Audience/Product Research Plan

Primary Product Research: Narrative (codes and conventions)

The theories expressed by Todorov, Propp, and Barthes can be applied to my chosen programme of analysis: Misfits. Focusing on episode 1 of series 3, we can decode the different elements of the narrative.

Propp's theory of character roles

(L-R) Curtis, Kelly, Simon, Alisha, Rudy

Seth (Donor)



Villain

Hero:Rudy, character who is new to the group, able to split his personalities into 2 bodies

Villain: Girl who freezes time to set up scenes which turn characters against each other

Donor: Seth, the character who has the ability to change/swap people's powers. He gives the main characters their powers at the end of the previous series.

Helper: All the protagonists: Rudy, Alisha, Curtis, Kelly, Simon
Hero's Father:

Princess: Alisha and Rudy's 1st body-they are saved by the 2nd body of Rudy's

Dispatcher:

False Hero:

Todorov's theory of equilibrium

Equilibrium: The protagonists are all doing community service work, going about their daily duties, as well as discovering their new powers which Seth (donor) has sold them.We find out Rudy and Alisha have some unresolved history between them.

Disruption: A new female character who is the love interest of Rudy, sees his 2nd self kissing another girl. She grows extremely jealous and freezes time. (Audience understands she also has powers) She smashed a bottle over Rudy's head-frozen in time-and sets the scene as if it was Curtis. She ends up framing Alisha and Rudy with nooses around their neck, about to kick the chairs from under them.

Recognition: Both realise they have to sort out their unresolved issues in order to work together to save themselves.

Repair: 2nd Rudy saves them both from being hanged

New equilibrium: The protagonists bury the community service workers who the girl kills, and this is seen as Rudy's 'enrollment' into the group:bonding time, so to speak.

Barthe's theory of narrative codes:

Narrative flow:
Action: This particular episode focuses on the characters discovering their new powers, and this suggests their new discoveries may help when they get into danger later in the programme as the narrative progresses.

Enigma: (Questions the audience asks) A sense of mystery is created throughout as the viewer anticipates which powers each protagonist has gained as well as how each could use them to fight against the villain.


Narrative Detail:
Semic: (Cultural stereotypes) The social classes of the characters are quite low-shown through 'chavvy' costumes, inner-city accents, slang, attitudes (body language etc) and locations. This connotes the idea that they are likely to get into trouble and  behave like stereotypical 'youths', however this widens the opportunity for action scenes and exciting storylines within the narrative.

Cultural: The audience would be familiar with lower-class, teenage characters being portrayed negatively elswhere in the media (e.g. negative stereotypes shown in the news/soaps etc). By presenting the same demographic in a more gratifying way which shows the characters achieving and being successfull in fingting evil, Misfits challenges the stereotypes and offers an unconventional attitude towards them.

Symbolic: (Binary oppositions) Misfits features a contrast of genders within the protagonist group, as well as race and culture, which contributes towards an effective narrative because of the diversity shown in the group. Also, a typical element which is featured in the action genre is good vs evil, which is effective as it adds intensity and drama to the narrative due to the potential threats/ danger it poses.

Mission Impossible

http://www.youtube.com/watch?v=QLNUIU7AzTg

By studying this scene from Mission Impossible, we can recognise various narrative codes which are used for effect and aid the audience's understanding and enjoyment of the film.


Narrative Flow:
Action code: Some elements in this scene lead the audience to imagine a series of events which might follow in the film. An example of this would be the choice of holding a gun to the female character's head while her mouth is covered. The audience would grasp the idea that she is being used as a bribe by the antagonist-and therefore an interrogation/negotiation of some sort may follow-further implying how the relationship between the protagonist and female character may develop later on in the film.

Enigma code: The scene poses many possible questions for the audience: Who is the female character and why do the villains use her for? Which character will win the negotiation? What will happen to the protagonists? These all create suspense and tension for the audience.

Narrative Detail:
Semic code: The elements of this scene, such as the woman's mouth being covered, wounded stage make-up,  and the use of weapons, heavily suggest that the film is of an action genre and the scene is taking place in the disruption of equilibrium due to the portrayal of danger. The dark coloured clothing, low key lighting, and tension building non diegetic music all contribute towards the portrayal of genre conventions.

Symbolic code: The dangerous narrative is expressed through the use of binary oppositions of characters. For example: male/female, composed/explosive behaviour from characters, free/trapped, controlling/controlled. These all emphasise the dramatic effect due to the juxtaposing it creates between characters.

