My report regarding the future of BBC3, 2014


Assess the capacity of an online BBC3 to meet the requirements of a Public Service Broadcaster (as laid down in the BBC charter) in relation to that of the current digital channel.


Table of Contents

1. Introduction

2. Executive summary

3. British Broadcasting Company (BBC)

   3.1. Definition and remit

   3.2. BBC3 as a digital channel

   3.3. BBC & Internet television provision

         3.3.1. iPlayer viewership in comparison to television viewership

   3.4. Removal of BBC3 as an on-air broadcaster

         3.4.1. Advantages of closing BBC3 for the British Broadcasting Corporation

         3.4.1. Disadvantages of closing BBC3 for the British Broadcasting Corporation

4. Conclusion

5. Recommendations

6. Bibliography 

                                                               


1.    Introduction
This report examines the capacity of an online BBC3 to meet the requirements of a Public Service Broadcaster (as laid down in the BBC charter) in relation to that of the current digital channel. It covers the conditions regarding the validity of BBC3 as an online channel & also the current conditions under which the BBC broadcast & will also briefly cover the characteristics of Public Service Broadcast.  It assesses these points and examines the prospective future of BBC3 as a channel in relation to the impending closure of the BBC3 as an on-air channel in autumn 2015. It looks to analyse the consequence of the alteration of BBC3 from a digital television channel to an internet based streaming service and how the audience of the current channel will be effected by this change in service.
2.    Executive Summary
It examines the pros and cons of a transfer from the current digital service provided by BBC3 to an online service. This will entail –
§  How the BBC will fulfil what is currently required of them according to the current BBC charter.
§  How the current audience of BBC3 will be impacted by the transition from digital to online service provision.
§  How an online version of the channel will be executed in terms of providing programming to its audience.
§  How online programming (eg. BBC’s iPlayer service) is impacting television & how the ratings that programming broadcast on television are effected

3.    British Broadcasting Company (BBC)
3.1) Definition and remit – The British Broadcasting Company (BBC) is a public service broadcasting corporation. The BBC is one of the key media broadcasters in the UK, with a 32.3% audience share by BBC channels from September 2012 to September 2013 in the UK (BARB, 2013) Its primary source of revenue is television licence fee (£145.50), which is paid annually to all households within Britain that are in possession of equipment that is being used for the purpose of viewing live television broadcasts. In the most recent BBC charter (2006), the BBC summarise their requirements as a Public Service Broadcaster as –
“(a) sustaining citizenship and civil society;
  (b) Promoting education and learning;
  (c) Stimulating creativity and cultural excellence;
  (d) Representing the UK, its nations, regions and communities;
  (e) Bringing the UK to the world and the world to the UK;
  (f) In promoting its other purposes, helping to deliver to the public the benefit of emerging
       communications, technologies and services and, in addition, taking a leading role in the
       switchover to digital television.” 
The charter is renewed on a by the BBC every 10 years, with the latest renewal taking place in 2006. The requirements outlined in the charter are applicable to the contemporary decision put forward by the BBC to transfer BBC3 from its current residency as a digital channel to an online channel. The charters assertion that part of the BBC’s responsibility as a public service broadcaster is “helping to deliver to the public the benefit of emerging communications, technologies and services” is directly relatable to the plan by the BBC to cut their expenses and move BBC3 as a channel online. In transferring the channel to an online service, the BBC is utilising newer technology and services as a way of delivering their content to the public.

  3.2) BBC as a digital channel – The BBC established BBC3 in February 2003 as a digital channel. BBC3 took the place of BBC Choice, the second non terrestrial channel launched by the BBC in 1998. “Choice” also aired children’s programming until the launch of the BBCs two specifically child orientated channels “CBBC” and “Cbeebies” in 2002, just prior to the shutdown of “Choice” and the rebranding as “BBC3” and the alteration in target audience from a broader audience to a more specific bracket (BBC, 2014). The channel airs from 7pm in the evening to the early hours of the morning, approximately 4am. In terms of content that is expected to be broadcast by the channel, Zai Bennett states -
  “BBC 3 is a mixed genre channel for young audiences” with an intended audience of “16 – 34 year olds”

