Key assessment 1: mark scheme and indicitive content

The question

Key assessment one

This exam contains one question. This question requires an extended response and will be marked accordingly. 

Total time allowed: 45 minutes. With extra time: 60 minutes

For question one you will be shown the 2025 John Lewis Christmas advert twice. John Lewis is a UK department store.

• You will be allowed one minute to read Question 10.

• The advertisement will be shown three times.

• First viewing: watch the advertisement.

• Second viewing: watch the advertisement and make notes.

• You will then have five minutes to make further notes.

• Third viewing: watch the advertisement and make final notes.

• Once the third viewing has finished, you should answer Question 10.

10 - Explore how this advertisement uses media language to communicate meaning [15, 45 minutes]

The mark scheme

Band 5 - 13 - Excellent knowledge and understanding of media language and the theoretical framework. Excellent consideration of how media language combines to create meaning. Examples given are detailed, relevant, and accurate. Appropriate theories will be accurately applied.

Band 4 - 10 - Good knowledge and understanding of media language and the theoretical framework. Good consideration of how media language combines to create meaning. Examples given are good, and generally accurate. Theories may be accurately applied.

Band 3 -  7 -  Satisfactory knowledge and understanding of media language and the theoretical framework. Satisfactory consideration of how media language combines to create meaning. Examples given are reasonable but straightforward, and may have inaccuracies.

Band 2 - 4 -  Basic knowledge and understanding of media language and the theoretical framework. Basic consideration of how media language combines to create meaning. Examples given will be limited. There will a tendency to describe. 

Band 1 - 1 -  Minimal consideration of how media language combines to create meaning. Basic, or no supporting examples

The grade boundaries

A* - 14-15

A – 12-13

B – 10-11

C – 7-9

D - 5-6

E – 3-4

U – 0-2

The indicative content

Meanings created through media language may include:

• A sense of nostalgia

• The selling of a middle-class lifestyle

• The conflict between exploring one’s hobbies and family life

• Gender roles: men and women: sexist gender standards

• The past and the present

• The relationship between fathers and sons

• Emotional manipulation

• ‘The meaning of Christmas’ 

• The sexist ideology that women do not have hobbies or interests

• Capitalism, consumerism, and the perfect lifestyle obtained through buying things

• Hegemonic norms of the nuclear middle-class family, the idea family…

• Britishness

And these may be constructed through media language in the following ways:

• Codes and conventions – Advertisement is highly conventional of Christmas adverts for department stores, as it uses narrative conventions to sell a middle-class lifestyle. A clear, easily identifiable narrative is constructed for the target, middle-class, middle-aged audience. Positioning them as a middle-aged father experiencing Christmas with his teenage song (and presumably less important wife and daughter
• Cinematography – a range of shot types are utilised, most notably the use of close-up shots, positioning the target audience with the father, and forcing them (manipulating them?) to identify with his emotional response
• Fonts and graphics – The John Lewis logo is simple, classy, somewhat minimalist and classic. It is sans serif, denoting a certain degree of confidence. 
• Mise-en-scène – colour – For the home scenes, a range of neutral, even bland tones are selected, functioning as a symbolic code for a sort of hegemonically acceptable middle-class lifestyle. This provides a diametric opposition to the intense coloured lights and high key spotlights of the club sequence. Here colour is used to construct a reality where middle aged family life and hedonistic clubbing lifestyles are incompatible
• Lighting – The lighting in the living room setting is low key, flat, yet bright, with no particular emphasis. Once more this proves a binary opposition to the darker yet high key spotlights of the club, constructing drama and intrigue for the target audience
• Setting – The living room is stereotypically middle class. The bland furnishings and abstract art suggest a stereotypical cliché of white, British middle-class lifestyle that John Lewis wish to evoke. The club scene is messy by contrast, although there is no explicit drug use or other adult activity associated with clubbing, suggesting a nostalgic mode of address
• Roland Barthes and myths – Barthes suggests that myths construct our understanding of the world. In this advertisement, the myth is one of fatherhood, with the cliched montage of high key lit close-up shots of a grinning infant and the slow motion shot of the father’s sweating, emotion wracked face. The myth constructed here is that fatherhood is preferable to youthful excitement, and that at some time in our lives, we become middle aged and accept the next stage of our journey in life. This notion is highly conservative, hegemonic and widely accepted. 
•  costume/dress – The costumes are largely stereotypically appropriate for a middle-class family, and differ wildly to the early 90s clubland sequence, which sees shaved headed ravers dancing to insipid mainstream dance music. Once more, this binary opposition reinforces the importance of a middle-class lifestyle and suggests that buying John Lewis products will help this to be accomplished. 
• Language – slogan – The slogan ‘if you can find the words/find the gift’ is displayed across a screen featuring a stereotypically middle-class household. It reinforces the ideology that the most important thing in life is to buy consumer products. This capitalist ideology is at the heart of all advertising and explicitly suggests that love can be purchased through commodities.  
• Elements of narrative – The advert uses a conventional narrative to appeal to the target audience. The trope of the crying father seeing his new born son is well worn, and the emotional impact of this advert has been carefully considered to help audiences associate John Lewis with an emotional, middle-class lifestyle
• Props – The record being unwrapped functions as both a proairetic code and a hermeneutic code. As an audience, we are forced to question the value of this product to the father figure, which only becomes clear after the flashback sequence
• Camera work – movement – The club scene uses roving tracking shots, in contrast to the static cinematography of the living room sequence, suggesting that these two locations form a binary opposition
• Editing – pace – The pace of editing changes dramatically, as we move from the internally diegetically situated reverie of the club to the extradiegetic flashes of memory. The use of slow motion here emphasises the importance of this moment. Combined with the sudden drop out in sound, an almost drug-like address is constructed, perhaps signifying to the audience that to have a child is as exciting and emotional as taking drugs at a nightclub!
• Sound – music – the diegesis of the sound is complex and confusing. Initially diegetic and situated through a record being played on a high-end turntable (which of course can be purchased at John Lewis!), the switch to the club setting sees the presence of the music increase, symbolically suggesting nostalgia. Finally, the song completely changes instrumentation, and we hear perhaps the father himself crooning in a high-pitched voice at this son. This suggests a narrative where the excitement of youth has morphed into a different excitement of adulthood
• Selection of song – the song itself is melodic and middle-of-the-road, with no aggressive bass or breakbeats, allowing it to appeal to conservative audiences 
• The lifestyle being sold in this advert is an idealised middle-aged lifestyle, of wealth, privilege and the nuclear family. It suggests that an exciting life can be lived at home, if it has been furnished with John Lewis products!

