Monday, 21 March 2011

Collective i.d. research

'Kids are out of control... They're roaming the streets. They're out late at night.'

“The children now love luxury; they have bad manners, contempt for authority; they show disrespect for elders and love chatter in place of exercise. Children are now tyrants, not the servants of their households. They no longer rise when elders enter the room. They contradict their parents, chatter before company, gobble up dainties at the table, cross their legs, and tyrannize their teachers.”

You can probably tell by the language that the second one is much older, but it surprised everyone to find out just how old. The first was from Gordon Brown in 2008 and the second from Plato in the 4th century BC. So as we can see, complaining about the behaviour of young people is nothing new!

We looked at this shocking video, from a Barnardo's campaign, all dialogue coming from what adults had written on national newspaper websites in response to stories about teens



HOODIES:

the meaning of 'the hood': we were able to identify the use of the hood as a sign of comfort, protection, religious and academic status but also of disguise, transformation, concealment and violence. Most recently in relation to youth it has often become almost synonymous with criminal behaviour. News coverage of the student protests culminated in these front covers the next day, a moment captured which once again involves a hooded youth in an act of criminality, standing in for the whole story.







A survey of the content of national and regional newspapers found that out of 6500 stories about teenage boys, over half were about crime and only in one in ten allowed the voice of a young person to be heard in a quote. The language used to describe teenage boys was quite harsh: nearly 600 references to 'yobs', 250 to 'thug' and over 100 to 'sick', with 'feral' and 'hoodie' close behind. There were some positive terms used, such as 'angel', 'altar boy'. 'model student' and 'every mother's perfect son' but these only appeared in relation to boys who had died, either murdered or in accidents. There is more detail on this and some other surveys on Dave Harrison's blog here.



Although Cohen points to the ways in which the media amplify anxieties and events and create a moral panic, the demonisation of youth in this way can only come about if there is some kind of collective identity to which to point. Dick Hebdige's study 'Subculture, the meaning of style' examines how young people construct their identity through fashion and musical influence. His arguments still apply today even if subcultures do not neatly divide in quite the way they did in the 70s, given the way music has tended to hybridise. Two current subcultures are shown below- Emo and Goth.


(pete's media blog notes)

What are the social implications of different media representations of groups of people?


To answer this question you could pull in some of your audience theory used for question 1b).
1) If we apply a basic effect model to the representations of youth, particularly the negative ones there could be detrimental implications.
If representations of youth seen in Eden Lake and Harry Brown are not decoded as being a selective representations then it could result in creating or perpetuating stereotypes (commonly held public belief about specific social groups, or types of individuals).
This could then lead to creating distance between social groups.  So adults (particularly vulnerable ones) will become afraid of today’s youth, will be reluctant to engage them and demonise them instead. It can also create tension within social groups with young people becoming afraid of other young people.
Have a look at the articles on demonisation here to make notes on the consequences of demonisation. The bits in bold might help.
2) If we take David Gauntlett’s view that we use the media as ‘navigation points’ for developing identity, what are the consequences if the representations of youth are negative or unrealistic?
Stewart Lee believes that watching Skins as a teenager would have left him feeling lonely as it portrays a lifestyle that he couldn’t associate with. Do you associate with the representations of youth in TV and Film?
3) However, if we stick with David Gauntlett’s view and apply it to positive or constructive representations there can be benefits. Telling stories and showing lifestyles that youths can associate with is a positive – possibly so they can share the trials and tribulation of growing up, and allow them to put life in perspective.
How could Inbetweeners be seen as useful representation for UK youth?
4) Constructive or positive representation could do the opposite of demonisation, potentially breaking stereotypes and telling the stories behind the negative headlines.
So how does Misfits try to break the classic teenager stereotypes?
Where is the blame placed for the behaviour of the youths in Eden Lake?
5) If the representations offered did not sit well with today’s youth they reject mainstream culture. This use to lead to creating subcultures, scenes etc. but now youths can partially control their own identity and representation in media with the use of the net – youtube rants, memes, Facebook pages.
6) A possible negative implication of forming an identity using MySpace or Facebook is that it is a templated format so you are limited in how you express yourself. Also there are many other consequences of Facebook defining your identity.

Misfits - Nathan Tells it like it is


Here's a clip from the last episode of Misfits where Nathan explains just what the role of youth has in society and just what representation of youth Misfits is trying to portray.


