Radio 1 Launch CSP: blog tasks

Historical, social and cultural contexts

1) Before 1967, the BBC supplied three radio stations: BBC Radio Home (1939-1967), BBC Radio Light (1945-1967) and BBC Third (1946-1970). BBC Radio Home offered education programmes and news which were mainly speech-based, and was later replaced by Radio 4. BBC Radio Light broadcasted predominantly light entertainment (comedy / drama) and music, and was then replaced by Radio 2. BBC Third provided intellectual arts-based talk and music, however it later became Radio 3.

2) In September 1967, BBC radio was reorganised due to the realisation that their content did not appeal to the growth market of younger audiences. On 30 September 1967, the Light Programme was split into Radio 1 which provided listeners with continuous "Popular" music and Radio 2 for more 'Easy Listening'. The "Third" programme became Radio 3, offering classical music and cultural programming. The Home Service became Radio 4 which presented news and non-musical content such as quiz shows, readings, dramas and plays.

3) Pirate radios were stations which produced informal, relaxed music, such as pop, outside of the control of regulators. This was due to a large change in attitude towards music and youth culture from young people in the 1960s. This was popular as the BBC did not provide this themselves and so many younger people turned towards pirate radio stations, as they suited their interests much more.

4) In 1967, the Marine Broadcasting Offences Act officially outlawed pirate radio stations. The Government had closed the legal loophole which allowed these stations to continuously broadcast and gather a British audience of 10 to 15 million. This meant the audience had no other alternative but to go to Radio 1 if they wanted to listen to popular music.

5) After the shutdown of pirate radio stations, many of the pirate station DJs were then employed by BBC Radio 1, which meant that they brought along many of their loyal listeners with them. Radio 1 also developed better content more suitable to their target audience, helping them increase their popularity.

6) 'Needle Time' was the restriction of the amount of recorded music that could be transmitted by the BBC during the course of any 24-hour period. It was introduced in 1967 and meant that they could only play five hours of music per day. However, this was a problem for the BBC due to the fact that pirate stations did not have these restrictions imposed on them because the law was difficult to apply offshore - and so they could play more music for longer intervals of time. They were, therefore, more popular with young people than the BBC.

7) BBC Radio 1 attempted to mirror the content of pirate radio stations, and however unsuccessfully they did this, it made them stand out from their previous radio stations by providing music which were more trendy and appealing to young people or teenagers at the time.

8) The first presenter for BBC Radio 1 was Tony Blackburn. The new Radio 1 DJs initially caused upset at the traditional BBC as they wore casual clothes, spoke informally and had comedic voices and strange catchphrases - which was utterly unlike the newsreaders who would dress formally and speak with refined mannerisms.

9) Tony Blackburn's broadcast may have appealed to younger audiences as he was young himself, and could therefore engage and connect with people within or around his own age range. He speaks in a chatty and informal manner, another reason as to why it appealed to younger audiences so much.

10) Tony Blackburn's radio show was relaxed, informal, casual and not traditional unlike previous content provided by the BBC. These were all conventions taken away from pirate radio stations as they were what made the younger 1960s audience so attracted to it.

Audience and Industry

1) The target audience for BBC Radio 1 in 1967 was young people who were listening to pirate radio.

2) Radio 1 initially struggled to attract a younger audience as they were not seen as "cool" or "trendy" due to the fact that the BBC stood for traditional, conservative values which did not interest young people.

3) In 1967, Radio 1 offered listeners multiple audience pleasures, such as: personal identity, diversion/entertainment and information/surveillance. This is because listeners may be able to relate and engage with the DJs, who were within the same age range as them, whilst simultaneously providing a sense of escapism from the real world. It also provided news and reports, therefore educating their targeted audiences as well.

4) The BBC is funded through the annual TV licence fee, which is charged to all British households, companies and organisations which use any type of equipment to receive or record live television broadcasts or watch using iPlayer.

5) In terms of Stuart Hall's Reception theory, the preferred readings for BBC Radio 1 in 1967 may be that it is an enjoyable and great source of entertainment specifically for young people, as they were similar to the popular pirate radio stations and they allowed listeners to listen to a large range of music of their liking. The oppositional readings may be that they were too formal and traditional, therefore not having the same impact on young audiences as the pirate radio stations did. They did not implement the pirate radio style in a successful manner, and were instead seen as conventional and upheld many conservative principles.

