Revision Reading Material

Notes-

Page 54-58

The first episode of House Of Cards was directed by David Finche and was broadcasted online by Netflix in January 2013.
Produced by the independent studio, Media Studio Rights Capital which purchased rights to House Of Cards with the intent to create an original Netflix series of episodes.
Netflix agreed to contribute $100 million to produce the show for two seasons.
The co-chief executive 'Modi Wiczyk' confirmed that Netflix won the right to distribute the series because it gave the creators total artistic freedom

Production-

HOC was pitched to several cable networks including HBO.
Netflix was interested in launching it's own original programming and outbid the networks, it produced and streamed the series for 26 episodes (2 seasons)
Netflix was the only bidder that was interested in purchasing the rights without seeing a completed pilot, show was not forced into traditional programme structure and this enabled producers to manipulate story arcs introduced in episodes, not reliant on artificial cliffhangers.
HOC was the first show made for Netflix, clear desire to be a producer of content and not a distributor of media products, this could be seen as a threat to existing cable networks in the USA, HOC is a unique example of how long form TV drama has developed along with Netflix's strategy to release all 13 episodes for the first season.

It was broadcasted with no commercial breaks or advertising meaning that it was not under pressure that the broadcasters are to spread episodes over time to regularise and sustain the audiences attention, advertising revenue pays for the programme.
When they released the full episodes of season one it generated an industry rethink of TV audiences. Discussion of how it made binge viewing possible at the click of a button, audiences can control their instant gratification which has made traditional TV schedules and their advertising outdated.

Audience-

HOC is an example of how the audience has changed in the online age, online audience should be based off of subscribers and not viewers, the engagement with the audience highlights the need for producers to understand the reception of online dramas, fascinating change to the environment especially in adapting the way it is watched.
Netflix doesn't release audience viewing figures for it's shows and doesn't organise audiences viewing, TV flow and viewing managed by the cable broadcaster whereas Netflix and House Of Cards have viewers who subscribe  which results in more freedom for the certain individual. Also means that House Of Cards had more freedom to develop and invest in the long form TV drama as the Netflix model meant there were no constraints of building a brand and maintaining the programme to deliver audiences to advertisers.

Netflix offers asynchronous viewing ( viewing does not happen at the same time) which cable networks don't offer, as it gives the audience total control over when and where they watch, challenges media theories and implications.

Gerbner's cultivation theory examines the long term effects of television, the proposition of this theory is that more people spend 'living' in the television world, more likely to believe that social reality aligns with the reality portrayed on television. Traditional TV audience is changing because of subscriptions, effect of these channels cannot be measured, draws attention to the need to investigate the long term effects on people who consume long form TV drama.

House Of Cards audience is more male than female, given the nature and tone of the programme, typical interest in political thrillers and payment set for subscriptions, potentially has the demographic of ABC1.
Biggest challenge for them to be able to establish seriality when all episodes are available. In narrative with functions to maintain a revenue stream, Serialisation helps ensure that audiences tune in daily to advertisers messages and build loyalty.

Media Language-

Form and content of HOC is affected by the nature of it's release and ownership, episode 1 displays some challenging features, evident in high production values of the opening scene. It deploys unusual camera work and editing. Breaking of fourth wall is characteristic of its visual style, even though its unconventional it is a device that allows exposition of the characters motives, the first episode establishes interweaving plot lines between politics, the media and personal relationship, open episode encourages viewing of multiple episodes and higher viewer engagement lead to more subscriptions.

Drama is set in Washington DC, USA's political capital, uses a variety of domestic, political and business locations.

Political, Social and Culture Representation-

The episode represents the media and the government as two opposing forces, with public reading as preferred reading of the text from corruption, House of Cards in implicating the audience in creating its meaning and power, drama has the scope of creative freedom and budget to be realistic and accurate for the audience to believe in it, has references with certain position of power and authority, through stereotypes that the audience is encouraged to negotiate meanings.

Also interweaves themes of male politicians and a female reporter, this assumes that relationships with males ultimately have the most importance in women's lives, which can be an attempt to break with traditional feminine typecasting in the media.

Van Zoonen's concepts of the representation of women in the media, which suggest gender is performative, ideas of femininity and masculinity are constructed in the performance of these roles.