• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

SCHEDULING: WHERE POWER LIES IN TELEVISON

Extracts from this document...

Introduction

CRITICAL REVIEW SCHEDULING: WHERE POWER LIES IN TELEVISON The aims of the assignment is to discuss and evaluate how scheduling is constructed and how broadcasters use audiences to schedule their programmes. This assignment will also look at the competition that occurs between different channels when it comes to scheduling. One of the more important points that the article seems to touch on is 'genre'. Specific channels and specific national broadcasting systems have different generic mixes. Some genres are heavily featured while others are absent. Genre is recognised in the article as being a crucial factor to determine scheduling and the audience it is trying to target. Therefore genres not only become useful to the audience but also broadcasters who put a lot of thought in scheduling specific programmes to specific audiences. Therefore each television system and each broadcaster maintains a balance between the genres of television. ...read more.

Middle

Another important factor in the article is 'audience'. The performance of current or past schedules can be assessed and this will be a guide to their possible future uses. Each programme is assessed using demographic data derived from BARB. This provides details of performances of particular programmes. With the size of the sample and techniques now used for audience measurement, audiences can be specified according to class, age, gender etc. BARB figures may be flawed but it has a basic validity and it is acknowledged throughout the industry. Scheduling is important because it deliver programmes to audiences when they are most likely to watch it, which helps the advertisers target, that audience. Echoes and pre-echoes are mentioned in the article, which is an important part of scheduling. They help to maintain the audience. Bankers are the crucial programmes that supposedly guarantee audiences. ...read more.

Conclusion

Having said that it is important to note that broadcasters specify audiences according to age, class, gender, region, pattern, of viewing and 'even by their degree of appreciation of the programme'. In categorising the audience in this way broadcasters are likely to succeed in getting the audience. The author's conclusion on real audiences and their behaviour is undetected by broadcasters is somewhat vague. It is more that likely that people that are the same age, gender and come from the same background will enjoy the same programmes and that has been proven by different programmes, for example soaps have traditionally been targeted to women and that is the audience they got. Recently soaps have tried to target a more mass audience by introducing characters in which different people can relate to. Not only that but also soaps sometimes overlap with genres for example Phil Mitchell in Eastenders is somewhat of a gangster figure and the gagster genre is arguably a male genre therefore that will attract the male audience. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Plays section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Plays essays

  1. The Balance of Power Between Hedda and Brack

    Hedda responds with rejection, "I'm not the jumping sort." She would wave one hand backwards, gesturing rejection, and look away from Brack. This shows that Hedda still has control of the situation. Despite Brack's arrogance, she still chooses what she wants to do. Brack would then lean back from her, showing he accepts her response, and that he holds little power.

  2. Film Studies The Studio System

    Distinctive in a dark and oppressive visual style, and in its narrative of desperation and entrapment that defied Hollywood's conventions of the happy ending, and of good triumphing over evil. With its themes of paranoia and betrayal, of suspicious innocence and attractive guilt, of greed and desires in a world whose moral signposts have disappeared.

  1. Study the language of home shopping channels.

    In the former utterance the presenter uses the conditional form 'could', which is more of a mitigated directive so it has a less authoritative feel. Deictic words like 'now' and hyperbolic adjectives 'amazing' are as Ogilvy describes them, 'all shop worn clich�s' that work in the world of advertising.

  2. "The paradox of Artaud lies in the fact that it is impossible to carry ...

    One way he used sound in a different way was in his play 'Cenci' when he recorded bells from the four corners of the theatre to greet the audience, performer's footsteps were recorded and played at full volume and voices which shouted and whispered the name of the Cenci which rose in crescendo this was then immediately silenced.

  1. Analyse 'drugs the facts' and 'The Score,' looking at how genres have been used ...

    Above this are specific names of drugs the target audience might not be accustomed to therefore encouraging their curiosity, prompting them to read the leaflet. The general layout is crowded and offset, to entice a younger audience who may be attracted to the colours and aspects used.

  2. How soaps attract their target audience

    Tamsin Outhwait- Tamsin Outhwait is a strong female character and is probably going to take the place of Peggy Mitchell when she is gone. Tamsin has a different approach to women as all the other women on the square are housewives or are married and work.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work