Television: Final Index

My Television Final Index:

1) Television: Introduction to TV drama

2) Doctor Who: Language and Representations

3) Doctor Who: Audience and Industries

4) His Dark Materials: Language and Representations

5) His Dark Materials: Audience and Industries

6) Industry contexts: the BBC and public service broadcasting

TV Industry Contexts: blog tasks

1) BBC's mission statement is 'Inform, Educate and Entertain'. This means to enlighten the public about worldly events, share new information with the aim to help them learn new things and offer pure amusement.

2) The BBC is funded by a TV licence, which is paid for by the public as it is a public service broadcaster. As of now, the licence fee is £159 a year and every household is required to pay it in order to watch live broadcast TV or BBC iPlayer.

3) In order to meet its public service broadcasting responsibilities, the BBC must provide a balanced amount of information, support learning for people of all ages, produce creative output, have diverse content by representing all races and ethnicities and to reflect the United Kingdom, its culture and values to the world.

4) Regulation is when a piece of media is moderated to ensure that all rules set in place are followed correctly and that inappropriate content is not broadcasted to audiences. The BBC is regulated by OfCOM (the Office of Communications). OfCOM oversees all media channels and produces a code of conduct that all media channels must follow. In the event that this code of conduct is not followed to expectations, there is a risk that they may have their licence to make content removed and they can also be fined heavily. This includes what can be shown before the 9pm watershed and various other quality standards. Even though OfCOM is instructed by government, it is independent which means that the BBC can remain impartial and does not simply broadcast what the government tells it to.

5) Both Doctor Who and His Dark Materials help the BBC meet their mission statement (Inform, Educate and Entertain) by including aspects such as time travel, parallel universes and space to teach audiences about different features of science and technology. They also reflect real-life problems, such as a patriarchal, controlling government (symbolised through the Magisterium in His Dark Materials), therefore informing audiences on problems taking place in the world today. Lastly, both TV shows have interesting, flawed characters with deep, intricate storylines and have action-packed plotlines within every episode, which ultimately provides entertainment for those watching.

Grade 8/9 Extension Question:

1) To stay relevant in a streaming TV age, the article proposed that BBC needs to step up and change to match the public's liking. In today's day and age, streaming services such as Netflix, Amazon Prime and Now TV are rapidly gaining subscribers, and are proving to be the biggest competitors against BBC iPlayer. This is due to the variety of TV shows and movies each and every one has to offer, and how they are available for up to months or years at a time. To compete with this, the BBC attempts to make iPlayer more like Netflix, which is described as "way ahead of everything else". The BBC hopes to attract more younger viewers, add more boxsets and archive footage, feature shows that haven't shown up on TV recently and get rid of the 30-day expiration periods.

His Dark Materials: Audience and Industries blog tasks

Audience

1) The target audience for His Dark Materials is people the age of 14 and above. HBO gave it this rating due to the dark and violent imagery. However, some scenes which contain aspects such as violence, gore, profanity, alcohol, drugs, smoking and intensity are classified as "mild", meaning it is not a completely childproof watch. The target psychographic groups may be "the aspirer", "the mainstream" and "the explorer" due to the different traits that these groups have to offer, and how they appear as apparent in most people who are interested in watching His Dark Materials.

2) Blumler and Katz's Uses and Gratifications theory is displayed throughout the entirety of the episode through the uses of the three main audience pleasures, for example:

Personal Identity: Many teenagers or younger people may perhaps see themselves or their own lives portrayed on screen, through the characters of Lyra and Will. Their general manner of speaking or their attitude could be relatable for the younger viewers, or the actions they do (e.g. Lyra acting somewhat constricted and walking on the bed with her shoes). Also, Lyra and Will's budding friendship can prove relatable to specific viewers who feel as though they have friendships of their own that are seemingly similar, if not the same as their one.

Personal Relationships: Audiences may form strong attachments to the characters, and may feel emotions such as worry or concern for their safety, more so during frightening or tense scenes. Older viewers may likely feel apprehension for Lyra and Will, especially if they have children of their own, due to the fact that Lyra and Will are the youngest of the ensemble cast.

