Formation: explore how representations of social groups are constructed through media language in this image

• The representation of Beyoncé as a hegemonically attractive woman clearly may appeal to both heterosexual male audiences and lesbians. While her costume covers her entire body, her dress emphasises her curvaceous figure. 
• This image constructs a highly polysemic mode of address. Beyoncé is both sexualised and covered, and her expression simultaneously connotes seduction and anger. This highly complex representation reinforces the ideological perspective that black people are not a single representational group, but are complex with many different cultures and identities 
• The MES of the police car is striking. It forms a binary opposition of authority that conflicts with B’s performatively lazy and unbothered posture.
• The MES of the water around her however not only relates to hurricane Katrina, it also constructs Beyoncé as isolated and vulnerable . This alarming binary opposition contradict Beyoncé's star image, and reinforces the vulnerability of black people in the south of America
• The colour palette is dull and desaturated, which connotes themes of poverty and oppression
• The shot makes intertextual reference to Hurricane Katrina, and in particular the news footage of this event that would be particularly relevant to American
• B’s direct address constructs her as powerful in spite of the flooded setting. 
• B’s dress has connotations of the 1970s, and may be making reference to the civil rights movement, or even just symbolising the timeless notion of black resistance 
• The MS of the natural lighting suggests that everything the audience is seeing is real. It demonstrates a positive ideology regarding black representation, and suggests black people in the deep south slowly progressing
• This is further anchored through the use of costume. B’s costume is bright, stands out, and constructs B as a celebrity. A celebrity is someone in the public eye, and the use of MS here constructs B as the main focal point, and as a powerful black woman. 
• B’s expression is serious and determined, which symbolically encodes not only B’s authority, but also her desire for her music to be taken seriously
• The video is about the aftermath of hurricane Katrina and the disproportionate effect on black people in the state of Louisiana. Therefore her stern facial expression here encodes not only the seriousness of the topic, but also the fact that B is now ideologically opposed to the government
• The image makes intertextual reference to other rap and hip hop videos. However, here B subverts stereotypical representations of black men in ostentatiously expensive cars 
• The setting remains blurry, and this shallow depth of field further reinforces B’s status as a powerful person
• B’s jewellery is distinctive, and the excessive use of expensive jewellery (bling) is another typical convention of the hip hop genre
• B’s hair is in extremely long luxurious braids. Symbolic of black identity, it not only reinforces B as a celebrity, but also as a powerful black woman 
• B’s glamorous appearance constructs a diametric opposition with the grimy and boring parking lot . Not only does this look amazing, it also reinforces B’s confidence in a rea where many would feel threatened

Have You Heard George's Podcast?: How can audiences respond to and negotiate historical contexts?

 Example question: explain how historical contexts influence audience interpretations of media products. Refer to HYHGP…

historical contexts - the podcast is discussing the here and now. The issues represented are issues faced by the listeners

Audience interpretation - audiences can interpret media products in different ways depending on their cultural circumstances 

Introduction example (too long winded to be honest…)

Have You Heard George’s Podcast (HYHGP) is a podcasted radio show produced by the BBC and streamed on BBC Sounds. The podcast is fiercely political, and allows audiences to interpret it in a number of different ways, which is typical of modern, digitally convergent media. I shall argue that understanding historical context is crucial to understanding how audiences interpret this podcast 

Political background can greatly affect how audiences can interpret the show. The show demonstrates a left wing ideological perspective, as demonstrated through criticism of the tory government and progressive views on how to change society. In the episode Francophone pt 1, there is an an explicit criticism of France’s and the UKs colonialist past, which may be challenging to many audiences. Perfect example of Hall’s audience negotiation

 

• Inclusive mode of address is typical of some modern media 
• Politically active audiences are empowered through the interesting knowledge provided by the podcast 
• The availability of digital media allows this show to target a pre sold and pre existing audience
• Audiences can become active, and can explore the complex themes addressed in this show 
• The inculcation of negotiated readings: how Have You Heard George’s Podcast encourages a range of responses

Reception theory

Stuart Hall and his team suggested that audiences can broadly interpret media products in a variety of different ways, contingent on their social, political and economic background. This seems fairly obvious now, but an elderly Filipino woman in north London may well have very different experiences to a middle class white teacher in Cambridge, and this means that they will ‘get’ different things from the same media product. They might have the same absolute favourite TV show, but the ways in which we interpret the ideology of a media product can be wildly different from one another. 

Every media product has an ideology that is encoded by the producer using media language. But not every audience will ‘get’ exactly what the producer intended from the media product. Again, this is related to a variety of factors. Hall and the gang referred to this process as ‘audience negotiation’. We give a little, we take a little, and we come up with a decoded reading that is a little different from everybody else's.

To see some explicit examples of preferred, oppositional and negotiated readings of another episode of Have You Heard George’s Podcast, click here.

Grenfell 

The Grenfell tower was a 24 story high rise building that burnt down in 2017 following an electrical fault. 72 people died in the tragedy, making it the single worst residential building fire in the UK since WWII.

While the fire was accidental, the speed at which the building burnt and the sheer number of deaths drew attention to a number of scandalous safety issues, which have since been found in similar buildings. The tragedy has arguably drawn attention to the poor standards of living of working class people in inner city areas, who are often disproportionately represented by ethnic minority groups. 

The Grenfell tower fire is a tragedy, a political issue, a social issue, a cultural issue, and draws sharp attention to postcolonial attitudes towards people of colour

A Grenfell Story - initial positions

• Interesting
• Emotive 
• Subdued and depressing
• Sad and distressing
• Upsetting and provocative 
• Serious in tone
• Realistic
• Scary
• Eye-opening
• Personal
• Helpless 
• Painful 
• Chaotic and confusing 
• Immersive 
• Highly unconventional!
• Chilled out and relaxing 
• Self-congratulatory 
• Narcissistic
• Humanising 
• Form and structure 
• Has many theatrical/cinematic aspects, highly unconventional for a podcast. A confusing and postmodern address is taken throughout alienates the audience though a confusing and yet sophisticated mode of address. 

Audience reception

• The highly polysemic mode of address of this episode encourages a range of negotiated readings. 
• The episode uses a range of stereotypical representations in order to provoke audience response. For example, the SLT member is presented as snobbish, dismissive and stuck up, and constructs a binary opposition with the younger and more experienced teacher. This binary positions the audience to align with the teachers values and to oppose the values of organised education
• The episode presents a complicated ideology, and presents a range of criticisms of systemic failings in a number of areas, including housing, schooling, and childcare. It assumes a certain level of subject knowledge, and also asks the audience to engage with difficult concepts that they may not wish to confront. In doing so, this podcast favours active audience responses
• An exposure of the systemic failings of the Grenfell disaster, by focussing on a single individual, humanising her through the process of narrative. Sometimes when presented with large numbers, audiences can detach and switch off. By telling a human story, George positions the audience as someone who has lost someone in a tragedy. 
• An uncomfortable and confrontational mode of address anchors the audience to decode the preferred reading 
• A number of people would be affected by this tragedy directly due to the number of people who died. An oppositional reading may be that the shows' narrative focus trivialises the tragedy that happened
• The high pitched chimes and piano arpeggios constructs a deeply uncomfortable and complicated mode of address, that helps to anchor and confirm the preferred ideological reading
• “I want you to imagine you’re in a cinema’, engaging the audience purely through language, and using familiar imagery. A deeply postmodern mode of address that creates immersion. Links all the podcasts together, and constructs his own series of conventions and heightens the emotional impact for the target audiences 
• The message, moral or ideology is not immediately clear. A lack of explicit anchorage forces the audience to come up with their own interpretations