  3.3) BBC & Internet television provision – The BBC launched their internet catch-up service “BBC iPlayer” on the 25th of December 2007. In the monthly performance pack for iPlayer published by the BBC, the BBC conclude that the audience of the iPlayer service is “under-55 in terms of age, which is younger than the typical TV viewer or radio listener’s profile (although more in line with home broadband users)” (BBC, 2013.) The service is accessible from a number of platforms & technologies (including computers, games consoles, mobile phones, tablets and televisions with internet connection capabilities. The peak time of iPlayer usage is between 7pm and 8pm. The vast majority of the content broadcast on BBC channels is available on iPlayer after it has been aired on television. The service organises BBC programming into sections that reflect the genre or format of the material and allows users of the service to search for content according to channel (eg. programmes specifically aired on BBC3) & also content based on region, the day it aired and the time slot. The service also allows for the streaming of BBC’s radio programming in a similar format to that of the television catch up service, with radio programmes separated by radio channel & the day of original broadcast.
         3.3.1.) iPlayer viewership in comparison to television viewership – The iPlayer has garnered
         increasing ratings over its lifetime. In the BBC’s iPlayer summary for October 2013 –
“261 million BBC iPlayer requests in October - up +23% on October 2012, with 199 million TV requests – the third highest figure ever recorded. Mobile and tablet requests increased to a new high of 37% of total requests, and are almost in line with computers which reached 39%.” (BBC, 2013)
A growth in mobile and tablet technology with streaming capabilities has significantly impacted the viewership of BBC programming via iPlayer in place of viewing conventionally on scheduled television. Television as a medium of viewership is still at the forefront in terms of overall audience share, but viewing figures on the whole are being significantly altered by online streaming, with audiences opting to view content in the days following the original broadcast rather than it’s originally scheduled airdate.
  3.4.) Removal of BBC3 as an on-air broadcaster – In a formal statement issued in March 2014, the British Broadcasting Corporation announced the discontinuation of their channel BBC3 as an on-air broadcast. The channel is planned to be removed from air as of autumn 2015. The channel will not be entirely eradicated, and will be re-launched as a new online service following the end of the digital channel (BBC, 2014). This decision followed a statement issued by the British Broadcasting Corporation director general Tony Hall that the BBC was aiming to achieve £100 million in savings for the corporation by 2016. (BBC, 2014)

3.4.1.) Advantages of closing BBC3 for the British Broadcasting Corporation
The current annual production budget for the BBC3 channel is £85 million. With the closure of the channel aimed at an autumn 2015 deadline, the BBC will make a significant move towards the target £100 million in savings for 2016.
In terms of BBC3s current audience share in the UK, in a September year-to-year report by the Broadcasters Audience Research Board (BARB) the channel averaged at a 1.4% share, a fraction of the 20.1% share held by BBC1 and the 32.3% share that is held by the BBC for all of its channels overall. (BARB, 2013)
The decision to move BBC3 online in place of one of the BBCs other smaller channels (eg. CBBC, BBC 4, BBC Parliament) was decided upon by BBCs director of television, Danny Cohen -
The decision to move BBC3 rather than BBC4 online was taken because its audience was more likely to be able to adapt. It was a strategic decision" (Cohen, D cited in Plunkett, J. 2014)
The strategic decision further reinforces the ideals put forward in the BBC charter (“helping to deliver to the public the benefit of emerging communications, technologies and services”) by encouraging the streaming of their content online, with BBC3 content being released exclusively online, the use of emerging technologies (i.e. tablets, mobiles) will be embraced further.  The decision is formed around the basis of BBC3s intended audience age of 16 to 34 (Bennet, Z. 2014) and its branding as a youth orientated channel. The decision also seeks not to alienate the audience of BBC4, a channel with a more mature intended target audience age. BBC4 is intended to cater to a target audience of around 34+ (BBC, 2013)
The decision regarding BBC3s closure over the closure of BBC4 also puts the BBC at an advantage financially in terms of obtaining the £100 million budget savings target for 2016. In comparison to the £85 million budget that BBC3 receives annually from the BBC, BBC4 receives £49 million. The removal of BBC3, a channel more costly to maintain on a yearly basis over BBC4, a considerably less costly channel to maintain (with a budget of £36 million less than its BBC3 counterpart) the decision will significantly impact the BBCs target budget cuts.
Due to the limited amount of content that was broadcast by BBC3 (only airing from 7pm – 4/4am) and the regular re-use of material in order to fill the schedule, an online streaming service in place of a television channel may be a more desirable option. An online streaming service would not be bound by the time slots put in place for the digital channel & would make content more readily accessible to its audience. The service can provide new content as it is produced, rather than recycling older material repeatedly in order to fill up a time slot. Director of television for the BBC put forward a statement when announcing the plans for the future of BBC3 –
It will not just be a TV channel distributed online. There is a wonderful creative opportunity here to develop new formats with new programme lengths – and to reach young audiences in an ever growing number of ways” (Cohen, D. 2014)
3.4.2) Disadvantages of closing BBC3 for the British Broadcasting Corporation
The decision may come as a disadvantage to the BBC due to various factors. In their decision to cut BBC3, the BBC may not have correctly identified their financial shortcomings. While the BBC spends £85 million annually on the budget for BBC3, the budget for BBC2 is £415 million. The viewership figures observed by the Broadcasters Audience Research Board show that the average viewership in terms of percentage of audience share on BBC2 from September 2012 to September 2013 was 5.8%, only 4.4% higher than that of BBC3, despite the considerable difference in budgeting.
Further disadvantage may come at the result of this decision due to a possible alienation of the BBC3 digital channels audience in its relocation from television to online. The same audience that was inclined to watching BBC3 programming on television may not necessarily be inclined to seek out the same programming online.
The decision assumes that the BBC3 audience all have internet access at a reasonable capability in terms of ability to stream television via the internet. It also assumes that the audience of the channel are all in ownership of a device that would enable them to stream the content.

