a2 media studies - evaluation post 3

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Question three What have you learned from audience feedback?

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Page 1: A2 Media Studies - Evaluation post 3

Question three

What have you learned from audience feedback?

Page 2: A2 Media Studies - Evaluation post 3

What is the purpose of audience feedback?I had conducted audience feedback to discover whether my target audience acknowledges that my productions suit their purpose. In which, the music video production is based upon their most mentioned ideals of a music video; these ideals were gathered within my audience research tasks. Furthermore, audience feedback was also considered as a source of information which would determine the interest of my target audience, in relation to my music video production. This would provide an indication of the production's success, via suggesting an audience size.

Audience is significant to the success of a media text. Whereby, audiences have many responses and interactions in relation to a media text. This is discussed within Blumler and Katz uses and gratifications theory, which proposes that audiences of media texts are not passive. And instead, actively interpret and integrate media texts into their own lives. Moreover, the theory mentions that people have different uses and gratifications of media texts. In relation to the theory’s model, my ancillary tasks were primarily aimed to be recognised as promotional products of the same music video production; which relates to the ‘identity’ tier of the model. This was inevitably questioned within my audience feedback survey, to understand whether the products achieved their purpose as advertisements. Furthermore, my primary intention of the music video production was to ‘educate’ yet ‘entertain’ my audience; by highlighting the social issues which youth generations interact with. As social issues are generic themes of the genre, I questioned whether there were enough generic conventions within the music video production. This was required to gain an understanding, of my music video production; whether it can be identified as a hip hop production.

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How did I conduct my audience feedback?

To conduct my audience feedback, I had issued an online questionnaire to a niche market; being my target audience(aged between sixteen and eighteen). I had chosen the same sample demographic as within my research stages, to discover the development and impact of my products on my target audience. In which, I had systematically emailed the questionnaire to all my colleagues within my Sixth Form; allowing only a sample frame of fifty people to answer my questionnaire. I believed that fifty people was a moderately sized sample frame to obtain accurate results, whereby fifty samples enabled me to construct data trends within the results and draw conclusions. Furthermore, I believed that such sample demographic is most appropriate for my feedback, as the products are targeted to the same demographic(bands D and E); meaning that the feedback is most relevant.

In consideration of David Gauntlett’s theory of Web 2.0, I had become a ‘prosumer’. Which, as a consumer of surveys, I have become a producer of them also. Whereby, I had utilised online tools such as SurveyMonkey to create a survey, and had distributed it via email protocol in order to obtain results. Notably, online issued questionnaires allowed me to obtain and present data quicker, in comparison to my physical methodology of audience research previously. Moreover, issuing online questionnaires provided the convenience of allowing all my products to be integrated into the questionnaire, further providing an ease-of-access to my sample frame.

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Results

Audience feedback

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“How well does the music video relate to existing hip hop productions?”. From this question I intended to obtain results focusing upon the music videos recognisability, as being a hip hop production.

In relation to the data, the results have clearly reflected that the production is very generic; being similar to existing hip hop productions. Over the sample frame of fifty people, the average rating was eight. The figure eight, indicates that the production is well-identified, by the means of showing similarities between existing hip hop productions. This is what I intended of the music video; being generic, so that the production can be identified as a hip hop music video. This ideal was adopted from Steve Neale’s theory of “genres are instances of repetition and difference”. Which, suggests that productions should be repetitive, so that they can be identified as a certain production. Through which I had chosen to adopt generic props, camerawork, transitions and artist iconography to achieve this.

Q1

Page 6: A2 Media Studies - Evaluation post 3

“Does the music video differentiate from existing productions?”. From this question I intended to obtain results focusing upon the music videos uniqueness, in comparison to other hip hop productions.

In relation to the data, the results have clearly reflected that the production is mostly regarded as being a unique production; being somewhat different to existing hip hop productions. Over the sample frame of fifty people, the percentage of people regarding the production as unique is accountable for nearly three-quarters of the sample(68%). Thirty-two percent of the sample regard the production as being more identical to existing hip-hop music video productions. This indicates that the production conforms to and yet is different to existing hip hop productions. This is what I intended of music video, to be unique. This ideal of my production become apparent after discovering Steve Neale’s theory of repetition and difference; which concludes that repetition will not attract an audience. With this in consideration, I proposed to create a unique production that is also identified as a hip hop music video production; through the inclusion of high-key lit environments, a vast amount of abstract shots and uncommonly used editing effects.

Q2

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Does the music video differentiate from existing productions? “If so, in what way does the production differentiate ‘mostly’?”. From this question I intended to obtain results focusing upon, the elements of the production which created the ideal of uniqueness, in comparison to other hip hop productions.

In relation to the data, the results have clearly reflected that the production is mostly regarded as being unique via the use of lighting; this ideal was intended due to lyrical reference. Moreover the application of editing in terms of transitions and effects(25.64%), is voted as being the second most differentiation; throughout the post-production stages of the music video, editing was only intended to account for a subtle difference. Over the sample frame of fifty people, the highest differentiating element of the product is the lighting. This percentage of people that voted lighting, is accountable for nearly one-third of the sample(30.77%). This is what I intended of the music video; to illustrate uniqueness, yet maintains the identification as a hip hop production. The lighting subverts genre expectancies as the lyrics referred to a daytime setting, high-key lighting was implemented to visually present the lyrics; which reinforces the production as being performance based. Moreover, Andrew Goodwin explores the visual and lyrical match within productions; which was a concept I had wanted to apply.

