Have You Heard Gerorge's Podcast - Grenfell

 Have You Heard George's Podcast - Grenfell

Stuart Hall - Reception Theory

• the preferred reading
• the dominant-hegemonic position, where the audience understands and accepts the ideology of the producer
• the negotiated reading
• where the ideological implications of producer's message is agreed with in general, although the message is negotiated or picked apart by the audience, and they may disagree with certain aspects
• the oppositional reading
• where the producer's message is understood, but the audience disagrees with the ideological perspective in every respect

Audience

• an exposure of the systemic failings of the Grenfell disaster, by focusing on a single individual, humanising her through the process of narrative
• sometimes when presented with large numbers, audiences can detach and switch off
• by telling a human story, George positions the audience as someone who has lost someone in a tragedy
• an uncomfortable and confrontational mode of address anchors the audience to decode the preferred reading
• a number of people would be affected by this tragedy directly due to the number of people who died
• an oppositional reading may be that the shows narrative focus trivialises the tragedy that happened
• the high pitched chimes and piano arpeggios constructs a deeply uncomfortable and complicated mode of address that helps to anchor and confirm the preferred ideological reading
• "I want you to imagine you're in a cinema", engaging the audience purely through language and using familiar imagery
• a deeply post-modern mode of address that creates immersion
• links all the podcasts together, and constructs his own series of conventions and heightens the emotional impact for the target audience
• the message, moral or ideology is not immediately clear

Henry Jenkins - fandom and participatory culture

• there is a crucial difference between mass, passive audiences and fans, as fans are active and will actively participate in their consumption of media products beyond just watching something and coming up with an opinion
• examples of active participation include organising events, writing fan fiction, drawing fan art, purchasing merchandise, engaging in speculation in online fan communities, and many other diverse approaches
• producers have long sought to actively engage fans, who are powerful and useful audiences through their loyalty and commitment to certain franchises
• however, fans can also be fickle, and can turn on producers if they feel that the franchise is not meeting their needs
• "if someone loves a film enough, they will do something to show it. That makes them a fan!"

Clay Shirky - The end of audience

• argues that digital technology and its convergence has allowed audiences to produce media in much the same way as producers
• there is now a far greater number of quote unquote 'amateur producers' who are able to create news, podcasts, music and even feature films with the most available of equipment
• to differentiate this from Jenkin's theory, Shirky argues that quote unquote ' professional' producers are now adopting a 'publish then filter' model, where 'content' is produced, quickly digitally distributed, then later edited or adjusted if it doesn't meet expectations or is complained about
• however, the idea that we are all producers on a level playing field is quite contentious