Late Night Women's Hour

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how does the BBC make its money and what does this mean for the products it creates?
from the TV license - they must be high quality to justify paying it BUT some can be more risky without losing mass amounts of money
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what does the BBC do with its profits and what does this mean?
they go back into the company to produce more content - they are not working to make certain people rich
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what is the key part of the BBC's remit?
"inform, educate and entertain"
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how does LNWH fulfil the remit?
topical themes, professional guests with analytical approaches, laid-back and fun tone
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what kind of content does Radio 4 produce?
intelligent, high-brow content - news, history, reports and analysis etc. as well as audio book-style dramas and comedy
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how does LNWH suit the style of content from Radio 4?
approaches topics in professional and intelligent ways - even when covering more low-brow content such as Love Island
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what is Radio 4 often criticised for?
being too white, middle-class, male, old, South-Eastern etc.
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how does the BBC try to combat this?
by including more varied representations of people from different backgrounds
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how does LNWH combat this issue?
hosts and guests are almost exclusively younger women, many from different ethnic backgrounds/classes etc.
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why might the way LNWH tackles issues of representation be an issue?
can be seen as separation - women are just given their own show instead of being properly represented throughout
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when was Ofcom established and what is their role?
2003 - implement and enforce laws regarding radio broadcast, ensure audiences (especially those under 15) are protected from offensive or harmful content
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how does the watershed apply to radio?
there isn't one - but setting more mature content later is an effective form of regulation
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how do Ofcom regulations apply to podcasts?
they don't - they are self-regulated and only have to meet the guidelines of the publisher
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why have podcasts become so popular as an alternative to radio?
they can be listened to on nearly any device with an internet connection at any time - traditional radio was much more limited as it was only broadcast live
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how has radio changed to account for this?
moved toward online services and being made on-demand across a range of devices as well as in the traditional format
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how is the production of podcasts different to radio?
anyone can make a podcast cheaply with just a phone and internet connection due to convergence - but radio requires a lot more skill and resources
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how does LNWH relate to podcasts?
BBC is the largest publisher of podcasts - and LNWH was converted into the format in 2018
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what does Curran + Seaton's Theories of Power state?
media ownership is linked to power and control, small number of companies driven by profit and power, media concentration limits creativity, variety and quality
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how does the BBC relate to Curran + Seaton's idea of power and control?
the BBC is a large company (but not a conglomerate) and has great control over the radio and podcast industries as the largest podcast publisher - but there is growing competition
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how does the BBC relate to Curran + Seaton's idea of profit and power?
the BBC is not funded by advertisers and so has more freedom to be more adventurous - and all profits go back into the company
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how does the BBC relate to Curran + Seaton's idea of media concentration?
the BBC has a wide variety of different and varied content that can appeal to more niche audiences
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what does Hesmondhalgh's Theory of the Cultural Identities state?
companies try to minimise risk and maximise audiences by formatting products (through the use of star power, genre, serials etc.), the largest companies operate across a number of industries
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how does LNWH relate to Hesmondhalgh's idea of minimising risk and maximising audiences?
it is a spin-off of Women's Hour and so the name and brand is recognisable, hosts are both well-known within the BBC and for their feminism (also young and more regional), guests may be popular comedians etc, each topic relates to women or female-specific
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how does LNWH relate to Hesmondhalgh's idea of operating across multiple industries?
LNWH used to be a radio show but later moved into the podcasting world as well
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what does Hall's Reception theory state?
there are three hypothetical positions from which messages and meanings may be decoded
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what might a dominant-hegemonic reading of LNWH be like?
enjoys topic and presenters, finds it represents women well
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what might a negotiated reading of LNWH be like?
may like the representation of women and other minorities but not the topics / agrees with topics but dislikes presenters
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what might an oppositional reading of LNWH be like?
dislikes presenters and topics, may believe the representation is stereotypical or unneeded
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when was BBC Sounds created and why?
2018 - as a replacement for the iPlayer Radio app
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what content does BBC Sounds contain?
podcasts, radio, music etc. on-demand and streamable
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what group is the app targeted towards and how?
younger people (teenagers) - it is lots of content converged into one place and so is more easily accessible than traditional formats
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what effect did releasing it as a podcast have on LNWH and why?
less mature and risky - it can be listened to at any time of day and risks complaint
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Other cards in this set

Card 2

Front

what does the BBC do with its profits and what does this mean?

Back

they go back into the company to produce more content - they are not working to make certain people rich

Card 3

Front

what is the key part of the BBC's remit?

Back

Preview of the front of card 3

Card 4

Front

how does LNWH fulfil the remit?

Back

Preview of the front of card 4

Card 5

Front

what kind of content does Radio 4 produce?

Back

Preview of the front of card 5
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