Tuesday 31 March 2020

Remote teaching - your complete guide

We've now officially moved to remote teaching due to the global Covid-19 pandemic. Clearly this is not an ideal solution, but frankly, it is the best and only solution. It is essential that that we change our way of life significantly in order to stop the spread of a virus that can be significantly dangerous to older and vulnerable people. This is certainly not a sentence I ever expected to have to write on this blog.

If this cloud has the very faintest of silver linings, it is that we are able to continue teaching, and you are able to continue learning and engaging in media studies, even remotely, and far away from the college. We have planned extensively in advance of this event, and many of the systems we have used since the start of your course will help us to keep things as normal as possible.

Below are a series of questions, many asked by students, which should hopefully explain why we're doing what we are doing. If you have any additional questions, please do let your teacher know, and we will do our best to answer your questions.

Additions will be made to this post as we are asked more questions and as we watch the situation develop. 

Both years


I do not have the technology necessary to complete the work. What do I do?


We have planned these lessons in such a way that you should be able to complete them with a mobile phone and an internet connection. However, we are anticipating many technical issues. Please do let your teacher know as quickly as possible if you have any technical issues, so we can work through things with you.

There's so much to do! I'm so behind! Argh!


The purpose of these lessons is of course to teach you media studies, but it's also to demonstrate your ability to produce quality work.

There's no deadline. Please focus on quality rather than quantity. I would rather see three good blog posts than six rushed ones. Slow and steady, please!

How do I do the work? How will my teacher see it?


Simply complete each lesson as a separate blog post, then make sure you hit the 'publish' button. We have links to all your blogs and will be checking them regularly.

Where can I find the work? 


Right here on the blog! You can click here to find an index of all the work that has been set during the school closure. Remember to complete the sessions in order, working slowly and steadily to produce work to the best possible quality.

This stuff is really hard. What do I do?


The work being set is challenging, much like the work that is set during class. However, unlike in class, you won't be able to just put your hand up (or shout out) that you don't quite understand something. If there is anything you would like explained, or need reassurance with anything, please email your teacher!


I'm having a hard time motivating myself to do this now that the structure of the college day has gone. Any tips?


We strongly recommend that you stick to the timetable that you would normally have in college. Therefore if you have a lesson at 09:00 on Thursday, you should definitely work on A-level media and A-level media only from 09:00 - 10:30. For study periods (sometimes erroneously referred to as 'free periods') you can choose what to work on.

Stuff is going on, and I can't complete the work


Given the circumstances, we will of course be very flexible taking in work. But you need to let us know what is going on. This involves emailing your subject teachers and your progress coach. If you do not tell us about your situation, we will not know about it. Please do let us know, and we will do our very best to help you and to make reasonable allowances.

Second year


Will this working count towards my predicted grade?


Short answer: not really. Please remember that we have been testing you throughout the two years of your, and we definitely won’t be judging your performance just based on the remote learning work. It will be one factor among many that we will be using.

Why are we being set revision work if we are not sitting an exam?


With regards to revision and why we are setting revision tasks, please remember we're in a very strange situation. We have been assured that the exams have been cancelled, yet students can, apparently, sit an exam at a later date if they wish. There's also the issue that we as teachers will need to justify predicted grades that we give for students, though, at the time of writing this, we have had little confirmation from the government as to what this actually means. I want to make sure that every student is as prepared as possible for every eventuality.

Perhaps even more importantly for me, media studies is about more than the exam. While you will get a grade, from U - A* at the end of the course, which will tell universities and employers a rough and blunt measure of your aptitude for the course, I am personally more interested in teaching and assessing your knowledge of media. I teach this course because I am passionate about it, and I want you guys to be passionate about it too. I still use what I learned from my A-levels every day, and frankly, I have no recollection of what questions were asked in the exam. The reason that this has stuck with me is because I revised it. The theories, case studies, debates and concepts we have covered in media studies are essential to understanding our society. I really believe this!

What kind of things will we be doing in revision sessions?


I will be setting fairly straightforward revision tasks to allow you to review what we have learnt. The idea is that no new information will be posted, but it will allow you to make sure that you have fully understood everything on the course, and to demonstrate this understanding.

First year


What are we doing? And what's happening with coursework?


This all depends on how long this situation goes on for. However, we are going to assume that we will be out of college for some time.

Our current plan is to complete the bits of coursework that we are able to do remotely, and then to postpone the music video until after we return in September. 

Of course, this is entirely contingent on if we return before the Summer holiday. If we are indeed going to be working remotely until the summer holiday, then we will move on to the next exam unit. This could be videogames, radio, or the TV industry. We need to work out which unit/s will be the most practical to teach remotely.

Monday 30 March 2020

Reintroducing advertising

Over the past two weeks, you have completed six challenging sessions. These final lessons explored Attitude magazine, and required you to draw on everything you have learnt over the past two years. Many of you have produced exceptional work, and have completed additional past paper questions.

Due to the significant amount of work set and the exceptional circumstances that this work is being set in, there are still students who have lessons left to complete. Today's lesson is an opportunity to catch up.

Catching up


Task: use today's lesson time to complete the work set over the last two weeks. You can find an index of tasks by clicking here.


Please make sure you publish each lesson as a separate blog post, and work through the lessons in order. Don't skip any!

Remember, many of these tasks are challenging, so please do not hesitate to ask me if you have any questions and need any tips. You find a selection of answers to commonly asked questions in the 'frequently asked questions' page under the key resources heading.

Reintroducing advertising 


The labels tool is a great way to find the posts relevant to your revision!


Now that we have finished all content in media studies, this week sees us going back to previous industries to revise them. We are going to start with the very first topic that you covered in A-level media studies: advertising and marketing

Task - Using the blog to revise advertising and marketing


Use the blog follow and complete at least three of these these activities in any order:


  • Find and save all three case studies in to a new blog post
  • Find the 'cheat sheet', and use it to make detailed notes on the case studies
  • Use the advertising and marketing label under the header image to select all blog posts labelled as advertising and marketing,and dig in
  • Find the theories and theorists resource, and list all of the theories that you have to apply to advertising. Then use post-it notes (or a digital version like Google Keep) to make notes on how theory can be applied to each case study advert
  • Use the revision guide to make a question, and then bullet-point answer it
  • Switch on the TV, and analyse the first advert you see using the textual analysis toolkit

Pretty straightforward lesson for today! Please make sure to publish your work after you've finished, and let me know if you have any questions!

Analysis of a music video

There's been a lot of work set over the past two weeks, and I thank you for taking it so seriously! I have marked some excellent responses, and many students are making excellent points and observations. Well done!

To allow everyone to catch up on the previous six lessons, which can be found by clicking here, today we will be working on an extension task.

Catching up


Task: use today's lesson time to complete the work set over the last two weeks. You can find an index of tasks by clicking here.


Please make sure you publish each lesson as a separate blog post, and work through the lessons in order. Don't skip any!



