British Board of Film Classification (BBFC)
The BBFC is in charge of the classification of cinema films, as well as videos and DVDs in the UK. The body is a non-governmental, independent organisation formed by the film industry in 1912. In 1984, the UK Parliament passed the Video Recordings Act, which states that all video recordings that are for sale or hire in the UK must be classified by the BBFC. The body gets its funding from the fees it charges for the classification of films. Therefore, it does not receive money from subsidies from the film industry or the government, therefore preserving its independence.
The purpose of film classification is mostly to protect young children from films and videos that are unsuitable or potentially harmful to them. It also gives consumers information about a certain film, such as amount of horror or offensive content, which could affect their decision to view the film. The main issues that are looked at by the BBFC include; discrimination, horror, dangerous behaviour, language, drugs, nudity, sex, and violence. The context of the film is taken into account, for example the BBFC would be more accepting of discriminative language in a film set in 1950s Southern United States of America.
U:
In the BBFC, U stands for universal, and means that the film is suitable for audiences aged four and over. For films aimed at viewers aged below four, the BBFC gives them the BBFCinsight, stating that they are 'particularly suitable for pre-school children.' The guidelines for U rated films are: infrequent use of very mild bad language (e.g. 'hell'), characters may kiss or cuddle, and there may be references to sexual behaviour but no focus on this, only mild scenes of violence may be allowed, and fight scenes and scenes where the characters are in danger must be kept brief and be resolved quickly. Anti-social or potentially dangerous behaviour is not allowed, as there is a possibility that young people will copy it. References to drugs will not normally be allowed, unless it is part of a very clear anti-drugs message which a younger audience would understand. U films can have various themes, as not all U rated films are aimed at children. However, they usually feature themes and messages about loyalty and friendship, with a happy ending that a child would enjoy.
PG:
PG stands for parental guidance, and means that a film is suitable for viewing, but parts may be unsuitable for young children. In this case, it is up to the parent to consider whether the content of the film would be distressing for their young child to watch. Unlike U, PG films can explore more distressing topics such as bullying, racism, or bereavement. However, a PG film will still not contain themes that can be considered inappropriate for a child. Mild bad language (e.g. 'Son of a bitch') may be in a PG film depending on the context and delivery of the line. References to sex are allowed if a child would be unlikely to understand the reference, or if it is disguised by comedy. Mild violence is allowed in PG films, however there should be no detail (very little blood and no view of how an injury was inflicted in detail). In PG films dangerous behaviour, such as the use of realistic weapons or smoking and drinking, must not be glamourised and there should be a clear message that these actions are bad, especially if there is a child character doing these things.
12 and 12A:
These are films that are not suitable for children under the age of 12. The symbol 12A is used for cinema films, meaning that any child below the age of 12 must be accompanied by an adult when going to see a 12A film. Said adult must strongly consider whether the film would be suitable for the child. The 12 symbol is reserved for DVD and Blu-Ray. Strong language may be allowed at 12/12A, depending on the context that it is used in, and the frequency of the language. Moderate language is allowed. Discriminatory language and/or behaviour should not be endorsed, and there must be a clear message that its use is wrong. Brief, discreet sex scenes may be in a 12/12A film, and comedy can be used to lessen the impact of the films. Violence, again should not be too detailed, and there should be no emphasis on injuries and blood. Gory scenes may be permitted if they are not too frequent and the context justifies them. Long action scenes are allowed in 12/12A films, but easily accessible weapons should not be glorified. Some horror films can be classes as a 12/12A film, however the horror sequences must not be too frequent, and the overall tone must not be too disturbing. Dangerous behaviour is allowed, but must not be too detailed and should not be endorsed. Infrequent scenes of drug use is allowed, but again should not be glamourised in order to avoid encouraging young teenagers to copy.
15:
Anyone under the age of 15 is not allowed to watch a 15 film at the cinema, or buy/rent a 15 video, as they are not suitable for children under the age of 15. All themes are allowed in a 15 film, meaning that strong violence and language, sexual activity, verbal references to sex, discriminatory language/behaviour, and drug taking are all allowed. There is no limit on the use of strong language in a 15 film, and the strongest terms may be heard occasionally, depending on the context. Discriminatory language is allowed, and themes may explore this topic. However the film should not endorse this type of behaviour. Sex and nudity is allowed, however there should not be much detail. There may be strong violence, but the infliction of pain and injury should not be the focus. Sexual violence must be discreet and justified, or otherwise referenced verbally. Many horror films are given a rating of 15, as there can be strong horror as long as there is no focus on sadistic or sexualised violence.
18 & R18:
18 symbol means that the film is only for adults, and anyone under the age of 18 is allowed to see the film at the cinema or buy/rent the film. These films are not suitable for children, as there is no limit to themes at 18 and therefore often contain very strong and frequent language, portrayals of sexual activity and sexual violence, horror, blood, and gore, and discrimination. There are no limits to the use of strong language in any context, the use of strong violence, or the use of drugs. However, the film must not promote or encourage this type of behaviour. Strong sexual scenes are allowed at 18, however scenes containing clear real life sex will come under the R18 category. The only scenes that could be cut from an 18 film includes material that breaches the criminal law, material that risks harm to viewers or their behaviour, and sexual activity that can't be justified by context.
An example of a film that was heavily regulated is Kubrick's A Clockwork Orange (1971), which, while it was passed as an X film (18) with no cuts, it gained a lot of criticism from the press and the public, who feared that young people would copy the main character's actions. This was an issue based on film being considered to be in poor taste during that time period. Furthermore, the film was brought up in multiple court cases. For example, a court case in March 1972, where a 14 year old boy was accused of manslaughter of a classmate. Shortly after, a 17 year old girl was raped by a group of youths while singing "Singing In The Rain." Kubrick himself eventually withdrew the film from the UK in 1973, and it wasn't unbanned until after Kubrick's death in 1999. Another example is the 2008 film Juno (12A), which was submitted to the BBFC with a request for PG. However, the film features infrequent strong language, moderate sex references and a brief gory scene from The Wizard of Gore (18). Therefore, the film was given a 12A rating as these features are accepted at this rating but not at PG. The BBFC must carefully consider each submission to ensure that it abides by both the regulations set by the body, as well as the law.
References:
http://www.bbfc.co.uk/about-bbfc
http://www.bbfc.co.uk/what-classification/u
http://www.bbfc.co.uk/what-classification/pg
http://www.bbfc.co.uk/what-classification/12a-and-12
http://www.bbfc.co.uk/what-classification/15
http://www.bbfc.co.uk/what-classification/18
http://www.bbfc.co.uk/what-classification/r18
http://www.bbfc.co.uk/case-studies/clockwork-orange
http://www.bbfc.co.uk/case-studies/juno-0
http://www.fgc.in.th/Clockwork_Orange,_A.html
Office for Communication (Ofcom)
Ofcom regulates communication in the UK, including TV and radio, telecoms, mobiles, postal services, and the airwaves used by wireless devices. Their purpose is to ensure that the public are protected from scams and other illegal practices. The body operates under the Communications Act 2003, which states that Ofcom's most important duty is to promote competition in order to further the interests of consumers. Ofcom's main duties include ensuring that; the UK has an ever-increasing range of communication services like high speed broadband, there's a wide range of television and radio programmes available which are provided by different organisations, and the public are protected from harmful or offensive material within TV and radio. Ofcom must also ensure that people are not treated unfairly in TV and radio, and that their privacy is not invaded. Additionally, they must regulate the postal service (ensuring that it runs six days a week, with a universally priced delivery and collection service), and the airwaves used by radio (including broadcasters, mobile-phone companies, and taxi firms) are used effectively.
The public can make a complaint to Ofcom about something they saw on the phone or internet, on TV or radio, or the postal service by submitting it online. After receiving a complaint, Ofcom assesses the complaint to see if their rules have been broken. If a complaint does raise issues, Ofcom must investigate further, then publish the results in their broadcast bulletin. For example, a complaint was issued about Radio 1's Breakfast Show with Nick Grimshaw, when Foo Fighters performed their new song, "Something from Nothing," (at 7:55am) which featured strong language. The broadcast raised issues under Rule 1.14 of their code (offensive language must not be broadcast, particularly when children may be listening). While the BBC issued an apology at 8:04am, the incident happened at a time when children were likely to be listening, and therefore it breached rule 1.14. It is important for companies to follow their codes of practice, because if they fail to do so they risk releasing indecent and distasteful content which will offend and anger the population and likely break the law.
References:
http://www.ofcom.org.uk/about/what-is-ofcom/
http://consumers.ofcom.org.uk/complain/tv-and-radio-complaints/how-ofcom-deals-with-complaints/
http://stakeholders.ofcom.org.uk/enforcement/broadcast-bulletins/obb272/
http://stakeholders.ofcom.org.uk/binaries/enforcement/broadcast-bulletins/obb272/Issue272.pdf
Press Complaints Commission (PCC)
The Press Complaints Commission was an independent body which dealt with complaints and framed the terms of the Editor's Code of Practice (the code that the editorial content of newspapers and magazines must follow, as well as the conduct of journalists). The PCC primarily serves the public, protects the rights of individuals, while also preserving the right to free speech for the press.
The PCC is made up of seventeen members, most of which are ordinary members of the public with no connection to the journalism industry. It acts by negotiating actions and settlements for members of the public with complaints, as well as issuing rulings on said complaints. It in turn uses these rulings to guide newsroom practice in the industry, and instigates investigations into breaches of the code. With the help of the PCC, the newspaper and magazine industry is able to maintain high standards.
The sanctions the PCC could impose on editors who breach the Code include; agreed remedies (e.g. an apology, published correction or removal of an article), the publication of a critical adjudication followed by a public criticism form the PCC, or a formal referral of an editor to their publisher.