Cultural Code: There are noticeable stereotypes and common genre conventions within this scene, such as the capturing of a female character (reflects Vladamir Propp's theory of characters: princess character used as a target and reward) This is understood by the audience as a common theme in action films because it allows the protagonist to act heroic by saving the 'damsil in distress', often leading to a romance between the two.

Secondary Product Research: Codes and Conventions

Tzvetan Todorov
Evolved the theory of equilibrium which structures the narrative of most films...

1. Equilibruim .............(Everyday life)
2. Disruption................(Drama, action, dilemma)
3. Recognition..............(Characters understand what they must do to repair)
4. Repair.......................(Undergo changes within themselves to fix the problem)
5. New equilibrium......(Reality is restored)



Vladamir Propp
Discovered common character roles in narrative through the study of folk-tales...

Hero (protagonist)
Villani (antagonist)
Donor (provides hero with power)
Helper (sidekick)
Princess (damsil-in-distress, target/reward)
Hero's Father (rewards hero)
Dispatcher (sends hero on a journey)
False Hero (believes they are the hero)




Roland Barthes
Identified particular 'codes' used in narrative which the audience decode through theie knowledge and expectations of texts...

Narrative Flow:

Action code: Event which is followed by a series of logical consequences

Enigma code: Events the audience question

Narrative Detail:

Semic code: Elements which correspond with cultural stereotypes

Symbolic code: Organising meaning through binary oppositions

Cultural code: Common understandings of the genre/theme/context for the audience

Brand Image: Mini Clubman

Form:

This advertisement is in the form of a viral, which relies on the audience sharing and spreading the video around the internet to gain recognition and popularity.

Audience:

Because this video is a viral, it appeals to an audience who are engaged with the internet and websites in which the viral is shared, i.e. social networking sites (Facebook and Twitter) as well as video sharing sites such as Youtube and possibly Blogs and Vlogs. This would suggest that the viral is targeting young adults who would find the video amusing and believe that the company are light hearted and current. The ‘characters’ which can be heard throughout are both male, which suggests that the target audience is also predominantly male.

Institution:
An institution wold chose to make a viral to propote their product, firstly because it appeals to the interests of the target audience through the use of video sharing websites, meaning the institution can appeal to a wider audience. However, on a more practical level, making a viral is cheap for the institution because they don't have to pay to advertise on a TV channel or in a magazine; the audience practically advertises foryou because that is the nature of a viral.

Representation:

In this viral, the characters can only ever be heard-not seen-because the video is created as if the viewer is watching from inside their car and talking about the events, from the point of view of the characters. The voices we hear are males who have very ordinary, colloquial accents and use informal language. This, as well as the use of a relatable, everyday setting, suggests the product can be used by a vast target audience in terms of wealth. The jokes, casual language, and humorous visual elements represent the company as being fun, light hearted and memorable.

Website Analysis

Looking at the website for my chosen TV programme, Misfits, there are various elements within the home page which contribute towards creating a relevant and striking impression of the programme for the audience: teenagers and young adults aged 16-34 who enjoy TV programmes which are adventurous, action-packed,  and dramatic.

 Screen shot: http://www.e4.com/misfits/

Screen shot: http://www.e4.com/misfits/

Layout: Paradigms and Syntagms

The syntagmatic choices refer to the effectiveness of the layout, specifically the positioning of different paradigms, and why they were chosen to be portrayed by editors in the way they are.

 

Some paradigms, such as the main image of a principle character-as well as screen shots of action scenes-appeal to the viewer because they present the show as exciting and action-packed, as well as giving the viewer insight into the content/narrative and main characters if they perhaps haven't seen the programme before.

Generally, the homepage consists of few fonts and colours : black, grey and orange because these colours represent elements of the programme. Black and grey create an 'urban' feel while orange represents the colours of the character's costumes, which are also widely featured across the website. The main font also relates to the inner-city theme.

Interactivity on the homepage is also an element which is heavily featured. There are links to the Misfits Facebook and Twitter page and comment boxes are positioned along the right hand side. These all encourage the audience to get involved in supporting the show and sharing their personal views, ultimately promoting their success while appealing to a young audience who enjoys using social networking.

Images: Denotation and Connotation

Looking specifically at the images which are used across the website, we can see many shots of characters in their costumes and snapshots from the programme, all of which represent the character as young, metropolitan and current. The connotations of their costumes- community service jumpsuits- imply that they are trouble makers or stereotypical 'youths' who may get into trouble with the law. This representation is shown in the images through appearance related stereotypes e.g. sportswear, hooped earrings, lots of makeup, which are widely recognisable for modern day 'youths'. (see pictures below)

The body language and facial expressions of the characters also contribute to the stereotypical representation of teenagers. We can see in these pictures, the actors have very confident, cocky facial expressions, and in many of the images, they have their arms folded/hands on hips/eye line upwards etc, and this portrays a very bold, valiant representation of the characters.