Analysing advertisements: a range of semiotic deconstructions to kick-start your unseen analysis revision

 Levi Jeans advert featuring Beyonce

• The MES of the laundrette setting is shabby, old fashioned, and symbolically represents the working class. This constructs a compelling contrast to the target audience. 
• The MES of the iconography of Beyonce’s hat makes reference to the western genre. Beyonce is symbolically constructed as a cowgirl, selling the audience an old American west lifestyle. 
• Both the hat and the jeans are the same, a bold fashion choice, symbolically suggesting that Beyonce is both confident and effortless 
• In both images, B’s posture emphasises the curves of her body, symbolically suggesting that Levi’s jeans symbolise sexuality 
• A simple, straightforward outfit, with the bleached platinum hair symbolises the working class, and in particular white working class person. For a black woman to wear this stereotypical outfit, a symbolic sense of inclusion is constructed 
• Beyonce’s pose is symbolic of her confident and independent attitude towards life. In particular, the gesture of her reaching up and leaning on the washing machine is symbolic of her relaxed attitude to the situation
• The setting is stereotypically working class, which is emphasised by the old and battered washing machines. This rough and ready setting is a clear contrast to the glamorous and beautiful Beyonce.
• The model is wearing a platinum blonde wig, which symbolically encodes a range of meanings. Firstly, it demonstrates the reality where Beyonce can change her appearance to advertise a range of products. Additionally, the platinum blonde hair and cowboy hat is stereotypically symbolic of the American white working class woman. This is in stark contrast to not only Beyonce’s wealth, but also her ethnicity. 
• Beyonce's posture and gesture demonstrates pride in her appearance, in particular her buttocks. This symbolic encoding of sexual objectification, as well as a confident and empowering body image that present a complex and conflicting ideology to the target audience 

Brioni advertisement featuring Samuel L Jackson 

• The model is smart, sophisticated and has a straight face and an authoritative posture. The MES of these elements connotes that he is in a position of power, and is the boss of a large and successful company. 
• The pure white background not only draws our attention to the model’s clothes, but also provides contrast between his dark suit and his dark skin, creating a striking contrast. This striking contrast suggests that this suit is exceedingly expensive. 
• The MES of the suit is connotative of wealth and luxury. This is anchored through the slogan, ‘tailored since 1945’, which reinforces these connotations of luxury. 
• The image is in black and white, which has connotations of old, established and classic design. Yet the black and white is also connotative of sophistication.
• The model is Samel L Jackson, an established actor who is famous for his intense and intimidating roles. The MES of his stern facial expression is connotative of contempt, positioning the audience in a nervous and intimidating mode of address.
• The model appears to be very classy and with expensive aspiration. The monochromatic colour palette is connotative of a sharp and clean aesthetic, which emphasises that Brioni is a particularly classy and high end designer. 
• The mid shot on the left is connotative of the quality of the suit. The audience is able to inspect it from a close up position. The image is perfectly balanced, connoting the power and the confidence of the model. The model’s body language suggests confidence. This hand on the leg suggests the model is confident in this situation, and this is an every day occurrence for him.
• The logo is in cursive font, connoting luxury and professionalism. The connotations of wearing a suit suggests a serious outlook, and a formal, serious or work based situation. 
• However, the model is static, and is completing no work. This forms a juxtaposition: while the suit connotes hard work and graft, the model is doing absolutely nothing. This suggests the model is in a financial position where he does not have to work.
• Samuel L Jackson is a famous actor, and provides the brand with star appeal