An example of when the PCC has acted upon complaints is an incident in March 2009, when the Scottish Sunday Express wrote an article about the survivors of the Dunblane shooting, 1996. The article described how the now 18 year olds were 'shaming' the memory of the deceased by boasting about sex and drinking. The article also featured photos taken from the teenagers' social networking sites. The PCC ruled that the teenagers had done nothing to "warrant media scrutiny," and claimed that the images had been taken out of context in order to humiliate the students. Therefore, the complaint was upheld on the grounds that the article failed to respect the students' private lives. This was a case of indecency on the Scottish Sunday Express's part, in which they were trying so hard to find a story, they fabricated a weak and disrespectful story out of the social lives of innocent teenagers.
Another example is when the Reading Chronicle published an article about a suicide in April 2009. The complaint, issued by the parents of the deceased, claimed that the article was too detailed, as it explained how the woman killed herself (poisonous leaves), the type of leaf, the fact that there was no antidote, and the speed of the process. As this article describes an act of violence in detail, it could be triggering for readers and/or encourage them to carry out the act themselves. This is a case that goes against the Obscene Publications Act, which protects against material that could offend or corrupt the audience, such as violence or pornography. Therefore, as the information could be used by others to help them carry out suicide, the Commission upheld the complaint.
On September 8th 2014, the Press Complaints Commission was closed down following the recommendations of Sir Brian Leveson and replaced with the Independent Press Standards Organisation (IPSO). The calls for reform came after the PCC made multiple errors, most notably the phone hacking scandal of 2012. The PCC's failure to issue a solid, justified response to the scandal involving Rupert Murdoch's News Of The World showed that the company was not really independent from the industry. Therefore, IPSO operates in much the same way as the PCC, however it has new people in control (including a supreme court judge and a former senior civil servant) and the body now has the ability to impose fines on repeat offenders of up to £1million.
References:
http://www.pcc.org.uk/AboutthePCC/WhatisthePCC.html
http://www.theguardian.com/media/2014/jan/08/ipso-press-regulator-pcc-bells-whistles
http://www.pcc.org.uk/review09/2009_statistics/case_studies.php
Advertising Standards Authority
The ASA is the regulator of advertising in the UK media, established in 1962. They monitor adverts and act on complaints, checking for misleading, harmful, or offensive content within advertisements. Its responsibilities include responding to complaints from the public about advertisements. They regulate all types of advertisement and promotion, including web based ads and printed ads, to ensure that they are fair for all members of the public. As well as this, they conduct surveys in order to monitor compliance rates with the Advertising Codes, which are termed by the Committee of Advertising Practice (CAP).
The ASA aims to achieve their purpose (to make every advertisement in the UK responsible and a positive form of media) by using a strategy involving five parts - understanding, support, impact, proactive, and awareness.
Understanding - to be an authority on advertising, to be active on issues causing concerns within society, but also be fair and balanced in their assessment of complaints and arguments around advertisements. The ASA means to be neutral between the advertising industry and the general public.
Support - to provide support to advertisers so that they can create ads that do not breach the codes, by giving them advice and guidance.
Impact - to ensure that advertisements with the biggest impact gain the most focus, but also doing something about every valid complaint.
Proactive - to work with others, using a wide range of information to ensure that all advertisements are suitable and responsible, and to tackle any problem whether there is a complaint or not.
Awareness - to increase the awareness of their organisation as well as CAP, so that the public know who to contact if they have an issue with a particular advertisement.
An example of where the ASA has been useful is a complaint from a member of the public about a recent Moonpig.com advertisement. The TV advert featured emphasis on the fact that the website were selling British flowers, however not all flowers within the advert were grown in the UK and therefore the advert breached BCAP Code rules 3.1 - Misleading Advertsising and 3.9 - Substantiation. As a result, the ASA ruled that the advertisement must be changed accordingly before being broadcasted again. Misleading advertising is a serious issue within the media industry, as it will cause the audience to lose trust in the advertising industry, and will also discourage them to use the products/services being advertised. Therefore it is not only against the law, but counter-productive to mislead the audience.
References:
http://www.asa.org.uk/About-ASA.aspx
http://asa.org.uk/About-ASA/Strategy.aspx
http://asa.org.uk/Rulings/Adjudications/2014/10/Moonpig,-d-,com-Ltd/SHP_ADJ_276797.aspx#.VOfrd_msWSo
The International Games Developers Association (IGDA)
The IGDA is a non-profit membership organisation comprising of individuals from all fields of game development. Their mission is to help games developers advance their careers as well as enhance their lives by connecting their members with their peers and promoting development. They also
advocate issues that affect the industry. It is built on the work of volunteers. The IGDA work by following four key values:
Advocacy - make changes within the gaming industry by exploring key issues within the development of games.
Networking and Community - Helping their members to connect with other members and their audience.
Professional Development - Encouraging the advancement of developers' skills within the industry to promote the creation of better quality games.
International Reach - Helping games developers in countries all over the world, rather than just focusing on Western countries like the US or UK, in order to expand the global community. This value links to the UK's Race Relations Act, 1976, which protects people from racial discrimination in many situations. The act protects people from being refused employment/support due to their race or ethnic/national origins. In the UK, the IGDA must abide by these laws in order to avoid court.
Benefits to membership within the IGDA include:
- Discounts on major industry events such as GDC events, Cloud Gaming, D.I.C.E, IndieCade, and more.
- Discounts on various resources such as game development books, set-up costs for merchandise, GameMaker software, and many more courtesy of companies like CRC Press, Fans.lu, Fuunke, GameMaker, and Microsoft BizSpark.
- Ability to have one's project featured on the IGDA's curated projects page.
- Health Insurance (in the US)
- Tuition Discount at DeVry University
- Immigration (Visa support letters) to the US for non-US memebers.
The IGDA has a Code of Ethics all members must follow - the codes were established with the core objectives; the promotion of growth within the industry, ensuring a professional standard within the workplace, and publicly establishing their standards as professionals. The Codes list the basic standards members of the IGDA must uphold, the rights that every member should have within the workplace, and the standards for management of development studios. For example, individual developers must be committed to always increasing the recognition and respect of the games developing profession, respect intellectual property rights, promote responsible and legal use of technology and honouring signed legal agreements. Within the workplace, safety is of great importance and a basic right of all developers, discrimination and unfair treatment is not tolerated, and all local laws must be followed. Finally, leaders within the industry must have strong communication skills, set fair schedules, contracts, and goals, provide for the health of employees whilst ensuring their mental and physical well-being is of a high standard, and promote the growth of the industry.
References:
http://www.igda.org/?page=about
http://www.igda.org/?page=benefits
http://www.igda.org/?page=codeofethics
British Academy of Film and Television Arts (BAFTA)
BAFTA is an organisation that supports the Film and TV industry by holding award ceremonies ( British Academy Film Awards, British Academy Games Awards), in order to help develop and promote the industry and in turn benefit the public. The organisation is an independent charity and gets its income from membership subscriptions, partnerships, foundations, trusts, and donations. It is independent from both the Film and TV industry and the government, allowing for unbiased support of the industry. BAFTA is most well-known for its award ceremonies, however it also has an international educational programme allowing talented, aspiring people to take part in workshops, classes, lectures, and mentoring schemes, as well as earn scholarships.
BAFTA's mission is to identify, reward and celebrate the most renowned works and people in the Film, Games, and TV industry in the UK, and providing the public with places to find information and inspiration from its various events and activities. The organisation holds over 250 public events per year, in both the UK and the US as well as other countries, allowing people to learn from real industry professionals. BAFTA also has an online service called BAFTA Guru, through which users can find lots of inspiring content within the film, TV, and gaming industry.
BAFTA benefits the media industry in various ways, by encouraging the education and inspiration of future media professionals, but also by promoting media works through its award ceremonies. The British Academy Film Awards is aired on TV (most recently 8th February 2015), and is watched by millions of people all over the country and elsewhere. Therefore, it helps to promote the films that are nominated for awards. Also, people will be encouraged to watch films that were nominated for/win lots of awards, therefore increasing their popularity.
References:
http://www.bafta.org/about
http://awards.bafta.org/
http://www.bafta.org/about/our-mission
http://guru.bafta.org/about
http://awards.bafta.org/award/2015/film
Commercial Radio Companies Association (CRCA)
The Commercial Radio Companies Association was merged with the Radio Advertising Bureau (RAB) in 2006 to establish RadioCentre, the main industry body for UK commercial radio. The company works with the government, policy makers and regulators to support radio in the UK. It also provides a forum for debate and discussion across the industry. RadioCentre works with a number of radio industry companies, for which it represents the interests of when discussion radio business with the government, policy makers, and others. The bodies RadioCentre work with include: Joint Industry Commercial Radio IT Futures Group (JICRIT) and Institute of Practitioners in Advertising (IPA), the Association of European Radios (AER), Digital Radio UK, Radioplayer, The Radio Academy, and RAJAR.
RadioCentre has improved the commercial radio industry in the UK by lobbying to provide radio stations with more freedom in the content they produce, have reduced the amount of regulation of commercial messages, and have tightened the rules on the appearance of brands in the BBC. They have also successfully lobbied for the removal of local media ownership rules.
RadioCentre administers the Radio Advertising Clearance Centre (RACC), the company that clears radio advertisements for broadcasting. It works in compliance with the BCAP UK Code of Broadcast Advertising and the Ofcom Broadcasting Code. This partnership is important to ensure that radio adverts are regulated and suitable to be broadcasted.
References:
http://www.radiocentre.org/about-radiocentre
http://www.radiocentre.org/membership
http://www.racc.co.uk/about-us
Why is ownership controlled?
Ownership within the media is controlled in order to ensure that the media remains a harmless and beneficial contribute to society, a medium from which the public can gain information and entertainment from. If ownership is not controlled, it would be easier for large media companies to have an influence over huge areas of the media industry, therefore making products less diverse.
Control over ownership prevents a monopoly being formed, which would mean large drawbacks for the public, including high prices and low quality products. An example of ownership being controlled is NewsCorp, which, if there were no limitations to what Rupert Murdoch can own, could become a monopoly due to the amount of products the company owns in several countries (including newspapers, magazines, television channels and film studios).