4.    Conclusion
In terms of the capacity of an online BBC3 to meet the requirements of a Public Service Broadcaster in relation to the channel as it currently exists, it would appear that there is indeed a capacity to fulfil these requirements. The BBC has already shown their capability in terms of distributing television material via an internet platform & they are clearly aware of the capabilities and relevance of online streaming as an ever-growing medium. A channel such as BBC3 and its content will likely fare better in an online streaming format, due to the channels established young target audience, whom will likely be more adapt to viewing television content online, rather than through the conventional medium of television.  The plan put forward by the BBC will be effective if enforced well.
5.    Recommendations
The recommendations for this report are relatively brief, as the plans laid forward by the BBC regarding BBC3 have been largely covered by the corporation. An issue that should be addressed is the maintenance of the quality of content over the transfer from digital channel to online streaming. It is important that the content being produced for the online streaming service maintains the same qualities and concepts that made up the programming on the digital channel so as to not alienate the channels already developed audience. 
Also, while the BBC may boost their credibility by embracing newer technology, they should consider a particular area of the market that may be alienated by their choice to make the BBC3 content online only & perhaps seek a way to rectify this.

6.    Bibliography
TV Licensing . (2014). TV Licensing . Available: http://www.tvlicensing.co.uk/. Last accessed 28th Mar 2014.

BBC. (2006). BBC - Royal Charter for the continuance of The British Broadcasting Corporation. Available: http://downloads.bbc.co.uk/bbctrust/assets/files/pdf/about/how_we_govern/charter.pdf. Last accessed 28th Mar 2014.

Bennet, Z. (2014). Commissioning . Available: http://www.bbc.co.uk/commissioning/briefs/tv/browse-by-channel/bbc-three/. Last accessed 28th Mar 2014.

BBC. (2013). BBC iPlayer Summary. Available: http://downloads.bbc.co.uk/mediacentre/iplayer/iplayer-performance-oct13.pdf. Last accessed 29th Mar 2014.

BBC. (2014). BBC Three to be axed as on-air channel. Available: http://www.bbc.co.uk/news/entertainment-arts-26447089. Last accessed 28th Mar 2014.

Cohen, D. (2014). BBC announces plans to close BBC Three as a TV Channel in 2015. Available: http://www.bbc.co.uk/mediacentre/latestnews/2014/bbc-three-tv-closure.html. Last accessed 29th Mar 2014.

Broadcasters' Audience Research Board. (2013). BARB publishes The Viewing Report. Available: http://www.barb.co.uk/whats-new/284. Last accessed 28th Mar 2014.

Cohen, D. (2014). BBC3 closure: now director of TV refuses to guarantee the future of BBC4. Available: http://www.theguardian.com/media/2014/mar/06/bbc3-no-guarantee-future-bbc4-danny-cohen. Last accessed 28th Mar 2014.

BBC. (2013). BBC Audience Information. Available: http://downloads.bbc.co.uk/aboutthebbc/insidethebbc/howwework/accountability/pdf/summary_audience_information_january_march_2013.pdf. Last accessed 28th Mar 2014.