Prada dress

• The MES of the tiger constructs an hermeneutic code, forcing the target audience to ask why a deadly predator is in this room. The tiger forms a contrast with the living room setting…
• The setting is isolated and mountainous, constructing a hermeneutic code that asks the audience why this model is situated in this location. We also ask the question ‘where is this place’ 
• The model is calm, yet blank and indifferent. She lies on a sofa, speaking on a vintage landline phone, hermeneutically asking the audience why she is on the phone and who she is calling. 
• Finally, the MES of the model’s costume is fancy, luxurious, and high end, once more suggesting a complex mystery. 
• By utilising so many hermeneutic codes, the Prada advert forces the audience to consider the many mysteries of the advert, and therefore more likely to consider what the brand itself represents. 
• The MES of the tiger constructs an hermeneutic for the audience, forcing them to ask why the tiger is there, and its purpose in the advertising of this product
• The setting is somewhat ambiguous, functioning as an hermeneutic code. While the MES suggests asia, there is still no definitive answer
• The model is clutching a phone. This MES suggests that she is talking to somebody, however, this seems mysterious given the situation she is in.
• She is using an old fashioned landline, hermeneutically encouraging the audience to ask why she is using such outdated technology. The use of the old fashioned technology and the old fashioned architecture positions the audience in a confusing manner. 
• There is nothing explicit in this image to suggest what is being advertised

The Star Tuesday 9th September 2025 - Exploring composition and hierarchy in a tabloid newspaper

• The image of Donald Trump is larger than any other image, constructing a reality where Trump is the main focal point of the front page, but also incredibly important to the audience. The headline reinforces this idea, and the font is large, which shows how important the message is, and confirms the newspaper’s producers are trying to catch the audience's attention. The model’s enormous necklace here connotes a controversial opinion, and openly mocks the president of the United States. This reflects the idea that Trump is not popular with the audience of the Star. 
• A hierarchy of importance is established through image size. While Aerosmith are clearly important, their feature article is less important than the story on Trump, which indicates the target audience of the daily star are immature and less educated. 
• A tabloid newspaper - a highly informal approach 
• The most important aspect of the front page is the main image of Donald Trump, accompanied by the headline ‘fool’s gold’. By being the largest image, it is connoted that only is Trump the most important person, but this story is the most important. This constructs the message to the English audience that Donald Trump and right wing politics are the most important and noteworthy. However, despite his importance, the layout constructs trump as an idiot. Furthermore, Trump is constructed through the ridiculous MES that connotes that he is tacky and foolish. By presenting such a story, The Star appeals to it’s audience who are critical of Donald Trump. The secondary story features old rock stars sharing memories of Ozzy Osbourne, which will appeal to an older audience.
• Exploring composition and hierarchy in a tabloid newspaper
• The image of Donald Trump is larger than any other image, constructing a reality where Trump is the main focal point of the front page, but also incredibly important to the audience. The headline reinforces this idea, and the font is large, which shows how important the message is, and confirms the newspaper’s producers are trying to catch the audience's attention. The model’s enormous necklace here connotes a controversial opinion, and openly mocks the president of the United States. This reflects the idea that Trump is not popular with the audience of the Star. 
• A hierarchy of importance is established through image size. While Aerosmith are clearly important, their feature article is less important than the story on Trump, which indicates the target audience of the daily star are immature and less educated. 

How do iconographic referents construct complex meanings in the theatrical trailer to Strange World (2022)?

• The iconic animation style in Strange World is highly reminiscent of recent Disney films, for example Encanto and Big Hero 6, with highly expressive and exaggerated facial expressions. These exaggerated facial expressions are iconic and easy for a younger target audience to understand. The use of bright colours is also iconic, appealing to a young audience who are familiar with Disney films, constructing a sense of comfort. 
• Additionally, while this is a family adventure film, it also uses the conventions of the science fiction, for example high tech weapons, spaceships and other retro sci-fi elements. The title card makes explicit reference to a number of 80s franchises, which appeals to older audiences but also younger audiences who are interested in a diverse range of media. Finally, the environmental message of the film is clear, with the world being threatened by evil aliens, and a farmer having to sort the issue out.
• The trailer includes themes of the supernatural and science, making reference to many other films. This helps the audience to understand the scenario of the film, and to come to a conclusion as to whether they will enjoy the film. Additionally, the film includes the iconography of the adventure film, and the font of the title makes iconographic reference to Indiana Jones and Duck Tails, allowing the target audience to make a decision as to whether or not they will see the film. 
• The wicker hat worn by the father is an infographic of south America and the south of America, helping the audience to understand where this film is set. Additionally, the hat connotes the protagonist is a farmer, and is therefore working class, providing a relatable mode of address to the target audience. 
• The film focuses on family issues and problems, which is encoded through the depiction of complex family relationships. Additionally there are themes of queer identity and relationships. The main character is quite flamboyant and camp, which constructs an inclusive representation that demonstrates an inclusive brand, and attempts to maximise revenue. 