References:
http://revisionworld.com/a2-level-level-revision/sociology/mass-media-0/ownership-and-control-media
http://www.investopedia.com/terms/m/monopoly.asp
What does a monopoly mean for the audience?
A monopoly occurs when one company or group owns the majority of product or service. For example, without laws on media ownership, Virgin Media can be considered a near-monopoly as it owns many of the Cable TV franchises in America. However, monopolies have many drawbacks, as they cause an absence of competition, meaning higher prices and lower quality products which does not benefit the public. Also, monopolies can lead to less diversification within the industry, as well as less choice of product, which in turn can stunt the growth of the market. With only one provider of a good or service, there is less incentive to increase and develop the market to meet the demands of consumers, therefore the market would deteriorate and possibly lead to a crash.
References:
http://www.investopedia.com/terms/m/monopoly.asp
http://forums.digitalspy.co.uk/showthread.php?t=1588021
In censorship what is meant by taste and decency?
When referring to censorship, taste describes how acceptable the subject is in terms of society's morals. For example, when a media product is "in poor taste," it means that the product is unpleasant and immoral. Therefore it is likely to be censored to protect the public from viewing it, and also to maintain the high standards the media industry has set for itself. Violent or gory scenes from a war or terrorist attack would not be shown in a television news show because this would be considered indecent and would likely make members of the public uncomfortable if they were to see it.
Decency refers to the media company itself, and its actions and behaviour when dealing with distasteful subjects. For example, the actions of the journalists involved in the Phone Hacking Scandal (Rebekah Brooks and Andy Coulson, among others), can be considered indecent as they hacked into members of the public's private messages to obtain information for their news reports.
The BBFC is in charge of the classification of cinema films, as well as videos and DVDs in the UK. The body is a non-governmental, independent organisation formed by the film industry in 1912. In 1984, the UK Parliament passed the Video Recordings Act, which states that all video recordings that are for sale or hire in the UK must be classified by the BBFC. The body gets its funding from the fees it charges for the classification of films. Therefore, it does not receive money from subsidies from the film industry or the government, therefore preserving its independence.
The purpose of film classification is mostly to protect young children from films and videos that are unsuitable or potentially harmful to them. It also gives consumers information about a certain film, such as amount of horror or offensive content, which could affect their decision to view the film. The main issues that are looked at by the BBFC include; discrimination, horror, dangerous behaviour, language, drugs, nudity, sex, and violence. The context of the film is taken into account, for example the BBFC would be more accepting of discriminative language in a film set in 1950s Southern United States of America.
U:
In the BBFC, U stands for universal, and means that the film is suitable for audiences aged four and over. For films aimed at viewers aged below four, the BBFC gives them the BBFCinsight, stating that they are 'particularly suitable for pre-school children.' The guidelines for U rated films are: infrequent use of very mild bad language (e.g. 'hell'), characters may kiss or cuddle, and there may be references to sexual behaviour but no focus on this, only mild scenes of violence may be allowed, and fight scenes and scenes where the characters are in danger must be kept brief and be resolved quickly. Anti-social or potentially dangerous behaviour is not allowed, as there is a possibility that young people will copy it. References to drugs will not normally be allowed, unless it is part of a very clear anti-drugs message which a younger audience would understand. U films can have various themes, as not all U rated films are aimed at children. However, they usually feature themes and messages about loyalty and friendship, with a happy ending that a child would enjoy.
PG:
PG stands for parental guidance, and means that a film is suitable for viewing, but parts may be unsuitable for young children. In this case, it is up to the parent to consider whether the content of the film would be distressing for their young child to watch. Unlike U, PG films can explore more distressing topics such as bullying, racism, or bereavement. However, a PG film will still not contain themes that can be considered inappropriate for a child. Mild bad language (e.g. 'Son of a bitch') may be in a PG film depending on the context and delivery of the line. References to sex are allowed if a child would be unlikely to understand the reference, or if it is disguised by comedy. Mild violence is allowed in PG films, however there should be no detail (very little blood and no view of how an injury was inflicted in detail). In PG films dangerous behaviour, such as the use of realistic weapons or smoking and drinking, must not be glamourised and there should be a clear message that these actions are bad, especially if there is a child character doing these things.
12 and 12A:
These are films that are not suitable for children under the age of 12. The symbol 12A is used for cinema films, meaning that any child below the age of 12 must be accompanied by an adult when going to see a 12A film. Said adult must strongly consider whether the film would be suitable for the child. The 12 symbol is reserved for DVD and Blu-Ray. Strong language may be allowed at 12/12A, depending on the context that it is used in, and the frequency of the language. Moderate language is allowed. Discriminatory language and/or behaviour should not be endorsed, and there must be a clear message that its use is wrong. Brief, discreet sex scenes may be in a 12/12A film, and comedy can be used to lessen the impact of the films. Violence, again should not be too detailed, and there should be no emphasis on injuries and blood. Gory scenes may be permitted if they are not too frequent and the context justifies them. Long action scenes are allowed in 12/12A films, but easily accessible weapons should not be glorified. Some horror films can be classes as a 12/12A film, however the horror sequences must not be too frequent, and the overall tone must not be too disturbing. Dangerous behaviour is allowed, but must not be too detailed and should not be endorsed. Infrequent scenes of drug use is allowed, but again should not be glamourised in order to avoid encouraging young teenagers to copy.
15:
Anyone under the age of 15 is not allowed to watch a 15 film at the cinema, or buy/rent a 15 video, as they are not suitable for children under the age of 15. All themes are allowed in a 15 film, meaning that strong violence and language, sexual activity, verbal references to sex, discriminatory language/behaviour, and drug taking are all allowed. There is no limit on the use of strong language in a 15 film, and the strongest terms may be heard occasionally, depending on the context. Discriminatory language is allowed, and themes may explore this topic. However the film should not endorse this type of behaviour. Sex and nudity is allowed, however there should not be much detail. There may be strong violence, but the infliction of pain and injury should not be the focus. Sexual violence must be discreet and justified, or otherwise referenced verbally. Many horror films are given a rating of 15, as there can be strong horror as long as there is no focus on sadistic or sexualised violence.
18 & R18:
18 symbol means that the film is only for adults, and anyone under the age of 18 is allowed to see the film at the cinema or buy/rent the film. These films are not suitable for children, as there is no limit to themes at 18 and therefore often contain very strong and frequent language, portrayals of sexual activity and sexual violence, horror, blood, and gore, and discrimination. There are no limits to the use of strong language in any context, the use of strong violence, or the use of drugs. However, the film must not promote or encourage this type of behaviour. Strong sexual scenes are allowed at 18, however scenes containing clear real life sex will come under the R18 category. The only scenes that could be cut from an 18 film includes material that breaches the criminal law, material that risks harm to viewers or their behaviour, and sexual activity that can't be justified by context.
An example of a film that was heavily regulated is Kubrick's A Clockwork Orange (1971), which, while it was passed as an X film (18) with no cuts, it gained a lot of criticism from the press and the public, who feared that young people would copy the main character's actions. This was an issue based on film being considered to be in poor taste during that time period. Furthermore, the film was brought up in multiple court cases. For example, a court case in March 1972, where a 14 year old boy was accused of manslaughter of a classmate. Shortly after, a 17 year old girl was raped by a group of youths while singing "Singing In The Rain." Kubrick himself eventually withdrew the film from the UK in 1973, and it wasn't unbanned until after Kubrick's death in 1999. Another example is the 2008 film Juno (12A), which was submitted to the BBFC with a request for PG. However, the film features infrequent strong language, moderate sex references and a brief gory scene from The Wizard of Gore (18). Therefore, the film was given a 12A rating as these features are accepted at this rating but not at PG. The BBFC must carefully consider each submission to ensure that it abides by both the regulations set by the body, as well as the law.
References:
http://www.bbfc.co.uk/about-bbfc
http://www.bbfc.co.uk/what-classification/u
http://www.bbfc.co.uk/what-classification/pg
http://www.bbfc.co.uk/what-classification/12a-and-12
http://www.bbfc.co.uk/what-classification/15
http://www.bbfc.co.uk/what-classification/18
http://www.bbfc.co.uk/what-classification/r18
http://www.bbfc.co.uk/case-studies/clockwork-orange
http://www.bbfc.co.uk/case-studies/juno-0
http://www.fgc.in.th/Clockwork_Orange,_A.html
Office for Communication (Ofcom)
Ofcom regulates communication in the UK, including TV and radio, telecoms, mobiles, postal services, and the airwaves used by wireless devices. Their purpose is to ensure that the public are protected from scams and other illegal practices. The body operates under the Communications Act 2003, which states that Ofcom's most important duty is to promote competition in order to further the interests of consumers. Ofcom's main duties include ensuring that; the UK has an ever-increasing range of communication services like high speed broadband, there's a wide range of television and radio programmes available which are provided by different organisations, and the public are protected from harmful or offensive material within TV and radio. Ofcom must also ensure that people are not treated unfairly in TV and radio, and that their privacy is not invaded. Additionally, they must regulate the postal service (ensuring that it runs six days a week, with a universally priced delivery and collection service), and the airwaves used by radio (including broadcasters, mobile-phone companies, and taxi firms) are used effectively.
The public can make a complaint to Ofcom about something they saw on the phone or internet, on TV or radio, or the postal service by submitting it online. After receiving a complaint, Ofcom assesses the complaint to see if their rules have been broken. If a complaint does raise issues, Ofcom must investigate further, then publish the results in their broadcast bulletin. For example, a complaint was issued about Radio 1's Breakfast Show with Nick Grimshaw, when Foo Fighters performed their new song, "Something from Nothing," (at 7:55am) which featured strong language. The broadcast raised issues under Rule 1.14 of their code (offensive language must not be broadcast, particularly when children may be listening). While the BBC issued an apology at 8:04am, the incident happened at a time when children were likely to be listening, and therefore it breached rule 1.14. It is important for companies to follow their codes of practice, because if they fail to do so they risk releasing indecent and distasteful content which will offend and anger the population and likely break the law.
