HEGEMONY:

The predominant influence, as of a state, region, or group, over another or others.
The term 'hegemony' refers to leadership, dominance or great influence that one entity or group of people has over others. Historically, this term often referred to a city-stateor country that exterted power over other city-states or countries indirectly rather tan military force. Modern uses of 'hegemony' often refer to a group in a society having power over others within the societty. For example, the wealthy class might be said to have hegemony over the poor because of its ability to use its money to influence many aspects of society and government.

SEMIOTIC AND HEGEMONY:

Hegemony is not a forced political movement, however. To use the previous example, no one is forced to watch/listen to/read about football. Its just sometimes it seems there are a few alternatives. This is how hegemonies take hold: a majority decide 'fit in' with the cultural values and ideas of their times and place and the majority keep their objections quiet. Hegemony is about consent, and one of the things it consents to is inequality - us and them.

Hegemony captures the struggle between powerful and subordinate groups in society.

Stuart Hall - The media deliver hegemonic representations of reality that serve powerful interests.
Hall set up an ''Encoding/Decoding'' model (in Culture, Media, Language 1980) as a theoretical attempt to understand hegemonic media processes in practice. He calles on semiontics to examine how the media guide the ways we make sense of the world.

SIGNIFIERS & SIGNIFIED:

SIGNIFIER = The image in the raw,the physical form - A knife is simply a metal implement
SIGNIFIED = That which carries the meaning, referring to something other than itself - In context of scene involving a murder in a shower this knife signifies death and violence.

Both a Signifier and the Signified join together to make up A SIGN.
Semiotics is able to give account for meanings that are absent as well as present in any given representation.

HALL- ENCODING & DECODING:

Encoding process occurs during the phase of media production whereas 'decoding' is what audiences do during consumption.
Encoding is guided by a professional code in  which media producers follow certain procedures in order to comply with regulations and uphold standards of economic status quo.

However, the phase of audience decoding doesn't necessarily accept what is encoded in media representations, leaving three different types of decoding.

ENCODING and DECODING: Simply is what the audience reads/makes sense of; from the text/film.

HALLS MODEL - DECODING:

THE DOMINANT CODE - Accepts the encoded meanings of media representations. Consumers adopt a 'preferred reading' of media representations as intended by producers. Therefore the ruling ideology filters down into the public conscience without challenge.

THE NEGOTIATED CODE - Accepts some aspects of encoded representations but not others. On general level, the encoded meanings may be endorsed by audiences but on a more local level these meanings may be dismissed as individuals consider themselves expectations to the general rule.

THE OPPOSITIONAL CODE - Rejects the encodings of media producers. Audiences decode media representations in a way that was not intended or foreseen at the phase of production.

MEDIA LANGUAGE:

What does it mean?
"How was media language used in your production?"
How would you answer this question?
- It will actually involve discussions on the following:
The way meaning is made using conventions of a particular medium and type of media product.

• Semiotics
• Genre
• Narrative
• Structure
• Codes
• Conventions
• Spoken, Written and Visual language
• Use of continuity
• Use of editing in a film sequence

NARRATIVE THEORY:

Valdimir Propp:

• Analysed over 100 Russian fairytales in the 1920's.
• Proposed that it was possible to cassify the characters and their actions into clearly defined roles and functions.
• Films such as Star Wars fit Propp's model precisely but a significant number of more recent films such as Pulp Fiction do not.
• The model is useful, however as it highlights the similarities between seemingly quite different stories.

Propp's Character Roles:

• The hero (seeking something e.g. Harry Potter)
• The villain (opposes hero e.g. Voldomort)
• The donor (helps the hero by providing a magic object)
• The dispatcher (sends the hero on his way e.g. Hagrid)
• The false hero (falsely assuming the role of the hero e.g. Ron)
• The helper (gives support to the hero e.g. Herminie)
• The princess ( the reward for the hero, but also needs protection from the villian)
• The princesses father

NARRATIVE THEORY:

Tzvetan Todorov:

• Suggests most narratives start with a state of equilibrium in which life is normal and protagonist is happy.
• This state of normality is distrupted by an outside force, which has to be fought against in order to return to a state of equilibrium.
• This model can easily be applied to a wide range of films.
• Equilibrium - Disequilibrium - New Equilibrium

NARRATIVE THEORY:

Ronand Barthes:

• Suggests that narrative works with five different codes which active the reader to make sense of it.