Montage in the opening of Chainsaw Man

• The rapid fire editing of the opening sequence constructs an overwhelming and confusing narrative for the target audience. Some audience members will take this as a challenge, and will want to understand what this show is about. Anime typically targets a niche audience, and therefore focuses on scenes of intense and chaotic violence which are contrasted with gentle slice of life moments including the characters bowling. 
• The OP makes iconic reference to a number of other films and media products, including Quentin Tarantino, The Cohen Brothers, and other big Hollywood productions. This helps to target an audience with a comprehensive knowledge of film and comics. Therefore this show targets fans. 
• The fact that there is so much editing in this opening sequence connotes that lots will happen in this show 
• Many cuts emphasise the violence and action that the show is known for.
• The opening rapidly cuts from extreme long shots to mid shots to extreme close ups, constructing a fast paced and exciting set of symbolic connotations. However, in this rapid fire montage, we also cut to mundane and slice-of-life scenarios, for example the characters bowling, watching films, and walking down the street. This creates contrast, and temporarily takes the audience’s mind away from the violence. 
• The chaotic and sporadic montage suggests that the show is nowhere near as serious as we might expect, providing the audience with a fresh new perspective. 

Positioning in Titanic

‘Are you ready to go back to Titanic’

• These words are spoken by the chief scientist, who is directly addressing the old woman. However, in doing so, he also addresses the audience. We are addressed in a way which assumes our interest and excitement. We are positioned with the old woman through a montage of POV shots, positioning us directly as the old woman. Through the framing and composition of the shots of the old woman, a visual hierarchy is constructed where she is clearly the most important aspect, further positioning the target audience. Finally, the old woman is a stereotype of a nice old woman, constructed through her soft voice, her generic grandma look…
• 1st Class dinner - the audience is positioned with Jack throughout this sequence. He occupies the most screentime, and the shot types and camera angles position us at the table, directly with him. 
• 3rd class party - the audience are initially positioned with rose, using an over the shoulder shot
• A range of sophisticated techniques are used to position the audience in a complex array of positions, even shifting our perspective on multiple occasions. 
• Jack is instantly constructed as a working class outsider, and this encourages the audience to root for him. Jack is clearly not comfortable with this situation, increasing our affinity with him. A range of close up shots track Jack's facial expressions, and we cut away to reaction shots of the group of snooty socialites judging him. Additionally, the actor playing jack is famous and attractive, allowing the audience to position themselves with him more easily.
• In the following sequence, we are instantly positioned with Rose. An over the shoulder shot establishes the chaotic and exciting party scene, and the audience are positioned with Rose. Then, a cut to a mid shot reveals Rose’s uncomfortable expression and the laughing passengers in the background. We cut to Jack pulling Rose, and therefore the audience into the dance floor. We cut to an ECU of Jack’s hand gripping Rose’s waist, which positions the audience in a scandalous position  

TWICE "THIS IS FOR" M/V - how does this music video use MES to construct a range of polysemic connotations?

• The matching outfits construct a symbolic connotation of power and unity. The red knitted costumes are connotative of an attainable and crafty sense of fashion, and is essential to positioning the target young female audience and to help them identify with the performers. 
• The performers are stereotypically beautiful, not only constructing an aesthetically pleasuring music video, but also provide an aspirational role model for the young women this video targets.
• The video frequently changes setting, and in doing so, shifts the narrative. This helps the audience to pay attention, and indicates the target audience is younger and predominantly female 
• The video uses a variety of settings including rooftops, a street scene, and most strikingly a subway. These normal settings provide a contrast to the glamorous performers, and construct a symbolic connotation of unexpectedness and surprise. Additionally, this setting is highly relatable to the young target audience, who will live in cities and commute to work or school. 

How does the combination of media language construct meaning in the ‘Gandalf returns to the Shire scene in The Lord Of The Rings: The Fellowship Of The Ring (Jackson, 2001)?

• A sense of community and friendship is constructed between Frodo and Gandalf, constructed through a montage of close up shots of the characters laughing. This constructs a sense of friendship, and an idea that this friendship started before the film began. Furthermore, a midshot of the two friends sitting together on the cart is reinforced through the facial expressions, especially Frodo gazing lovingly at Gandalf.
• The audience are positioned in a range of situations, sometimes as the little guy, using low angle shots to the adience with him, and constructs gandalf as a delightful grandfather figure. As we travel with G and F, a range of tracking shots establish and construct a peaceful and happy village, filled with friendly farmers, belonging to the working class. 
• Ultimately, a friendly and wholesome atmosphere is constructed, which is reinforced through the final shot of the children laughing and running after Gandalf in excitement. We are positioned briefly in a childlike state of wonder 