Diversion (escapism): His Dark Materials offers escapism on an immense scale, as it consists of many quick, heart-racing, terrifying scenes which draws in audiences and leaves them feeling completely immersed within the experience, as if they were there themselves. This is successfully done by the use of diegetic and non-diegetic sound, fast-paced camera shots, petrifying settings and intense dialogue.

3) Out of the 3 Vs, visceral pleasure relates the most with His Dark Materials. This is completely due to the amount of expeditious and enthralling scenes, a notable example being the chase scene in 'The City of Magpies' between Lyra and Will and the mysterious children left in the city. This provides visceral pleasure as it captivates the audience and may even cause them to shiver out of pure excitement or anxiety.

4) On the whole, there were mixed reviews regarding Season 2 of His Dark Materials from both fans and critics. It is initially described as "great, robustly made, with great actors everywhere, occupying well-built universes" though this is immediately followed by "but it doesn't inspire as much wonder as it ought to". Critics feel as though the show now lacks many vital elements which make up the entirety of it, with a review stating "for a series about magical worlds, aimed at younger viewers, however, there's not quite enough magic" and another saying how "the daemons never quite replicate the humour and self-doubt they convey in the books". It is evident through these statements that most prefer the book series counterpart over the TV show, which isn't surprising given how this is the typical case with most book series-turned TV dramas or films. Also, it signifies how the TV series doesn't include many crucial aspects that were in the books, and how the second season doesn't have the same novelty and enjoyment as the first one does. Another review mentions that whilst the show may appeal to avid fans of the original Philip Pullman books, it wouldn't offer the same excitement to someone who hasn't initially been introduced to or was into the books beforehand. Overall, the critic reviews were mostly negative, however there was some praise amongst all this.

5) The preferred reading of His Dark Materials is the fantasy genre, and that it is targeted towards families, with children above the age of 12. Producers attempt to give out the assumption that it is a thrilling and intense series, with intimate storylines and dramatic dialogue, along with a hugely action-packed plot. The oppositional reading of His Dark Materials is that is can at times be somewhat controversial and even convey a sense of religious persecution as they paint a seemingly bad picture of Christians and they are portrayed to be villains. Fans may love the show due to the wide range of characters and their fascinating backgrounds, along with the riveting storylines and the diversity within the cast. Others may criticise the show due to the fact that it lacks some magical elements from the books, which takes away the whole fantasy genre.

Industries

1) His Dark Materials was produced for an international audience by both the BBC and HBO. BBC is a British company whereas HBO is an American television network. Additionally, it was created for these platforms by an independent company, Bad Wolf.

2) The first broadcast of the episode 'The City of Magpies' had audiences of 4.4 million across the UK. This was somewhat less than the broadcast of the pilot episode, which had a figure of 7.7 million people watching it in the UK.

3) HBO was a co-commissioner of His Dark Materials, along with the BBC. HBO is widely known for producing some of the most magnificent and successful TV shows of all time, and provided an opportunity to bring in a lot of money from His Dark Materials which was important because it has over 40 million subscribers and brings in around $7 billion in subscription revenue each year.

4) The show features a number of famous stars, with both British and American actors and actresses. These include Brits Ruth Wilson and James McAvoy and American Lin-Manuel Miranda who wrote the world-famous hit musical Hamilton. These actors and actresses were perhaps chosen for the show in order to provide star power as they have big names.

5) Bad Wolf was first founded in 2015 to create ambitious, imaginative and relevant drama for the global TV marketplace. It has produced series for many well-known broadcasters which includes HBO, BBC, AMC and Sky.

Comparison: Doctor Who - 'An Unearthly Child', His Dark Materials - 'The City of Magpies'

1) The technical codes in Doctor Who are entirely different to that of His Dark Materials. For example, in Doctor Who, which was first released in 1963, the camerawork is more flimsy and rough as opposed to His Dark Materials as the camerawork in it was done in a more smooth, professional way. This is due to the fact that in modern times, we have access to a huge range of technology and resources to better our media pieces, which is again shown through the clear contrast between the special effects used in both TV shows. His Dark Materials uses CGI (computer-generated imagery) which is much better quality in comparison to Doctor Who, as well as the sound and editing too.

