My three chosen texts present a large variety of conventions which relate to audience members, however each text in different ways. With both mainstream (texts which aim to tend to a larger, considered passive audience) and niche (a smaller audience base, often considered more active) audiences requiring gratification from their texts, the three texts I will be analysing do this.
My first text, Lost, was a television series produced by the National company ABC, using producers such as JJ ABrams (Director of the New Star Wars films) indication the companies intentions for the series being a hit with a wide audience in order to produce as high a profit as possible. This focus on a large audience will have no doubt influenced decisions with regards to narrative, non-diegetic sound and traditionally used conventions in other mainstream texts. With the used of an ensemble cast consisting of characters from every walk of life, ethnicity, race, wealth, gender and background the producers of Lost ensured that there would be a cast member which would appeal to nearly every audience type, whether it was a physical quality or a piece of the narrative that they could relate to. This would create a preferred reading in a large portion of its audience. A fan base names Lostpedia was created to allow fans to discuss the goings on in the latest episode and to encourage any ideas that audience members had about what may be to come in the forthcoming series and episodes in the hope that they may be recognised by the producers, gratifying audience members further. After all, this would keep a large majority of the audience to be considered 'preferred' and keep profits high. The idea that Lost's narrative, cast and excessive use on non-diegetic sound may not have appealed to a certain amount of audience members (who may consider themselves or be considered by others as a more active audience type) due to the excessive use of non-diegetic sound. Such examples include a deep humming during a slow zoom extreme close-up on one of the character's (Charlie) face before a flashback of his experience aboard the flight , to ensure the audience's recognition that his story may be tainted/mysterious. More active audience's may have thought this (along with the use of an also excessive use of enigma codes which are quickly answered, leaving no thought for the audience) may have bored them.
The second text, Mad Men, is considered a more niche text (therefore gratifying the needs of a niche audience more than that of a mainstream audience). Produced by AMC (Initially American Movie Classics) is known for it's 'quality not quantity' approach to the production of it's programmes, therefore appealing to audience members such as readers of the Guardian (who update their online news with spoilers, guides and the latest news of the show).
The use of little or no non-diegetic sound will appeal to the audience members as they will be ale to use their own imagination and interpret the narrative for themselves, rather than feeling as though they are being told how to feel about each scene or each character and their story line, allowing them to watch the programme more actively. Out of the episode I am focusing on, there is only one use of non-diegetic sound for approximately 20 seconds as the climax to the episode and it's specific narrative come into the audiences view. This is when the lead male character (Don Draper) is preparing for a presenting a pitch to the company Jaguar. This use of sound creates a slight hyper reality and also allows it's audiences to understand the intensity of the narrative through a more obvious approach. Some audience members may take an oppositional reading to this due it's obviousness.
Recaps from online sites such as 'The Orange Couch' also suggest that the representation of women is limiting. Giving them few options as to whether they are to wives, mistresses or career focused women. Characters such as Peggy (one of the main characters) is oppressed in this way and women like her a targeted with questions: 'Everybody else is gonna want to know if you're married, or planning on having a baby.' Audiences may not find this representation appealing or accurate and therefore become oppositional to it's narrative, however others may find the representation intriguing and take a preferred or negotiated reading by giving the programme a chance.
My last chosen text is Peaky Blinders, a text screened by BBC2 and set in the early 1900's in Birmingham. A highbrow text, Peaky Blinders shows culture and intelligence, contributing to it attracting a specific audience type. The popularity of the BBC allows audences to believe that the text will become rather mainstream, however it presents us with aspects which may apply to niche audiences.
Examples of these aspects include the period in which it is set. Set in the early 1900's, the programme is taking place just after the end of world war 1, therefore only appealing to a niche audience. Younger audience members would possibly be unaware of some of the contributing factors to the specif narrative and props used in the text, therefore watching passivly and maybe only taking a negotiated reading from the text. Other audience members however, such as those interested in the war, may enjoy the show and therefore take a preferred reading.
Other aspects which may be considered to appeal or not appeal to certain audience members is the strong accent used due to the location being in Birmingham. Such an accent may lead audience members to being unable to understand some characters, to find the accent irritating or different to what they may be used to and therefore take an oppostional or negotiated reading to the text.
Peaky Blinders has been acknowledged for it's cinematography and high production values, therefore attracting a niche audience. The same audience however, may have found that the text lack originality and mirrored several aspects found in Boardwalk Empire, including narrative themes, and therefore may take a negotiated (or even oppositional depending on how strongly they deem the similarities between the two) reading towards the text.