Analysis of a music video


Extension - only complete this task once you have completed all other work set over the past two weeks!


For this task, you will analyse a music video. It can be any genre, from any era, be in any style, and be any length. It cannot simply be live footage from a gig, though many music incorporate live footage.

Watch the music video you have selected twice in a row. This will help you to make detailed textual analysis.

Now go through this list, and briefly answer the following questions (remember: you can copy paste these questions to your blog post)

Name of video:
Year released:
Record label:
Album:
Style of music video (narrative, performance or abstract):



  • What group of people (if any) are predominantly represented in this music video? What message about this group of people is presented?
  • Who is the target audience for this promotional video? How do you know?
  • Outline three striking aspects of mise-en-scene
  • Give one example of a hermeneutic code from this video
  • Is this video conventional or subversive? How do you know? Give one example
  • Does the music video make use of intertextuality? If so, how? And why?
  • How does the editing of the video fit the nature of the song it accompanies? 
  • What aspects of this music video could you steal and use in your own music video?
Remember to publish your work after you complete it!

Thursday 26 March 2020

Attitude and Zoella: applying key theory

For this session, you will be taking everything you know about Zoella and Attitude, and you will be using the resources on the blog and your own notes to answer a series of questions. Think of it as something between an end of unit quiz and a revision exercise.


  • For each of these questions, you must provide two answers: one for Zoella and one for Attitude! (there are a couple of exceptions. Keep an eye out for these). This should keep you going for a while
  • For each and every response, you must make reference to at least one key example of media language from the textual analysis toolkit 


This is the last session we will be spending on Attitude and Zoella. Next time, we will be going back to the advertising industry for the first week of revision.

Resources


Theories and theorists 

Cheat sheet

Textual analysis toolkit

Media Language


1 - Semiotics - Roland Barthes - identify one particularly persuasive proairetic code for both Zoella and Attitude

4 - Structuralism - Claude Lévi-Strauss - Demonstrate an example of how a diametric opposition reinforces a dominant ideological perspective for both Zoella and Attitude

5 - Postmodernism - Jean Baudrillard - present one example of how audiences may be unable to distinguish between reality and simulation for both Zoella and Attitude

Representation


6 - Theories of representation - Stuart Hall - Give one example of a stereotype that reinforces hegemonic hierarchical ideological perspectives demonstrates an inequality of power for both Zoella and Attitude

7 - Theories of identity - David Gauntlett - give an example of how audiences can pick and mix a specific element of identity from both Zoella and Attitude

10 - Theories of gender performativity - Judith Butler - give an example of how gender can be constructed through a ritualistic act in Zoella

11 - Theories around ethnicity and postcolonial theory - Paul Gilroy - present one example of how gay people are 'othered' in Attitude 

Industry


13 - Regulation - Sonia Livingstone and Peter Lunt - give one example of how internet regulatory guidelines are followed for both Zoella and Attitude

14 - Cultural industries - David Hesmondhalgh - present one explicit example of horizontally integrated business practices for both Zoella and Attitude

Audience


16 - Cultivation theory - George Gerbner - present one example of a generally accepted ideological perspective that is consistently repeated for both Zoella and Attitude

18 - Fandom - Henry Jenkins - give one example of how fans can interact with and use Zoella to demonstrate their adoration

19 - ‘End of audience’ theories - Clay Shirky - To what extent can audiences actually be said to take the role of producers when interacting with Zoella and Attitude? Present one shakey argument for each

Final task


Take one of these pub quiz style questions, and turn it in to an exam style question. You can find lots of examples of component two questions by clicking here. 

Then answer your own question! use the resources of this blog and your own excellent notes to prepare, before writing a 50 minute long response to your own question.

Make sure you publish your blog post so I can see it and mark it. 

Here's a picture of my cat, for no particular reason.

Formation, Beyonce, and representation

In today's lesson, we shall be exploring how black identity is constructed and represented in the music video to Formation. We shall also be exploring the purpose of Formation, and its political messages.

The conclusion we shall make is that Formation resists stereotypical representations of black people by presenting black identity as complex and challenging


Top tip - in your own essay responses, point out your conclusion in the introduction. Remember, in media studies, you are making an argument


Task - watch What Beyonce Taught Me About Race | Brittany Barron


In this video, Brittany Barron discusses how Beyonce has moved from straightforward pop songs to scathing political commentary about race and ethnicity. This discussion nicely sets up the themes and ideas used in this lesson, so watch this before you go any further!

Formation as a reaction to historical racism


In the last session, we explored the Antebellum South and slavery. Slavery was finally abolished in North America in 1865, following the collapse of the Confederacy and the American Civil War. However, despite being illegal for a relatively long time, there still exists great discrepancies in the rights and lives of black and white people in America (and many other countries).

The act of owning another human being seems bizarre now. So how was it ever justified in the first place? One answer is that it was justified by flawed, racist scientific assumptions.

Task - study the above image from Types of Mankind (1854), and answer the questions below:


  • What assumptions are made here about black people and white people? 
  • What purpose does this image serve?
  • Consider the sociohistorical context of the time this image was created. What is this image attempting to justify?


Formation as reappropriation 


Reappropriation is the process of taking an offensive word, concept or idea, and then changing the meaning of it.

An excellent example of reappropriation is the use of the word 'queer' by LGBTQ communities.  Queer, originally meaning 'odd', was repurposed to be an offensive slur against gay people. However, many gay people now use this term to refer to themselves. We may now talk of queer cinema, queer culture, or queer people. Through it's reappropriation, the term 'queer' can now refer to somebody who identifies as outside of the heteronormative, traditional gender and sexuality categorisations. 

However, don't go around calling people queer, especially if you are straight. The word still has homophobic connotations. This demonstrates and underlines the power of language, and exactly how important  semiotics and signification can be. 


Task - analyse the above image using the textual analysis toolkit, and answer the following questions:


  • What ethnicity/ethnicities are being represented in this image?
  • What media language is being used to represent these ethnicities?
  • What ideological message is being constructed about ethnicity here? Is it simple and straightforward, or challenging and complicated?
  • What impact does this image have on the young, black, female target audience?
  • How can we apply the concept of reappropriation to this image?



Formation as a criticism of the response of the US government to the Hurricane Katrina disaster and its aftermath 


Last time you researched the US government's response to the Hurricane Katrina disaster. Since this is already in the bag, you will want to have a little more context, so as part of your widner reading, watch this documentary on the government response to Hurricane Katrina. 

Formation as a celebration of black culture


So all my red bones get on the floor
And all my yellow bones get on the floor
And all my brown bones get on the floor
Then you mix it up and you call it Creole

Task - read Beyoncé, Creoles, and Modern Blackness by Tyina Steptoe


In this article, Steptoe argues that Beyonce has rejected "monolithic", as in simple and straightforward representations of black identity, and instead presents a range of disparate and complex black identities for the audience to engage with and to identify with. 