2) In terms of genre, Doctor Who and His Dark Materials are very similar. They both consist of a hybrid genre, as they are both sci-fi and fantasy. This means that their target audiences would not be that different from each other. They follow near identical storylines such as other-worldly dimensions, different universes and obscure creatures. Both TV series follow a narrative arc, and include narrative aspects like Propp's character theory, Todorov's equilibrium theory and both action and enigma codes.

3) Some ways in which representations of people, places and groups are different in Doctor Who compared to His Dark Materials is that there isn't a diverse cast and most, if not all characters are all white. This is implicit of the decade that the show was released in, which is different to modern day as His Dark Materials includes a much more diverse cast full of people within the BAME community. Representations of gender in Doctor Who are also much more stereotypical and women are portrayed as inferior as opposed to men, whereas in His Dark Materials they are conveyed as fierce and independent. A way in which representations in both TV shows are quite similar is through the younger teenage characters, who are typically smart, kind and thoughtful (e.g. Susan Foreman and Will Parry). The settings in both TV series are different in some ways too, as 'An Unearthly Child' starts out in a normal, every-day setting (a public school) but 'A City of Magpies' is set in an abandoned, destroyed city.

His Dark Materials: Language and Representations blog tasks

Language and close-textual analysis

1) Camerawork, editing and sound:

The opening non-diegetic sound is epic, orchestral music which sets the adventure and fantasy genre and also the suspenseful atmosphere. There are a number of establishing shots which show the various settings: mountains, rainforests, oceans, 'the city in the sky'. These type of locations again reinforce the adventure/fantasy genre. The editing throughout the episode shows the use of CGI (computer-generated imagery) with the airships, talking animals (daemons) and the witches. There are uses of high angle shots and fast-paced editing during the chase scene. There's uses of diegetic and non-diegetic sound throughout the entirety of the episode, which vary from intense to more mellow as well as an abundance of low and high angled camera shots in order to make characters seem powerful or inferior, such as Mrs Coulter and the witch.

Mise-en-scene:

There are a number of different settings depicted in the episode, varying from oceans, skies, caves, forests and the remote city in the sky. Mrs Coulter sports a deep red dress, connotes to danger or superiority and emphasises her role as a villain. There are a number of different props e.g hot air balloons, submarines, gadgets - links to steampunk. The lighting for Mrs Coulter and Ruta Skardi emphasises their power.

Narrative and genre:

The series follows a fantasy genre, through the use of talking animals (daemons), as well as a steampunk/futuristic genre due to old, Victorian technology (mix of past and future). It follows different narratives e.g. Todorov's equilibrium (the prophecy) along with a mix of enigma and action codes.

2) His Dark Materials fit the conventions of a typical fantasy genre through the use of many other-worldly settings, along with following a clear narrative arc. The plot also follows an adventure or quest-like narrative, often used in fantasy TV series or films. It uses iconography which includes animals that speak, magic, or other mystical creatures and has an ongoing political theme throughout the entirety of the show.

3) In terms of Propp's character theory, Lyra would be the hero and Will as the sidekick (or Lyra's daemon Pan), which subverts typical gender stereotypes. The role of the "hero" is usually taken up by a male, and many would assume that Lyra would be considered the "princess" due to her being a girl. However, she completely breaks those stereotypes as she lacks the mannerisms and 'cleanliness' women are usually thought to have and instead it was Will who showed these specific characteristics. The donor would perhaps be Ruta Skardi and Mrs Coulter and the Magisterium as the villain, again subverting certain stereotypes (as many would assume the main villain to be a man).

4) Action codes within the episode include Lyra and Will finding other people in the somewhat deserted city, and the entire chase scene that follows. This is done by the use of medium shots and birds-eye shots which makes the scene much more suspenseful. Enigma codes include the use of diegetic and non-diegetic sound, e.g the soundtrack, which creates a tense atmosphere and also leaves a dramatic effect, making the audience drawn to what is going on. Another enigma code may be the prophecy about Lyra, as it leaves the audience with a sense of curiosity as to what will happen next.