San Junipero: analysis, genre, intertextual relay and allegory

San Junipero: Initial discussion

• Genre, narrative, aesthetic, soundtrack, themes, sociocultural context, sociohistorical context, personal response…
• Distributed and broadcast on Netflix, an online video streaming platform that operates on a subscription model. Models such as Netflix have shaped the way that we consume television. In fact Netflix is not even televisual technology, but uses this terminology to construct a nostalgic mode of address. Netflix provides the audience to schedule their own programming, including watching something from halfway through. 
• The episode is fixated on the idea of death, and the function of death as a concept to give life as meaning. In one startling scene, Kelly gets into a car crash on purpose,, yet there is no shocking gore, only her undamaged body, lying on the floor in the rain. This apparent suicide here has no repercussions, and resembles an action film or even a videogames. Before this, Kelly muses on the fact her husband and daughter died without the opportunity to live forever ion the virtual world, suggesting in this future, there is an inequality.
• A complex representation of queer identity. Both the main characters are completely different. Yorkie is a lesbian, yet her parents never accept this, which leads to her suicide attempt and her being comatosed for her entire life. Kelly is bisexual, (“men, women, what’s the difference?”), a non traditional and even subversive representation of sexuality. Yorkie on the other experiences intense shame, and is monogamous in her relationship. 
• Kelly and Yorkie’s relationship is toxic, with Yorkie in particular being manipulative. She blatantly encourages Kelly to kill; herself in order to spend eternity with her. Kelly often seems unsure about this, initially ghosting Yorkie and after she gets too intense, and clearly stating that she does not wish to ‘pass over’, where digitised consciousness are uploaded to a server farm somewhere in Texas. 
• Negotiated readings: Kelly very strongly and forcefully does not wish to pass over. Yet minutes in the narrative, she decides to do so,. This aspect provokes a number of negotiated readings. It can be read as bad and inadequate writing, where the character development is insufficient to justify this. However, this can also be read as Kelly’s sudden and overwhelming fear of death. It also reinforces the ideology that the only way to be happy is to ‘settle down’ and to engage in a hegemonic and even heteronormative ‘married’ situation. Yet Kelly completely contradicts this, by giving a monologue on her own family situation, the strength of her marriage, and how she sees this as being superior. Other audiences may consider that Kelly simply gives in to the manipulation because Yorkie has manipulated her to such an extent. 
• Copy anxiety, simulation anxiety, teleportation anxiety. Simulation - a hypothetic perfect recreation of another world. The simulation hypothesis. It cannot proved that we do not live in a simulation.
• Five minutes in to the future 
• Genre, narrative, aesthetic, soundtrack, themes, sociocultural context, sociohistorical context, personal response…
• The episode uses science fiction conventions to explore the representation of queer people in the 1980s. The episode is not set in the 1980s, yet it constructs a representation of the 1980s, and uses this this to explore themes of homophobia and queer acceptance. 
• The episode is initially highly ambiguous, and constructs a compelling and highly recognisable representation of the 1980s. Cutting between the characters as older and younger versions of themselves seems to suggest a time travel narrative . Instead, the episode takes the form of a ‘science half-fiction’. Set ‘five minutes in to the future’, it depicts a world completely like our own yet with a few fundamental changes. In this world, a virtual reality simulation has been achieved that is indistinguishable from our own world. 
• Examples of simulation narratives within the science fiction genre include Tron, Inception, Ready Player One, Assassin’s Creed, Free Guy, The Truman Show, Jumanji, The Matrix, The Ninth Floor, Pixels…
• One big theme of this episode is aging, life and death. Death in particular is a point of fascination for humanity. Not only do we disagree on what happens ‘after’. It is also a universal truth, which is why so many sci fi narratives explore the concept of the afterlife
• The show constructs a depressing and stereotypically tragic representation of queer love, that does not do enough to distance itself from previous negative portrayals. It reinforces the ideological perspective that to be gay is to be a victim and to live a tragic life
• Many audiences consider this episode to be the most positive out of every episode of Black Mirror. It has a ‘happy ending’. And ends with a vision of eternal bliss. However, Kelly has completely reneged on her previous feelings for her dead husband and daughter. The couple have a toxic relationship which is based on disagreement and a completely different perception of the world. Yorkie is exceptional naïve, and this is due to the alarming reason that she has been in a medically induced coma for around 60 years.
• The aesthetic of the episode is highly nostalgic, and uses a range of media language to construct a nostalgic aesthetic. The 80s is constructed in a relentlessly positive light, with 80s fashion, music, and atmosphere all being fetishised. However, this completely ignores issues such as the miners strike, political tensions, a financial collapse in the UK.
• A nostalgic atmosphere here highlights a problem with nostalgia. Constantly looking back rather than forward can be politically disastrous, and ensures that society never progresses. 
• The soundtrack is completely composed of 80s songs which have been officially licensed. This adds great expenditure to the production, yet also provides the audience with a range of well known songs that sets the scene for the audience regardless of how old they are. However, most of the songs included explore the themes of the episode (eg Heaven Is A Place On Earth by Belinda Carlile introduces the theme of death, the afterlife and simulation.
• There is also a heavy emphasis on videogames throughout the episode. Yorkie Plays a game called Bubble Bobble, reflecting the nature of the simulated world that they are in. Videogames function as a metanarrative, and allow us to understand what is happening in this episode. 
• The ending of the episode positions the target audiences in a range of negotiated positions. 

Intertextual relay and the dress-up montage

• The use of intertextuality, so typical of the sort of 80s dramas that this episode pastiches utilises intertextual relay in a sophisticated and complex manner to help the audience to understand not only the supposed setting of the episode, but also the deeper motivations and personalities of the protagonists. 
• The montage uses the iconography of the mid-1980s to construct a nostalgic mode of address. This sense of anomia is highly involving and yet also highly controversial.
• By identifying with Ally Sheedy’s recluse, a complex construction of identity is formed. Our intertextual relay allows us to understand how chaotic and confused Yorkie’s life, and functions as a proairetic code, suggesting Kelly will ‘save’ Yorkie’ 
• The use of the Smiths song ‘Girlfriend in a Coma is highly polysemic, functioning not only as a reference to Yorkie’s depressed introversion, but also explicitly referencing the fact she is in a coma

San Juipero and the utilisation of generic paradigmatic features: in what ways is this episode conventional and unconventional of the science fiction genre?