Task - analysis of black identity


Find three different images of Beyonce in different outfits/scenes from the music video to Formation. Alternatively, just save and insert these three:




Now, answer these questions for each image

  • How is black female identity encoded in this image? Make reference to hair, costume and mise-en-scene in particular
  • What ideological message is presented to the young black female target audience?
  • What impact does this have on the young, black female target audience?

Wednesday 25 March 2020

Formation - context

It's clear from watching Formation that there is a lot going on. Formation makes use of a range of different techniques in order to create meaning for its audience. However, unlike Riptide which can possibly be described as being 'weird for the sake of weird', Formation has a clear and savage political message to present to its audience.

To do so, Formation makes intense use of the concepts of intertextuality/referential codes and bricolage

The use of bricolage


Key term - intertextuality - Where a media product or text makes reference to another media product or text.



Key termBricolage - Where a media product is constructed with iconography and conventions from many other texts, creating entirely new meanings. Often used when discussing postmodern media products. An example of a media product  that uses bricolage is a 'mashup'. For an excellent example of bricolage, check out Quentin Tarantino’s Kill Bill (2003)



Task - If possible, go through Formation and make screenshots of each of the different aesthetic and visual styles that the video demonstrates, including from different eras, settings and situations. Why is this video not just a dance routine in a studio? Why combine so many styles and themes?


New Orleans and bounce music




Task -  watch That B.E.A.T (2014) 


It's a fascinating, multi-award winning documentary, so make sure you check out the whole thing (it's only ten minutes long). The answer the following questions:


  • What specific elements of iconography did the producers of Formation use from That B.E.A.T?
  • What literal pieces of footage did the producers of Formation take from That B.E.A.T?
  • Bounce music has a big LGBT following, and is fundamental to the LGBT scene in New Orleans. How many LGBT themes come through in That B.E.A.T? Why?
  • Beyonce is a millionaire. Why is she using the themes and iconography of That B.E.A.T? Think carefully about this last one.


The antebellum era and slavery in the American south



The Antebellum era refers to a period of time of economic growth in the American South in the 19th Century, largely due to heavy industrialisation made possible by utilising black slave labour. 

Task - Read this Wikipedia article, and make notes on the era. 


The era was characterised not only by slavery, but also by the distinctive costumes owned by the slave owners, which you can read more about here. It is important to note that while these dresses are elaborate and beautiful, they have symbolic connotations of racism and the advocation of slavery, due to being worn by those who owned slaves.


Perhaps the most famous media product set in the Antebellum South is Viktor Flemming's 1939 historical epic Gone With The Wind, which is still the highest grossing film of all time when adjusted for inflation. A riches to rags to riches story, the film charts the collapse of the American South during its four hour running time, and explores the relationship between slave owners and slaves in a way that is guaranteed to make modern audiences uncomfortable.



The most prominent black character in Gone With The Wind is Mammy, played by Hattie McDaniel. She represents a black stereotype that many of us will be completely unfamiliar with. Brash, rough round the edges, uncultured, and unwaveringly loyal to the people who bought her and own her like a piece of property. 

Task - watch this clip, where Mammy attempts to get Scarlett O'Hara, the protagonist of the film to eat something before a lavish party. In what ways are black people and white people represented in this scene?


Then check out this scene. In what ways are black people and white people represented? What binary oppositions are encoded through the iconography? 


This era is directly referenced in formation. By how? And more importantly, Why?



Task - find as many images in Formation that make reference to the Antebellum era as possible, and answer the following question below.


Why does Beyonce, a black woman, dress in a costume associated with white slave owners? Consider as many reasons as possible. Here's a big hint.


Hurricane Katrina,  media coverage and black lives matter


Task - research hurricane Katrina, and make as many notes as possible about the incident, including dates, and facts including the number of deaths and the economic impact.


Task - watch this compilation of media footage from hurricane Katrina. In what ways does Formation utilise the iconography of hurricane Katrina?  


And, more importantly, why?

Task - read this article. In what ways was the response to hurricane Katrina so important to the black lives matter movement? Why was this disaster so associated with black people? And in what ways did the response to the disaster draw attention to fundamental issues in the United States?

Tuesday 24 March 2020

Attitude and Zoella - Identity and David Guantlett


David Gauntlett argues that audiences are not passive, but instead construct their identities through ‘picking and mixing’ the ideologies of the producer in whatever way they choose. Identity is an essential concept in media studies, as we as audiences will respond to texts in a lot of different ways. Through this interpretation there is a lot of potential for the producer to manipulate their target audiences through ideology.


Task: 

Explore how Zoella and Attitude online manipulate audiences through ideology.

Consider:

  • Representations (singular, straightforward or challenging?)
  • Mode of address 
  • Preferred Reading (dominant ideology?)
  • Product Placement (commodity fetishism) 
  • Target audience (pink pound etc.)
  • Hyper-reality (realism?)
  • Industry contexts (lack of regulation etc.)

You should then use your notes to answer the following exam question. THIS MAY BE CHALLENGING but identify a clear argument and use evidence to support it. 


Exam question 

How far can aspects of identity be seen to affect the way in which audiences use online media? Discuss, with reference to Zoella and Attitude. [30]

Monday 23 March 2020

Attitude Online and the online magazine industy

This session is all about industry.

Attitude Online is the online version of the print version of Attitude magazine. As we have seen, it has many differences in terms of style, content and even it's target audience. The magazine version of Attitude specifically targets a middle class and aspirational audience, while the straightforward lexis and modes of address of Attitude online is clearly targeting a working class audience.

However, let us return to the conclusions that we made in the very first session on Attitude when we looked at the representation of gay men:

What is the point of Attitude online, and how does it work?


1 - Attitude.co.uk is a simple and straightforward website, and targets a 'simple and straightforward audience'
2 - Attitude.co.uk presents stereotypical and straightforward representations of gay men to construct a stereotypical and straightforward audience
3 - The sole reason that Attitude.co.uk exists is to advertise the magazine to the target audience, and to increase its profit through advertising revenue 


This last point is especially important. Attitude is a digitally convergent media product, multimedia integrated media product which utilises hypermodality in order to exploit a range of push/pull factors, in order to maximise its revenue.


Key term - digital convergence - the coming together of previously separate media industries thanks to the benefits of digital technology. For example Netflix is an example of the convergence (coming together) of film, TV and the internet.


Key term - multimedia integration - where an organisation is structured around a variety of different types of convergent media. Attitude online is multimedia, as it encourages interaction between the website, and then buying the physical magazine


Key term - hypermodality - where a media product 'goes beyond' the traditional forms of communication. When you click on a hyperlink on Attitude and move to a different article, section, or even different website, this is hypermodality


Key term - push/pull factors - changes in digital technology have 'pushed' audiences away from traditional media platforms, such as print magazines and live television. However, smart media producers can use techniques such as hashtags, viral marketing and targeting advertising to 'pull' audiences back in. The huge banner advert at the top of the Attitude site to subscribe to the print magazine is an excellent example of a 'pull factor' 


Task - read through the context in this section, and make sure you copy and paste these definitions in to your own blog


Attitude's press pack


A press kit or a press pack is "is a pre-packaged set of promotional materials that provide information about a person, company, organization or cause and which is distributed to members of the media for promotional use". They are excellent resources for analysing the ideology and the business strategy of a media, as well as explicit key facts about audience and sales figures



Task - click here to access the press pack for Attitude, and make EXTENSIVE notes on the target audience, sales figures, and any other information you may think is useful. 