5) Some examples of binary opposition within the episode includes: good vs evil (Lyra and Will vs Mrs Coulter and the Magisterium), young vs old (the children in the 'city in the sky' vs the adults who got hunted by spectres). Another use of binary opposition could be the difference in gender, but also how they are portrayed to act entirely the opposite of how gender roles are usually perceived - given the fact that Lyra tends to be more hostile and bold however Will is shown to be more welcoming, friendly and compassionate; whilst simultaneously adopting certain mannerisms most commonly expected of a female character, such as cooking and cleaning. All these different types of Levi-Strauss' binary opposition may create narrative for the audience as they link back to certain narrative theories, like Todorov's equilibrium, Roland Barthes' enigma and action codes or Propp's character theory.

Representations

1) In His Dark Materials, women are portrayed in a way which breaks all specific stereotypes of how they should be conveyed within the media. For example, women are typically shown to be caring and attentive, and yet both Lyra and Mrs Coulter are both quite the opposite. Lyra is more reclusive and aggressive, and completely unlike how women are usually thought to act. She also doesn't know how to cook which is widely thought to be a womanly task, doesn't really care about her appearance, doesn't display any careful manners, is more insensitive to others and their belongings (e.g walking on the bed), and is the one leading the way rather than Will, which subverts initial stereotypes. Additionally, Mrs Coulter also lacks certain 'feminine' traits, given the fact that she's vile and corrupt and doesn't display any motherly attributes (what with her wanting to destroy Lyra, who also happens to be her own daughter). However, a stereotype which is reinforced may be Mrs Coulter's appearance. She wears very excessive make-up including deep red lipstick and a dress of the same colour, reinforcing the stereotype that women care very much about how they look - the colour red is also known to radiate fierceness, confidence or seductiveness.

2) Similar to how women are represented in His Dark Materials, men are shown in a way which also subverts a number of stereotypes. For example, the character of Will, the boy who Lyra befriends, is conveyed as caring and well-mannered. He is kind and welcoming to Lyra who is the complete opposite, and also usually is the one doing the household chores such as cooking food or making the beds, which is normally known to be a 'womanly' task to do. Though men within the media are typically portrayed as fierce, bold and valiant people, Will tends to be the more soft one of the pair, and instead follows Lyra's lead - therefore subverting stereotypes. Although, through the character of Lee Scoresby, some can say that stereotypes of men are reinforced. Lee is shown as a broad, strong-willed man who is independent and falls into the typical "masculine" category, therefore supporting the usual stereotype of how men are represented in the media.

3) Age is represented in His Dark Materials in a way which subverts normal stereotypes of teenagers. As the episode is set in a city which has been completely stripped of adults, leaving only children behind, it's evident here more so. The younger characters are shown to be daring, brave and solely independent - whilst they're simultaneously able to get by without the aid of adults, which as a result subverts typical stereotypes of teenagers as usually they would be seen having somebody to depend on. Although, some stereotypes could be reinforced given the constricted and cold attitude and mannerisms the younger characters give off, similar to how some teenagers act in today's day and age. The way in which adults are conveyed may challenge certain stereotypes of grown-ups, as they would typically be more attentive and affectionate towards children, however Mrs Coulter is the complete opposite - she is shown to be a vile and evil woman who holds a deep thirst to find and potentially hurt Lyra.

4) The way that race and ethnicity is represented in His Dark Materials is seemingly accurate of the decade in which the show was released. Nowadays, in more recent pieces of media, the BAME community is getting much more representation as opposed to much older TV shows and films. This is done through the characters Will Parry and Ruta Skardi, who subvert certain stereotypes of race and ethnicity. Also, the abandoned children that Lyra and Will come across in the deserted city are portrayed as poor and working-class in a very stereotypical manner.

5) Throughout the episode, the world or multiple worlds are shown to be fantasy and unlike anything we could imagine within our own world. Despite this, the worlds also resemble aspects of our world too, as some settings look entirely normal (e.g. the oceans, skies and forests) though some are wholly different including the fact that Will seems to come from ‘our’ world, as he didn't understand the concept of supernatural things such as daemons or Dust. However, Lyra's world seems to be completely mystical and magical, holding both futuristic but old-fashioned aspects to it, such as the Magisterium and their patriarchal views.

