T3 | Wk 9 - Power and the media - application of representation

Watch this clip then taking the previous posts into consideration, complete the following activity.

  https://www.youtube.com/watch?v=k7tXTY-wDGE

Write a paragraph for a Power and the Media essay for the following question;

May/June 2024 (Paper 42): Analyse the ways in which media representations reflect differences in power in society

referencing the ideas of;

- power in relation to who is creating media not just who is represented on screen  

- tokenism 

- power of Inclusion summit 

- representation within NZ (challenges and steps in the right direction)

- Taika Waititi 

     Hi guys,

TASK 1 

Another article to look at with some great information;

After The Power of Inclusion summit: The problems with film/television diversity in NZ

Make some notes using the following questions as guidelines;

1. What was the event being held in NZ and what was it's purpose?

2. Why was Heperi Mita identified as a significant voice? What did he direct and what did he do? 

3. Both NZFC and NZ On Air have a strategy for Maori content, what is it? 

4. What was the concern that Heperi Mita had with the fact that although there was funding, producers were still being hired from big studios to re-tell Maori stories? 

5. Last year, NZ On Air revamped its roadmaps and added a strand for “newer storytellers”. Explain what progress has been made here? 

6. What are some other important points that have been made as a result of this inclusion summit? 

TASK 2 

This is work to add to your research on Power and the Media. We are now looking at our local broadcasting landscape and how Maori are represented in film and TV. 

Check out this article;

Diversify or die: What New Zealand television can learn from our film industry

Questions;

1. What are some of the points this article raises between the difference in how progressive the TV representation of Maori is and the representation of Maori in film? 

2. What is an example of the last TV show that really brought Maori representation into the spotlight but that is an older show to reference now? 

3. What are some examples of films that have done well and that focus on telling the stories of ethnic minority in NZ? 

4. Why are US TV networks scrambling to make their programming more diverse? 

5. What, according to the article is one of the biggest challenges for Maori television shows? 

T3 | Wk 9 | Monday - Clancy articles sensationalised news

 Immersive media / blurred lines between reality and reality/ sensationalised TV 

However, there is a fine line between expressing concern and sympathy for a tragedy online and making a spectacle of that tragedy for engagement. Unfortunately, most of the TikTok content surrounding the Clancy case resembles the latter. 

From A.I. songs being created about Lindsay’s innocence, to rampant Facebook stalking of the Clancys themselves, TikTok users are treating the trial like it is an interactive, bingeworthy Netflix series. 

The insensitive nature with which TikTok users are approaching the Clancy case is precisely the problem with the “true crime” genre in the era of social media.  

On short-form content platforms like TikTok and Instagram, videos are designed to grab users’ attention in the first few seconds, so they don’t scroll on through the endless mass of content available to them. This is exactly why social media algorithms push extremist content: it triggers more engagement and keeps users scrolling. 

And how can “true crime” content not be insensitive when it is created on platforms that reward sensationalizing tragedy?  

Evidently, the online response to Lindsay Clancy’s trial has not been appropriate in the slightest. The murder of her children is not a “hot topic” or a puzzle for TikTok users to solve. It is a horrific event that the family will continue to live with after the Clancys have circulated out of the algorithmic trend cycle. 

https://brockpress.com/the-lindsay-clancy-trial-highlights-the-ethical-concerns-of-true-crime-in-the-digital-era/

A Facebook post put it like this;

The Lindsay Clancy case has me thinking about something much bigger than one trial: forensic fandom.

Forensic fandom is what happens when people become deeply immersed in a real criminal case, dissecting every detail, creating theories, choosing sides and sometimes treating an unimaginable tragedy almost like a mystery they are personally trying to solve.

And here’s the part I find particularly troubling.

On Facebook, legitimate news organizations can face restrictions on sharing real news, yet we can spend hours watching creatively produced videos and listening to theories about “who really did it,” whether the father was involved, what someone supposedly knew, what someone supposedly didn’t know, and countless other theories that may have little or no basis in the evidence presented in court.

Think about that for a minute.

We can struggle to find reliable journalism in our Facebook feeds, while algorithms can serve us hours of speculation because speculation keeps us watching.

And somewhere in the middle of all of that are real people.

Three children who died. Parents and family members whose lives were shattered. A woman whose mental state is now being examined in a courtroom and people - like first responders - who have to live with this tragedy long after the cameras and social-media posts move on to the next story.

I’m not saying we shouldn’t discuss difficult cases, we absolutely should and there are important conversations here about postpartum psychosis, mental illness, criminal responsibility, domestic circumstances, the justice system and whether people in crisis are getting the help they need.

But there is a difference between understanding a case and simply consuming it.

There is a difference between asking questions and creating facts.