We can tell from looking at the snapshots of the episodes, that a range of culturally diverse actors are used in the show, (i.e. various genders, ages, ethnicities, and social classes) this is to appeal to a wider audience and makes sure it doesn't limit itself to repetitive and unoriginal opportunities for themes/issues raised. It is also a fairer representative of the real society they are choosing to portray by involving a wide range of socially diverse characters.

Anchorage which accompanies the images encourage the audience to explore the website through relating to their wants and needs. 'Behind the scenes' and 'Q&A' allow the audience to feel as though they are getting exclusive access to parts of the show. Buzz words such as 'Newsflash!' and colloquial language (e.g. 'Loadsa pics') are used to appeal to the young, current audience by setting a fun, informal tone which they are comfortable with and can relate to.

Questions To Consider

When planning my coursework, there are questions which need to be taken into account in order to produce an effective final piece which is appropriate for the audience, channel and airing time. These options are important as they will shape my choice of elements such as camerawork and mise en scene:


-How can I make the opening scene abstract and gripping for the audience?
  Takie inspiration from similar programmes, analyse pros/cons.
-How can I make my programme current and appealing to a young audience?
  Research interests and preferences of TA in survey/focus group.
-In which ways can I introduce the characters so the audience gains an appropriate first impression of them?


-What is the theme of the opening scene?
-Do I want to build tension and excitement/mystery?
  Building tension in opening scene is often successful and gripping.
-Do I want to build on background information?
-Will it have an overall entertaining quality?
 


-How can I use music to best to use to suit the atmosphere of the scene?
-Which music can the audience relate to and enjoy?
  Find out in survey/focus group.
-Which music would create a memorable and original title sequence?
  Trial various types of music to see which ftis best.

-How can lighting differ to suit various atmorpheres and locations?
 Use low key lighting t emphasise the intensty and mystery.
-Which locations would be best to correspond to the genre and characters?
 Relateable locations such as school/college and cities.
-How many locations should I present?
  Not many, as to focus on characters and not retract attention from narrative.

-How can I use a variety of camera shots to convey different meanings within the scenes?
-How can I vary the pace of the editing to add emphasis on specific scenes?

Misfits Research

‘Misfits’ is a comedy/drama/fantasy featuring a group of out-casted teenagers on Community Service in London. When caught in the middle of a storm, each of them develops a different superpower (such as the ability to turn back time or mind read) which enables them to work together to get in and out of trouble while they are on duty. ‘Misfits’ aired on E4 on Sundays at 10pm. The late night slot was suitable due to the graphic and violent nature of the programme as well as the adult language used by the characters.

Production:

The programme is produced by Clerkenwell Films which was established in 1998 by chief executive Murray Ferguson and actor John Hannah. The company is well known in the UK and internationally for producing and distributing unconventional and eccentric drama-hybrid programmes, such as sci-fi-fantasy Paradox, supernatural-drama Afterlife and crime-thriller Early One Morning to mention a few.  

Audience and institution:

‘Misfits’ is aimed towards teenagers and young adults aged 16-34. This is evident in the choice of channel which it is shown on: E4, who claim they appeal to a ''cutting edge young audience'' wo tend to be "fashion conscious, sociable, connected, heavy internet users, they love going out" (source). The programme appeals to the audience through the use of young, creditable actors as well as thrilling and innovative storylines involving elements of drama which the audience are able to relate to. The website further appeals to the target audience by including links to a related app, blog and Facebook page. This interactivity is inviting because it complies with the audience’s technologically orientated lifestyle, ultimately allowing the programme to stay current and ‘fresh’ as well as fun for fans of the show.

Viewing Ratings:

“The third season of the series opened with a consolidated TV audience of 1.8m for episode 1... Combined with VoD viewing, the audience rose to 2.2m”

“Misfits continued its cross-platform success on Twitter as E4's top tweeted programme of the week, with over 63,000 tweets about the series.” (Source)

Sources:

In addition to the links given bove, I used the following websites to gather general information about Misfits and its production:

http://www.clerkenwellfilms.com/

http://www.e4.com/misfits/



Channel 4

Institutional context

E4, Film4, and 4Music are all subsidiaries of Channel 4 as they are smaller companies within a larger company which cover a range of platforms and media types. Convergence can also be recognised within the company, in the way that they offer the ability to re-watch TV programmes on the internet (4seven and 4oD) which, essentially, appeals to the audience through two combined platforms; TV and internet.
Similarly, channel 4 uses synergy to promote their company, where different elements of a company are used to support a related product. This can be noticed, for example, in the way that 4oD is advertised on E4.
Although Channel 4 covers a few different media types (TV, film, and music) it can't be described as cross media ownership because they are all distributed by the company through broadcasting on television, rather than television, cinema, and radio, for example.