Doctor Who: Audience and Industry blog tasks

Audience

1) The target audience for Doctor Who is a mainstream family audience, from ages 10-40+ and consists of a fairly equal amount of both male and female watchers. This is different from 1963 and traditionally, science-fiction fans were male. However, this has changed over time and from 1970-2010 the female science-fiction audience grew by 22%.

2) Personal Identity: This means to personally relate to something, seeing your lifestyle projected on screen. Younger audiences could feel this through Susan, and older audiences could feel this through the teachers, Ian and Barbara, or even the Doctor himself.

Personal Relationships: This means to care for the characters and wanting to find out what happens next to them. Audiences could feel this through Ian and Barbara, wanting to see where they end up next and how they escape, or Susan - where will she be taken to?

Diversion (escapism): This means escapism, to be fully immersed in a piece of media that it entertains you away from your normal life - science-fiction is a classic genre for this. This could be applied to 'An Unearthly Child' during the scenes where Ian and Barbara go to investigate where Susan lives, due to the level of tension and suspense or when the TARDIS takes off, leaving the audience shocked yet captivated by the sudden turn of events.

Surveillance (information/facts): This means to learn information or be educated on things that you didn't know beforehand. Doctor Who does this by educating the audience upon things such as science, history, space and time travel.

3) The episode 'An Unearthly Child' could also provide additional Uses and Gratifications to a modern 2023 audience. This could be by surveillance, as it shows a modern audience what life was like back in the 1960s, and how different people's mannerisms were back then. It could also link to historical events from the 1960s, such as the Space Race or the first takeoff of the Concorde.

4) The 3Vs could be applied to 'An Unearthly Child' with visceral pleasure being when the Doctor caught Ian and Barbara, and takes them inside the TARDIS. It could also be when the TARDIS takes off and they travel through space and time. Vicarious pleasure could again be when they travel through space and time, as we as an audience experience time travel and other dimensions through these characters. Voyeuristic pleasure would be when we see the interior of the TARDIS for the first time, as it is unlike anything we could ever see in real life.

5) Doctor Who has a large fanbase from all around the world. The fans go by the name 'Whovians' and many are very committed to the show. An example of a well-known event put on for these fans include Comic Con, which allows them the chance to dress up in costumes of their favourite characters, possibly meet cast members or befriend other Whovians. There is also a lot of Doctor Who themed merchandise including t-shirts, hats, character figures and more which fans can purchase.

Industries

1) Compared to our modern-day television, 1960s TV was a completely different world. They lacked the amazing graphics and special effects available to us now, however what they did have was considered spectacular back then. In 1963, there were only two TV channels in the UK, which were BBC and ITV.

2) By the time of the release of 'An Unearthly Child', videotape had only been in use for seven years. Because of this, BBC was able to create the space and time travel effects in the episode which at the time were seen as extraordinary.

3) Doctor Who is an incredibly important franchise for the BBC as it's their most iconic franchise. Also, it is watched all over the world through BBC Worldwide and produces a huge income for the BBC. In 2014, a BBC Worldwide Report deduced that Sherlock Holmes and Doctor Who were the BBC's biggest exports of the past year. The simulcast of the episode 'The Day of the Doctor' in 2013 saw the episode air at the same time in 98 countries on six continents.

4) BBC makes the most of their most-loved franchise by creating spin-offs of the show, which are a part of the wider Doctor Who universe and build upon it or characters in the original show. Some of these include: K9, Sarah Jane Adventures, Torchwood and Class. These spin-offs give BBC the opportunity to introduce the franchise to a wide range of audiences whilst simultaneously taking advantage of the original fanbase.

5) The BBC is determined to fully maximise their most successful franchise by releasing a variety of merchandise which relates to the show, in order to earn as much money as possible and make profit from it as many people buy them. Some types of merchandise are as follows: collectable action figures, Funko Pop vinyls, activity books, board games, clothing items, magazines, DVDs and so much more.