References:
http://www.ofcom.org.uk/about/what-is-ofcom/
http://consumers.ofcom.org.uk/complain/tv-and-radio-complaints/how-ofcom-deals-with-complaints/
http://stakeholders.ofcom.org.uk/enforcement/broadcast-bulletins/obb272/
http://stakeholders.ofcom.org.uk/binaries/enforcement/broadcast-bulletins/obb272/Issue272.pdf
Press Complaints Commission (PCC)
The Press Complaints Commission was an independent body which dealt with complaints and framed the terms of the Editor's Code of Practice (the code that the editorial content of newspapers and magazines must follow, as well as the conduct of journalists). The PCC primarily serves the public, protects the rights of individuals, while also preserving the right to free speech for the press.
The PCC is made up of seventeen members, most of which are ordinary members of the public with no connection to the journalism industry. It acts by negotiating actions and settlements for members of the public with complaints, as well as issuing rulings on said complaints. It in turn uses these rulings to guide newsroom practice in the industry, and instigates investigations into breaches of the code. With the help of the PCC, the newspaper and magazine industry is able to maintain high standards.
The sanctions the PCC could impose on editors who breach the Code include; agreed remedies (e.g. an apology, published correction or removal of an article), the publication of a critical adjudication followed by a public criticism form the PCC, or a formal referral of an editor to their publisher.
An example of when the PCC has acted upon complaints is an incident in March 2009, when the Scottish Sunday Express wrote an article about the survivors of the Dunblane shooting, 1996. The article described how the now 18 year olds were 'shaming' the memory of the deceased by boasting about sex and drinking. The article also featured photos taken from the teenagers' social networking sites. The PCC ruled that the teenagers had done nothing to "warrant media scrutiny," and claimed that the images had been taken out of context in order to humiliate the students. Therefore, the complaint was upheld on the grounds that the article failed to respect the students' private lives. This was a case of indecency on the Scottish Sunday Express's part, in which they were trying so hard to find a story, they fabricated a weak and disrespectful story out of the social lives of innocent teenagers.
Another example is when the Reading Chronicle published an article about a suicide in April 2009. The complaint, issued by the parents of the deceased, claimed that the article was too detailed, as it explained how the woman killed herself (poisonous leaves), the type of leaf, the fact that there was no antidote, and the speed of the process. As this article describes an act of violence in detail, it could be triggering for readers and/or encourage them to carry out the act themselves. This is a case that goes against the Obscene Publications Act, which protects against material that could offend or corrupt the audience, such as violence or pornography. Therefore, as the information could be used by others to help them carry out suicide, the Commission upheld the complaint.
On September 8th 2014, the Press Complaints Commission was closed down following the recommendations of Sir Brian Leveson and replaced with the Independent Press Standards Organisation (IPSO). The calls for reform came after the PCC made multiple errors, most notably the phone hacking scandal of 2012. The PCC's failure to issue a solid, justified response to the scandal involving Rupert Murdoch's News Of The World showed that the company was not really independent from the industry. Therefore, IPSO operates in much the same way as the PCC, however it has new people in control (including a supreme court judge and a former senior civil servant) and the body now has the ability to impose fines on repeat offenders of up to £1million.
References:
http://www.pcc.org.uk/AboutthePCC/WhatisthePCC.html
http://www.theguardian.com/media/2014/jan/08/ipso-press-regulator-pcc-bells-whistles
http://www.pcc.org.uk/review09/2009_statistics/case_studies.php
Advertising Standards Authority
The ASA is the regulator of advertising in the UK media, established in 1962. They monitor adverts and act on complaints, checking for misleading, harmful, or offensive content within advertisements. Its responsibilities include responding to complaints from the public about advertisements. They regulate all types of advertisement and promotion, including web based ads and printed ads, to ensure that they are fair for all members of the public. As well as this, they conduct surveys in order to monitor compliance rates with the Advertising Codes, which are termed by the Committee of Advertising Practice (CAP).
The ASA aims to achieve their purpose (to make every advertisement in the UK responsible and a positive form of media) by using a strategy involving five parts - understanding, support, impact, proactive, and awareness.
Understanding - to be an authority on advertising, to be active on issues causing concerns within society, but also be fair and balanced in their assessment of complaints and arguments around advertisements. The ASA means to be neutral between the advertising industry and the general public.
Support - to provide support to advertisers so that they can create ads that do not breach the codes, by giving them advice and guidance.
Impact - to ensure that advertisements with the biggest impact gain the most focus, but also doing something about every valid complaint.
Proactive - to work with others, using a wide range of information to ensure that all advertisements are suitable and responsible, and to tackle any problem whether there is a complaint or not.
Awareness - to increase the awareness of their organisation as well as CAP, so that the public know who to contact if they have an issue with a particular advertisement.
An example of where the ASA has been useful is a complaint from a member of the public about a recent Moonpig.com advertisement. The TV advert featured emphasis on the fact that the website were selling British flowers, however not all flowers within the advert were grown in the UK and therefore the advert breached BCAP Code rules 3.1 - Misleading Advertsising and 3.9 - Substantiation. As a result, the ASA ruled that the advertisement must be changed accordingly before being broadcasted again. Misleading advertising is a serious issue within the media industry, as it will cause the audience to lose trust in the advertising industry, and will also discourage them to use the products/services being advertised. Therefore it is not only against the law, but counter-productive to mislead the audience.
References:
http://www.asa.org.uk/About-ASA.aspx
http://asa.org.uk/About-ASA/Strategy.aspx
http://asa.org.uk/Rulings/Adjudications/2014/10/Moonpig,-d-,com-Ltd/SHP_ADJ_276797.aspx#.VOfrd_msWSo
The International Games Developers Association (IGDA)
The IGDA is a non-profit membership organisation comprising of individuals from all fields of game development. Their mission is to help games developers advance their careers as well as enhance their lives by connecting their members with their peers and promoting development. They also
advocate issues that affect the industry. It is built on the work of volunteers. The IGDA work by following four key values:
Advocacy - make changes within the gaming industry by exploring key issues within the development of games.
Networking and Community - Helping their members to connect with other members and their audience.
Professional Development - Encouraging the advancement of developers' skills within the industry to promote the creation of better quality games.
International Reach - Helping games developers in countries all over the world, rather than just focusing on Western countries like the US or UK, in order to expand the global community. This value links to the UK's Race Relations Act, 1976, which protects people from racial discrimination in many situations. The act protects people from being refused employment/support due to their race or ethnic/national origins. In the UK, the IGDA must abide by these laws in order to avoid court.
Benefits to membership within the IGDA include:
- Discounts on major industry events such as GDC events, Cloud Gaming, D.I.C.E, IndieCade, and more.
- Discounts on various resources such as game development books, set-up costs for merchandise, GameMaker software, and many more courtesy of companies like CRC Press, Fans.lu, Fuunke, GameMaker, and Microsoft BizSpark.
- Ability to have one's project featured on the IGDA's curated projects page.
- Health Insurance (in the US)
- Tuition Discount at DeVry University
- Immigration (Visa support letters) to the US for non-US memebers.
The IGDA has a Code of Ethics all members must follow - the codes were established with the core objectives; the promotion of growth within the industry, ensuring a professional standard within the workplace, and publicly establishing their standards as professionals. The Codes list the basic standards members of the IGDA must uphold, the rights that every member should have within the workplace, and the standards for management of development studios. For example, individual developers must be committed to always increasing the recognition and respect of the games developing profession, respect intellectual property rights, promote responsible and legal use of technology and honouring signed legal agreements. Within the workplace, safety is of great importance and a basic right of all developers, discrimination and unfair treatment is not tolerated, and all local laws must be followed. Finally, leaders within the industry must have strong communication skills, set fair schedules, contracts, and goals, provide for the health of employees whilst ensuring their mental and physical well-being is of a high standard, and promote the growth of the industry.
References:
http://www.igda.org/?page=about
http://www.igda.org/?page=benefits
http://www.igda.org/?page=codeofethics
British Academy of Film and Television Arts (BAFTA)
BAFTA is an organisation that supports the Film and TV industry by holding award ceremonies ( British Academy Film Awards, British Academy Games Awards), in order to help develop and promote the industry and in turn benefit the public. The organisation is an independent charity and gets its income from membership subscriptions, partnerships, foundations, trusts, and donations. It is independent from both the Film and TV industry and the government, allowing for unbiased support of the industry. BAFTA is most well-known for its award ceremonies, however it also has an international educational programme allowing talented, aspiring people to take part in workshops, classes, lectures, and mentoring schemes, as well as earn scholarships.
BAFTA's mission is to identify, reward and celebrate the most renowned works and people in the Film, Games, and TV industry in the UK, and providing the public with places to find information and inspiration from its various events and activities. The organisation holds over 250 public events per year, in both the UK and the US as well as other countries, allowing people to learn from real industry professionals. BAFTA also has an online service called BAFTA Guru, through which users can find lots of inspiring content within the film, TV, and gaming industry.
BAFTA benefits the media industry in various ways, by encouraging the education and inspiration of future media professionals, but also by promoting media works through its award ceremonies. The British Academy Film Awards is aired on TV (most recently 8th February 2015), and is watched by millions of people all over the country and elsewhere. Therefore, it helps to promote the films that are nominated for awards. Also, people will be encouraged to watch films that were nominated for/win lots of awards, therefore increasing their popularity.