And here's it written down just in case:


"She's got you thinking this is how you’re supposed to be. It's not. We're young. We’re supposed to drink too much. We're supposed to have bad attitudes and shag each other's brains out. We were designed to party. We owe it to ourselves to party hard. We owe it to each other. This is it. This is our time. So a few of us will overdose, or go mental. Charles Darwin said you can't make an omelette without breaking a few eggs. That's what it's about - breaking eggs - by eggs, I mean, getting twatted on a cocktail of class As.
If you could see yourselves... We had it all. We have fucked up bigger and better than any generation that came before us. We were so beautiful... We're screw-ups. I plan on staying a screw-up until my late twenties, or maybe even my early thirties. And I will shag my own mum before I let her.... or anyone else take that away from me!"


collective identity posterous blog notes

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Taken from scribd - not my work

Thursday, 10 March 2011

Research


Sun, Sex and Suspicious Parents - BBC 3

Sun, Sex and Suspicious Parents is a documentary/reality television series, first aired in early 2011 as part of the Dangerous Pleasures season on BBC Three. Parents secretly keep tabs on their teenage offspring's summer holidays following them on their first girls/lads holidays abroad for up to a week. Throughout the programme, parents get extremely close to their sons/daughters whilst being hidden away watching their every move on video screens, they are often in stockrooms of nightclubs or in minivans following their children.

Sun, Sex And Suspicious Parents (a lame title) is the logical consequence of the many programmes which follow young British people partying abroad – Ibiza Uncovered, Holiday Reps, etc. As they whooped it up onscreen, you knew that somewhere their families were sitting aghast, with emotions ranging from mild embarrassment to deep disappointment. But now we get to see their head-in-hands reactions as part of the show – in real time, as the parents aren't just watching at home, they've been flown to the resort where they're watching everything with binoculars and camera crew in tow. - Andrea Mullaney

Jamie Oliver's Dream School
Jamie's Dream School (2011) is a Channel 4 series which looks at young people’s educational problems and attempts to uncover whether they are down to personal circumstance, society, or the education system itself. It also examines how the new teachers get on as they try to translate their real-life expertise into the realities of the classroom. The experts include scientist Professor Robert Winston, historian David Starkey, barrister Cherie Blair, journalist and political aide Alastair Campbell, actor Simon Callow, artist Rolf Harris, musician Jazzie B and Olympic gold medallist Daley Thompson.

“I’ve seen with many of the kids at Fifteen that if you can find something that sparks someone’s passion, they’ll absolutely embrace it. Not everyone’s into cooking, of course, so what we’re trying to do with Dream School is to provide loads of different academic subjects and some fantastic teachers so that there’s something inspiring for all the young people, whether it’s politics or history or sport or music. It’s fascinating to watch the kids in different lessons and see what switches them on.”  - Jamie Oliver

BBC: You cannot apply the celebrity part to real life school, however you can apply the guests e.g. bringing in a local archeologist

Guardian: He's taken a high-flying head, a sprinkling of celebrity teachers and a bowlful of teenagers with barely a pinch of GCSEs between them. It's an entertaining mix. We hear Andrew Motion on poetry and Rolf Harris on the impressionists. But there's one ingredient that's missing – the pupils' voice. Despite all its dressing as a daring democratic experiment, Oliver's school is still an adult fantasy served up to young people.

"In Jamie’s Dream School, he invites a bevy of assorted celebrities into the classroom to become teachers, in an attempt to inspire 20 young people who have left school and have little to show for it. So David Starkey has a crack at teaching history, while the hip hop singer Tinchy Stryder tackles poetry classes.
It’s all very well-intentioned and sparkly, but the problem with putting celebrities on television is that the show becomes more about them than it does about disillusioned teenagers who are adrift in the system. If Oliver wants to raise standards in education, what makes television the best vehicle? If he’s serious, he could petition to start a free school, rather than conducting a short-lived and limited TV experiment. While it’s highly entertaining to watch Starkey peer through his spectacles at a class of marauding teenagers like a stuffed owl at a circus, it’s not going to do much to fix the education system" - Ceri Radford commented on The Telegraph online

Brat Camp

Brat Camp is a reality TV show about a group of out of control teenagers who are sent away to a special camp located in the Utah desert. Originally a UK show by Twenty Twenty Television shown on Channel 4, an American version was seen on ABC in the summer of 2005. These special camps are either wilderness therapy programs, also known as therapeutic outdoor education, or residential treatment centres. The first season, featuring RedCliff Ascent, won an International Emmy. Subsequent seasons saw declining viewership. The American version of Brat Camp was cancelled after its one-season run, but is being aired in Canada on Slice as of early 2007. The UK version was also aired in the United States in 2004 on ABC Family, and its popularity resulted in ABC ordering an American version.