Doctor Who: Language and Representation blog tasks

Language and Contexts

1) Camerawork and sound:

0:00 - 06:25 - the opening theme tune to Doctor Who is very sci-fi, which sets the genre from the very beginning of the show. The camera movements are mostly quite slow and heavy, due to the lack of technology available in the 1960s. Sounds also include the constant hum of the TARDIS, which again supports its sci-fi genre.

06:25 - 09:55 - this includes a few flashback scenes, along with close-ups of Susan Foreman in order to portray her emotion of confusion and misunderstanding. There are also tense non-diegetic atmosphere sounds whenever Susan or her teachers, Barbara Wright and Ian Chesterton.

09:55 - 14:20 - This scene displays a medium shot of the Doctor holding a vase with the two teachers in the background, perhaps to convey him as an evil or sinister character.

14:20 - 19:40 - There are close-up shots of Ian and Barbara when they first enter the TARDIS, in order to emphasise their mixed emotions of shock, horror and utter perplexity. The consistent humming sound of the TARDIS continues to play so as to highlight the fact that it's "alive", which again links to the science-fiction genre.

19:40 - end of episode - Whilst the TARDIS takes off and travels through the vortex of space and time, there are close-up shots of each character cross-dissolved with time travel graphics, in an attempt to help the audience understand what's happening to them. It also shows each of the characters' reactions to the narrative development.

Mise-en-scene:

0:00 - 06:25 - the character of Susan Foreman is first introduced dancing in an unusual manner and dressed as the typical 1960s teenager (linking to costume), showing how despite her not being human she still appears to look relatively "normal". Her costume and hairstyle is representative of the classic 1960s school in which the first scene takes place, creating a sense of personal identity for the audience. The costume of both the teachers Ian and Barbara are stereotypical of gender roles back in the 1960s (women dressed in modest blouses and skirts with neat, carefully styled hair and men in smart suits with ties). 

06:25 - 09:55 - the setting then switches to the inside of Ian's car, where both him and Barbara are sitting parked close to the junkyard. The flashback scenes switch to the inside of a science and a history classroom inside the school, with bright lighting. This then quickly changes back to present time where the lighting is dark and eerie, in a deserted London backstreet.

09:55 - 14:20 - the next setting shows a junkyard in which Ian and Barbara enter, the lighting is dark and shadowy and gives off an unsettling and gloomy feeling.

14:20 - 19:40 - they are then shown to enter into the TARDIS, which appears bigger on the inside than out. This includes a central control console, different types of other-worldly furniture and circular designs on the walls. The lighting is bright white, again linking to the sci-fi genre, and contrasts with the lighting on the outside (the sinister darkness). This is called binary opposition.

19:40 - end of episode - there is a completely new setting in a different dimension which is set in another timeline, perhaps much earlier than what they had originally came from. The characters, when the TARDIS takes off and travels through time, are shown to be looking shocked, scared or passed out. The acting is poor quality and not very good, along with the special effects used - showing the lack of technology and CGI back in the 1960s.

Narrative and genre:

0:00 - 06:25 - the opening theme tune indicates that it's a sci-fi series, as it sounds like a rocket taking off into space. Enigma codes include the mystery of Susan's home, and her commenting on historic events which hint at time travel.

06:25 - 09:55 - the sci-fi genre is reinforced again through the comment "this hasn't happened yet", suggesting time travel.

09:55 - 14:20 - the lost torch conveys binary opposition, with the contrast between light and dark. Enigma codes include the police box (TARDIS) being called alive. Action codes all associate with a somewhat threat from TARDIS and Propp's character theory is evident here what with the Doctor being presented as an antagonist.

14:20 - 19:40 - enigma codes regarding whether the teachers will be safe or not and why the Doctor and Susan can't go back to their home as of yet.

19:40 - end of episode - TARDIS taking off links to the sci-fi genre (and 1960s space race). The shadow shown at the end of the episode is a use of action and enigma codes and a cliffhanger - sets the story for the next episode and creates a narrative arc.

2) Todorov's equilibrium: the equilibrium is at the beginning when Barbara, Ian and Susan are introduced, and the teachers set out to find the answers to their curious thought as to where Susan really lives. The disequilibrium is when they are then found by the Doctor, taken into the TARDIS and locked inside, and are then taken to another point in time. The new equilibrium is at the end when they are shown to be trapped in a new dimension in the past and a shadow is shown outside the TARDIS.

