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Collective Identity lesson 6 - Inbetweeners
Transcript of Collective Identity lesson 6 - Inbetweeners
To understand the
of characters in TV as
than the news or film forms;
: Fiske, Adorno and Althusser;
the relationship between tv
Producers guideline is for the
is the straightforward
- that real life is becoming indistinguishable.
Producers are producers of '
' and their goal is
to make money
The products are used to
entertain the masses
reinforce the dominant ideology
Their products are
and repeat the same ideas and values
regardless of their form
Media Theorist: wrote extensively about television (fiction and non-fiction). We are going to
around television drama
in television drama is
to film and news
due to 'formal conventions
- representation lives beyond the end of the episode, unlike film which has a finite ending;
camera focuses on individuals
: 2 and 3 shots show relationship between characters;
- can take weeks/months/years;
Performance of actor
with the characters is 'unique'
compared to other media forms, due to this structure:
Constant repetition of character means
characters 'live' in similar time-scale to us
They have a
past, present and future
are invited to
relate to them
We therefore develop different relationships with the characters from that offered in flim.
Audience is diverse - with differing viewpoints - and so
how you read a representation in TV will depend on your own experience
TV offers many opportunities
to identify with certain other characters -
The audience imagines how he/she would have behaved had they been in a character's shoes at particular moment;
less of a subject of the dominant ideology
more in control of the process of identification
through his/her own meanings.
Audience judge characters on how real they seem.
Production and Channel Identity
owner, producer and writer
of a TV programme will always
reinforce the values
of the channel
that they work for.
of young people in TV drama
held by the
about the specific collective group.
Which channel is most likely to
reinforce dominant ideology and why?
Is the way young people are represented in
TV drama the same on all channels?
Inbetweeners Contextual Information
is a product
used to entertain
for TV is
less of a subject
of the dominant ideology
and more in control
the process of identification through his/her own
Awarding-winning comedy about
four teenagers growing up in
British Digital TV channel
Owned by Channel 4
Launched on 18th Jan 2001
E - stands for 'Entertainment'
Mainly aimed at lucrative 15-35
1.1% audience share
11th October 2010 - 3.7m viewers
Most successful broadcast ever on E4
Produced by Bwark
Independent British production company
Let's watch a short clip of the writers
discussing the casting of the boys.
E4: Who's the audience?
Why might there be a secondary audience who
may enjoy watching programmes on E4?
What are the reasons why people might
want to watch The Inbetweeners?
Episode 3, series 1
Using the handout, analyse the episode.
Be prepared to answer these questions at the end:
1. Where are the examples where the dominant ideology is reinforced in the episode?
2. Where are the examples where the dominant ideology is challenged in the episode?
What stereotypical characteristics are present
that encourage the viewer to see the characters as real?
which formal conventions are used to help us to believe that what we see is real?
Episode 2, Series 3
The Gig and the Girlfriend
Using the grid, analyse the episode.
Do you think the events seemed realistic?
From your knowledge of the series: What aspects of the character's personalities are repeated in this episode from previous episodes?
We are invited to see them as individuals despite
their shared characteristics;
This enables producers to target a wider audience -
there are more chances we will identify with one of
Suggests that the representation is
than a simplistic process
Summary of the representation of young people in The Inbetweeners:
A variety of identities are represented through the 4
characters, using physical appearance of the actors
and stereotyped characteristics to tell us something
about each character;
This approach enables producers / writers to attract
a wider target audience - more characters to aid identification
Fiske argues that representations of characters
in TV is complex and depend upon the structure of
the programme, repetition, realism, the actor, stereotyped
characteristics, the social status & ideological values written
into the character.
He argues audiences will read characters depending on their own experience of young people. Audiences won't simply accept the dominant ideology but will instead, because they are polysemic, gain
pleasure even if they are not the intended target audience.
The process of identification with the representation of
individual and collective identities allow the audience to
negotiate their reading of the characters and they gain
pleasure in this whether they identify with them or not.
The programme offers a representation of the
collective identity of 16-18 year old students
Is the representation of young people in the Inbetweeners positive or negative?
Think of three adjectives that describe their representation across the series.
Are there any similarities with the representation here of young people and those in the News and Shank?
Are there any differences with the representation here of young people and those in the News and Shank?
"If you like this, you probably weren't cool when you were younger".
Reading week work
Who can remember what they read?
First week back after Easter is a marking week in Media Studies so you won't have any MEDIA classes (all other classes will run)
You must complete your Key Assignment plus Identify three online 'texts' that you feel offer positive representations of young people.