Conventional 

• Progressive, complex representation of queer identity
• Forces us to confront modern issues in a futuristic setting
• Themes of VR and simulation
• Happy ending??????!!!!?????
• Layer of depth and complexity open to interpretation. Challenging to audiences!
• Sci-fi jargon
• Glittering LEDs, robotic arms, glitchy noises 

Unconventional 

• Lacks any reference to aliens, robots, spaceships and the archetypal conventions of the sci-fi genr
• The queer relationship is atypical of media in general
• 80’s setting. Arcade games, music, costume, club…
• No clear monster or antagonist…?
• Bleak, miserable, open ended ending

The rooftop scene: how does this sequence utilise generic paradigms of the science fiction genre to engage audiences with intertextual relay?

• In the bathroom, Kelly punches the mirror, which is fixed within the same shot. Although a clear reference to the fact the episode is set in a simulation. The pan back up to the intact mirror functions as both an hermeneutic code and a proairetic code. It is confusing and mysterious, constructing enigmas, yet it also suggests to the observant viewer that this is a simulation. 
• On the rooftop, the women discuss a confusing array of topics, referring to the inhabitants as dead, and terms such as ‘full timers’ 
• “I hope your pain slider is set to zero” - a clear science fiction convention
• The soundtrack uses bleak, drawn out synthesisers. This cold, dead music production technique is typical of the sci fi genre, referencing everything from Ghost in The Shell , to vintage sci-fi films like the star trek series. 
• The performance is serious, with the characters discussing the nature of humanity itself.

How does San Junipero use science fiction elements to construct a dense and complex allegory for the target audience?

• Virtual reality, videogames and social media networks. These can be extremely distracting, and arguably can remove our ability to think for ourselves. It is mentioned that if living people use SJ for more than an hour a day, they lose touch with reality
• A fear of the future and what it will bring. Specifically, a fear of the intrusiveness of AI. It could take our jobs, it has a huge environmental impact, and it encourages dependence and we may be controlled by it. The bots, generated environments, weather systems etc in San Junipero all require AI.
• Death, and what happens after we die. We have no control over death. It is a complete mystery. Judeo-Christian ideology suggests there are a number of afterlives that can be accessed from living a good life. There are several references to religion: Heaven Is A Place On Earth, the MES of a priest, and Kelly discussing her family’s beliefs. In this episode, heaven is made explicit. 
• Assisted dying and euthanasia. Euthanasia is an extremely controversial idea. Some people may seek assisted suicide if their living conditions make it painful to continue living. By discussing this in a sci-fi setting, this controversial idea can be explored in depth. 
• Serious illnesses, mortality, aging, the inevitability of death… Our values when we are young are radically different!
• Sexuality and homophobia - Yorkie grows up in a conservative and homophobic household. Kelley is literally from another time. Kelly is bisexual, yorkie is a lesbian, Kelly is poly, Yorkie is monogamous… sexuality is very complicated!
• How technology revaluates the meaning of our lives. The current debates around AI have us talking about how our day to day existence has changed. By automating our lives, we potentially stop learning and having experiences. In SJ, every day is automated, by a series of algorithms and programming that ensures that things run smoothly. Nothing changes…
• What comes after death? Christian ideology suggests there is an afterlife, which is accessed through obeying the 10 commandments. However, in SJ, this has been circumvented. Perhaps explores the fear of death, and our relationship with Christianity… Do we even need an afterlife? Who is it for?
• Sexuality and sexual identity. Yorkie is gay, and desires a monogamous, conservative relationship. However Kelly is bisexual, seeking a noncommittal, polygamous adventurous lifestyle. 
• Issues of persecution. Yorkie is persecuted by her family for her sexuality. This manifests in her coma, and also in her anxiety attacks. 
• Euthanasia and assisted suicide. This can be criticised, as some believe that no one can consent to dying, yet advocates claim that some people simply are too miserable to live. This episode uses the conventions of sci-fi to deal with a particularly difficult issue
• Nostalgia, and believing the past was better. Escapism. This episode uses sci-fi conventions to explore the idea of the issues with our own lives, and to challenge the audience to explore their own preconceptions 

Explore how a combination of media language is used to create meaning in both the Black Mirror episode San Junipero and The Returned [30]