Note: if the link is down, please move on to the next activity. Sorry!

Stream media and Attitude's production context


At the footer of the Attitude website, usually tucked behind an ugly pop-up advert is a link to Attitude's publisher, Stream Media


Stream Media is a publisher of a specific kind of magazine, and they target a niche audience.

Task - read through Stream Media's web page. Click around, read some articles, and get a grasp for what kinds of content they create and publish.








  • What kind of magazines do Stream publish?
  • What similarities do these magazines have to Attitude?
  • Does Stream target a niche or a diverse range of readers?
  • What kind of website is this, and who is the target audience? BIG HINT! Think back to the IPC/Time Media website when we studied Woman...
  • What does Stream own? Does this make it vertically or horizontally integrated?
  • Attitude's website was only launched in 2016. Why did the magazine wait so long to create a website?


Task - Read this article, about the acquisition of Attitude by Stream media. Why did Stream acquire (buy) Attitude? Apply Hesmondhalgh and Curran & Seaton's theories




Exploring theory - Hesmondhalgh - The Cultural Industries (3rd edition) (2013)


Task: read the following two extracts from David Hesmondhalgh's book The Cultural Industries, and then answer the question below


i


Many commentators go much further than I have above in pointing to change. Some claim, for example, that digitalisation has transformed cultural production beyond recognition. The internet and the mobile phone have triumphed. The music industry is dying or already dead, they say. Television is over. Book publishing as we knew it is finished. Yet these industries continue to pour out huge amounts of product, employ tens of thousands of people, produce considerable amounts of revenue, and occupy vast amounts of our time. Some optimistically see a new age where distinctions between producers and audiences disappear, and ‘users’ become the new creators. Commentary of this kind often implies, and sometimes explicitly states, that all the old notions and models need to be thrown out, and the history of cultural production is irrelevant because we are now living in an ‘information age’ rather than an ‘industrial age’ (or some other term that serves to simplify the past). Others see transformation just over the horizon. In many cases, it is unclear whether we are reading analysis of what is happening now, or a prediction of the future.

(ibid:3)

ii 


Concentration, integration and co-opting publicity
Cultural industry companies deal with risk and the need to ensure audience maximisation by using strategies that are also apparent in other sectors.
  • Horizontal integration - They buy up other companies in the same sector to reduce the competition for audiences and audience time.
  • Vertical integration - They buy up other companies involved in different stages of the process of production and circulation. Companies might buy ‘downstream’, such as when a company involved in making films buys a DVD distributor, or ‘upstream’, which is when a company involved in distribution or transmission (such as a cable television company) buys a programme-maker.
  • Internationalisation - By buying and partnering other companies abroad, corporations can sell massive amounts of extra copies of a product they have already paid to produce (though they will have to pay new marketing costs, of course).
  • Multisector and multimedia integration - They buy into other related areas of cultural industry production to ensure cross-promotion.

 Also important is the attempt to ‘co-opt’ (Hirsch, 1990[1972]) critics, DJs and various other people responsible for publicising texts, by socialising with them and sending them gifts, press releases, and so on. 

(ibid:30-31)

Note: 'co-opting' is taking somebody else's ideas or strategies.

Task - Use all the information you have gathered in this session to create a bullet point plan for this question


Curren & Seaton argued that the media industries are solely motivated by the acquisition of profit and the procurement of power. To what extent does Attitude Online conform to this practice? 

Formation - textual anaysis

Note - please make sure each of these lessons is completed as a separate blog post, with the same title as the lesson, So this one should be called 'Formation - analysis, themes and representation'. This helps your own organisation and it helps me to mark them.




This week in media studies, we will be exploring the video to Formation by Beyonce. Along with Riptide, Formation is a key case study that you may be asked to explicitly refer to in the exam, so it's essential that you know it like the back of your hand.

Top tip - repetition is an excellent learning technique. Music videos are designed to be watched over and over again, and with their short running time, it makes them excellent candidates for close textual analysis. So make sure you watch these two videos in particular again and again and again...


Context


Formation, lead single for the album Lemonade, was released the day before Beyoncé performed at the Super Bowl final in February 2016. The Formation music video, directed by Melina Matsoukas, was released with the song.
This music video has won numerous awards including a Clio Award for Innovation and Creative Excellence in a Music Video at the 2016 awards, and has been nominated in the music video category at the 59th Grammy Awards.
The video is set against the backdrop of the flooding in New Orleans following Hurricane Katrina and the associated racial tension in America, and also draws historical parallels with references to racism and slavery.

Context paragraph provided by Eduqas

Task - copy and paste the above information in to your blog. We will look at the context of this video in WAY more detail next lesson


Initial analysis - themes of conflict



There's lots to take in here! For now, we are going to be focussing on the theme of conflict. 

Task - Watch the video again, and make notes under the following questions/headings. Make sure you have the textual analysis toolkit open (and it should have been open already...)


  • In what ways are the themes of conflict encoded in this video? What media language is used to show conflict? 
  • What are the functions and purposes of this music video? What is it trying to get its audience to do? How do you know?
  • What groups are represented in this music video? Are these representations typical or subversive?
  • Is this a typical music video? How do you know?
Here are a few visual hints for what you could/should be focusing on:





Detailed textual analysis



Task - using the textual analysis toolkit, analyse how the video to Formation creates meaning for its audience


'How does this media product create meaning for its audience?' This, and variations of it, is the most common single question that could come up in the exam. In fact, this question is pretty much the focus for every media lesson. 

However, rather than simply pointing things out, you must make explicit reference to media language in every single paragraph you write, and explain how it encodes meaning. 

You have a few ways of completing this task

  • Use the table above, or create a new one in PowerPoint (or anything else)
  • If you have the tools, create a poster, take a picture of it, and upload it to your blog
  • Simply create a series of headings (camera angles, editing, lighting etc) and give examples, analysis and audience effect under each
  • Make screenshots from the video, and use these as headings. Here are a couple of examples you can use:








Thursday 19 March 2020

Remote learning 2020

Due to the global Covid-19 pandemic, all schools and colleges in the United Kingdom have closed until further notice. However, teaching continues.

You can find a guide to remote learning, including answers to frequently asked questions by clicking here. 


You can find an index of videos uploaded to the YouTube channel here


Below is a list of all lessons and relevant resources posted during this period. Please make sure that for every lesson that is posted, you complete and publish a blog post with notes, answers and responses to the activities.