Revising active audience theories

Henry Jenkins – fandom and participatory culture

• There is a crucial difference between mass, passive audience and fans, as fans are active and will actively participate in their consumption of media products beyond just watching something and coming up with an opinion
• Examples of active participation include organising events, writing fan fiction, drawing fan art, purchasing merchandise, engaging in speculation in online fan communities, and many other diverse approaches
• Producers have long sought to actively engage fans, who are powerful and useful audiences through their loyalty and commitment to certain franchises. However, fans can also be fickle, and can turn on producers if they feel that the franchise is not meeting their needs

Clay Shirky – The End of Audience (and now everyone is a producer)

• Shirky argues that digital technology and its convergence has allowed audiences to produce media in much the same ways as producers
• There is now a far greater number of quote unquote ‘amateur producers’ who are able to create news, podcasts, music, and even feature films with the most available of equipment
• To differentiate this from Jenkin’s theory, Shirky argues that quote unquote ‘professional’ producers are now adopting a ‘publish then filter’ model, where ‘content’ is produced, quickly digitally distributed, then later edited or adjusted if it doesn’t meet expectations or is complained about
• However, the idea that we are all producers on a level playing field is quite contentious

How can we sum up these theories so even a 12 year old could understand them?

Henry Jenkins - “If someone loves a film enough, they will do something to show it. That makes them a fan!”

Clay Shirky  - “You have a phone: you can make whatever you want with it!”

How does the Trailer to Assassin’s Creed III: Liberation appeal simultaneously to both niche and generalised audiences?

Niche

• A range of action and adventure sequences communicates the genre of the game 
• A black female protagonist is seen as being a risky venture for video game producers 
• Iconography and recurring themes of the franchise, including a serious tone, playing as an assassin, elements of violence and stealth 

Generalised

• A relatable mode of address is presented to audiences through the main character, through being a good person beating bad guys
• The game revolves around an escaped slave in the American deep south in the 19th century, and provides audiences a realistic and engrossing setting
• A lack of actual gameplay, but instead a focus on narrative and excitement 
• Voice actor/narrator speaks in English with a heavy French accent, giving the game an exotic mode of address 
• The black female protagonist challenges the stereotype that videogames are played by white men  
• A clear and easy to understand, strong narrative based on the actions of a single character
• A female, back lead character may appeal to new audiences 
• Released on a range of different consoles, minimising risk and maximising profit
• Lack of gameplay footage focuses on more attractive elements
• Historical setting provides a rich and exciting experience

Representations and stereotypes: Why is attitude online so stereotypical?

• Note: while there are still many hypersexualised representations of men in attitude online, this content has significantly decreased since even 2019. This is for a number of reasons. For one, it allows it to appeal to a wider audience. It also shows Stream following wider societal trends, and perhaps shows them responding to criticisms of sexualisation. It may also be due to competition from specialist pornographic websites. Additionally, there are some negative connotations with labelling men ‘boys’, and the ‘boys’ tab on the website may have come under scrutiny.
• However, when it comes to sexualised representations of men, there is a clear bias and  preference to a certain body type. In the article “14 not entirely SFW images of gorgeous guys from BOYS! BOYS! BOYS! volume 7”, a certain body type is emphasised over others. Hegemonically attractive, muscular, outwardly confident, tall, nude, and universally hypersexualised
• Why lean into stereotypes so heavily? Firstly, it clearly makes money. These hypersexualised representations can appeal to queer audiences, and the use of heavy queer coding also inform the audience that these images are for them 
• Additionally, straightforward stereotypes are easy for queer audiences to understand, and this removes any confusion that this in fact may be a ‘straight’ website
• The website leans in to very traditional stereotypes of masculinity, and repurposes being masculine as being gay
• In heteronormative media, it is unusual to see men being sexualised so heavily. However, it has often been the case in queer media that men have been hypersexualised. The image of hypersexualised men has often been used to construct texts as queer. By positioning the audience as queer and as gay men, Attitude is constructing an inclusive world where men feel welcome and heterosexual people are not invited.
• While there are some exceptions, when it comes to sexualised representations of men in Attitude, there is a clear ‘type’ which comes up time and time again. In the article “14 not entirely SFW images of gorgeous guys from BOYS! BOYS! BOYS! volume 7”, we see clearly hegemonically attractive, buff, muscular and hypermasculine men take centre stage. Hypermasculinity refers to an extreme representation of masculinity. However, why is it that this is a gay stereotype? And why does attitude use stereotypes?
• The first potential answer is simply to minimise risk and to maximise profit. Simply put, hegemonically attractive and sexualised images of men sell the online magazine and therefore encourage clickthrough. 
• There are representations of men differently shaped and less hegemonically men. However, these articles tend to not sexualise these men, which further reinforces the ideology that some bodies are more desirable than others 
• The extremely attractive bodies function as a form of escapism for the target audience. The gay male target audience may wish to escape from the hegemonically inculcated ideological representations of women in heteronormative media, and therefore the hypersexualisation of men functions as a kind of protest. The intense queer coding of the hypersexualised images of men positions the audience directly as a gay man. Therefore these extremely stereotypical representations actually encode inclusion. This extremely complex set of representations therefore constructs a complex and even contradictory set of identities. 

Identity: how can gay men use an article about Kate Middleton's cancer diagnosis to construct a complex identity?

• The royal focus of this article indicates a working class audience is being targeted. Therefore, the gay target audience can pick and mix a patriotic and working class identity 
• While Middleton is a heterosexual woman, the story of Middleton’s illness has provoked widespread speculation and provoked a moral panic. The queer target audience will undoubtedly have some experience of people speculating about their personal life and will identify with Middleton’s struggle. Therefore closeted gay men can take inspiration from this unlikely 
• The article presents a break from the otherwise exclusive queer coverage, and therefore provides audiences with a varied source of news, reinforcing a diverse identity 
• While the story features the cancer diagnosis of a straight woman, there are elements to this narrative which may appeal to gay male audiences, and even allow them to pick and mix certain ideological perspectives. 
• The ‘disappearance’ of Kate Middleton prompted widespread moral panic, and the story fuelled many conspiracy theories. 
• Stereotypically, gay men are perceived to enjoy gossip, and there are elements of gay subculture which are based around bitchiness and gossiping. This therefore may appeal to certain gay audiences
• The target audience are British, and working class. Therefore by featuring this storing, the potentially patriotic working class audience can be targeted
• Kate and William Cambridge are portrayed as accepting allies, and therefore generally more agreeable among the gay community 
• Gay audiences may identify with Middleton, as her life has been scrutinised and there have been many theories as to her true nature and to the nature of her illness. This unwelcome attention may unfortunately be familiar to many gay audiences, who will therefore identify with Kate Middleton

Attitude, othering and reappropriating stereotypes

First a question

Paul Gilroy argues that power is maintained through strict hierarchies and that certain groups are marginalised through a system of othering. Evaluate this postcolonial representation theory. Make reference to Attitude Online to support your answer 

And second, an answer

Gilroy’s theory is of exceptional usefulness, as it helps us to understand not only the history behind systemic othering, but also how it is used in media in order to manipulate audiences. However, I shall argue that in spite of using heavy stereotypes and often leading language, the representation of gay men in attitude online is highly complicated, and reflects the importance of stereotypes in gay subculture and the complexity of gay identity in the UK today. 