References:
http://www.bafta.org/about
http://awards.bafta.org/
http://www.bafta.org/about/our-mission
http://guru.bafta.org/about
http://awards.bafta.org/award/2015/film
Commercial Radio Companies Association (CRCA)
The Commercial Radio Companies Association was merged with the Radio Advertising Bureau (RAB) in 2006 to establish RadioCentre, the main industry body for UK commercial radio. The company works with the government, policy makers and regulators to support radio in the UK. It also provides a forum for debate and discussion across the industry. RadioCentre works with a number of radio industry companies, for which it represents the interests of when discussion radio business with the government, policy makers, and others. The bodies RadioCentre work with include: Joint Industry Commercial Radio IT Futures Group (JICRIT) and Institute of Practitioners in Advertising (IPA), the Association of European Radios (AER), Digital Radio UK, Radioplayer, The Radio Academy, and RAJAR.
RadioCentre has improved the commercial radio industry in the UK by lobbying to provide radio stations with more freedom in the content they produce, have reduced the amount of regulation of commercial messages, and have tightened the rules on the appearance of brands in the BBC. They have also successfully lobbied for the removal of local media ownership rules.
RadioCentre administers the Radio Advertising Clearance Centre (RACC), the company that clears radio advertisements for broadcasting. It works in compliance with the BCAP UK Code of Broadcast Advertising and the Ofcom Broadcasting Code. This partnership is important to ensure that radio adverts are regulated and suitable to be broadcasted.
References:
http://www.radiocentre.org/about-radiocentre
http://www.radiocentre.org/membership
http://www.racc.co.uk/about-us
Why is ownership controlled?
Ownership within the media is controlled in order to ensure that the media remains a harmless and beneficial contribute to society, a medium from which the public can gain information and entertainment from. If ownership is not controlled, it would be easier for large media companies to have an influence over huge areas of the media industry, therefore making products less diverse.
Control over ownership prevents a monopoly being formed, which would mean large drawbacks for the public, including high prices and low quality products. An example of ownership being controlled is NewsCorp, which, if there were no limitations to what Rupert Murdoch can own, could become a monopoly due to the amount of products the company owns in several countries (including newspapers, magazines, television channels and film studios).
References:
http://revisionworld.com/a2-level-level-revision/sociology/mass-media-0/ownership-and-control-media
http://www.investopedia.com/terms/m/monopoly.asp
What does a monopoly mean for the audience?
A monopoly occurs when one company or group owns the majority of product or service. For example, without laws on media ownership, Virgin Media can be considered a near-monopoly as it owns many of the Cable TV franchises in America. However, monopolies have many drawbacks, as they cause an absence of competition, meaning higher prices and lower quality products which does not benefit the public. Also, monopolies can lead to less diversification within the industry, as well as less choice of product, which in turn can stunt the growth of the market. With only one provider of a good or service, there is less incentive to increase and develop the market to meet the demands of consumers, therefore the market would deteriorate and possibly lead to a crash.
References:
http://www.investopedia.com/terms/m/monopoly.asp
http://forums.digitalspy.co.uk/showthread.php?t=1588021
In censorship what is meant by taste and decency?
When referring to censorship, taste describes how acceptable the subject is in terms of society's morals. For example, when a media product is "in poor taste," it means that the product is unpleasant and immoral. Therefore it is likely to be censored to protect the public from viewing it, and also to maintain the high standards the media industry has set for itself. Violent or gory scenes from a war or terrorist attack would not be shown in a television news show because this would be considered indecent and would likely make members of the public uncomfortable if they were to see it.
Decency refers to the media company itself, and its actions and behaviour when dealing with distasteful subjects. For example, the actions of the journalists involved in the Phone Hacking Scandal (Rebekah Brooks and Andy Coulson, among others), can be considered indecent as they hacked into members of the public's private messages to obtain information for their news reports.
Employment Opportunities and Job Roles in the Media Industry
Terminology Meaning
http://work.chron.com/advantages-permanent-employment-8921.html
http://www.totaljobs.com/careers-advice/content/10-benefits-of-temping-074
http://www.dol.govt.nz/er/services/law/case/themes/2011-05-casual-employment-decisions.asp
http://www.thefreedictionary.com/Hourly+Wages
http://www.thefreedictionary.com/piecework
Job Roles
Creative - an example of a creative job role is the director of a film. As a director, the individual is the driving force in a film's production as well as in pre and post production. The director's choices are what effects the style and structure of the film. As director, the individual will also be helping with casting, script editing, shot selection and editing, and more. The skills required to become a director include having artistic vision and creative skills, strong commitment and a passion for the work, the ability to inspire and motivate the team whilst being a strong leader, the willpower to work long hours, and a determination to succeed. As for qualifications, a formal qualification is not required, however training courses can help aspiring directors understand the art of directing. The best way to become a great director is through practical experience, e.g. directing short films and writing screenplays.
Technical - an example of a technical job role is the camera operator. This role involves preparing and operating the camera, using expert skills. It also involves working with both the Director and Director of Photography in order to be able to achieve the exact tone and style the Director and Director of Photography are looking for, managing other staff within the camera department, and communicating with the actors to ensure that they do a good job. No specific qualifications are needed to become a camera operator, however there are higher level qualifications available, and film schools and training courses are a good place to begin. Hands-on experience is very important for this career; the more experience a camera operator has, the easier it will be for them to find a job. As technology changes, the camera operator must keep up with new developments to ensure that they stand out and remain professional.
Editorial - an example of an editorial job is a film editor. The editing of the film is the primary part of post production, and for most feature films this department would consist of an editor supervising assistant editors. Editors work closely with the director, to ensure that their vision for the film is conveyed through the editor's work. The editor must have a clear understanding of the storyline, understand pace, rhythm, and tension, and have the attention to detail and strong communication skills. No specific qualification is needed to be an editor, however experience and extensive knowledge of editing software is vital in order to receive job offers. Therefore, a film production course would be very beneficial to an aspiring editor hoping to work beyond short films and TV shows, and be employed by huge Hollywood studios.
Marketing - an example of a marketing career is a market research executive. Market research executives collect and analyse information, helping clients to learn the people's opinions of consumer products or political and social issues. Market research executives require good communication skills and high maths skills in order to understand and analyse statistics, as well as being organised and good at problem solving. Degrees in maths, statistics, business/management or economics are very useful for this career, as employers usually expect employees to have some sort of higher qualification. However, it is possible to work your way up by starting as a market research assistant or interviewer. Market research executives are important to the media industry because understanding their audience is very important for producers, to ensure that their consumer products are successful.
Managerial - an example of a managerial job in the media industry is a radio station manager. This role involves being responsible for the running of radio stations, and setting objectives and motivating the staff to ensure that these objectives are met. They are also responsible for recruiting employees and managing staff welfare and morale. Radio station managers require good leadership skills, strong business and finance skills, and extensive knowledge of the radio industry, including different stations and programme styles, and audience demographics.
Administrative - an example of an administrative job is an Executive Producer, whether it be for TV or film. An executive producer is responsible for the quality and success of the TV show/film overall, and they must ensure that the programme/film conforms to the commissioners' expectations and specifications. As an executive producer, one will have the job of selecting marketable projects, and ensuring that they are successful. Sometimes, experienced writers for some entertainment programmes are also credited as executive producers. The Executive Producer's role varies depending on the genre, broadcaster, production, and distribution of the film/programme. They will often attend film and TV marketing festivals like Cannes, where they promote their projects and secure funding partnerships. During production of a film/programme, Executive Producers can be involved in some processes of scripting, casting, and crewing. They usually have final approval of the final edited version of a project. To be an Executive Producer, one must have creative flair and commitment to quality programming, have practical knowledge of financial, legal and regulatory requirements within the industry, be good at networking, and have the ability to prioritise effectively as they will often be working on many projects at once, so organisation and time management is vital. Executive Producers must also have great leadership and mentoring skills, and have the ability to work under pressure effectively in order to hit tight deadlines. Specific qualifications are not required, however a media-related degree would be a good starting point. Wide experience and knowledge of the production process is vital to be a good Executive Producer, and therefore the best route in is to work your way up, by first working as a Producer, Director, Writer, and many other roles.
Legal - an example of a legal-related job is an Agent. Agents are responsible for representing performers and creative team members in film, TV, radio, and theatre. They find work for their clients and cultivate relationships with industry decision-makers to persuade them to take on their client. Their clients may include actors, singers, dancers, comedians, presenters, directors, and more. They must always be up to date with what is happening within the media industry, and be aware of what is in production. They must remain up to date with industry rates and industrial agreements, and act as a buffer during contractual negotiations, to help support and guide their clients' careers. To be a good agent, one must have strong social skills, including the ability to make good contacts within the industry, have the ability to network effectively, have excellent communication and linguistic skills, be able to persuade and negotiate effectively, possess strong business skills, and be organised. Industry experience and knowledge is important to become a successful Agent. No specific qualifications are required, however a background in business and sales is helpful. A good place to start is to begin working in a junior role in an agency, or as a performer or work commissioner.
Financial - an example of a financial career in the media industry is an assistant accountant for film. This role involves assisting with the running of the accounts office for a film production, including maintaining financial records (invoices, payments and transactions, and processing cheques) and other accounting tasks, as well as using accounting and film production software. An assistant accountant's exact duties vary depending on the production, and they are defined to the employee at the beginning of production by the key assistant accountant and the production accountant. A qualification in Accountancy or vocational qualifications (NVQs/SVQs) in accounting are vital for getting an accounting career. You can also gain skills and experience through other jobs, such as as a cashier or bookkeeper. Previous experience in film production is also very helpful, as knowledge of film budgeting and scheduling software is also very useful for getting a job in this profession.
References:
http://creativeskillset.org/job_roles_and_stories/job_roles/758_director
http://creativeskillset.org/job_roles_and_stories/job_roles/3073_camera_operator
http://creativeskillset.org/job_roles_and_stories/job_roles/2940_editor
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/pages/marketresearchexecutive.aspx
http://creativeskillset.org/job_roles_and_stories/job_roles/274_radio_station_manager
http://creativeskillset.org/job_roles_and_stories/job_roles/295_executive_producer
http://creativeskillset.org/job_roles_and_stories/job_roles/282_agent
http://creativeskillset.org/job_roles_and_stories/job_roles/3074_assistant_accountant
What is Professional Development?