Year one


Week one - introduction to music videos and an analysis of Riptide


1 - Introduction to music videos
2 - Riptide: analysis, themes and context
3 - Riptide: symbolic readings and the representation of women

Week two - representation and media language in Formation 

3 - Formation - representation

Week three - music video analysis

1 - Music video analysis: free choice
2 - Music video analysis: Riptide comparison 
3 - Music video analysis: Formation comparison 

The videogame industry


Videogames 1 - Introduction to the videogame industry
Videogames 2 - Videogames are a specialised industry
Videogames 3 - Assassin's Creed: the role of trailers in marketing
Videogames 4 - Ubisoft, media diversity, and economic factors in the videogame industry
Videogames 5 - the regulation of the videogame industry

Cheat sheet

Here you will find the basic information, facts and figures that you really should know for the exam. This list is not exhaustive in any way, but would be a great way to start your revision. It’s almost completely missing any detailed examples, which you will of course need to use to backup your excellent points in the exam.

Please also remember: the set texts are just the start! If you are asked, for example about regulation of the newspaper industry, the set texts provide few useful examples. It would be much better to discuss The Mail Online and unmoderated Facebook comments for examples of how regulatory factors can be circumvented thanks to digitally convergent technologies.

So let’s reiterate: this is NOT an exhaustive source, and you will need to go in to SUBSTANTIALLY more detail in the final exams!



Component one section A - Analysing Media Language and Representation




Advertising




 Tide print advert




Media language
  • Intertextual reference to romance films
  • Use of hyperbole
  • Friendly and inclusive lexis
  • Dense and packed layout, indicating the target audience has the time to read the advert (though this style of advert is also simply typical of 1950’s advertising)
  • Iconography and mise-en-scene typical of working class 1950’s America

Representation

  • Singular stereotypical representation of women
  • Stereotypical ‘housewife’ representation
  • Stereotypes of women encoded through setting, gesture and costume codes
  • Reinforces commonly held stereotypes that men and women occupy different gender roles
  • A construction of working class American identity

WaterAid audio-visual spot advert




Media language

  • Tracking shots
  • Exotic mise-en-scene
  • Use of diegetic singing
  • Both conventional and subversive of charity advert conventions
  • Binary opposition constructed between ‘rainy England’ and ‘ exotic Africa’
Representation

  • A stereotypical construction of ‘Africa’, which no indication of what specific country it takes place in (Zambia)
  • An atypical and positive representation of a young African woman, being assertive and proactive
  • Both reinforces and challenges representations of African and African people
  • Direct mode of address to assumed white audience reinforces a ‘white saviour’ narrative
  • A positive representation of a hardworking teenage girl


Kiss of the Vampire theatrical poster




Media language

  • Uses the generic iconography of the vampire genre in order to attract pre-existing audiences
  • Aspects of mise-en-scene, such as setting and costume are highly typical of the genre
  • Use of language ‘’In Eastman Color’ suggests film will be in full colour and has been processed using the then popular Eastmancolor technique
  • Uses typical film poster conventions, including the names of the principal actors being used to sell the film to a pre-existing audience
  • The campiness of the mode of address reflects the changing tastes of the film going public. Public tastes changed in the 70’s with gorier films such as The Texas Chainsaw Massacre and Alien, yet in the 60’s, Hammer Horror’s tongue in cheek mid-budget approach was still popular
Representation

  • Sexualised, objectified representation of women, confirming Van-Zoonen’s theory that women’s bodies are used to sell media products to a heterosexual male audience
  • Use of sexualisation is highly typical of the time it was produced
  • A stereotypical representation of vampires!
  • Middle class British hero’s under-threat in a foreign land. Like many horror films, the monster here represents a xenophobic unease at places which are not in the UK, which supports Gilroy’s postcolonial theory
  • Encourages audiences to pick and mix ideological perspectives. It is possible to enjoy the film full well knowing how ridiculous it is, and vampire films can be an important part of an audience’s identity




Music video 




Formation, Beyoncé (2016)




Media language

  • Use of rapid fire editing
  • Use of montage positions the audience in an ahistorical space. Video jumps between 1800’s antebellum era America to 1980’s parking lots!
  • Use of a variety of post production editing techniques, including VHS grain, connoting a rough and edgy ideology
  • Binary oppositions constructed between downtrodden black underclass and the threat of the white police force
  • Footage utilised from That B.E.A.T functions as an informative and attractive referential code
Representation

  • Black working class identity encoded through costume, setting and mise-en-scene
  • A range of stereotypical and subversive representations of ethnicity, drawing from a postcolonial perspective of race and ethnicity
  • Heavy use of sexualisation, highly paradigmatic of the genre, encoded through costume and gesture
  • Postmodern mixture of antebellum slave owner costumes mixed with contemporary representations of working class black identity, deliberately reinforcing controversial binary oppositions
  • Representation of the American deep south: poverty, deprivation and an ‘edgy’ aesthetic. Challenging and respectful or simply an appropriation of working class culture by a millionaire?


Riptide, Vance Joy (2013)




Media language

  • Rapid fire montage creates a range of discontinuous meanings through association
  • Heavy use of intertextuality, for example Italian horror and crime films
  • Washed out, faded colours reminiscent of 1970’s cinema
  • Subversive elements include a complete lack of performance, and deliberately poor lip synching
  • A postmodern deconstruction of music videos?
Representation

  • Frequent, highly voyeuristic and highly sexualised images of women in perilous situations
  • Mise-en-scene of running makeup, rope and torture devices represent women in a sexually fetishistic and vulnerable way. Challenging or simply sexist?
  • Audience consistently positioned through POV and tracking shots, anchoring the notion that they are somehow complicit in the menacing of women
  • Women are consistently represented as hegemonically attractive, blonde, tall, and white
  • Lack of anchorage however allows producer to sidestep accusations of sexism?




Newspapers




 The Daily Mirror (set pages are subject to change each year. Therefore a generalised account is included below)




Media language

  • Use of informal lexis, clearly targeting a working-class audience
  • Advertisements often targeting a stereotypical working-class audience, for example betting adverts
  • Bright red masthead and size of paper typical of a redtop, tabloid newspaper
  • Bias through selection of generally unflattering images of unfavoured politicians
  • Emphasis on large image splashes over column inches
Representation

  • Ethnocentric viewpoint, favouring news regarding British people over those from other countries
  • Left leaning newspaper, critical of conservative government and broadly supports Labour party
  • Uses working class friendly metaphors, for example references to horse racing, in order to appeal to British audiences
  • Selection of stories relatable for working class audiences, featuring working class people
  • Omission of ethnic minorities, focusing instead on predominantly white people of interest. An example of symbolic annihilation?