Q3

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“Does the music video utilise enough generic conventions to be identified as a hip hop music video?”. From this question I intended to obtain results focusing upon the music videos recognisability, as being a hip hop production; through the application of generic conventions.

In relation to the data, the results have clearly reflected that the production contains plentiful amounts of generic conventions; enough to be identified as a hip hop production. Over the sample frame of fifty people, the percentage of people that identified the production as a hip hop music video; is nearly accountable for the whole sample frame(96%). This indicates that the production is easily identifiable as a hip hop music video. Recognisability is what I wanted to achieve as of the music video, the numerous amount of generic conventions achieves this. Whereby, the production can be identified as a hip hop music video production. Notably, this ideal was adopted from Steve Neale’s theory of “genres are instances of repetition and difference”. Whereby suggests that productions should be repetitive, so that they can be identified as a certain production. To achieve this, my production incorporates a typical hip hop artist iconography - casual wear, fast transitioning, generic props - drugs, alcohol and money, environments and camera techniques - mid and close up shots.

Q4

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“How ‘successful’ are the ancillary tasks, in terms of advertising the main production?”. From this question I intended to obtain results focusing upon the success of advertising, in regards to my music video production; through the advertising mediums of a digipak and magazine poster.

In relation to the data, the results have clearly reflected that the ancillary tasks are generally successful; no ‘unsuccessful’ votes were accounted for. Evidently over the sample frame of fifty people, both tasks were at minimum ‘successful’ with advertising the music video production. Successful advertisement is what I wanted to achieve as of the ancillary tasks. Which, suits their purpose of ‘informing’ audiences of the album's release, and more so my music video productions release. In relation to Blumler and Katz uses and gratifications model, the ancillary tasks fulfill the audience's gratification of being able to ‘identify’ the production. To convey this ideology, I have recreated similar design formats, imagery and artist iconography as seen within the music video across both texts - which are generic techniques of ancillary products. To ensure that such formality was achieved, I had adopted a shot from within my music video, as the focus; from my research into existing hip hop products, I had observed that this was a recurring technique also - this determined its appropriateness for my own ancillary products.

Q5

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“Are the ancillary tasks ‘recognised’ as being advertisements of the same production?” From this question I intended to obtain results focusing upon the whether both ancillary tasks were recognised, as being two separate mediums that were advertising the same production.

In relation to the data, the results have clearly reflected that the ancillary tasks were recognised as advertisement devices of the same production. This is proven as the whole sample frame of fifty people; voted the ancillary tasks as being recognised as advertisements of the same production(100%). The recognisability of different advertisements promoting the same production, is what was intended. Evidently, this has been achieved, through the means of synergy; I have incorporated similar design formalities, images and colour coordination, and artist iconography as seen within the music video across both texts. Inevitably using similar techniques across the products is generic, and enhances identification. In accordance to Blumler and Katz uses and gratifications model, the ancillary tasks fulfill the gratification of ‘identity’; where the products are recognised as being advertisements of the same production.

Q6

Yes(100%)

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Are the ancillary tasks ‘recognised’ as being advertisements of the same production? “Does the music video utilise enough generic conventions to be identified as a hip hop music video?”. From this question I intended to obtain results focusing upon which elements of the ancillary tasks were most identifiable, in terms of showing similarities between the products.

In relation to the data, the results have clearly reflected that the most identified element between the tasks, over the sample frame of fifty people is the colour scheme(89.36%). Moreover, the data also shows the artist's iconography as being the second most identified element of the tasks(85.11%). In consideration of all the elements, indicates that the tasks are similar; this is gathered as most of the production elements mentioned, were identified as similarities by half or more of the sample frame. This proves that both tasks are moderately recognised as being related to each other, to say the least. Recognisability is what I wanted to achieve between the ancillary tasks. Whereby, will allow my music video production to be more identifiable; through incorporating similar relations - a synergy. As mentioned previously, I had recreated similar image concepts to achieve this ideal; fulfilling the audience gratification of ‘identity’ in relation to Blumler and Katz uses and gratifications model.

Q7

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“Do the ancillary tasks provide ‘enough’ information that is relevant to the music video production?”. From this question I intended to obtain results focusing upon the whether both ancillary tasks provide sufficient information regarding the music video production.

In relation to the data, the results have clearly reflected that the ancillary tasks provide sufficient amounts of information about the music video production. This is proven as the whole sample frame of fifty people; voted the ancillary tasks as providing ‘enough’ information. Whereby, no persons of the sample voted ‘no’(0%). It is certain that the ancillary tasks suit their purpose, to inform audiences about my music video production. Recognisability of music video production is what I intended to achieve - as stated previously; the ancillary tasks evidently achieve this. In relation to Blumler and Katz uses and gratifications theory, the ancillary tasks do not fulfill the audience gratification of ‘education’. This is supported by forty percent of the sample size, agreeing that the tasks ‘somewhat’ provide enough information about the music video production. ‘Somewhat’ is a term that suggests minimal quantities, meaning that more information can be included. Hence the gratification of information is not fulfilled; in response to the data, my products should include more information to suit audience desires.