Propp's character theory: Hero - Ian, Heroine - Susan, Sidekick - Barbara, Villain - The Doctor

Barthes's enigma and action codes: Some action codes included are the take-off of the TARDIS and the time travel taking place, along with the shadow of a monster-like creature shown at the end. There are also many enigma codes conveyed throughout the episode, such as the TARDIS landing in an eerie, remote dimension in a different timeline - causing the audience to question what will happen next to the characters and make them concerned for their safety after seeing the shadow of a monstrous looking creature at the end.

Levi-Strauss's binary opposition: The contrast between the very dark lighting directly followed by bright lighting is a clear example of binary opposition. Another could be the difference between the young and old characters, or the distinction between the humans and the aliens.

3) I think that the most important scene in the episode is when Ian and Barbara enter the TARDIS for the first time, as it gives the audience as well as the characters an inside view of the ship which would then later turn out to be one of the most significant features of the series, even in today's age - creating a narrative arc. It gives us an insight of how the ship looks like and the things it can do, which also links to the sci-fi genre of which the show follows.

4) 'An Unearthly Child' is clearly science-fiction, which is evidently shown through the constant ongoing theme of aliens, time travel, outer space and alternate dimensions. The soundtrack also supports this, what with sounding eerie and alien-like. Also, there are references to the 1960s Space Race - again displaying features of a typical science-fiction TV series.

5) The social and historical contexts of 'An Unearthly Child' include the release of the episode on Saturday, November 23rd, 1963. This was the beginning of a narrative arc which then carried on throughout the entirety of the series, involving the Doctor and his companions going back 100,000 years in time to help cavemen discover fire. In the 1960s, there was a huge shift in British culture - including more freedom for young people and a breakaway from traditions.

Representations

1) Many stereotypes of men are reinforced in the episode 'An Unearthly Child', clearly displaying the clear distinction in gender roles at that time. For example, The Doctor would pay most attention and talk directly to Ian rather than Barbara, she was more put to the side and shut down. Also, Ian was presented as the braver, more dominant figure between the two teachers which is how men were (and still often are) typically presented as within the media - given how he was the first of the two to confront the Doctor. A subverted stereotype may be the fact that Ian was also curious enough to investigate Susan, as women are the ones who are mostly presented as gossipy and nosy rather than men.

2) Some stereotypes of women or girls reinforced in 'An Unearthly Child' are the idea that women are inferior, shown when The Doctor barely took notice of Barbara. They are also shown as overly emotional and helpless, typically as the "damsel-in-distress", given by the fact Barbara had to be 'protected' by Ian and was conveyed to be easily frightened. Also, Susan is often looked down upon due to her wits as women aren't often portrayed to be highly intelligent. Examples of stereotypes of women which are subverted are the fact that women were able to teach and are shown to be very smart and well-educated, even more than men, which wasn't always the case for many women and girls back then.

3) The generational divide between the older and younger characters reflect the social and historical contexts of the 1960s as Susan is represented as a rebellious and naïve teenage girl (though this was before 'teenager' was a proper term) as opposed to her grandfather, The Doctor. He is shown as an average elderly person of the time, despite clearly being more intelligent and having more strength. Also, The Doctor is shown as more harsh and threatening as he locked up Ian and Barbara in the TARDIS whereas Susan was kind and understanding, pleading for their release, again showing the difference between the young and old characters. 

4) There is no diverse representations of race and ethnicity within the episode, which is implicit of the time it released. It consists of a predominantly white cast, which is not a surprise given by the fact that there was little to none representation of the BAME community within the media at the time, in a positive light at least. Also, the population was mostly made up of white people including those with access to TVs, and that was a much more prejudiced time. Nowadays, there is so much more representation of the BAME community within the media and in recent series of Doctor Who, showing just how much society has changed yet it also became more accepting over the years.

5) Social class is presented as primarily middle-higher class, shown by the fact that Ian, Barbara, Susan and The Doctor all possess highly intelligent, well-spoken minds and are all portrayed to be fairly well-educated and knowledgeable. Those from the working class, for example, perhaps would not have had the same opportunities and resources as these characters did.