Barthes' Codes:

• Actions - A narrative device by which a resolution is produced through action e.g. a shoot out.
• Enigma - A narrative device that teases the audience by presenting a puzzle or riddle to be solved. Works to delay the storys ending pleasurably.
• Symobolic - Connotations
• Semics - Denotations
• Cultural - A narrative device which the audience can easily recognise as being part of a culture e.g. a "mad man" in a gangster film is part of the mafia culture.

YOUTH-ORIENTED PSYCHOGRAPHICS SEGMENTATION:

• TRENDIES: Those who crave the admiration of their peer - these would be attention seeking and may show off in front of their friends to look 'cool', this sort of person could be a bully using another pupil to mock. They could also be children stuggling to fit in as an outsider.
• EGOISTS: Those who seek pleasure - these could be rebellious and be peer pressure into bunking lessons, bullying younger children just for fun etc.
• PURITANS: Those who wish to feel virtuous - these children would not want to break any rules and do what they are told in school, this could be considered 'not cool' to their peers and result in them getting bullied.
• INNOVATORS: Those who wish to make their mark - these could be students interested in film making that has a message behind the work. They may be trying to do their own research in the short film industry and come across our film.
• REBELS: Wish to make the world in their image - these children do not follow the rules in school and think they can do what they want. These are the school children who tend to be bullies.
• GROUPES: Just want to be accepted - these may be the outsiders that get bullied in school because they are different e.g. lower social class.
• UTOPIANS: Want the world to be a better place - other film makers who try and put social messages through their work so that the audience can be educated by their work. These people would be interested in filmmaking themselves therefore may do research into looking at other peoples work for inspiration and view our film.

DEMOGRAPHICS:

- Social grade, description of occupation, example;

• A, higher managerial, administrative or professional, company director.
• B, intermediate managerial, administrative or professional, middle manager.
• C1, supervisory, clerical, junior administrative or professional, bank clerk.
• C2, skilled manual workers, plumber.
• D, semi and unskilled manual workers, labourer.
• E, state pensioners with no other income, widows, casual and lowest grade earners, unemployed

FROZEN

When viewers first go onto the website, it has an image of the main characters. On the left side it allows the audience to watch the tailer, and underneath the image it tells the audience that the movie is now out in cinemas. At the top of the image, it has different links which allows the audience to watch other video's, view characters, gallery, activities and games and apps. This lets the audience engage with the movie.

If you scroll down it gives the audiences extra information about the movie that they may not have known. In the right side, it also has links to Facebook, Twitter and Youtube, so the audience can follow their social networking sites.

Underneath the information, again, it has the same links as the website does at the top to allow the audience interact and engage with the film and get a better understanding, for example, the if someone has not yet seen the film they can click on 'Characters' and choose a character which gives them an insight of their role in the movie. It also has Frozen games/ related games that people can buy e.g. Olaf's Quest and Disney Infinity . This is further advertising their film to make it more successful. 

This is their App. It shows that 47k people already like this app. And the reviews show that 40,764 people rated it a 5 star app. The app also gives a link to the disney website.

What is the changing business model being described?
What opportunities and threats are offered by this model?

http://www.thewire.com/technology/2013/02/economics-netflixs-100-million-new-show/61692/

Netflix plan on turning into HBO of internet TV by creating a new production - House Of Cards and 5 new shows like that per year. Even though they will be paying $100 million for every two of 13 episode seasons. This means that if the shows are successful enough, then spending $100 million will not be a problem, and could infact be good for business for the company.

To break even, Netflix need 520,834 subscribers paying $7.99 per month for two years. To do that 5 times every year, Netflix would have to sign up 2.6 million more subscribers than they would have. Netflix currently have 33.3 million subscribers, this is an increase on less than 10% of what they need. However, it could still work, because looking at past growth for the company, which saw 65 percent growth from 20 million to over 33 million world-wide streaming customers. Last year, in the U.S alone, it saw 13% growth, jumping from  24 million subscribers to 27 million subscibers.

HBO gets about $7 per month, but splits it 50-50 between cable, so all together people are paying around $15 per month which is around the same as Netflix. Those revenues also pay for some of the most expensive TV on cable: True Blood came in at around $5 million per episode. The debut of Boardwalk Empire cost $20 million alone.

The problem with netflix is that their revenue is not growing as fast as their content costs.  This is because companies know they have power over Netflix because Netflix need those companies permission so people can stream from them, so the other companies are constantly increasing their costs. Netflix are overpaying Disney and Epix for streaming rights for their movies and TV shows, they are now paying $100s of millions to Disney and Epix.The table shows the deals that Netflix are paying which costs them billions.