The Times (set pages are subject to change each year. Therefore a generalised account is included below)




Media language

  • Formal lexis targeting a middle class and more affluent target audience
  • Higher cover price (£1.80), again predominantly appealing to middle class audiences
  • Greater emphasis on copy (text) as opposed to images
  • Selection of high quality images emphasises quality and high production values
  • Design and format is less ‘flashy’ than a tabloid, indicating a sophisticated target audience
Representation

  • Right leaning broadsheet: tends to favour the conservative party, with conservative party leader represented in a positive, nuanced manner
  • More of a focus on stereotypically middle-class narratives and ‘hard news’
  • Advertisements and promotions target a middle-class, middle-aged target audience
  • Ethnocentric representation prioritising British politics
  • Predominantly white, middle class reporters targeting a white, middle class audience




Component one section B - Understanding Media Industries and Audiences




Advertising 




Tide print advert




Audience

  • Easily identifiable and relatable female representation
  • Breezy, informal lexis addresses a less educated audience
  • Anchors audience in to preferred reading through the use of leading captions and repetition of key information
  • May provoke mediated/negotiated reading through potentially sexist representation of women
  • Cultivates a patriarchal hegemonic representation of working class women to the working class audience for the purposes of financial gain


WaterAid audio-visual spot advert




Audience

  • Targets Western audiences through the use of a British pop song
  • Direct mode off address implores working class target audience to donate money
  • Use of establishing tracking shot positions audience with Claudia
  • Negotiated response may focus on frustration with a stereotypical representation of ‘Africa’
  • May provide opportunity for personal identification for black audiences through the visibility of black protagonist




Newspapers 




The Daily Mirror (general study)




Audience

  • Tabloid newspaper, targeting a working-class audience
  • Use of informal lexis, large splash images, and large font pull quotes further anchor ideological messages for the target audience
  • Stereotypically working-class mode of address through betting adverts
  • Left wing bias targets a working class, left wing audience. A unique selling point for a mainstream UK tabloid
  • Cultivates a straightforward and hegemonically dominant representation of societal issues and events
Industry

  • Newspapers are regulated by IPSO in the UK. It replaced the PCC, which was seen as being ineffective following the phone hacking scandal at the Murdoch owned The News Of The World
  • Published by Reach PLC
  • Circulation in 2018 : 562,523, down 12% from 2017. Print media is under threat, and other newspapers have either folded or are in real danger of folding.
  • The Mirror’s biggest (tabloid) competitor is The Sun, which sells almost three times as many copies as The Mirror!
  • The Mirror is pretty much the only left-wing tabloid in the UK, though there are a few other, lower circulation newspapers like the communist Morning Star


The Times (general study)




Audience

  • Broadsheet newspaper with a right-wing political leaning, targeting a middle class and educated audience
  • Offers audiences a range of experiences through different headings and sections on the newspapers homepage,
  • News UK offers it’s audiences a singular experience, with a range of ideologically similar right wing newspapers
  • Cultivation of right wing ideology in order to cultivate a politically subservient and partisan right wing audience?
  • However, less overtly right leaning that other Murdoch owned newspapers, presenting audience with illusion of choice
Industry

  • Circulation 428,034 in 2018, down 6% from 2017.
  • Published by News UK, which itself is owned by the US conglomerate News Corp
  • News UK are horizontally integrated, and demonstrate a risk averse business strategy through also publishing The Sun, The Sunday Times and TLS
  • Like all monopolistic conglomerates, News UK are motivated by power and profit. By supporting right wing governments, they ensure that their products are less likely to face state intervention
  • News UK a rebranding of News International, following the phone hacking scandal that saw The News Of The World shut down for corruption and invading privacy
  • Newspapers in the UK are regulated by IPSO, though the guidelines assume that the newspapers themselves are able to self-regulate. Arguably, this is not an effective form of regulation




Film Industry 




Straight 'Outta' Compton (2015) (for students sitting the exam in 2019 and 2020)




Industry

  • Produced by Legendary Pictures and distributed by Universal
  • Logo makes intertextual reference to the parental advisory logo, emphasising the ‘forbidden’ and subversive nature of the film
  • UK BBFC 15 certificate for frequent very strong language, sex, drug use and violence. Avoiding an ‘18’ rating is important so older teenagers can see it in the cinema, maximising profit
  • A ‘pre-sold’ audience of NWA fans, as well as fans of biopics, crime dramas and period dramas
  • Maximised potential revenue through soundtrack and other merchandise sales


Black Panther (2018) (for students sitting the exam in 2021 and beyond)




Industry

  • Produced and distributed by Marvel Studios, themselves a subsidiary of Disney, currently one of the largest media conglomerates in the world
  • Black Panther is arguably a standardised superhero ‘tent pole’ feature’, with the USP of a predominantly black cast
  • ‘Pre-sold’ audience of young, predominantly male comic book fans and a diverse set of fans of Marvel’s interconnected film franchises
  • Versions of Black Panther have been in development yet unproduced since the early 1990’s, suggesting that studios have traditionally steered clear of ‘less commercial’ films featuring black characters
  • An elaborate, highly digitally convergent marketing campaign combining teaser trailers, viral media and cameos in other Marvel films suggesting an interconnected multimedia strategy appealing to a core audience
  • Box office of $1.34 billion vs a production budget of $200 million. Successful worldwide, including previously hard to target emergent territories such as China.


 I, Daniel Blake (2016)




Industry

  • Box office of $15 million vs an ESTIMATED budget of $1-5 million. A low budget, independent film
  • Social realist film dealing with a hard hitting and intrinsically British issue. Clearly identifiable genre for white, middle class target audience
  • Innovative marketing campaign saw ‘guerilla’ screenings in town halls and projections of the trailer in public spaces
  • Funded by a range of sources, including French premium TV network Canal+, Film 4 and the National Lottery
  • Contradicts Curran and Seaton’s notion that media only exists for power and profit… or does it? Film was comparatively extremely financially successful, and saw international critical acclaim, winning a Palme D’or at Cannes




Radio 




Late Night Woman's Hour




Audience

  • Previous presenter Lauren Laverne is a moderately controversial choice, with a history of making controversial statements. Sort of
  • Sophisticated mode of address indicates an educated, middle-class female audience with broadly left-wing political leanings
  • Invites audiences to agree with the dominant ideology of the programme and to sympathise with the middle class panellist. Arguably lacks a diverse range of voices
  • Constructs a range of conformist and subversive representations of women for its middle class female target audience
  • Through identification and its niche subject matter, allows BBC to construct and to target a cult audience
Industry

  • A spin off from the long running Woman’s Hour, which was started in the early 1940’s.
  • Broadcast once a month at 11pm, though is available for streaming long after, maximising audience potential
  • Allows BBC to fulfil its remit for providing diverse and pluralistic entertainment shows
  • The BBC’s status as a PBS provider allows it to take chances on niche shows like LNWH that other broadcasters would not be able to
  • Generally conforms to IPSO guidelines, and is largely not controversial aside from occasional use of strong language




Videogames 




Assassin’s Creed: Liberation (2012)