BBC. (2014). BBC Three: From digital first to online only. Available: http://www.bbc.co.uk/news/entertainment-arts-26452235. Last accessed 29th Mar 2014.


An analysis of the representation of women in supernatural horror films.




   This essay aims to analyse the representation of women, with specific reference to“The Witches of Eastwick” (1987) and “Hocus Pocus” (1993). Representation is defined as being “the process by which the media present us to the real world” (Bennett P et al, 2006, Page 269).  For the purpose of this essay, the DVD covers of both of the films are going to be analysed.  This essay aims to show that through hegemony, both of the covers impose the ideological beliefs of societies view of women.

  On the cover of ‘Hocus Pocus’ the female stars are shown predominately in front of the moon, which is iconographic of horror and often is seen as a centre of supernatural activity, this suggests that in this film they are at the centre of the activity, thus representing them as being powerful. Iconography is defined as the “specified or traditional symbolic forms associated with the subject or theme of a stylized work of art.” (http://www.thefreedictionary.com/iconography).  The “Witches of Eastwick” women are shown as being slightly faded into the background which suggests that they are in more of a supporting role, with Jack Nicholson portrayed much more clearly, with lightning surrounding him suggesting his is an important primary role, which supports the theory that “men are often presented in films as the people in and of history, who shape the destinies of both their own lives and the societies they inhibit. Women on the other hand are typically in supportive roles” (Jacobus Fourie, P.  2001, Page 234). On the other hand, the representations on the covers are as similar as both sets of women are represented as sexual objects.

   On the ‘Witches of Eastwick’ front cover, only the women’s faces are shown, which suggests that what they look like is what matters, this is similar to the ‘Hocus Pocus’ cover, where Sarah Jessica Parker is wearing a significantly shorter skirt to the others and straddling the handle of the vacuum cleaner showing the garter on her leg, which is sexually suggestive and appealing to the male gaze. The vacuum cleaner handle is phallic imagery, further suggesting the sexuality of Sarah Jessica Parker. “Mulveys concept of the male gaze can be found in both print and televisual text, where a woman’s body is represented as an object of the masculine gaze and a producer of voyeuristic pleasure.” (Carilli, T. 2005, Page 6) Bette Midler is notably central in the picture, which is a statement that she is dominant, and the most powerful of the three. Also, through ideology, the cover is pragmatically suggesting an association between women and vacuum cleaners, which attaches itself to the stereotype that women should be domestic. So although the women are seen as being independent here, with no men on the front cover, they are still tied to the stereotypes that surround women in the media. This is supportive of the statement that “women are shown as being subordinate, passive, submissive and marginal, performing a limited number of secondary and uninteresting tasks confined to their sexuality, their emotions and their domesticity” (Strinati, D. 2004, Page 171) In this case, the task confined to their sexuality in terms of domesticity is cleaning.

   Each woman on the cover is representative of different facets of the courtesan archetype of the female stereotype, with Sarah Jessica Parker shown as the stereotypical ‘sex object’, which is reinforced by the statement that Mulvey’s theory argues that in nearly all media representations of women, the viewer is put in the masculine subject position, with the figure of the woman on screen as the object of  desire.”                                                                              ( http://mediaalevel.edublogs.org/2010/07/02/the-male-gaze/). Bette Midler shown as the matriarch (or earth mother) and Kathy Najimy as the good wife. A matriarch is “a woman (http://www.thefreedictionary.com/matriarch). These facets are considered the typical stereotypes of women, and the fact that they are represented by separate women suggests that they cannot be more than one. These representations also reinforce Hollywood’s patriarchal society beliefs and values, in terms of how women must behave. For instance, a housewife cannot also be seen as a sexual object and vice versa. This reinforces Rosemary Bettertons’ statement that “through the representation, women are reduced to the status of objects” (Betterton, R. 1987, Page 199). Similarly in ‘The Witches of Eastwick’ cover, the lightning coming from Jack Nicholson’s hands, surrounding the three women suggests that they are within his control, which creates a sense of patriarchy. Therefore following the hegemonic model and adhering to the standards of patriarchal society.