• How does the opening sequence of San Junipero use semiotics, structuralism and bricolage to construct complex meanings?
• The gesture code of the dancing clubbers constructs a nostalgic mode of address. Alongside a world where most people are in a simulation. This is highly conventional of mainstream television, and the presence of hegemonically attractive people constructs a reality where looks are the most valuable aspect of a functioning society. 
• The title card, with the broken screen functions as a symbolic code,as well as a proairetic code, informing the audience that nothing is what it seems. 
• 80’s MES, bright lights, cultural references, and several references to the precise year construct a representation which is hyperreal, which is too perfect. This reinforces the ideological perspective that perfection is unattainable and can only be achieved through simulation
• We are initially positioned with Yorkie with an over the shoulder (O/S) shot, which blends into a tracking shot, following yorkie round the club. This allows the audience to identify the protagonist of the episode, and positions the audience with the values of Yorkie. This is highly conventional of mainstream television products. 
• The costumes are stereotypically 80’s. Eg Kelly’s costume strongly resembles something worn by the musician Prince. This act of intertextual relay helps communicate to the audience Kelly’s party girl persona. 
• Binary opposition between K&Y functions as a proairetic code. The differences in their performance of sexuality, their opinions, their personalities all create conflict, essential to a successful narrative. 
• Binary opposition is constructed between the use of the diegetic soundtrack and the non-diegetic soundtrack. In the establishing montage, a car blares out the 80s pop song ‘Heaven is a place on earth’, which functions as a proairetic code, suggesting to the audience the complex themes of this episode. However, this is overlapped with the dark, bleak non0-diegetic soundtrack constructing a binary opposition, creating a sense of unease. This is anchored through the use of low key lighting, in combination with Yorkie’s confused and depressed performance. Finally, the audience’s knowledge of Black Mirror functions as an intertextual relay. Fans of the show will understand that this show is dark and depressing, dealing with times of rogue technology. 
• The dialogue is mysterious and confusing, highly conventional of the science fiction genre. Wes announces “we’ve only got til midnight’, which functions as a hermeneutic code for the audience. Additional hermeneutic codes are constructed through the club Tuckers. A binary opposition of the later Quagmire, the setting is period appropriate. However, it is clean, with music being played at a reasonable volume. Additionally, nobody is taking drugs, or is particularly drunk or under the influence. In fact, tuckers is hyperreal: a representation which is better than reality. 

Exploring genre conventions

 First year version

Lesson 1

• Select one horror film poster and one horror film trailer by using Google image search and Youtube.
• The films you select can be of any horror subgenre. Subgenres of horror include psychological horror, zombie films, vampire films, supernatural horror and so on.
• Two examples of very different horror films are The Shining and Twilight.
• Using PowerPoint or even a notepad and pen, analyze how media language constructs meaning in these media. 
• This task is very simple, but it links to your next mock exam, so please complete extensive notes!

Lesson 2

Click here. Click on the theatrical poster for Kiss Of The Vampire, copy it, and paste it in to a PowerPoint slide.

Using the toolkit for textual analysis, label and analyze this poster in terms of what meanings it constructs. The more meanings, the better, but please make sure to link each one to a specific example of media language, eg lexis, MES, costume

Click here to watch the trailer to Kiss if the Vampire. What genre conventions are used in this film? In what ways can this film be seen to be British? And, most importantly, why do horror films not look, sound and feel like this any more?

Second year version 

Watch the trailers to at least two of the following science fiction films, and make extensive notes on how these trailers use genre conventions both conventionally and atypically in order to address and to target their audiences.

The Matrix

Split Second

Blade Runner2049

Arrival

High Life

Starship Troopers

2001: A Space Odyssey

Star Wars Episode One

Ghost In The Shell

Close Encounters

Johnny Mnemonic

Independence Day

The Thing

The Blob

Or absolutely any sci-fi films you want!

Having knowledge and understanding of sci-fi conventions is essential for not only the final exam, but also your KA6 mock exam, coming up just before Christmas!

Key assessment 5 (September mock) 2025 - mark scheme, indicative content, exemplar

This post collects the mark scheme, grade boundaries, indicative content, and an 'exemplar' essay that I wrote under timed conditions. 

Mock exams are not just blunt grade factories. They are designed to generate feedback. So read your feedback, read through this post, and consider: 'what can I do to do better next time?'

The exam

1 – Representation

Question 1 is based on the unseen audio-visual resource and the music video to Formation by Beyonce you have studied

The audio-visual resource consists of an excerpt (2 minutes) from the music video for Losing You by Solange. This music video was released in 2012. Solange Knowles is Beyonce’s sister. 

• You will be allowed one minute to read Question 1.

• The music video will be shown three times.

• First viewing: watch the music video.

• Second viewing: watch the music video and make notes.

• You will then have five minutes to make further notes

• Third viewing: watch the music video and make final notes.

• Once the third viewing has finished, you should answer Question 1.

1. Compare how the representations in the unseen music video and the video to Formation video construct values and attitudes. [30]

In your answer you must:

• consider the similarities in how representations construct values and attitudes

• consider the differences in how representations construct values and attitudes

• make judgements and draw conclusions about how far the representations reflect social and cultural contexts 

Mark scheme 

Band 5 – 25 – 30 – excellent, insightful, detailed

• Excellent, consistent and accurate application of knowledge and understanding of the theoretical framework to analyse the unseen advertisement and set music video

• Analysis of the ideologies conveyed through the representations is perceptive, detailed and may be informed by relevant theories

• Detailed and appropriate comparisons of the ideologies conveyed through the representations

• Judgements and conclusions regarding how the products relate to relevant media contexts are perceptive, insightful and fully supported with detailed reference to specific aspects of the products

Band 4 – 19 – 24 – good and accurate

• Good, accurate application of knowledge and understanding of the theoretical framework to analyse the unseen advertisement and set music video