And now, some evidence

Evidence 1

LEXIS - “I’m immediately struck by his whimsical sense of style — fabulous 3D flower knitwear? Check '' - The term whimsical has connotations of being mysterious and magical, and reinforces certain gay stereotypes, and constructs Norton as an other. However, the gay stereotyping here is not utilised to sow difference, but instead construct a safe space for gay audiences, and provides them with the gratification of personal identity. Norton is a successfully and openly gay man, and constructs a representation of a fantasy of gay empowerment for the target audience.

MES - Norton’s flamboyant costume connotes homosexuality. Norton is a hyperreal simulacrum, a representation of a gay man who is famous throughout the country and throughout Europe. For many straight people, Graham Norton is a clearly identifiable representation of what a gay man is. His costume has a significant number of representational functions, including his very clearly cultivated brand identity. While Norton is represented as different and indeed othered, by living up to this queer stereotype, Norton is positive, extroverted, brave and proud. 

MAIN IMAGE- The connotations of the main image are of joy and friendliness, again essential to Norton’s brand. This is further reinforced through the anchorage of the headline, in particular the lexis ‘Person of the Year’, which constructs Norton as a powerful and likeable person. While reinforcing certain flamboyant gay stereotypes, the overwhelming positivity challenges negative representations of gay people

CINEMATOGRAPHY - Camera angle low angle - Shot from below, the not especially tall Norton is constructed as powerful , commanding and exciting. Reinforcing certain stereotypes of gay men, including confidence and pride, this simple design choice connotes that gay people are different, special and therefore valuable

LEXIS - many interviews are referred to in the article show Norton interviewing famous and powerful women. The idea of identifying with powerful, tragic and outspoken women is yet another gay stereotype. Stereotypes can be useful to queer audiences when forming their own identities, and having important role models in a world where we still do not speak freely about queer identity can be very important 

Evidence 2

The article takes the form of an editorial or opinion piece, and sees James Barr, a broadcaster, discussing his take on gay subculture

LEXIS - a number of words and phrases in this article position the audience as a gay man. There is an assumed knowledge that the reader will be familiar with Feel It, a gay club in London Bridge. The phrase ‘here’s the tea’ is a gossipy and colloquial slang that makes explicit reference to drag culture, and the phrase ‘the chems’ refers to chemsex, a specific element of some gay people’s sex life. All three of these cultural references construct a relatable mode of address that positions the target audience as a gay man. However, this address is highly stereotypical, and even othering, Yet ultimately this article constructs a new hierarchy, where knowledgeable gay men are made to feel included and are able to explore these subcultures.

MAIN IMAGE - An image of the journalist himself. His light makeup and distinctive hairstyle subtly connote queer coding, a fact which is reinforced through the stereotypically feminine yet confident pose of his hand on his hip. Directly addressing the camera, his facial expression is clearly practiced, and performatively encodes a sense of gay identity to the target queer audience. The MES of his costume, a tight fitting tie dye shirt also has connotations of queerness. By taking a stereotypically queer persona, the journalist is clearly othering himself. However, we can argue that he is reclaiming the negative connotations of being gay, and reclaiming a previously negative stereotype. Once more, this constructs a new hierarchy where James Barr is clearly in a dominant position 

LAYOUT - the landing page takes the audience directly to Barr’s face, assuming his importance and position the audience as one who would be interested in him. Barr, a minor celebrity, will be of particular interest to gay audiences, as they have built a personal relationship with him through his career, and by reading the article and learning more about his private life, will further reinforce this relationship. This reinforces the importance of queer identity in a n otherwise heteronormative world, therefore subverting expectations. 

LAYOUT - the simple and straightforward layout allows the producers to target the largest possible audience while still remaining in the niche of targeting queer audiences. The straightforward mode of address here reinforces that being gay is normal, relatable and even desirable. The clean, clear and symbolically pure layout constructs a sense that to be queer is to be normal. While the many stereotypes that this article presents doubles down and even reinforces the notion of queer people being othered, the symbolic connotations of queer identity are however inverted, and once more, a new hierarchy is constructed where to be gay is to be accepted 

Using Assassin's Creed: Unity to answer industry questions

How does the Assassin’s Creed series attract and maintain its audiences both locally and globally? 

• Ease of gameplay mechanics, which is explained through a series of tutorials
• High production values targets a global audience through it’s perception of quality, and a reputation of excellence
• Resembles a blockbuster film, with professional voice actors, a complicated storyline and large set scenes 
• A repetition of previously successful elements attracts oolong time fans 
• Parisian setting is extremely historically accurate, and provides appeal to French 
• Highly interactive, with opportunities for audience choice
• Use of English language and regional accents creatures an easy to understand narrative for a wider, english speaking audience
• Game set in 17th century Paris appeals to and attracts a local and global audience 
• Characters speak in English (in default settings) in English accents to attract a global audiences 
• Option to change the language to a variety of options, and a variety of subtitles 
• Use of high quality graphics presents a AAA experience that will appeal to fans around the world 
• Huge mess of genre hybridity (sci fi, action, open world, RPG, combat, simulation, climbing/platform…) allows game to appeal to huge range of audiences 
• RPG - role playing game 
• Appeals to local audiences (Parisians) as the architecture is extremely historically accurate (Notre Dame cathedral rebuilt from data from this game) 
• MES of high quality graphics

How have specialised production processes shaped the Assassin’s Creed franchise?

• The game features realistic performances made possible using motion capture technology 
• Use of voice acting 
• Public concept art, released to the publ;ic, and included throughout the game 
• The detailed graphics are only made possible through specialist animators
• Available on multiple platforms
• High quality realtime graphics, including realtime lighting requires specialists 
• (Baked iun li8ghting! Not actually realtime! Prerendered! But still stuff to do!)
• An event planner is needed to construct and keep track of the complicated narrative
• Specialised - good at one thing in particular 
• Interactivity: audience has the opportunity to choose their own adventure 
• Highly detailed map with a high draw distance
• Realtime lighting requires a highly specialised programmer to design 
• Research, costume design and in-house historians 
• Concept art

How has digital convergence affected the distribution of media products? Make reference to the Assassin’s Creed franchise to support your answer

• Digital convergence refers to how digital technology merges industries together
• Game distributed through digitally convergent online storefronts 
• In game downloadable content/dlc/mission packs 
• Updates an patches 
• Advertising, on YouTube, Tiktok, and other social media platforms 
• Digital convergence - how digital technology has allowed other forms of technology to come together
• Game can be downloaded off of online distribution services 
• Game can be advertised using digitally convergent tech such as YouTube videos 
• Game was developed using the Ubisoft Anvil engine, an in house engine for creating video games, which allows Ubisoft greater flexibility in producing and distributing games
• Custom, bespoke software creates a higher quality of product
• Games are distributed on digitally convergent platforms like Xbox series, which allows audiences the opportunity to experience game in a variety of ways 

What is a conglomerate?