Channel 4 can be thought of as part of an oliglopery: a market which is dominated by a small number of companies. In this case, terrestrial television is prodominantly dominated by BBC, ITV, Channel 4, and Channel 5, which all broadcast accross two or more channels each (e.g. BBC2, ITV2, E4, Channel 5+1).

Misfits Micro Analysis



Episode found here: http://www.channel4.com/programmes/misfits/4od (analysis time 0:55 - 4:35)

I chose to analyse at the first 5 minutes of series 3, episode 1 of Misfits, focusing on micro features of the opening scene and title sequence, investigating the way in which a programme of this genre uses mise en scene, sound, camerawork, lighting and editing, effectively to create an interesting and gripping opening scene which appeals to the audience.




The scene starts with a blackout and a loud, asynchronous sound of someone banging on a metal door can be heard, followed by an abstract transition which resembles a shutter opening across the screen. A close up of one of the main characters is revealed, his face in focus as the surroundings are blurred, and we get the impression that this is shot as if looking through some kind of keyhole. The setting can be recognised as an abandoned 'garrage' area and this, along with the peephole effect, create a sense of secrecy and evoke curiosity from the audience within the first few seconds of watching.

The scene then cuts to a futuristic, modern office location. There is low-key lighting and minimal props- again creating a sense of mystery as well as adding a supernatural, sci-fi look, which is a typical convention of this genre. The camera pans upwards revealing a smartly dressed man who the audience presumes to be the 'cool, mysterious power guy' who the previous character,Rudy, was asking for. This hints at the narrative and gives insight into future scenes. A contrast in character and performance is shown when the scene cuts to the Rudy again, now waiting in a similarly dark room-his body language suggesting he is nervous and uncomfortable. Whereas the other man is wearing a suit, Rudy is dressed far more casually and fairly scruffy looking, indicating he is socially inferior and automatically presents a difference in status between characters.

Action scene:
The opening scene picks up pace in the commencing chase scene, which builds tension in the audience in a number of ways. Firstly, energetic non-diegetic music highlights the sudden action as the main character bursts out of the door he entered. It is fast paced and loud to correspond to the urgency of the chase (with and unknown second person- imposing curiosity). Synchronous sounds are used to add a realistic qualities, including a car horn and the sound of the doors banging.  During this action scene, the camera is handheld, resulting in a more rough effect and adds a 'raw' more realistic quality. The camera tracks-following the man as he sprints, which again emphasises the fastness and urgency of the outburst. Also, the cuts become more fast paced to create excitement and portray the chaos felt by the characters, compared to the previous slow paced editing which was used to create a more eerie atmosphere. High and low angles are featured when the characters are running up/ down the staircase, acting as point of view shots and therefore making the audience feel personally involved in the action of the scene.

During this chase, the audience grasps a better view of the location of the programme, which is an urban, fairly derelict area of a city, decorated with graffiti and vandalism. The natural lighting helps to create a dim atmosphere which  is a fair representation of part of a city where, stereotypically, teenagers on community service might live: a rough area. The dull and lifeless setting will no doubt contrast with the extraordinary events which are set to happen to the characters. A wider location is presented when the camera pans across the landscape from the top of the roof (next scene) this extreme long shot allows the viewer to have a greater idea of the area which Misfits is set in.
The audience gets their first view of the supernatural events in the next scene-where the chase finally stops and they get to the top of a building roof- and it is revealed that the person he was chasing is actually part of himself (each body representing a different part of his personality, so to speak) We also get clearer insight into this character through the two 'bodies' discussing his life and characteristics. The colloquial language and comedic anecdotes suggest that he will be a funny and perhaps dim-witted character used to add humour to the show.

Title Sequence:
The final element I investigated was the theme/ title sequence. It consists of modern, electronic, upbeat music which is catchy and repetitive. This appeals to the target audience as it is current and the type of music used is popular within a young audience. There are vocals within the sequence, the lyrics of which are fairly indistinguishable, which overall creates an edgy, alternative sound-again appealing to the audience's preferences. The colours used are mainly black, white, and grey to correspond with the urban theme and are also very visually striking and recognisable as they contrast with the characters' orange community service costumes which are introduced. The colours are a running theme which can also be noticeably used on the Misfits website, and this helps to establish an identity for the programme.