   Patriarchy is defined as being “the manifestation and institutionalisation of male dominance over women and children in the family and the extension of male dominance over women in general. It implies that men hold power in all the important institutions in society and that women are deprived of access to such power” (Burton, M. Reed, T. 1999, Page 46). In this context, Jack Nicholson is the primary male authoritive figure and he has power and authority over the three women above him, suggesting that they are subordinate. This supports Mulvey’s statement that “men are the central agents in most mainstream popular films, with women serving as the decorative objects of their actions or desires.” (Kramarae, C. 2000, Page 197)  On the back cover, Jack Nicholson is also seen raising his arm in the direction of the three women, who are shown in a considerably smaller picture while he is shown as being much larger, this may be interpreted as him asserting his masculinity and authority over the women. On the other hand, the women are shown on the right, which implies that they are dominant, and there are three of them while there is only one male, which could be an implication that they are in fact the ones in possession of the power.

   Similarly, in terms of women possessing power, on the back cover of ‘Hocus Pocus’, Bette Midler is again seen with lighting coming from her hands (which appears to be iconographic of power in supernatural horror films), over-powering a teenage boy, showing that she is dominative over a male in the frame. But this contradicts her aforementioned matriarchal role. Or it could also be seen as affirming it, as she is reinforcing her position as the most powerful and the leader of the group.

   Also, in the picture underneath the characters are seen looking up in fear, which further suggests that she is feared and thus powerful, which implies again, that the women are in control in the films.        On the cover of the ‘Witches of Eastwick’, Jack Nicholson, the primary authoritative figures name is over the three female’s names, which further suggests that he takes a more dominant role and that he is more powerful than they are. Whereas on the cover of ‘Hocus Pocus’, Bette Midler’s name is above the other two and she is central, suggesting that she is the more dominant in this scenario. Furthermore, on the back cover of the film, Bette is again shown in the middle of the other two, which suggests that she is in some way the centre of the group and thus ‘the powerful one’, contrasting the idea that only men can assert power.

   Although, it could be argued that Cher, Susan Sarandon and Michelle Pfeiffer on ‘The Witches of Eastwick’ are represented as powerful here, as they are above Jack Nicholson, which suggests that they are dominant over him. However, they could be seen as having power here, they are still there to appeal to the male gaze, which supports the statement that “although females are as competent and capable as any male, women must still adhere to traditional standards of feminine beauty.” (Meyers, M. 2008, Page 20) This could also be applied to the ‘Hocus Pocus’ cover, in that although Bette Midler is seen with lightning coming from her hands, connoting power. But she is also wearing make-up, which suggests that she is trying to appeal to the male audience, thus adhering to the traditional standards of feminine beauty.  

   Although, this could be interpreted differently in that Kathy Najimy and Bette Midler are both wearing non-revealing clothes, unlike Sarah Jessica Parker.  This is a comment on the matter of age, implying that older women are not sexual. This is a pluralist statement that not all women are sexual objects, and that they can take on other roles in society. She is represented as being a temptress; reinforcing the idea that she is there for the sole purpose of being looked at and observed as a sexual object.  A temptress is “a woman who sets out to allure or seduce a man or men” (http://www.thefreedictionary.com/temptress). This could also be seen as a statement that only young women can be seen as desirable. By not conforming to being a sexual object, they imply that there is more to them than their bodies or what they look like. This could be seen as “a departure from Disney tradition, in which beauty (at least for women) is consistently touted as the ultimate virtue” (Booker, M.  2010, Page 54.). Similarly on ‘The Witches of Eastwick’ cover, only the women’s faces can be seen, which implies that although their faces and what they look like is important, their bodies do not have to be seen in order for them to be validated by the male gaze.  This further supports the theory that women, like men can be powerful.  But despite them having power, a woman being represented is far from flattering, and considered negative as “witches” are seen as hags.

   Due to the age rating difference between the films, there is a definite difference in the way the women are represented also. With ‘Hocus Pocus’ being a PG, the women are not shown to be under the power of dominant male, as the representation of them being a sexual object to a man would be deemed inappropriate to a PG audience. This goes against the usual patriarchal structure of a Disney whereas with the ‘Witches of Eastwick’ being an 18, the women being shown as objects to the man would seem more acceptable to an 18 plus audience. Although feminists would argue that despite the rating, the representation of women as objects is still not acceptable, as the cover is still patriarchal in the image that it portrays of the women.  But in opposition to this, although both sets of women in each film are represented similarly in that both texts show a trio of women, surrounded by lightning, which suggests that they are powerful, there are significant differences between them. On the ‘Hocus Pocus’ front cover, the three women are the only characters that can be seen, which suggests their importance and protagonist status in the film.