A company that produces and distributes a range of products. Conglomerates become conglomerates by conglomerating, or buying out smaller companies to maximise profit and to minimise competition. Therefore, conglomeration is a process of power.

How is Ubisoft an example of conglomerate ownership?

• Company expanded into the computer industry early on, selling computer parts through the post
• Own a range of other companies including Blue Mammoth, Red Strom Entertainment etc
• World wide studies, including studios in Shanghai, Montreal, and Milan, demonstrating a global outlook 
• At the end of 2020, company moved focus away from AAA games to focus on smaller games, perhaps to target a wider audience 
• Ubisoft Film and television (diversification!)
• The videogame industry has shifted dramatically, and many o0f the biggest and most profitable games are NOT graphics intensive, and include a high level of user creation
• Many subsidiaries in many different countries. Eg Ubisoft Stockholm, Malaga, Montreal, Berlin etc
• Invested in by Tencent an absolutely enormous corporation
• Attempted takeover?
• Mobile phone act production!
• Extremely high revenues 
• Have bought out a range of smaller companies 
• Ubisoft motion pictures (diversification)
• Public stock exchange

Regulation of online media - how effective is it!

Please note: the following example is an example of self-regulation. There is absolutely nothing that falls fowl of UK online regulatory guidelines here, even if it is 'a bit rude'. So the consideration of regulation here is a bit of a non-starter. Everything is clearly labeled as an advertorial, and there is no explicit pornographic content which may be illegal in the UK. Breathe easy!

Basically: Zoe Sugg conforms to a strict code of self regulation so as not to alienate her fans, and therefore is able to (you guessed it) minimise risk and maximise profit!

how effective is the regulation of online media?

The Lovehoney Christmas Gift Guide Your Horniest Friends Will Thank You For 

Looking for an extra special gift for your most legendary but hard-to-buy-for bestie? Like, a gift that really keeps on giving…and giving, and giving? Well, we followed the yellow brick road to the Emerald City of orgasms and are chuffed to report that it led us all the way to: Lovehoney. 

Ding dong, the self-pleasure drought is dead. 

• While the content of this article is lewd, absolutely nothing in this article is illegal under UK law. Furthermore, the frank discussion of female masturbation is arguably empowering, and draws attention to aspects of female sexuality in ways that might not ordinarily be discussed. However, it must also be mentioned that the article is an advertising feature, that uses a mildly shocking mode of address to appeal to Zoella’s target audience
• Primarily, Zoella.co.uk is self regulated 
• Online media in the UK is nominally regulated by OFCOM, although it's reach is severely limited, and even completely ineffective
• Article features a paid sponsorship from the sex toy company Lovehoney, and features reviews of a number of sex toys, lingerie, and descriptions of their qualities. 
• The target audience for this article and for this website is adult women, aged 25 - 40 
• Although the article features reviews and descriptions of sex toys, there is absolutely no pornographic material included, either in the pictures or the description of use
• “Boasting 10 suction modes, Pleasure Air Technology, a run time of 65 minutes and an easy to use two button interface, this humble (and entirely water-proof) petal certainly knows how to deliver a wildly good time” - this discussion of female masturbation is delivered in a vague and deliberately non-problematic manner that is appropriate to the target audience 
• The content of this article is an excellenjt example of self-redulation. While the material; is broadly adult, it is arguably up to parents and caregivers to prevent young children from accessing such material 
• However, the target audience of the website is clearly young adult to middle aged, and there is very little of interest for younger audfiences
• Article published after Zoella’s rebrand, and is entirely appropriate to her target audience. The article takes a sex positive ideology, and presents a postitive representation of sex to Sugg’s target audience
• A form of self regulation is practiced by Sugg to allow her to reach her own target audience more easily 

Applying reception theory: how can different audiences interpret Zoe Sugg?

Reception theory refers to how different audiences can interpret the ideology of a media product based on their own culture, circumstances, background, age, sexuality….

However the producer will use media language to encode a particular ideology, and to weigh down the meaning. This process is called anchorage. 

A Very Homey Weekend | ad

Dominant ideological perspective: How does Zoe Sugg position her audience through ideological perspectives?

A relatable and realistic representation of women and their lifestyle is constructed through the video. Sugg cultivates a consumerist and capitalist ideology that self value and beauty standards can be achieved through buying into a very specific set of products, especially cult beauty products. This in turn encodes and cultivates a relaxed atmosphere. A comfortable mode of address is constructed, and suggests a comfortable lifestyle can be achieved through purchasing certain makeup brands, and having a baby

Anchorage: how an ideological perspective is ‘weighed down’ through media language

Preferred readings

1. "This makes a nice click I like it": Zoella’s performative enjoyment at pushing the lid of her product is encoded in a close up, and emphasises her relatability to her target audiences 
2. The consistent use of direct mode of address, in addition to her verbal address of the audience constructs a highly relatable and intimate mode of address. This is further anchored through Sugg’s soft delivery, and her discussion of her sleeping baby in the next room. This combination of media language constructs a voyeuristic mode of address that is highly typical of her material. This confusing and highly mediated mode of address that is particularly postmodern.  
3. A satisfying mode of address is constructed through the shots of Sugg getting ready. The use of time lapse photography, previously prohibitively expensive and difficult is now made easy through digitally convergent technology. This satisfying mode of address constructs a non-demanding watching experience, and encodes an ideological perspective of calm, comfiness and escapism. This is further anchored through the selection of lo-fi instrumental hip-hop, which constructs a relaxing and escapist mode of address. Additionally the video provides the target audience with at least two important gratifications: education (the video functions as a makeup tutorial and shopping list), and entertainment, through the comfy and relaxing MES

Oppositional readings

1. Some audiences may be frustrated at Sugg’s undisguised commercialism. By drawing attention to the bottle’s function over its contents, Sugg’s is guilty of commodity fetishism, and is fetishizing the style of the product over it’s function
2. However, it is unlikely that many oppositional readings will occur, as the algorithmic structure of YouTube will mean that this video will only be marketed to her potential and preexisting fans 
3. However, some audiences (especially non target audiences), may be frustrated and alienated by the perceived waste of time of a 45m long video discussing makeup application. However, due to algorithmically dedicated business practices, it is highly unlikely that oppositional audiences would even be targeted by her content, which allows the video to take a niche mode of address
4. Certain audiences may be frustrated with the lack of a clear ideology, and even criticise the video for being bland

Negotiated readings

1. While target audiences may engage with this video and may take important information from Sugg’s clear mode of address, audience members may find Sugg’s address irritating, in particular her admission that she hates her skin may be disingenuous and may distance audiences from her otherwise highly cultivated representation.  In particular audience members who may wish to seek advice for their skin conditions by be alienated by her representation
2. Sugg sharing her dissatisfaction with her skin may frustrate certain audiences. Clearly a hegemonically attractive woman, audiences may be dissatisfied with the fact that she is constructing a reality remarkably different from the one being portrayed in order to maximise revenue. 
3. However, through her discussion of her skin and her own dissatisfaction with her body image, including footage of her without makeup. Therefore, certain other audiences, especially those with MH issues may identify and relate to the video
4. However, her hypereal and idealised representation of motherhood that seemingly completely lacks any representation of her child makes her complaints of motherhood disingenuous and alienating. 
5. This highly conflicting and contradictory mode of address may frustrate and confuse her target audiences 
6. Certain audiences may identify with her representation of parenthood, even if they do not fully agree with it 
7. Certain heterosexual male audiences may watch her videos to fulfil  the male gaze
8. Additionally, she could provide information to secondary and tertiary audiences to allow them to shop for wives and girlfriends
9. An escapist fantasy can be provided to the audience, not only through her luxurious lifestyle, but also through the complete lack of conflict in her videos, which makes them perfect for passive viewing. Completely lacking any political ideology 

Technological changes: how does Zoe Sugg use algorithmically influenced business practices to address her audiences?

