as a resource for British press freedom and freedom of expression. They serve as a platform for dialogue across borders and allow for innovative approaches to the distribution and acquisition of knowledge. These qualities are vital to press freedom. But they may be undercut by attempts to regulate and censor both access and content.As follows we will provide in short lines some advantages and less fortunate characteristics of the choice for one media or another, in order to accentuate the interconnectedness among all of the media in shaping the large picture of the British media diversity.The book middlingTechnology of movable typeBound pages, codex formMultiple copiesCommodity formMultiple (secular) contentIndividual in useClaim to freedom of publicationIndividual authorshipThe newspaper mediumRegular and frequent appearanceCommodity formReference to current eventsPublic sphere functionsUrban, secular audienceRelative freedomThe film mediumAudiovisual technologyFrom public performance to private experienceExtensive (universal) appealPredominantly narrative fictionMore international than national in characterSubjection to social controlFrom mass to multiple marketsTele visionVery large output, range and reachAudiovisual contentComplex technology and organizationPublic character and extensive regulationNational and international characterVery diverse content forms tunerFlexible and economical productionFlexible in useMultiple contentsRelative freedomIndividualized useParticipant potentialRecorded music (phonogram) mediaMultiple technologies of written text and disseminationLow degree of regulationHigh degree of internationalizationYounger audienceSubversive potentialOrganizational fragmentationDiversity of reply possibilitiesThe Internet as a mediumComputer-based technologiesHybrid, non-dedicated, flexible characterInteractive potentialPrivate and public functionsLow degree of regulationInterconnectednessomnipresence and delocatednessAccessible to individuals as communicators9I.2. British newspapers , broadcast media and new age mediaBritish Broadcast television is going through a period of change with change magnitude digitilisation and interac tive media cooperation. The biggest broadcast TV stations remain the BBC and SkyTV but these are supplemented by 250 cable and satellite TV stations and 1,100 independent television production companies.10This is a rapidly growing sector with cable and satellite and independent companies doubling in the period 2000-2008. This is a broad profession where 34% are freelance and people are judged by the quality of their work rather than their formal qualifications. Despite this, 70% have at least an undergraduate degree.British Radio the airwaves are dominated by the BBC , which has 12 distinct radio channels.Interactive media comprises collection of areas including web and internet, offline multimedia, electronic games and interactive TV.Game design the UK has one of the largest gaming industries. 48 of the worlds most profitable studios are based in the UK. The industry has been growing to7.5% from 2009-2012.Some of the main Bristish Media organisations the British Media Industry G roup , note communications Association , ITV Network Centre, National Association of Press Agencies .Some of the major industry bodies Commonwealth Press Union, Institute of Local Television, Radio Joint auditory modality Research.The major occupational/professional groups Association of British Editors, British Society of Magazine Editors.The main trade unions Broadcasting, Entertainment, Cinematograph and Theatre Union.The UK TelevisionThe five national networks (excluding satellite)Cable and digitalFive national networks in the UK.The main British TV channels areBBC 1 since 1936, general interest programmes.BBC 2 minority and specialist interests.ITV broadcasting is approximately 33% informative and 66% light entertainment.Channel 4 since 1982, 15% educational programmes, encourages innovation and experiment.Television viewing in Britain- overviewThe most popular leisure pasttimeAverage viewing time is over 25 hours a weekTV productions continue to win international awardsH alf of the programmes are bought abroadChildrens TV has been very active( Blue Peter on BBC 1)Youth TV has been started recentlyPresentation of the BBC (British Broadcasting Corporation)Six national stations.Broadcasts BBC 1, 2, 4, BBC News 24, BBC Choice, BBC Parliament.Radio Channels.No advertising.Worldwide television services (BBC World, BBC Prime)The division of programmesLight entertainment (variety shows, soap operas, situation comedies, game shows)News/current affairsDocumentaries11Childrens TV musicSportFilms/TV moviesDrama/playsBritish favourite TV showsAre you being served?Bless me fatherFawlty TowersMulberryYes, Prime MinisterBlackadderChefHolmesThe brief history of British radio121922 BBC started daily broadcasting on 2LO on 14 Nov. The first voice was Arthur Burrows, reading the news.1922 15 Nov 5IT and 2ZY became first BBC stations outside London.1967 On 30th September, BBC radio reorganisation launched Radios 1,2,3 and 4.1967 Third Programme andNational Programme rep laced 2LO. The Regional Programme, an alternative service, started later this year.1973 Birth of independent (commercial) radio, with LBC and Capital Radio in London.1988 for the first time commercial station split frequencies.1990 IBA split into ITC 1991 Radio 1 goes 24 hours on 1 May.1992 Launch of Classic FM, Britains first national commercial radio station.1993 Launch of Virgin 1215.1995 Talk Radio began broadcasting on 14 Feb.1996 New rules on cross-media ownership heralds further change in the radio industry.The most popular British radio stations are13Clare FMAnna LiviaLive 95Welsh Radio InternationalImperial College radioCapital FMBBC Radio 2