Professional development refers to the advancement of an individual's knowledge of the workplace/industry, and the development of their skills and professionalism. Within the media industry, for most careers specific qualifications are not required, and instead work experience is highly valued. However, undergraduate and postgraduate degrees offer great opportunities to increase knowledge in a student's chose field of expertise, and can help them to specialise in a specific sector of the industry, such as editing, or cinematography. Many media professionals begin their professional development by studying a media-related course at college or Sixth Form, such as a Media Studies A-Level or a BTEC Media course. All courses vary on units and focus-points, so it is important for a student to choose the right course for them, that focuses on the skills they most want to develop. However, at college-stage, keeping one's options open is also very important, and developing skills in all aspects of media (radio, film, TV, animation, etc.) will help the individual in becoming multi-skilled, which is a valued attribute in today's media industry. When an individual reaches university-age, then is a good time to begin specialising in one part of the industry, and then at postgraduate, specialise in one specific skill, such as as screenwriting or producing.
Alternatively to continuing education, an individual could work their way into the media industry through training and work experience. As stated before, work experience is vital to being successful in the media industry, so starting off with a few jobs as a runner or boom mic operator (if you are planning to break into the film/TV industry) is a great place to start, as both jobs give the individual experience working on the set of a film/programme. Internships and volunteer work are also great opportunities to gain experience and training within one's chosen field. This also offers the chance to network and connect with other professionals within the industry, which is also vital for success, and keeping up to date with the industry as it changes.
References:
http://www.prospects.ac.uk/media_internet_sector_professional_development_and_training.htm
Continuing Personal Professional Development
Continuing Professional Development (CPD) refers to the approaches, ideas, and techniques that help an individual grow and learn as they build up their career. As a professional, one must keep their skills and knowledge up to date with the industry, and using a CPD record can help with this. There are many sources where individuals can find information for developing themselves, including education (college/university), careers services, trade unions, and more.
For example, the BECTU website (the media industry's trade union) is a valuable source of information, where an individual can keep up to date with industry events, news and get advice. Training and developement projects and courses are also advertised on the website, helping individuals to gain awareness of the options available to them.
Creative Skillset is a sector skills council, and their website is a great source of information for young media professionals still trying to figure out what sector of the media they want to specialise in. The website offers detailed information on the job roles available and the requirements to getting the role. It also awards the "Creative Skillset tick" to degree courses, short courses, and apprenticeships that are best suited to preparing students and individuals for the industry.
Finally, websites such as prospects.ac.uk can offer graduates advice and information on jobs and work experience opportunities that are currently available, and advice on the next step into postgraduate study.
References
http://www.cipd.co.uk/cpd/about/default.aspx
http://courses.creativeskillset.org/
http://creativeskillset.org/job_roles_and_stories/job_roles
http://www.prospects.ac.uk/
Curriculum Vitae (CV)
CVs are very important to the success of an individual in their career, as it is their tool in helping them to stand out from the crowd of other applicants for a job. They should be simple and easy to read, and tailored to the job being applied for. Personal information like one's name, address, and contact details are also vital. Showing off achievements and targets that where achieved can also help the individual to stand out from the crowd. Some of the key parts of a CV tailored for finding a job in the media industry includes references, a portfolio and/or showreel, and a personal website.
References are vital to a successful CV, as they offer the potential employer a third-party opinion of an individual. It allows the employer to assess whether the applicant is who they say they are, and whether they will actually do what they have claimed to have done for their previous employers. On a CV, and applicant should put "References are available on request," rather than include the details of previous or current employers on the CV. It is not required that all references should be from a former employer - business acquaintances, customers, organisation leaders, or previous tutors can be a referee. Making the right choice for a referee is also important: as the wrong person to speak on the applicant's behalf could ruin their chances of getting the job. Within the media industry, references are very important for helping to show off an applicant's skills and abilities, and a recommendation from a previous employer can be what gets the applicant the job.
Portfolios and showreels are also important for CV aimed at the media industry. One of the main things media industry employers look for when finding new employees is industry experience and examples of previous, high quality work. A good portfolio and/or showreel can be what gives the applicant an edge above other applicants. A portfolio is a representation of one's best work, to show off their capabilities as an artist or designer. It includes the strongest examples of their work. A showreel is used by animators and video/film creators. A showreel will normally come either online or in the form of a CD portfolio. When applying for a job at a film/TV company, it is advised that the applicant contacts the employer to ask if the showreel is required, as it is often that a showreel will be sent to a production company and then never viewed. Animation companies, on the other hand, are much more interested in viewing an applicants work. A showreel usually should not be more than two minutes long. Within the first 30 seconds, an employer will have come to a conclusion on whether you have the right skills. Therefore, a showreel should be short, and compelling and dynamic from the start.
Finally, a personal website is very useful for presenting one's work and achievements. A website is an easy way for potential employers to quickly access information about the applicant. It gives them an overview of the applicant's skills and achievements, as well as contact information. The applicant can also embed multiple examples of their work, making an online portfolio that both employers and potential business contacts/connections can easily access. It gives employers a quick and easy platform to evaluate a potential employee, and see whether they are suitable for the job.
References
http://www.bbc.co.uk/news/business-15573447
http://career-advice.monster.co.uk/cvs-applications/cv-advice/who-should-i-choose-as-my-references/article.aspx
http://www.careerbuilder.com/Article/CB-1428-Getting-Hired-Do-References-Really-Matter/
http://community.ucreative.ac.uk/article/12319/Portfolios-%26-Showreels
Career Development
Many career opportunities give the employee the chance to train on the job, usually through formal training whilst experiencing day-to-day work days. Training on the job provides employees with the technical skills they require to complete their work. This training is provided to employees after they have been hired and have begun working. Training on the job is very useful within the media industry, because in most careers one is able to progress by increasing their work experience and knowledge of the industry. On-the-job training may also be introduced when new technology is introduced to the industry, such as new editing software. A short training course will be given to current employees to ensure that they have the skills to complete their work.
This helps with continuing professional development, as the employee has the opportunity to increase their skills and in turn their employability. Employees can continue their professional development through various ways, including through their career and in their own time. Working on short film projects and the like in one's own time can help develop one's skills and in turn advance their career. Attending short courses and evening classes can also help with professional development.
Self-training also links to continuing professional development. Self-training refers to the training of oneself without supervision or attendance in a class. This can be done through personal media projects, watching documentaries, other films/TV shows, and researching the subject of choice online. Self-training helps the individual to develop the skills they personally want to develop, and can help them advance their careers due to their extra experience, helping them to stand out from the crowd.
References
http://study.com/academy/lesson/on-the-job-training-definition-advantages-importance.html
http://www.cipd.co.uk/cpd/default.aspx
http://dictionary.reference.com/browse/self-study
Professional Behaviour
Terminology Meaning
- Full Time - full time refers to work that occupies the whole of somebody's usual working time.
- Part Time - part time refers to work that occupies only part of somebody's usual working time.
- Freelance - freelance refers to self-employed work, in which someone is hired by companies to complete a project based on a contract.
- Shift Work - shift work is a work schedule in which multiple employees take turns doing the same job.
- Permanent - a permanent placement means a job that the employee can keep for as long as the job exists. Permanent placements have many advantages, such as employee benefits (like health care and paid holiday) as well as the benefit of job security and advancement opportunities.
- Temporary - a temporary placement means a job that the employee works only temporary. Though not as secure as a permanent job, temps offer benefits such as more control and flexibility, the opportunity to learn new skills, and more experience.
- Multi-skilled - multi skilled means that the person in question has many skills in various areas. This is important as it is much easier to find a job if one has lots of skills and experience. The skill level of an individual is what sets them apart from everyone else.
- Voluntary - voluntary work is when an individual does work without pay. This is often for a good cause, such as a charity or something to benefit the environment.
- Casual - casual work refers to when an employee is only employed when required and there is no expectation of regular work. The employee is always paid the same as a normal employee.
- Hourly Paid - hourly paid means work that is paid by the hour. The employee earns a regular wage. This is common for manual or unskilled work, and part time jobs.
- Piecework - piecework refers to work that is paid for based on the amount of work the individual has done.
- Recruitment - recruitment refers to the employment of an individual.
- Careers Advice - careers advice refers to information given about careers, which can help the individual decide on both a career and how to pursue it. Careers advice is especially given to young people in schools, but adults can also seek advice by going to a job centre.
- Trade Fairs - a trade fair is an exhibition or expo in which companies can showcase their latest products. For example, E3 (Electronic Entertainment Expo) is an annual trade fair in which video games developers can present their latest products. Trade fairs are followed by lots of press coverage which helps raise awareness of new products. Some trade fairs are also streamed online for the audience to watch.
- National Press - national press refers to newspapers that sell all over the country.
- Trade Press - trade press refers to newspapers and magazines that are written about a particular subject or for a particular industry, for example Mediaweek or Gamesauce.
- Personal Contacts - personal contacts refers to the people an individual knows. Personal contacts are important within the media industry as the more contacts an individual has, the easier it is to get a job as their contacts can provide them with different opportunities.
- Networking - networking is when an individual interacts with others with the intention of gaining professional contacts who will help them further their career.
- Work of Mouth - word of mouth refers to the spread of information via social interaction, particularly via speech. Word of mouth can be a fast way for information to be spread, as people talk to their friends and family about the subject, and they then tell their own friends and family.
- Internet - the internet is a vast and powerful tool for finding and spreading information. It allows people to communicate internationally, and information can be spread easily through advertising and social networking.
http://work.chron.com/advantages-permanent-employment-8921.html
http://www.totaljobs.com/careers-advice/content/10-benefits-of-temping-074
http://www.dol.govt.nz/er/services/law/case/themes/2011-05-casual-employment-decisions.asp
http://www.thefreedictionary.com/Hourly+Wages
http://www.thefreedictionary.com/piecework
Job Roles
Creative - an example of a creative job role is the director of a film. As a director, the individual is the driving force in a film's production as well as in pre and post production. The director's choices are what effects the style and structure of the film. As director, the individual will also be helping with casting, script editing, shot selection and editing, and more. The skills required to become a director include having artistic vision and creative skills, strong commitment and a passion for the work, the ability to inspire and motivate the team whilst being a strong leader, the willpower to work long hours, and a determination to succeed. As for qualifications, a formal qualification is not required, however training courses can help aspiring directors understand the art of directing. The best way to become a great director is through practical experience, e.g. directing short films and writing screenplays.