To what extent does Zoella/Zoe Sugg use YouTube algorithms in order to manipulate her audiences?

An algorithm refers to an automated routine or process that allows digital technology to function without outside influence 

• Buzzwords here include retention and engagement. Engagement refers to the raw amount of time spent interacting with a digitally convergent online products. Higher engagement means higher profits. Yet often this is done in a manipulative and even exploitative way 
• To what extent does Zoella use YouTube algorithmic business practices in order to manipulate her audiences?
• An unrealistic lifestyle expectation is encoded through every thumbnail image, through glamorous MES and a perpetually poised existence 
• Sugg’s face is performatively happy, and her closed mouth statistically performs better. Sugg has a routine and a strategy that clearly works
• A stereotypically feminine font is universally used to construct a brand identity that not only distinguishes ‘Zoella, but also refers to other successful accounts
• Sugg’s style in many ways codified the generic elements of the vlog 
• The MES of huge shopping connotes a consumerist ideological perspective, and allows Sugg’s to monetise her videos with commission from affiliate links
• The heavy use of keywords (Haul, brand names, look etc) allows Suggs to maximise her audience through making her videos as easily search for
• Her name is her brand identity
• Selection of thumbnails position and target particular audiences in a cynical and manipulative fashion
• Her facial expressions are clearly selected in order to maximise her appeal to her young predominantly female target audience, and suggest happiness, excitement, and function as both hermeneutic and proairetic codes
• Her image is defined by a white outline, which emphasises her face even in a big mass of thumbnails
• Heavy use of makeup, in particular heavily defined red lipstick, along with her trademark side parting constructs a clear brand identity 
• A hyperreal mode of address that constructs an inviting way of life 
• Her video titles are crammed with keywords, including ‘reacts’, ‘ASOS’ etc, all trending key words that capture public trends
• Links to video. Product placement is made clear, and therefore, profit can be maximised 

A semiotic analysis of the article ‘Graham Norton named Attitude’s Person of the Year – as Drag Race UK judge leads our list of 101 trailblazers’

Homepage and other pages - The homepage can be accessed through clicking on the masthead. This hypermodal address provides audiences with a clear and conventional mode of address. Furthermore, the connotations of the masthead ‘attitude’ has an ion your face quality, which positions the audience in an exciting mode of address. Proairetically, the lexis attitude suggests the free sharing of opinions, along with an ability for the target audience to share their own lifestyle. The term itself is also somewhat sassy and colloquial, which playfully makes reference to a stereotype of gay men that would be appealing to the target audience. Additionally, the masthead lacks capitals, which has connotations of a more gentle and breezy ideology. Furthermore, it also reinforces that ‘attitude’ is a way of life, and NOT a brand name 

Codes and conventions and composition - the website takes a highly conventional and even generic approach. This extremely white and clean approach to webs design is typical of web 2.0. This allows the website to appeal to a mass and mainstream audience

Layout and design - There is a binary opposition between the stark white background and the often overwhelmingly colourful images. The use of many different colours here constructs a hyperreal representation of gay identity, that encourages the audience to actively go out and explore their own identity. Furthermore, the article, featuring Norton in a bright yellow suit not only reinforces notions of pride, but encourages the audience to do so themselves

Font size, type of font (e.g. serif/sans serif), colour - the font is possibly Open Sans. Round and simple, it has connotations of clarity, and has been heavily anti-aliased in order to improve it's smooth clarity. 

The website was created by PugPig, an outsourced web design company, who are notable for creating magazines, newspapers and their associated websites. Also creating content for Reach PLC, Pugpig are a highly specialised company that allow media producers to heavily cut costs by outsourcing elements of web design to specialised companies 

Images/photographs - camera shot type, angle, focus - the images of Graham Norton are particularly high quality, and connote creativity, and professionalism. The photoshoot itself is lifted from Attitude (the magazine), and then republished on the associated website. This reinforces the fact that the magazine is in fact not only the primary business, but the fact that the website is an extended advertisement for the magazine. This marketing technique is known as push/pull advertising. While audiences are being pushed away from physical magazines, and moving on to digitally convergent online media, the website in effect is pushing audiences directly back again, as it functions as an advert for the magazine, with a clear and ever present subscription button. The images make heavy use of symbolic codes in order to fill in the gaps of an already straightforward narrative. The camp nature of Norton’s bright yellow suit effectively queer codes a man who is already widely known for being gay, and presents an extremely straightforward message to the gay target audience. Furthermore the broach may be a referential code, and make reference to historical queer culture, where sexuality was contacted secretly to others the know through a series of signs

Hypermodality - there are a big range of hyperlinks throughout the page, encouraging the audience to ‘read next’. The lexis here functions as an hermeneutic code, encouraging audiences to unveil the mystery of exactly what article may come up next 

Website key words

1. Homepage - the main page, where audiences can view the entirety of available content
2. Hyperlink -  an element which redirects the user to another page
3. Hypermodality - the process of using the internet to move from one media mode to another

A semiotic analysis of the article “Gossip’s Beth Ditto: ‘I puked on a boy’s back once for being a homophobe”

 

Homepage and other pages

• The homepage can be accessed at any point by clicking the masthead. This highly conventional mode of address allows the target audience to easily navigate. Furthermore, an advert for the Los Angeles tourist board hovers temptingly over the masthead, functioning as a hermeneutic. Logos are important as they construct brand identity. The attitude logo is no different. The logo is in lowercase, which constructs an informal mode of address. Attitude is supposed to be a characteristic trait and not a brand name, however this ends up being an overwhelming brand identity. The logo is extremely conventional, and targets a general, queer audience. This indicates an enormous confidence on behalf of the producer 

Codes and conventions, Layout and design and composition

• Featuring black fonts, basic thumbnail images and a stark white background , the website is a clear example of Web 2.0. This provides an easy and standardised experience for users of websites. A hypermodal mode of address is constructed through the range of hyperlinks that allow users to purchase tickets to gay film festivals, to watch music videos, and book exclusive holidays to Los Angeles. 

Images/photographs - camera shot type, angle, focus

• The main image of singer Beth Ditto has clearly high production values and is of a high quality. Part of a feature article in Attitude magazine (NOT the website!), this article therefore functions as an extended advert for the magazine itself. 
• Ditto directly addresses the camera in an almost aggressive mode of address, connoting her punk rock credentials 
• Ditto is a gay icon, and constructed through her attitude. Ditto is a larger woman, and wears revealing outfits which do not conform to society's standards of big women . Additionally the MES of her makeup is bold, alternative and striking, which subverts further stereotypical feminine standards. This article underlines the complex construction of queer identity.
• Set in a stereotypical American style motel, the blue low key lighting constructs a threatening mode of address, and once more constructs an ideology of queer and female empowerment
• The MES of the dartboard however symbolically connotes British identity, and reinforces and constructs a representation of The Gossip as a transnational band 
• Ditto’s large prominent arm tattoo anchors her representation as an alternative icon, yet also connotes her butch queer identity. Once more, this reference to lesbian subculture anchors the target queer audience and constructs a complex queer representation 

Advanced semiotics: how can myths resolve contradictions in Zoe Sugg's vlogs?