Q8

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How was my audience feedback successful?In relation to Stuart Hall’s reception theory, I intended my target audience to share the dominant reading of my media texts. Such reading intended that my music video production could be recognised as being unique, yet can be identified as a production of the hip hop genre. Moreover, in terms of my digipak and magazine poster products, I intended both products to be recognised as effective advertising devices of the same production - a music video. Which would enable the music video production to be easily identified, by viewers that have seen the promotional products. Conclusively this reading was mostly accepted, and is illustrated from the questionnaire data trends.

However, to achieve such reading I had to understand the audience requirements of a music video production. Whereby, I had previously instigated an audience research task, which queried the concept of the production. This included conducting a questionnaire and VOX POP to obtain information of the preferred genre of production, preferred visual structure(performance, abstract and narrative) and genre expectancies(hip hop) of the video. To produce a media text that would appeal to my target audience, I acknowledged that I had to focus my music video production upon the most popularised answers in accordance to the questions. As they were the most demanded concepts of a music video production; meaning a larger audience can be attracted if a production adopts viewer interests. Relating my production to the feedback has evidently enabled all of my productions to be successful; this was achieved as the feedback acted as a criteria for the productions. Whereby, my ancillary tasks had adopted similar concepts of imagery from the music video production; enabling the products to be recognised as advertisements of the same production.

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What improvements could I make in relation to my audience feedback?

In relation to my audience feedback, question eight within my questionnaire investigates whether my “ancillary tasks provide ‘enough’ information that is relevant to the music video production”. In relation to the data, the results highlight that the ancillary tasks provide a ‘sufficient’ amount of information; that is relevant to the music video production. Which is shown by the whole sample frame of fifty people, voting the ancillary tasks as providing ‘enough’ information. Inevitably, no one within the sample voted ‘no’. However, around forty percent of the sample size voted ‘somewhat’, as their answer to the question. Whereby, the term ‘somewhat’ infers to a minimal amount, indicating that near half of the sample size believe that there could be additional information to be included within the products. In relation to Blumler and Katz uses and gratifications model, my ancillary products do not fulfill the gratification of ‘educating’ people; being that more information is required by my audience. In response to the feedback, I could potentially include information regarding the record label that the artist is signed to, within the magazine poster. Additionally, text formats of the album name and artist could be implemented, to enhance the clarity of information within the digipak. Furthermore, the album's year of release could also be included within both ancillary tasks.

In terms of demographics, I chose to neglect the construction of representations of data, based upon identity(such as gender and age). Reasons being that my production(s) focused upon the target audience of youthful demographics - targeting bands D and E. In which, my productions do not relate to multiple stereotypes of identities; focusing only upon the rebellious stereotype of the youth. Hence, comparing results would not be relevant to my findings.

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Concluding my audience feedback...Within my audience feedback, it is conclusive that my productions are successful. Whereby, my ancillary tasks ‘successfully’ advertise my music video production. This is achieved as my ancillary tasks are “recognised as being advertisements of the same production”, whereby, the use of similarity within the product's “colour scheme” and “artist iconography” establishes their relation. Meanwhile, my music video production is identified as a hip hop production, and is also seen as a unique production; rather than a duplicate. This is gathered as my music video production incorporates “enough generic conventions to be identified as a hip hop music video”. Moreover, through the use of media language, my music video “production differentiates from existing productions” mostly by “lighting”; allowing it to be identified as a unique production of the genre. This ideal of uniqueness was adopted from Steve Neale’s theory of repetition and difference; suggesting that difference encourages a larger audience, to a media text. Furthermore, as the productions are recognised as being similar to each other and they educate audiences (regarding youth interactions with social issues); they fulfill the audience's gratifications, of ‘identity’ and to ‘educate’. Which corresponds to Blumler and Katz uses and gratifications model.

However, within my ancillary tasks the gratification to ‘educate’ an audience is “somewhat” fulfilled. Whereby, nearly half of my sample size(40.43%) suggest that more information can be included within my ancillary tasks; no sample regarded my product as not achieving this gratification. Evidently, my ancillary tasks provide a sufficient amount of information, that relates to my music video production(according to 59.57% of the sample size), but fewer people differ. In response to this feedback, more information and an increased clarity of the information can be implemented into these products, to completely fulfill the ‘educate’ gratification of my audience.

In consideration of my results, I have generated an understanding that people have various readings of media texts. This is shown within my results through data deviation, whereby not all sampling participants agreed with the same answers. Meaning that people have pluralistic views; conforming to the dominant, oppositional and aberrant readings of the media texts - according to Stuart Hall’s theory of reception. Notably, the majority of my sampling population shared my preferred reading of the media texts, which demonstrates that the media texts suit their purpose of production; concluding that all of my productions were successful.