On August 24, 2007, it was announced that the show had been axed, along with shows such as Celebrity Big Brother and You Are What You Eat.

This summer, though, reality lured me back—not by reaching some new level of ironic self-regard, but through an appeal to my most primal emotion: my hatred of teenagers. Brat Camp documented the hormone-saturated plight of nine worse-than-average teens (their crimes ran from drugs to ADHD to the attempted murder of a twin brother) as they griped their way through a wilderness self-improvement program called SageWalk. Though I'm normally a pretty empathetic person, I hate teenagers with incredible fervor. It's nothing personal: I hate them categorically, like I hate injustice. I hate the way they roam around in packs, wearing floppy, Technicolor clothes, sculpting their marginal facial hair, slapping and tripping each other, shouting strings of banal obscenities as if they were delivering the "Gettysburg Address." I hate the way they express personal inadequacy through car accessories and vandalism. Critics have unanimously panned Brat Camp, usually based on superego-driven misreadings; its fundamental appeal is pure id. No matter how much the show tried to cover its tracks with feel-good narration and solemn music, we watched it for the breakdowns, not the breakthroughs. The campers' tantrums were jarring and authentic, exquisitely hateable, while their moments of clarity tended to sound like a word salad cribbed from self-help books: They proactively opened doors, cleared lines of communication, broke down walls, surmounted obstacles, and maximized potentials ad nauseam. My favorite line from the finale came when the fatherless and intermittently likable hothead Frank was reunited with his mom, who immediately broke into rite-of-passage talk: "You've turned into a man." To which he responded, "No, it's just from not shaving." - Sam Anderson

Of all the shows that take stroppy teenagers and try to beat some manners into them, Brat Camp has always been the finest. It consistently found the stroppiest, lippiest little gobshites in Britain (remember Fran? And Rachel? God, I loved Fran and Rachel). Then it tore them away from their cosy little lives of smoking super-strength skunk and hurling abuse (and vodka bottles) at their parents, and sent them to hell in a handcart - almost literally, except that they weren't allowed in the handcart, they had to push it around the empty wilds of hell (Utah) for weeks on end, living like medieval Mennonites. - Sam Wollaston The Guardian

Beinart thinks our busy modern lives can get in the way of growing up. "Developmental tasks of adolescence are perhaps not being recognised. It is important for them to learn to become an individual, and this can be supported by having space away from their family. The space allows them to mature." David Spellman, a consultant clinical psychologist at Burnley General Hospital, agrees but he does have some reservations. "What are the morals of the approach?" he asks. "Who's to say what needs to change? There is a common stereotype of teenagers as difficult, such as Harry Enfield's Kevin, that fails to recognise teenagers as carers and contributors to their community. Adults often make crude attempts to bludgeon them into what we want, not taking account of their goals and objectives."
Praising RedCliff's partnership approach, Spellman emphasises that adults should not take control of dealing with adolescence. "The thing that struck me was how the adults at RedCliff did not retaliate when the teenagers were kicking off. The fact that the people running the project have restraint and clarity of purpose is very important. Adults need to collaborate with teenagers to help them sort themselves out by inviting them to take responsibility, rather than by imposing views of how they should behave." - Dan Lee The Guardian

Monday, 28 February 2011

Task 3 - Stereotypes presented in e4's shows

The teen stereotypes presented in Skins are:
  • drug addicts
  • rebellious
  • stop outs
  • lazy
  • uncontrollable
  • selfish
  • sexual
  • have no morals
the teen stereotypes in Misfits are:

  • ASBO (anti-social behaviour) - rebellion
  • sex
  • rudeness
  • strong and independent
the teen stereotypes in The Inbetweeners are:
  • outcasts
  • nerds/geeks
  • embarrassing