Audience

  • A black, female playable character is an unusual unique selling point for videogames
  • A violent videogame reinforcing the dominant ideological perspective that violence and physical action is a legitimate way to solve problems. Lazy theorists may suggest that violent games make violent people…
  • Audiences can interact with the franchise in a variety of ways, including purchasing merchandise and partaking in cosplay
  • A pre-sold audience, already familiar with the Assassin’s Creed franchise
  • Oppositional audience responses may focus on the distasteful subject matter (slavery) and extreme violence, as well as the confusing blend of cyberpunk science fiction and period drama
Industry

  • Developed by Ubisoft Montreal and distributed by Ubisoft
  • Initially released on PlayStation Vita, and re-released for X360, PS4 and PC in HD in 2014
  • Particularly popular in Europe and North America, with moderate success in Japan
  • Additional DLC (downloadable content) including weapons
  • PEGI 18 rated game, restricting sale to minors, though digital downloads render this regulation ineffective
  • A Canadian production by a French company. Transnational, horizontally, vertically and multimedia integrated conglomerate
  • This is a terrible choice for a set text




Component two section A - Television in the global age




Humans (2015) 




Media language

  • Sci-fi iconography, including a range of intertextual references to films such as Blade Runner (1984) 
  • Themes of hyperreality, simulacrum, paranoia, and distrust of the world we live in
  • Highly appropriate generic paradigms of the sci-fi genre, including the techno pop soundtrack, and the discussion of quintessential sci-fi themes such as ‘what is humanity?’
  • Subverts standard sci-fi generic paradigms through real-world setting
  • A non-linear and disjointed narrative demonstrates the show’s cult appeal
Representation

  • East Asian cyborg Anita is represented as a sexual object who has had her autonomy stripped away from her
  • The inclusion of cyborgs function as an allegory, and explores themes of racism, sexual slavery, migration, globalisation and a fear of technology
  • A hyperreal representation of women, questioning the representation of women in media and the hegemonically dictated role they play in society
  • Stereotypical, hyperreal representation of a ‘typical’ middle-class British family
  • An inclusive selection of a range of ages, genders and later, sexualities demonstrates an ability to appeal to multiple audiences
Audience

  • Postmodern, fragmented narrative allows audience many exciting negotiated readings, which they can explore online in fan forums
  • MES is often stereotypically British, allowing audiences to identify with relatable scenes
  • A range of hegemonically attractive characters provide the young to middle-aged target audience with a straightforward gratification
  • Sci-fi generic paradigms allow core and niche audiences to identify and use the show in various ways
  • Sci-fi has always traditionally allowed fans to speculate and to engage with the product, in this case online. Internet chat groups, fan blogs and subreddits exist, allowing fans of Humans the ability to discuss and to reinterpret their favourite show
Industry

  • A detailed and immersive advertising campaign that made consistent use of digital convergence
  • Ran for three series before being cancelled
  • A remake of the Swedish STV series Real Humans’, which many changes made to make it appeal to a British audience
  • Broadcast on Channel 4, a British broadcaster with a history of creating challenging and alternative TV programmes for niche audiences
  • Show adheres to OFCOM’s guidelines in terms of inclusive representation




Les Revenants (2012)




Media language

  • On paper a zombie show, yet completely atypical of the genre, subverting audience expectations throughout
  • Combines elements of romance, zombie and mystery, creating a compelling genre hybrid
  • Highly stylised setting and mise en scene, with extensive use of post production colour grading to create a bleak, washed out and miserable atmosphere
  • Extensive use of binary oppositions to construct meaning. Life and death, young and old, male and female, rich and poor…
  • Non-diegetic soundtrack provided by Glaswegian rock band Mogwai. Atypical and often extremely jarring!
  • Setting (a quiet, middle class town) in the French alps is also highly atypical for a zombie show
Representation

  • A range of characters, of different ages and socio-economic groups ensures a potentially broad audience
  • Almost universally white cast represents a hyperreal construction of the French countryside for both the domestic and international middle class white target audiences.
  • In many ways stereotypically French in terms of the appearance of the actors and the moody, existentialist themes, though the constand binary opposition of sex and death
  • Victor and Camille takes the role of the terrifying child, which in horror films is a common trope, indicating our societies collective fear of young people
  • Many subversive representations of gender, in particular Lena and Julie
Audience

  • A cult show for cult audiences, which is reinforced through the deliberately mysterious narrative, uncompromising soundtrack by Glaswegian post-rock band Mogwai and the themes of death, sex and alienation
  • Audiences are invited to identify with different characters from different age groups and socio-economic groups
  • A small range of merchandise (TV shirts, tie-in books etc) allows fans to express their love for the show
  • Mogwai soundtrack allows the show to target pre-existing fans of the band. It’s the only reason Michael checked it out
  • Controversial scenes, such as the sex scene involving a young Lena (and Camille’s simultaneous death) may provoke deep and oppositional responses from audiences. Again, this is very much a cut show!
Industry

  • Produced by Haut et Court, and distributed by Canal Plus (the Canal group being an enormous French media conglomerate)
  • Awarded a 450,000 euro European Europe Creative Europe grant in 2012
  • Additionally received funding from Rhone-Alpes Regional Fund to promote tourism in the region.
  • Multiple sources of funding here, just like I, Daniel Blake, indicate a niche product that would not be funded otherwise
  • Remade in English for an American audience with little commercial success




Component two section B - Magazines: mainstream and alternative




Woman (1964) 




Media language

  • A highly conventional women’s lifestyle magazine, with a range of easily identifiable generic conventions
  • Cover creates a direct mode of address, allowing audience opportunity to identify with the model and the themes within
  • Fashion and style is highly typical of mainstream fashions of the 1960’s
  • A consistent binary opposition is constructed between men and women
  • Generically different from modern magazines, with a focus on blocks of text

Representation
  • Consistent reinforcement of singular, sexist stereotypes of women, further cultivating patriarchal hegemony
  • Sex and sexualisation are subtly encoded through the soap advert, reinforcing the hegemonic ideology that a woman’s function is to look attractive for a heterosexual male elite
  • Men are occasionally represented, and generally in a position of hegemonic power, for example in the Alfred Hitchcock interview
  • Some subversive representation of traditional gender norms, for example in the EXTRA SPECIAL… ON MEN! article
  • Women typically situated in home settings, such as kitchens, further anchoring and reinforcing traditional gender norms
Audience

  • A generic product for a mass market audience, Woman deliberately includes no challenging material
  • Lexis is informal and infers a target audience with a high school level of education
  • Why so sexist? In order to construct a dedicated target audience, woman presents singular and straightforward representations
  • Consistent stereotypical representations of women cultivates gender norms and values for the mass market audience
  • However, audiences even at the time could form complicated negotiated readings, rejecting the dominant ideological perspective, yet making use of the various make-up, style and DIY tips
Industry