And there is a difference between responsible journalism and a cleverly edited video designed to make us believe we’ve uncovered a secret the investigators somehow missed.

I’m curious what you think.

Have social media algorithms turned true crime into entertainment?

Why does speculation sometimes get more attention than verified reporting?

And why can we watch hours of theories about who “really did it,” while actual journalism struggles to reach us? I actually watched live footage of the trial yesterday and some of the footage going around on social media as it relates to the case simply did not happen yesterday in court.

Maybe it’s time we ask ourselves not just “What happened?”

But also “Why am I watching this, and what am I doing with what I believe I know?”

T3 | Wk 9 | Tues - Power and the Media - Disney Case Study

   

Look at these 2 articles;

More in-depth for examples, this one...

https://www.bbc.com/worklife/article/20190724-did-disney-shape-how-you-see-the-world

just briefly for some historical context, this one...

https://ueh.edu.vn/en/news/disneys-representation-of-diversity-equity-and-inclusion-over-the-years-71236

Write a few paragraphs in response to the following question (using ALL your Disney case study information AND ownership terminology from last year)

Question;

"There is a shift in power from large institutions to audiences."  Discuss whether you believe this is completely true

Look particularly at the relationship between power, influence, audience size, fan-base, messaging, stereotypes and cultures represented as well as the idea of hegemony. All these words should pop up in your response. 

T3 | Wk 9 | Monday - Audience trends to explore - navigating the changing media landscape (Media Ecology)

  

Mobile and Short-Form Growth

Micro Dramas: Vertical, highly addictive micro-dramas built for phones are a booming multi-billion-dollar format catering to micro-attention spans.

Gen Z Shifts: Over half of younger audiences prefer social media storytelling over traditional movies, feeling a stronger connection to digital creators than traditional movie stars

Theatrical Resurgence for Premium Formats

Theatrical Bounce-Back: The domestic box office is experiencing its strongest post-pandemic performance, driven by eventized viewing

Premium Formats (PLFs): Audiences are increasingly paying extra for high-end cinematic spectacles, 70mm, and IMAX releases like The Odyssey rather than routine theatrical outings

https://www.latimes.com/entertainment-arts/business/story/2026-09-08/strong-summer-may-be-good-sign-for-theaters-this-year

Have a read of this excerpt from a recent article on streaming and theatre not being in competition;

(pulled from this website - read the full article for wider context of film industry trends)

https://atlasfilmfixers.com/2026/07/14/film-industry-trends-in-2026/

Streaming and Theatrical Are a Pipeline, Not a Rivalry

For years the dominant narrative was streaming versus theatrical, framed as a zero-sum battle for attention. That framing is increasingly outdated, and correcting it is one of the clarifying film industry trends in 2026. The more accurate picture is a hybrid ecosystem where streaming and theatrical function as different stages of a single content pipeline.

Streaming has firmly established itself as the default, everyday viewing experience — where most people spend most of their film-watching time, prized for convenience, personalisation, and lack of friction. For mid-budget dramas, documentaries, and genre films in particular, it increasingly delivers larger and more diverse audiences than a traditional theatrical run ever could. Theatres, meanwhile, have clarified their role rather than being pushed out. They’re increasingly reserved for “event” viewing — massive franchise installments, visually spectacular epics, and culturally anticipated releases where the communal experience is part of the appeal. 

Younger audiences in particular move fluidly between both worlds: streaming for convenience during the week, theatres for spectacle on a big release weekend. This has real implications for how films get financed and marketed, pushing studios to build release strategies around a film’s specific strengths rather than treating a wide theatrical run as the sole measure of success — one of the most financially consequential film industry trends in 2026.

T3 | Wk 8 | Monday - Changing media landscape - Gen Z

Have a read of this article and make some notes on the following;

- Considering Power and the Media, how are younger audiences challenging and even changing traditional power models 

- The example of the French film that was picked up by influencers after traditional marketing was done and resulted in a not so successful run in theatres

- how does this example speak to the power of audiences being active in not only creating content (Shirky's theory) but also promoting and deciding what is culturally relevant? 

https://medium.com/digital-gems/how-generation-z-is-reshaping-the-cinema-industry-a997f0b2b38d

 

T3 | Wk 8 | Thurs - Presentation

 Today you're presenting your Covid Audience findings to the AS class! 

T3 | Wk 8 | Wednesday- Blog housekeeping

 Go through your blogs and make sure all Audiences and Institutions blog posts are hidden.

Create labels and sort all your remaining work into the following categories;

1. Advanced Portfolio Planning 

2. Advanced Portfolio

3. CCR 

Go through your blog in 'view' mode and check blog posts for;

- correct title labels

- correct spelling

- formatting 

Have a friend go through your blog to check that everything works and is embedded correctly and laid out in a user-friendly way.