Task 1- Research

Misfits
  • The show went out on Thursday 11th November 2010 on Channel 4's digital offshoot E4, garnered impressive figures with 1.1 million viewers watching the broadcast at 9pm, giving it the biggest audience on the niche channel this month.
  • Petra Fried (producer) claims that Misfits is not guilty of glamorising violence. On the contrary, she believes that, in playing with the pariah status of these teenagers by giving them superhuman powers, Overman's writing has made room for the idea that these asbo kids are no more or less unusual than any other confused and contradictory adolescent, although they may have fewer advantages.
  • British reviews have been very positive. The Times gave it four out of five stars, calling it "a new union — salty British street humour with whizz-bang special effects" which should "keep E4's core audience happy".
  • An online review by The Guardian said that it was "confident enough to operate in its own universe and set up something new" and that it was aimed at showing us "real people" rather than the stereotype of the "ASBO teenager".
  • The Daily Telegraph drew special attention to Howard Overman's script which, it said, "sparkled from the off, introducing his posse of social outcasts as a bunch of total losers, but each one distinctively and memorably so."
Awards:
  • The series won the 2010 BAFTA Television Award for Best Drama Series.
  • Both the series and its writer Howard Overman were nominated for RTS Awards in March 2010.


Skins
  • Premiered on E4 on 25 January 2007.
  • The show was created by father and son television writers Bryan Elsley and Jamie Brittain for Company Pictures.
  • The first series received positive reviews, although some critics complained that the series depicts teenagers unrealistically and stereotypically.
  • Others criticised the excessive promotion of the show (specifically in the UK) and having relatively mediocre writing in comparison to other similarly themed shows. Actor Nicholas Hoult defended the extreme storylines, saying they would not reflect "everyone's teenage life", adding "it is maybe heightened for entertainment but all of it is believable."
  • The pilot episode of Skins averaged 1.5 million viewers. The series finale attracted an audience of 740,000 on E4, equating to a 4.65% share of the audience. Series 4 premiered with 1.5 million viewers across E4 and E4+1, the highest rated episode since series 1.
  • "I hope it will feel as authentic because it's genuinely inspired by, driven by, and directed by young people," says the head of E4, Danny Cohen
  • Skins follows the lives of nine teenagers from the same Bristol sixth-form college. Each hour-long episode is devoted to a different character. All the cinematic tropes of high school are here: pretty boys and girls, geeks, sidekicks and outcasts.
  • It believes 17-year-old viewers will be more interested in seeing their own age group reflected on screen (arguably it is thirtysomething Fast Show fans who will relish Enfield playing a porky, middle-aged dad), plus the drama is filmed from a teen perspective. The adults only appear on the periphery of their children's lives - which feels pretty true to life
  • "We're not attempting to help or instruct anyone," says Elsley. "What we're trying to do is write a show about relationships. It's not about whether or not you should have sex, or whether or not you should take drugs." - Bryan Elsey
Awards:


C4's most important decision was to push programming which is distinctively British. Part of the thinking behind commissioning Skins and Misfits was that the teenage audience had been badly under-served until then with homegrown drama, providing little to watch apart from glossy soap Hollyoaks, also on C4.


The Inbetweeners



  • The Inbetweeners is a British sitcom which aired for three series from 2008 on E4. Written by Damon Beesley and Iain Morris, the show follows the life of suburban teenager Will (Simon Bird), and three of his friends at the fictional Rudge Park Comprehensive.
  • The first series began on 1 May 2008, with the pilot episode garnering 238,000 viewers.The series averaged 459,000 viewers.
  • Joe McNally, writing for The Independent, commends an "exquisitely accurate dialogue, capturing the feel of adolescence perfectly"
  • "It's puerile, base, crude and entirely lacking in sophistication, The Inbetweeners is all those things but there is more to it than that. Sure, it's got that gross-out, cringey element that ensures people will talk about it around the kettle (the British equivalent of the water-cooler), but there are also moments of pathos, fully drawn minor characters (Greg Davies's Mr Gilbert is to the show what Sue Sylvester is to Glee) and even the odd underplayed insightful observation about society both inside and outside school walls (for all their sexist chatter, while the boys spend their lives desperately striving to be "cool", the girls, who couldn't care less about such things, innately are)." - the independent
  • "It is funny because you will have met blokes with elements of Will, Simon, Jay and Neil; lovable losers who use bravado and jokes to disguise the inner turmoil they are ill-equipped to deal with." - the independent.  It therefore reaches a wide variety of ages.

Awards: 
  • Nominated for 'Best Situation Comedy' at BAFTA twice, in 2009 and 2010. 
  • British Academy Television Awards 2010, it won the Audience Award, the only award voted for by viewers 
  • In 2011 the show won the Best Sitcom award at the British Comedy Awards