Technical - an example of a technical job role is the camera operator. This role involves preparing and operating the camera, using expert skills. It also involves working with both the Director and Director of Photography in order to be able to achieve the exact tone and style the Director and Director of Photography are looking for, managing other staff within the camera department, and communicating with the actors to ensure that they do a good job. No specific qualifications are needed to become a camera operator, however there are higher level qualifications available, and film schools and training courses are a good place to begin. Hands-on experience is very important for this career; the more experience a camera operator has, the easier it will be for them to find a job. As technology changes, the camera operator must keep up with new developments to ensure that they stand out and remain professional.
Editorial - an example of an editorial job is a film editor. The editing of the film is the primary part of post production, and for most feature films this department would consist of an editor supervising assistant editors. Editors work closely with the director, to ensure that their vision for the film is conveyed through the editor's work. The editor must have a clear understanding of the storyline, understand pace, rhythm, and tension, and have the attention to detail and strong communication skills. No specific qualification is needed to be an editor, however experience and extensive knowledge of editing software is vital in order to receive job offers. Therefore, a film production course would be very beneficial to an aspiring editor hoping to work beyond short films and TV shows, and be employed by huge Hollywood studios.
Marketing - an example of a marketing career is a market research executive. Market research executives collect and analyse information, helping clients to learn the people's opinions of consumer products or political and social issues. Market research executives require good communication skills and high maths skills in order to understand and analyse statistics, as well as being organised and good at problem solving. Degrees in maths, statistics, business/management or economics are very useful for this career, as employers usually expect employees to have some sort of higher qualification. However, it is possible to work your way up by starting as a market research assistant or interviewer. Market research executives are important to the media industry because understanding their audience is very important for producers, to ensure that their consumer products are successful.
Managerial - an example of a managerial job in the media industry is a radio station manager. This role involves being responsible for the running of radio stations, and setting objectives and motivating the staff to ensure that these objectives are met. They are also responsible for recruiting employees and managing staff welfare and morale. Radio station managers require good leadership skills, strong business and finance skills, and extensive knowledge of the radio industry, including different stations and programme styles, and audience demographics.
Administrative - an example of an administrative job is an Executive Producer, whether it be for TV or film. An executive producer is responsible for the quality and success of the TV show/film overall, and they must ensure that the programme/film conforms to the commissioners' expectations and specifications. As an executive producer, one will have the job of selecting marketable projects, and ensuring that they are successful. Sometimes, experienced writers for some entertainment programmes are also credited as executive producers. The Executive Producer's role varies depending on the genre, broadcaster, production, and distribution of the film/programme. They will often attend film and TV marketing festivals like Cannes, where they promote their projects and secure funding partnerships. During production of a film/programme, Executive Producers can be involved in some processes of scripting, casting, and crewing. They usually have final approval of the final edited version of a project. To be an Executive Producer, one must have creative flair and commitment to quality programming, have practical knowledge of financial, legal and regulatory requirements within the industry, be good at networking, and have the ability to prioritise effectively as they will often be working on many projects at once, so organisation and time management is vital. Executive Producers must also have great leadership and mentoring skills, and have the ability to work under pressure effectively in order to hit tight deadlines. Specific qualifications are not required, however a media-related degree would be a good starting point. Wide experience and knowledge of the production process is vital to be a good Executive Producer, and therefore the best route in is to work your way up, by first working as a Producer, Director, Writer, and many other roles.
Legal - an example of a legal-related job is an Agent. Agents are responsible for representing performers and creative team members in film, TV, radio, and theatre. They find work for their clients and cultivate relationships with industry decision-makers to persuade them to take on their client. Their clients may include actors, singers, dancers, comedians, presenters, directors, and more. They must always be up to date with what is happening within the media industry, and be aware of what is in production. They must remain up to date with industry rates and industrial agreements, and act as a buffer during contractual negotiations, to help support and guide their clients' careers. To be a good agent, one must have strong social skills, including the ability to make good contacts within the industry, have the ability to network effectively, have excellent communication and linguistic skills, be able to persuade and negotiate effectively, possess strong business skills, and be organised. Industry experience and knowledge is important to become a successful Agent. No specific qualifications are required, however a background in business and sales is helpful. A good place to start is to begin working in a junior role in an agency, or as a performer or work commissioner.
Financial - an example of a financial career in the media industry is an assistant accountant for film. This role involves assisting with the running of the accounts office for a film production, including maintaining financial records (invoices, payments and transactions, and processing cheques) and other accounting tasks, as well as using accounting and film production software. An assistant accountant's exact duties vary depending on the production, and they are defined to the employee at the beginning of production by the key assistant accountant and the production accountant. A qualification in Accountancy or vocational qualifications (NVQs/SVQs) in accounting are vital for getting an accounting career. You can also gain skills and experience through other jobs, such as as a cashier or bookkeeper. Previous experience in film production is also very helpful, as knowledge of film budgeting and scheduling software is also very useful for getting a job in this profession.
References:
http://creativeskillset.org/job_roles_and_stories/job_roles/758_director
http://creativeskillset.org/job_roles_and_stories/job_roles/3073_camera_operator
http://creativeskillset.org/job_roles_and_stories/job_roles/2940_editor
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/pages/marketresearchexecutive.aspx
http://creativeskillset.org/job_roles_and_stories/job_roles/274_radio_station_manager
http://creativeskillset.org/job_roles_and_stories/job_roles/295_executive_producer
http://creativeskillset.org/job_roles_and_stories/job_roles/282_agent
http://creativeskillset.org/job_roles_and_stories/job_roles/3074_assistant_accountant
What is Professional Development?
Professional development refers to the advancement of an individual's knowledge of the workplace/industry, and the development of their skills and professionalism. Within the media industry, for most careers specific qualifications are not required, and instead work experience is highly valued. However, undergraduate and postgraduate degrees offer great opportunities to increase knowledge in a student's chose field of expertise, and can help them to specialise in a specific sector of the industry, such as editing, or cinematography. Many media professionals begin their professional development by studying a media-related course at college or Sixth Form, such as a Media Studies A-Level or a BTEC Media course. All courses vary on units and focus-points, so it is important for a student to choose the right course for them, that focuses on the skills they most want to develop. However, at college-stage, keeping one's options open is also very important, and developing skills in all aspects of media (radio, film, TV, animation, etc.) will help the individual in becoming multi-skilled, which is a valued attribute in today's media industry. When an individual reaches university-age, then is a good time to begin specialising in one part of the industry, and then at postgraduate, specialise in one specific skill, such as as screenwriting or producing.
Alternatively to continuing education, an individual could work their way into the media industry through training and work experience. As stated before, work experience is vital to being successful in the media industry, so starting off with a few jobs as a runner or boom mic operator (if you are planning to break into the film/TV industry) is a great place to start, as both jobs give the individual experience working on the set of a film/programme. Internships and volunteer work are also great opportunities to gain experience and training within one's chosen field. This also offers the chance to network and connect with other professionals within the industry, which is also vital for success, and keeping up to date with the industry as it changes.
References:
http://www.prospects.ac.uk/media_internet_sector_professional_development_and_training.htm
Continuing Personal Professional Development
Continuing Professional Development (CPD) refers to the approaches, ideas, and techniques that help an individual grow and learn as they build up their career. As a professional, one must keep their skills and knowledge up to date with the industry, and using a CPD record can help with this. There are many sources where individuals can find information for developing themselves, including education (college/university), careers services, trade unions, and more.
For example, the BECTU website (the media industry's trade union) is a valuable source of information, where an individual can keep up to date with industry events, news and get advice. Training and developement projects and courses are also advertised on the website, helping individuals to gain awareness of the options available to them.
Creative Skillset is a sector skills council, and their website is a great source of information for young media professionals still trying to figure out what sector of the media they want to specialise in. The website offers detailed information on the job roles available and the requirements to getting the role. It also awards the "Creative Skillset tick" to degree courses, short courses, and apprenticeships that are best suited to preparing students and individuals for the industry.
Finally, websites such as prospects.ac.uk can offer graduates advice and information on jobs and work experience opportunities that are currently available, and advice on the next step into postgraduate study.
References
http://www.cipd.co.uk/cpd/about/default.aspx
http://courses.creativeskillset.org/
http://creativeskillset.org/job_roles_and_stories/job_roles
http://www.prospects.ac.uk/
Curriculum Vitae (CV)
CVs are very important to the success of an individual in their career, as it is their tool in helping them to stand out from the crowd of other applicants for a job. They should be simple and easy to read, and tailored to the job being applied for. Personal information like one's name, address, and contact details are also vital. Showing off achievements and targets that where achieved can also help the individual to stand out from the crowd. Some of the key parts of a CV tailored for finding a job in the media industry includes references, a portfolio and/or showreel, and a personal website.
References are vital to a successful CV, as they offer the potential employer a third-party opinion of an individual. It allows the employer to assess whether the applicant is who they say they are, and whether they will actually do what they have claimed to have done for their previous employers. On a CV, and applicant should put "References are available on request," rather than include the details of previous or current employers on the CV. It is not required that all references should be from a former employer - business acquaintances, customers, organisation leaders, or previous tutors can be a referee. Making the right choice for a referee is also important: as the wrong person to speak on the applicant's behalf could ruin their chances of getting the job. Within the media industry, references are very important for helping to show off an applicant's skills and abilities, and a recommendation from a previous employer can be what gets the applicant the job.