“[A myth provides] a logical model capable of overcoming a contradiction” (Barthes, 1958)

To watch Zoe Sugg's vlogs (or indeed those of any other YouTube lifestyle vlogger) is to be faced with a contradiction. On the one hand, Sugg/Zoella is a friendly, welcoming face, directly addressing her young target audience as an equal. She shares tips and tricks and elements of her life, often in an intimate mode of address. Yet she is also an unassailable multimillionaire businesswoman, using her brand identity to sell products to her vast audiences which she has systematically cultivated over more than ten years.

So how can she be two things at once? How can anyone take this person seriously?

Roland Barthes offers an explanation for how this is possible. Myths are ideas, stories and concepts about the world that help us to make sense of it. Modern life has left meaning fragmented (an idea further explored by Jean Baudrillard), so where things don't quite make sense, myths step in. Except here we are not talking about Hercules and Perseus and King Arthur. Myths here are things along the lines of marriage, hegemonic norms, capitalism and consumerism. So what does this mean in practice? Lets look at some examples!

How do myths resolve contradictions in the video “Baby Shopping, Chilled Day With Mark & GRWM | ad”?

How can Zoe Suggs address a vast anonymous audience while maintaining the illusion of friendly, face-to-face communication?

• While Sugg presents a myth of inclusivity and friendliness, she is ‘talking’ to an anonymised audience, with no real knowledge of who is watching and why they are doing so. 
• The audience is statistically represented through a view counter. This video currently has 760000 views, with this vast number being symbolic of a huge and adoring audience, as well as Sugg’s enormous financial potential
• Sugg starts the video bare faced, and talks unguardedly about her own life. The use of a MS set up by Sugg herself is symbolic of her professionalism ,and reinforces that she is in charge of her own business empire, despite employing people to help.
• A sense of relatability and realism is constructed through the proairetic code of Sugg discussing meeting Mark Ferris. This suggests that Sugg has a rich and exciting personal life, white also being down to earth, which constructs a sense of verisimilitude.
• A voyeuristic mode of address is constructed through the household/bathroom setting, which positions the target audience directly in her bathroom. The audience are encouraged to appraise and to imagine themselves in this situation. Zoella gives implicit consent for this voyeurism to occur, and positions the audience as a friend rather than a lover
• A binary opposition is constructed through Sugg’s clear hegemonic attractiveness, and her relatable and often flawed appearance. The MES of her acne constructs a relatable symbolic code for the target audience
• However, her spots also function as a proairetic code, as the audience are encouraged to anticipate how Sugg is either going to cover them up and/or treat them. This highly relatable mode of address is part of Sugg’s enormous popularity.

How do myths resolve contradictions in the video 'Mark Felt The Baby Kicking & Things We Don't Share Online'

@sarahx6770 

2 years ago 

I’ve been following you since the days you used to sit on your mums living room carpet chatting about your favourite Mac lipsticks! So lovely to feel like we’ve grown up together without even knowing one another. Sending you lots of well wishes for the rest of your pregnancy, Zoe xxx

• Close up and static shots, seemingly mounted by Sugg herself provide a personal mode of address to the target audience, and furthermore symbolically position them directly in her garden
• Initially, the video features handheld cinematography, symbolising a natural and candid point of view shot that aligns views with Sugg directly, and therefore provides them with the gratification of voyeuristic pleasure
• Her slightly untidy garden has connotations of a relaxed and chilled out ideology, and helps the target audience to identify with the multi-millionaire 
• At one stage, Sugg shouts at Mark “shout into my vagina!”, a comedic mode of address that will appeal to a millennial female audience. This allows audiences to see a different side of Sugg, and cultivated the ideology that she is candid and unguarded
• A binary opposition is constructed between both genders and sexualities. The stereotypically camp Mark confirms Sugg’s heterosexuality. By providing her emotional support, and touching her belly in an intimate mode of address, mark is constructed as the stereotypical gay best friend, and plays up to comedic stereotypes
• Mark exclaims: “she’s going to be an acrobatic!” this grammatically incorrect statement symbolically encodes Marks status as a non-threatening and humorous best friend 

MEDIA LANGUAGE - How can semiotic and structuralist theory help us to understand how online media constructs meaning? - Zoe Sugg’s YouTube homepage

• The bland colour palette favours whites, reds and greens. All simple colours, this selection connotes a minimalist and satisfying lifestyle.
• A range of fonts are included, yet every thumbnail image published recently includes a straightforward yet subtly serif font, which is presented in an off-white crème. Clearly fitting Suggs’s aesthetic, the colour is inoffensive and subtly feminine 
• In every single thumbnail image, Sugg represents herself as excited through the selection of her facial expression. Over the top and excited, it reinforces an idealised state of existence
• The profile picture is in black and white. B&W here connotes timelessness and signifies Sugg is a cult, timeless celebrity. Furthermore the MES of her love heart glasses, further anchored through the proairetic of her pursed lips symbolises Sugg’s love for her own lifestyle, and that she is satisfied and content 
• Sugg’s face is repeated throughout her thumbnail previews, which reinforces that she is not only the protagonist of this narrative, but also reinforces her brand identity.
• An initial analysis of Zoe Sugg’s YouTube channel homepage
• The MES of the lighting is soft, and with no dark elements, which connotes a family friendly and wholesome mode of address 
• Every video caption is in block capitals, which is symbolic of excitement, energy and youth
• The aesthetic of the font for every title overlaid over the thumbnail of every video video is identical. The font is bubbly and stereotypically feminine. On the thumbnail images, the font is lower case, and serif, which further reinforces connotations of modernity and friendliness
• The font colour is slightly cream and off white, which has connotations of softness, relaxation and comfort. It also appeals to Sugg’s millennial target audience 
• These stereotypical applications of media language help Sugg to construct a brand identity and therefore sell this image to a target audience
• The medium close-up shot of Sugg, Deyes and baby constructs a representation of a happy, nuclear family, that will appeal to millennial audiences with small children. By reinforcing hegemonic representations of families, it further anchors the idea of Sugg’s as a relatable figure 
• The colour scheme of the thumbnail images favours natural colours such as creams and greens, connoting a natural sense of authenticity. However, clearly a range of filters and adjustments have been uses, which emphasise a clearly edited and unrealistic presentation. The desaturated pastel colour choices construct a hyperreal representation of Sugg’s life that appeals to the target audience.
• This colour scheme is repeated throughout her thumbnails with little variation, once more constructing a brand identity. 

Applying reception theory - negotiated responses to Attitude Online

For this activity, we shall be exploring how audiences can receive and interpret the ideological perspective encoded through the representations included in attitude Online. However, we shall be omitting the responses of heterosexual audiences. Why? Simply because they make up such a small proportion of the audience, and that straight people are unlikely to interact with a website like attitude by design. This form of othering through the very marketing of the website allows this product to expressly target gay people in the most effective way possible.