  • Cover price of 7d (7 pre-decimal pence, or roughly 80p in 2018) is affordable and competitively priced for the working class female audience, especially compared with glossy monthlies like Vogue, which retailed for 3/- (about £4.50 in 2018 money)
  • Published by IPC, a horizontally integrated media conglomerate, that simply bought out Woman’s competitors such as Woman's Realm and Woman’s Own
  • The simple and straightforward representations in Woman present a simple and unchallenging dominant ideological perspective, demonstrating the magazine’s sole ideological purpose is one of power and profit
  • While Woman presents many ideas that seem sexist and problematic by 21st Century standards, the magazine’s safe and uncontroversial ideological perspectives mean it is unlikely to have issues with regulation
  • IPC, and Woman magazine exists to this day, and despite more of a focus on gossip over lifestyle, the magazine has changed little




Adbusters (2016)




Media language

  • Deliberately low production values, unconventional for a magazine
  • No clear genre, ideology, or even cover price, once more highly unconventional ...
  • Use of intertextuality, referentiality and bricolage, combining a range of themes from a range of texts
  • Confrontational and even aggressive mode of address
  • Highly polysemic, and lacks anchorage
Representation

  • Subversive, non-sexualised representation of women, for example in the ‘luxury water’ double page spread
  • Lacks many specific representations of gender at all
  • Postcolonial representations of ethnic minorities, demonstrating fundamental unfair racial hierarchies
  • Louboutins advert presents a stereotypical representation of a faceless ‘African’ for satirical purposes, yet may reinforce stereotypes for the white, middle class target audience
  • Allows audiences to identify with the political inclinations of the magazine, and construct an alternative lifestyle based on campaigning and social issues
Audience

  • Target audience initially unclear through lack of anchorage, but broadly middle-class and university educated
  • Invites a range of highly polysemic readings from audience
  • Many opportunities for oppositional readings, with articles potentially being read as racist and/or hateful by some audiences
  • Website provides many opportunities for fandom and audience interaction, including purchasing anti-capitalist merchandise
  • Other polysemic and negotiated readings include seeing Adbusters purely as an art and design magazine, ignoring the ideological perspectives of the magazine
Industry

  • Published six times a year by the Vancouver based Adbusters Media Foundation
  • An independant, not-for profit magazine, subverting the argument that all media is motivated by power and profit
  • High cover price (as high as £10:99, though this varies in practice), is necessary due to the lack of advertising revenue
  • The magazine has no paid-for adverts. Please make sure you point this out…
  • 120 thousand copies sold worldwide every two months compared to Woman's 1964 3 million British weekly circulation indicates a clearly independant and niche production




Component two section C - Online media in an online age




Zoella 




Media language

  • Youtube channel homepage and blog present a clear layout and clean user experience
  • A hyperreal construction of life, femininity and identity, presenting a fantastic yet relatable world to her target audience
  • Binary opposition constructed through Zoella and Alfie, reinforcing her stereotypical representation
  • Typical fashion and lifestyle channel, with range of appropriate paradigmatic features
  • Deliberately amateurish cinematography and editing constructs Zoella as relatable and human for her young target audience
Representation

  • A range of stereotypically feminine codes, including pastel pinks, fairy lights and flowing fabrics construct a stereotypical representation of femininity
  • The menu bar on Zoella.co.uk includes the hyperlinks ‘BEAUTY’, ‘FOOD’ and ‘STYLE’, which reinforces stereotypical, hegemonic representations of women
  • Zoella’s gender performativity constructs a hegemonically situated and stereotypical construction of female identity, reinforcing and potentially manipulating the dominant ideological perspective of her target audience
  • Zoella subverts stereotypical representations of women, being open and honest about her issues with anxiety, and even occasionally appearing without makeup, once more making her more relatable to her young target audience
  • Postcolonial readings will focus on only white people being represented in her videos, inadvertently constructing a racial hierarchy and enacting symbolic annihilation
Audience

  • Zoella.co.uk adopts a friendly and welcoming mode of address to it’s white, working class, heterosexual female target audience
  • Audience invited to participate with Zoella, for example in the pancake and picnic articles
  • Opportunities for audiences to directly interact with Zoella, for example through Youtube comments and pubic events
  • Negotiated and oppositional readings may take exception to the capitalist nature of Zoella’s marketing strategy, as seen in the ‘fuckzollea’ commentator on the old version of her blog
  • Since reinventing herself from Zoella to Zoe Sugg, Zoella has consciously targeted an older, yet still mainstream, working class female target audience
Industry

  • Audience engagement (time spent on respective sites) maximised through algorithmically optimised aspects such as autoplay and read next box outs
  • Revenue predominantly generated through advertising and click-through
  • Zoella herself (?!) is an independent and vertically integrated organisation, utilizing external distributors such as Hodder and Stoughton to publish her books
  • Zoella, like any other media industry, is motivated through profit and power
  • Self regulated, and occasionally has ran in to legal implications from her Instagram feed, after she was found guilty of promoting brands without announcing it was paid-for content




 Attitude online




Media language

  • A simple, clean and straightforward layout, similar to online tabloid newspapers
  • Lexis is informal, and indicates a working class target audience
  • Use of hermeneutic codes in article titles invites audiences to click (clickbait)
  • Constructs a hyperreal representation of gay male identity, and a world where everyone is young, musculed, and sexually available
  • Frequent use of rainbow flag iconography indicates an inclusive attitude, and is welcoming to bisexual, lesbian and trans audiences
Representation

  • Often presents a highly sexualised representation of gay men, with a particular focus on young to middle aged white men with muscular physiques, reinforcing hegemonic stereotypes of male beauty
  • Other representations of gay men include drag queens, older men involved in media and showbiz, and gay men as victims of violence. A complicated representation of sexuality and identity?
  • Arguably presents a straightforward and stereotypical representation of gay male identity to its target audience. Gay male stereotypes, such as an interest in expensive fashion and the theatre and emphasised and reinforced throughout
  • Provides a metanarrative for young gay audiences to identify with, and to learn about gay culture
  • Expressions of gender performativity situate in the audience in a highly performative negotiation of sexuality, further reinforcing the link between sexuality and identity
Audience

  • Magazine and it’s online version specifically targets a gay male audience.
  • However, the website clearly targets a working class gay male audience, and the magazine targets a more middle class, professional and aspiration gay male audience
  • Possible heterosexual female secondary target audience, who may appreciate highly sexualised images of men
  • Negotiated readings may focus on displeasure at the use of stereotyping, but taking pleasure from the information and news provided by the website
  • Allows closeted gay audience who may feel uncomfortable buying the magazine in public an opportunity to explore their sexuality in private
Industry

  • Huge banner advert suggesting the audience subscribe to the print magazine indicates a synergistic business model. The website exists to promote and sell the magazine
  • Standard and straightforward format indicates the website is driven by power and profit
  • Website only established in 2015, after years of resisting an online presence. Indicates a need for hypermodal media in a modern media climate
  • By being hosted online, the website circumvents traditional regulation issues. However the website self-regulates, censoring swear words, and providing NSFW tags for sexualised content
  • Provides no real opportunities for fans to interact with the website, including leaving comments. A clear contradiction of Clay Shirky’s theory




This post is a taster of what's in store in the new, improved revision guide, which will be published very soon!