Portfolios and showreels are also important for CV aimed at the media industry. One of the main things media industry employers look for when finding new employees is industry experience and examples of previous, high quality work. A good portfolio and/or showreel can be what gives the applicant an edge above other applicants. A portfolio is a representation of one's best work, to show off their capabilities as an artist or designer. It includes the strongest examples of their work. A showreel is used by animators and video/film creators. A showreel will normally come either online or in the form of a CD portfolio. When applying for a job at a film/TV company, it is advised that the applicant contacts the employer to ask if the showreel is required, as it is often that a showreel will be sent to a production company and then never viewed. Animation companies, on the other hand, are much more interested in viewing an applicants work. A showreel usually should not be more than two minutes long. Within the first 30 seconds, an employer will have come to a conclusion on whether you have the right skills. Therefore, a showreel should be short, and compelling and dynamic from the start.
Finally, a personal website is very useful for presenting one's work and achievements. A website is an easy way for potential employers to quickly access information about the applicant. It gives them an overview of the applicant's skills and achievements, as well as contact information. The applicant can also embed multiple examples of their work, making an online portfolio that both employers and potential business contacts/connections can easily access. It gives employers a quick and easy platform to evaluate a potential employee, and see whether they are suitable for the job.
References
http://www.bbc.co.uk/news/business-15573447
http://career-advice.monster.co.uk/cvs-applications/cv-advice/who-should-i-choose-as-my-references/article.aspx
http://www.careerbuilder.com/Article/CB-1428-Getting-Hired-Do-References-Really-Matter/
http://community.ucreative.ac.uk/article/12319/Portfolios-%26-Showreels
Career Development
Many career opportunities give the employee the chance to train on the job, usually through formal training whilst experiencing day-to-day work days. Training on the job provides employees with the technical skills they require to complete their work. This training is provided to employees after they have been hired and have begun working. Training on the job is very useful within the media industry, because in most careers one is able to progress by increasing their work experience and knowledge of the industry. On-the-job training may also be introduced when new technology is introduced to the industry, such as new editing software. A short training course will be given to current employees to ensure that they have the skills to complete their work.
This helps with continuing professional development, as the employee has the opportunity to increase their skills and in turn their employability. Employees can continue their professional development through various ways, including through their career and in their own time. Working on short film projects and the like in one's own time can help develop one's skills and in turn advance their career. Attending short courses and evening classes can also help with professional development.
Self-training also links to continuing professional development. Self-training refers to the training of oneself without supervision or attendance in a class. This can be done through personal media projects, watching documentaries, other films/TV shows, and researching the subject of choice online. Self-training helps the individual to develop the skills they personally want to develop, and can help them advance their careers due to their extra experience, helping them to stand out from the crowd.
References
http://study.com/academy/lesson/on-the-job-training-definition-advantages-importance.html
http://www.cipd.co.uk/cpd/default.aspx
http://dictionary.reference.com/browse/self-study
Professional Behaviour
- Reliability - Showing your employer that you are reliable is hugely important for the development of your career. It shows your employer that they can trust you to get things done without needing to heavily supervise you. Additionally, you would look like a huge asset to the company, and will gain many more benefits to ensure that you stay in the company.
- Attendance and Punctuality - Attendance and punctuality at work is important because if an employee misses days of work or is late frequently, they will show that they are not reliable, and therefore the employer will trust them less. Lack of attendance and punctuality can lead to disciplinary at work.
- Commitment - Commitment in the media industry is hugely important. Large projects can sometimes take months to complete, and commitment is required to ensure that all work is completed by the deadline.
- Efficiency - Efficiency is important in the media industry in order to ensure that work is always completed by the deadline. By always being efficient, the employee builds up trust with their employer, and the workplace will be much less stressful.
- Self-presentation - Ensuring that one looks professional at all times while at work is vital to ensure that the employee is taken seriously by their co-workers and their employer. Self-presentation is also important when applying for the job, and whether the applicant looks professional or not can make a difference to employers' decision to employ them.
- Communication Skills - Communication is hugely important within the media industry, to ensure that projects are completed on time, all members of the team are aware of what they need to do and when it needs to be done by, and for networking. Networking and making connections greatly helps when developing your career, so having great communication skills is very important.
- Contribution to team projects - Contributing to team projects helps to reduce stress in the work place and helps to build trust and relationships between the members of the team. If one person does not contribute enough to the project, the project may not be completed on time or could be a lower quality than it was expected to be. Also, contribution shows professionalism, which is vital for progressing your career.
- Time Management- Meeting deadlines is greatly important within the media industry, and good time management will ensure that this is complete. Being organised will also help to reduce stress levels.
- Personal Responsibility - Showing personal responsibility for your work helps to show professionalism, helps to build trust between yourself and your employer, and helps motivate you to work to the best of your ability.
Curriculum Vitae - Interview TipsOnline CV:
http://uk.linkedin.com/in/danimedia
(WIP) Media Production Company website (with Alexis Gray and Jack Bates): http://wolfwoodmedia.tumblr.com/
Photography Portfolio: https://www.flickr.com/photos/131985092@N06/
Interviewing Tips
Skills to Apply At Interviews - before an interview it is important to do some research about the company you are applying to, so that you can impress the interviewer with your knowledge of the company if you're given the opportunity to. Additionally, you should research the industry as well, such as new products and software that is being released, to show that you are knowledgable and up to date with the media industry. This will also enable you to be more confident.
It is also a good idea to practice answers to the most common questions that are asked in interviews, such as "What are your strengths?" or "What can you do for us that other candidates can't?" This allows you to answer the questions confidently without hesitating too much. Ensure that your answers closely relate to how the skills and experience you are talking about can make you good for the job.
For example, if you are applying for an editing job, talk about your previous projects, impress them with your knowledge of different editing softwares such as Premiere Pro and Sony Vegas Pro, and bring in a showreel to present to the interviewer. Similarly, if you are applying for a photography job, you could bring in some printed examples of your work, and talk about your ideas and understanding of the equipment/software.
One of the main questions that interviewers ask to catch people out is "What are your weaknesses?" When answering this question, it is bad to actually list weaknesses that could heavily affect your performance at work. Instead, name a weakness that only partially applies to the job, or describe a strength to make it sound like a weakness, for example: "I'm too passionate about film projects, so I become very frustrated when people don't work as hard as me to reach production deadlines." This both answers the question but also makes you sound like an ideal candidate for the job.
Self-presentation - Self-presentation is very important when going for a job interview. Applicants
should pay close attention to their personal grooming. For example, their hair should be neat and tidy, nails should be clean and cut short, breath and body odour should be fresh and pleasant. Shoes should be polished and in good repair, and clothing should be clean and neat. Interviewers often form opinions of their applicants based on their appearance, so ensuring that you look neat and professional is very important. Self-confidence is also very important to present yourself in a positive way. Rehearsing (practise answers to common interview questions), researching (learn about your potential employer), and preparing for the interview (print off required documents 24 hours early, arrange travel plans in advance) beforehand can help boost your confidence on the day.
Linguistic Codes - this refers to the way that you speak. In an interview for a media industry career, using appropriate subject terminology and language helps to show that you are knowledgeable about the industry, and are passionate about the subject you are talking about. Formal language is useful to use, as an interview is usually a formal setting, and formal language will show professionalism and respect for the interviewer.
Dress Codes - Appropriate dress codes for different interviews can vary, so it is advisable to ask in advance what the interviewer is expecting. Some company's dress codes are casual, relaxed clothing, but others stick to business attire. Clothing should draw little attention, so wearing too fashionable clothes or wearing too many accessories can be distracting. Blending in with the company atmosphere cause help the interviewer to visualise you as an employee there. In most cases, suitable interview attire is, for men, a suit and tie, and for women, a skirt/trousers paired with a collared shirt and blazer.
Interpersonal Skills - Finally, interpersonal skills are also known as people skills - they refer to the way you communicate and interact with other people. Interviewers will often ask their applicants questions based on finding out their interpersonal skills, for example, an applicant might be asked questions like, "What problems have you encountered at work?" or "Do you work well with other people?" Employers usually look for candidates that are skilled at working in a team, are persuasive and positive, are capable at problem solving, and are good at negotiating and networking.
References
http://www.miningoilgasjobs.com.au/career-resources/the-job-interview/personal-presentation-at-the-interview.aspx
http://www.prospects.ac.uk/interview_tips_how_to_prepare_for_an_interview.htm
http://careers.theguardian.com/careers-blog/what-wear-job-interview-fashion-dress-impress
http://www.skillsyouneed.com/interpersonal-skills.html
http://jobsearch.about.com/od/skills/fl/Interpersonal-Skills.htm
http://jobsearch.about.com/od/interviewquestionsanswers/qt/interpersonal-interview-questions.htm
http://career-advice.monster.co.uk/job-interview/preparing-for-job-interviews/top-5-job-interview-tips/article.aspx
http://career-advice.monster.co.uk/job-interview/job-interview-questions/what-are-the-most-common-job-interview-questions/article.aspx
CV
Daisy Da Silva
[email protected]
(Mobile Number)
Personal Summary
A persuasive and articulate young person who has superb influencing skills and the ability to come up with great marketing ideas. Daisy has a strong desire for success, loads of enthusiasm and a willing to work hard, effectively and efficiently. She is charismatic, results driven, can add value to any business and will go that extra mile to deliver results. Having excellent communication skills means she is able to meet and liaise with clients to discuss and identify their advertising requirements. Right now she is looking for a suitable position with a company that will give her the chance to develop a long term career path within their business.
Skills
- Comfortable selling face to face and approaching new business
- Naturally inquisitive personally
- Passion for creative ideas
- Superb influencing skills
- Great communication skills
- Good with numbers
- Pitching/Consulting/Closing products to clients
- Making music videos/short films
- Brand/Social Media Marketing
- Connecting with a target audience
- Coulsdon College 2014 - 2016
BTEC 120 Performing Arts - D
References
David Allen Dwight Right
Media Teacher Ex-Employer
(Contact Details) (Contact Details)