However, it can be noted that certain other groups may interact with attitude online. Straight women may enjoy the hegemonically attractive 'beefcake' representations of hypersexualised men. Straight men may simply enjoy the fashion advice, or may gain valuable insights in to their gay friend's lifestyles. And given the complexity of sexuality, some audiences may check out attitude and realise that they may actually be gay or bisexual. 

Dominant ideological perspective: to be gay is to be proud, and it is right and natural to find other men attractive

Alternative ideological perspective: “A safe space for gay people to be out, proud and happy”

Preferred readings

1. Yes! It is good to be gay, and to be proud and out is an essential part of the gay experience. For example, audiences would particularly delight in stories about celebs coming out, as it would reinforce ideological perspectives of pride.
2. The audience would feel represented and seen by the representations of proud, out and sexually attractive gay men. While not every audience member would look like the models representing gay people, the gay target audience would relish the positive and straightforward representation

Oppositional readings

1. Gay audiences may be angry at the use of stereotypes. The focus on celebrity, camp[ culture (Girl’s Aloud) and hypersexualised representations of men all reinforce negative stereotypes about gay men. Stereotypes are an ordering process, and a widely held belief. Stereotyping always b=puts groups in a box, and reduces gay people to a reductive series of casual signifiers, for example ‘hot’, ‘camp’ and/or ‘slut’. 
2. By having a website that essentially ghettoises gay identity, gay audiences may feel frustration at being othered, and having to exist in a completely different space 
3. 
   

Negotiated readings

1. While some gay audience members may be interested in the fashion content and the political content, they may be completely uninterested in the sexualised representations of men for a variety of reasons. Firstly, because they may feel that this hypersexualised representation of men reinforces negative stereotype. Additionally, the body type favoured by Attitude is bulky, muscular and buff, which while being hegemonically attractive, clearly does not appeal to everyone. 
2. Some gay men may find the representations of gay identity either positive or negative.
3. Some gay audiences may take pleasure in being represented, yet may also be frustrated that to be gay is essentially to be othered. 
4. Some gay audiences may be frustrated at the perpetuation of the stereotypical representation of gay men being obsessed with fashion.
5. The extremely objectified representations of men may be problematic for many gay men. Gay men are often objectified in mainstream media, and are defined through their sexuality. However, gay audiences may take exception to this… while also enjoying other aspects of the magazine
6. The fetishization of gay men, which is encoded through the MES of rubber and thongs etc may be simultaneously appealing and also off-putting. Many gay men may simply feel that the objectification of men here is simply as bad as the historical objectification of women. Yet other audience members may realise that sexuality is extremely complicated. Yet further audiences may negotiate this sexualistion as empowering.
7. Older gay men may object to the straightforward representation of gay men as young, buff and hegemonically sexually attractive. Yet these audience would find pleasure elsewhere. 
8. While stereotypes can be reductive, they provide certain gay audiences with a set of codes to live by
9. While it is pleasurable to look at hegemonically attractive and hypersexualised men, the representations of hypermasculinity reinforce and construct unrealistic body images. Clearly very few gay men look like this! This can make it so much more difficult for gay men who are in an already difficult situation. Can promote eating disorders, body dysmorphia and ‘bigorexia’ 
10. Articles about celebrities realising when they are gay can provide reassurance and structure for closeted gay men
11. The conflation of sexuality and personality is highly problematic. To be straight doesn’t involving constantly referring to this, but the hypersexualised and stereotypical representations in attitude seem to suggest that the only important aspect of gay lifestyle is to be gay itself
12. Many gay people are not interested in ‘gay culture’, although many aspects of this are represented, therefore some audiences may focus on theatre coverage while ignoring the fashion sections 

Attitude fact file

Our study of Attitude is a strange one, as we are studying the website attitude, not the magazine attitude. However, the website is an ostentatious advertisement for the magazine, and primarily functions to recycle material from the magazine, while targeting a rather more down-market and working class audience. This is a classic example of both digital convergence, and also push/pull marketing. Here are some facts dug out by students. There is some repetition here.

An edition of attitude, a magazine we are unfortunately not studying

• Attitude magazine has interviewed a number of prominent celebrities including heterosexual celebrities. Examples include Daniel Radcliffe, George Michael, Tony Blair, David Cameron, Prince William and so on. This allows the magazine to widen their target audience, and also allows the celebrity positive publicity among the gay community, and allows celebrities to appear as allies
• A variety of global print editions of Attitude, including one in Thailand and Belgium. This proves the magazine is international and reaches global audiences 
• The website attracts approximately 1.7 million users a month, which is a significant number for a potentially niche website
• Attitude lacks capital letters in order to indicate that it is not a brand  but a characteristic or trait. This marketing technique reinforces certain stereotypes of gay men being positive, flamboyant and eccentric. 
• The magazine was founded in 1994 by a straight couple, but both initial staff writers were gay. Currently, the majority of attitude’s staff are gay.
• Attitude hold awards, the attitude Awards, which celebrate gay people and allies who have furthered queer rights and been influential in the gay community
• Purchased by Stream Publishing, Stream are a horizontally integrated UK magazine publisher who specialise solely in publishing magazines
• The website was started in 2013, after the publisher resisted having a website for many years. This is purely speculation, but this may have been to avoid damaging the magazine’s brand identity. 
• Attitude is currently published by Stream media, a horizontally integrated UK magazine publisher who specialise in publishing magazines. By specialising, certain corporations are able to minimise risk and maximise profit 
• The magazine was first published in 1994, and is the most widely read gay lifestyle magazine in the UK
• In 2005, a former editor won an award 
• In 2016, Prince William featured on the cover. Other celebrities who have appeared include Tony Blair, Daniel Radcliffe, David Cameron and George Michael. Not only does this allow the magazine to potentially appeal to a wider audience , it increases the share of the gay audience, and a chance for heterosexual celebrities to present themselves as a gay ally
• The magazine was founded by two straight people, but most staff writers are gay
• With a digital circulation of just 11,000, Attitude targets a niche audience
• However, the website attacts up to 1.7million users a month, and 1.2 million social media followers 
• Therefore, the website, which targets a larger, younger and mass market audience
• There are separate editions published in different countries, most notably Belgium and Vietnam and Thailand

Constructing reality: how are stereotypical representations of POC constructed in music videos?

What reality is constructed in the video to Gucci Gang by Lil’ Pump?

• This video represents a range of different social groups. One is high school students, with the MES of rows of lockers and stereotypical classrooms, typical of a high school in America. The high school has many elements of stereotypically middle class representation. The location is clean and well maintained, and the students are well dressed and look like they have emerged from an American high school drama. 
• However a diametric opposition has been constructed between this stereotypical middle class setting, and the artist. Lil’ Pump represents a stereotypical rapper. Involved in both drug dealing and violence, Lil’ Pump represents both criminals and older teenagers
• Lil’ Pump is also a representation of a person of colour, and this representation is constructed through a series of highly leading close up shots, which connotate his personality
• His confidence and rebellious attitude is constructed through the many shots showing clutching the MES of oversized bags of cannabis. Not only is this symbolically connotative of his wealth, but also of his occupation, and he is clearly constructed as a drug dealer
• The MES of Lil’ Pump’s appearance is highly noticeable, and is constructed through the MES of bright pink hair and the shiny silver jacket. This alarming MES symbolises LP’s outgoing and arrogant personality. His mannerisms and movements are all performatively relaxed, his arrogant and excessively confident swagger mark him out as relaxed, even though he clearly represented as a criminal 
• Teachers and other authority figures are represented as having a complete lack of authority, therefore emphasising LP’s cavalier attitude towards drug dealing. The teacher’s costume, in particular her brown faded cardigan is stereotypical of old fashioned values, and contrasts violently with the costume of the students, which typically are almost aggressively colourful. 
• In this video, POC are represented as rebellious, violent criminals. However, through his sympathetic representation, LP is constructed as a likeable, edgy, and even funny character, which potentially reinforces the message that dealing and taking drugs is an acceptable lifestyle
• LPs slurred and even amateurish delivery is typical of the mumble rap subgenre, and even more importantly reinforces LP’s status as a gangster, as a threatening individual, and as someone who exists outside of the normal hegemonic rules of society 
• In reinforcing these stereotypes, this allows the video to minimise risk and maximise profit, by satisfying the expectations of the target audiences of this song

What reality is constructed in the video to 2024 by Playboi Carti?

• Playboi Carti is represented as an affluent young black American man. However, this performer is clearly flexing, and is demonstrating his wealth in an ostentatious and clearly arrogant manner.
• Rather than spending his money in a stereotypically privileged manner, and being found in locations symbolically associated with wealth, PC chooses instead to be situated at a gas station. The harsh, unpleasant artificial lighting here is anchored by the MES of bare concrete, constructing a sense of reality and normality. 
• Additionally, the setting is highly relatable, and provides a relatable mode of address. However, PC instead of purchasing gas or products instead stands with his group of black clad friends in the shop. The MES of their hoods, anchored through the gestures of their gang signs. Their very presence constructs young black men as a threating nuisance , and constructs an intimidating mode of address to the target audience. This mode of address relies heavily on a commonly held assumption of young black men, and therefore reinforces widely held stereotypes about young black men. 
• The MES of PC’s all-black costume connotes intimidation and violence. The colour black here also functions to make these individuals less identifiable, symbolic of crime. Furthermore, there is a conflation of the colour black and the ethnicity black, where both of these symbolise threat, crime and aggression. 
• PCs gestures are careless, low key, and nonchalant 
• PC’s indistinct vocal style is unique, and he was a progenitor of the mumble rap style. No t only anchoring his nonchalant ideology, something which is further reinforced through the production values of the video, which features substandard lip syncing. Constructing a representation of young black men as completely disengaged from society
• Why promote such a negative representation. Firstly: it’s cool. It’s appropriate for the genre, and it appeal to the target audience. Additionally, there is an argument that in embracing this stereotype, PC is appropriating negative representations of black people, and in doing so is reclaiming this image, and prompting a completely separate cultural ideological perspective 

Zoe Sugg video analysis: Huge Summer Primark Haul

 

The thumbnail image preview for this video uses anchorage to perfectly encapsulate the joy of a consumerist lifestyle. The combination of Sugg's performatively winning smile, the mildly sexual connotations of her costume, and the further reinforcement of the proairetic potentiality of the mise-en-scene of her bulging Primark back serves to construct a representation of  commodity as fetish. This frenzied unwrapping and revealing of commodities constructs a rapid-fire montage dopamine hit for her then younger and potentially more vulnerable target audiences

• Zoe Sugg, here in her Zoella persona/character ostensibly ‘reviews’ a range of jewellery and later clothes from the affordable height street fashion giant Primark. Popular with British working class women, the inclusion of Primark merchandise allows Sugg appeal to a larger and also more targeted audience .
• However, this working class mode of address is clearly at odds with Sugg’s status as a multimillionaire entrepreneur. This simultaneously constructs Sugg as a humble and down to earth working class girl yet simultaneously a extravagant and aspirational figure 
• This video takes a clearly capitalistic and consumerism related mode of address, that clearly supports the ideology that purchasing items can lead to a better lifestyle. This potentially depressing lifestyle is simply not sustainable, in terms of radical expenditure. Additionally, the production of cheap, fast fashion is reliant on the exploitation of vulnerable workers in third world countries. Interestingly, the rhetoric of huge ‘haul’ videos has come under criticism, which reflects a subtle shift in ideology. 
• Haul videos are popular in the same way surprise egg videos are possible, and provide her young and impressionable audience with an escapist fantasy that is clearly not sustainable. However this fantasy models addictive and problematic behaviour, with short term hits of dopamine 
• Suggs in her Zoella era would sometimes command anonymous hatred from online users
• The video takes the form of a haul video. Objects are removed one by one, and held up in front of the camera in a series of ECUs. This reinforces a clearly capitalist and consumerist ideological perspective. In fact, by emphasising the MES of these consumer products in a carousel of consumerism and commodity fetishism. This is further reinforced by the straightforward and meaningless appraisal of each item. Sugg (here in here Zoella format) simply comments on the price (“it’s £1.50! You can’t go wrong!”) and that she will wear it.
• Primark is marketed as an affordable shop. Here however, Sugg has purchased (or had purchased for her) a vast amount of products, seemingly breaking the very values of Primark. 
• This address is potential harmful in a number of ways. The environmental impacts of fast fashion are considerable. Fast fashion is predicated on the exploitation of workers 
• “Whoever made these socks: I love you!” Sugg’s blatant and almost fetishistic love of consumerism comes through explicitly in this video
• Sugg here presents a clearly contradictory mode of address, with the ‘relatable’ address conflicting with her clear status as an established millionaire super vlogger. This disingenuous mode of address may in fact may alienate her audiences. In later videos, she has pivoted to exploring more luxurious brands, which again may further alienate audiences.

Textual analysis: how does Sugg’s face and general appearance allow her to appeal to her many audiences?

Promotional images like this one are used by artists to encode their ideological perspective and to construct and cultivate a coherent brand identity. For Sugg, her face itself is her brand identity! So how can we analyse her face?

• Sugg presents a straightforward and even bland set of fashion choices. This ‘corporate blandness’, typified by neutral creams and her high ponytail suggests neutrality and an unwillingness to portray unconventional lifestyles. This allows her to appeal to her vast target audience. 
• The MES of her gold jewellery is further anchored through the symbolic connotations of her cream coloured jumper, which has significant connotations of purity and innocence 
• Her costume is somewhat conservative, and in it’s baggy coverage somewhat subverts Van Zoonen’s ideological perspective that women’s bodies are a site of exploitation by male audiences
• Her makeup is prominent, yet applied in a somewhat neutral manner, and here takes on positive proairetic connotation: her makeup here symbolically connotes confidence and self affirmation 
• Sugg is notable for starting her get ready with me videos by wearing no makeup, drawing attention to her acne and her skin conditions. Therefore her makeup here symbolically represents confidence and has a therapeutic quality
• Sugg’s smile is practiced, and emphasises the soft quality of her face. The lines of her smile are connotative of playfulfulness and silliness. However, we can argue that this smile has a cynical quality, and emphasises are certain practiced playfulness, 
• This promotional image constructed a clearly hyperreal representation of Zoe Sugg. In fact, she has published a blogpost about how to take the perfect selfie, with hints and tips on how lighting can construct the perfect ideological connotations

Hyperreality: where the representation is more real than the thing it is representing