• Analysis of the ideologies conveyed through the representations is logical and may be informed by relevant theories

• Reasonably detailed, appropriate comparisons of the ideologies conveyed through the representations

• Judgements and conclusions regarding how the products relate to relevant media contexts are logical and are supported with appropriate reference to relevant aspects of the products

Band 3 – 13 – 18 – satisfactory and generally accurate

• Satisfactory, generally accurate application of knowledge and understanding of the theoretical framework to analyse the unseen advertisement and set music video

• Analysis of the ideologies conveyed through the representations is reasonable and straightforward

• Satisfactory comparisons of the ideologies conveyed through the representations, although there may be more focus on one of the products

• Judgements and conclusions regarding how the products relate to relevant media contexts are straightforward and supported with some reference to relevant aspects of the products

Band 2 – 7 – 12 - basic

• Basic application of knowledge and understanding of the theoretical framework to analyse the unseen advertisement and set music video, although this is likely to lack clarity, relevance and accuracy

• Analysis of the ideologies conveyed through the representations is undeveloped and there may be a tendency to simply describe features of the products

• Basic comparisons of the ideologies conveyed through the representations, although there is likely to be more focus on one of the products

• Basic judgements are made regarding how the products relate to relevant media contexts and some conclusions are drawn, but these are undeveloped and only partially supported by relevant examples

Band 1 – 1 – 6  - minimal

• Minimal, if any, application of knowledge and understanding of the theoretical framework to analyse the unseen advertisement and set music video, with significant inaccuracies, irrelevance and a lack of clarity

• Analysis of the ideologies conveyed through the representations is superficial and generalised

• Minimal, if any, comparisons of the ideologies conveyed through the representations are made and the response is likely to focus only on one product

• Lacks judgements and conclusions regarding how the products relate to relevant media contexts

0 – nothing

Grade boundaries (using 2025 data)

A* - 25 - 30

72% - 22  x 1.16 = 25

A – 22 - 24

62% - 19 x 1.16 = 22

B – 17 - 21

51% - 15 x 1.16 = 17

C –  13 - 16

42% - 12 x 1.16 = 13

D – 10 - 12 

32% - 9 x 1.16 = 10

E – 6 - 9

22% - 6  x 1.16 = 6

Indicative content – suggestions for what may be included in a response to this question

• Exploration of postcolonial discourse. Gilroy, racial hierarchies, cultural referents, colonial iconography. Confirmation and/or subversion

• Representation of time and place. Time collapsed in Formation, similarly so in Losing You. A hodgepodge of disparate cultural signifiers

• Representation of black identity. MES of black cultural signifiers in Formation reflect a diverse and complex representation of black life in the deep south, particularly New Orleans. Losing You explores a negotiation of colonialism in Cape Town (thanks Naamah!)

• Representations of identity. Victimhood and power dichotomies in Formation, chaotic free-for-all in Losing You

• Representations constructed through genre of music. Beyonce’s trap/bounce hybrid connotative of violence and defiance, Solange’s 80s neo soul vibes are far less overtly aggressive

• Representation of gender. Beyonce assumes many forms, yet is often self-sexualised (a visual terrorist, according to hooks!). Solange is stylish and atypical in colourful, well-tailored suits, subverting hegemonic expectations of female identity?

• Social and cultural contexts in formation may include the American deep south, the aftermath of slavery still reinforcing social hierarchies (Gilroy), and the aftermath of Hurricane Katrina

• Social and cultural contexts in Losing You may explore the positive (???) effects of postcolonial identity in South Africa (or whatever African country students may identify; even ‘Africa’ would be appropriate as the music video never makes the precise location clear!)

• Stronger students may explore the ideological implications of such revolutionary and emancipatory ideological perspectives existing within the context of a capitalist mode of production. The function of a music video is to advertise a song, no more, no less!

• Representation of complex representations of female identity, including appropriate reference to gender performance, gender performativity, complex intersectional feminist ontologies and so on (hooks and Butler)

• A subversion of the stereotypical notion of the ‘male gaze’ (Mulvey, Van-Zoonen et al) as seen through the subversive iconography of Solange’s suit

• Exploration/eradication of queer identities. Formation’s uneasy relationship to That BEAT, Solange’s use of queer iconography through the suit/makeup (a little Grace Jones?)

• Both music videos use black hair as a representational device, with a range of black hairstyles constructing a diverse and emancipatory range of representations in both

• The symbolic annihilation of white people in both music videos

• The construction of reality in which two privileged nepo babies can use the iconography of poverty and diverse black referents beyond their own immediate experience to construct a hyperreal simulacrum 

The following additional indicative content was provided by Naamah. Thanks Naamah!

Similarities:

Both videos represent the value of pride, more specifically pride in your culture, this attitude is  shown through body language as people pose in both videos in a confident manner, there are lots of images of culture (montage at the start of Losing You), images of many  different locations/ people in Formation, use of the Union Jack on clothing in Losing you etc. Clear challenging of Paul Gilroy’s theory – these people are clearly proud of their culture.

Both show the diversity of black culture and that diversity is valued – the videos are filled with people who are all different (Basketballer, wig shop workers, parades in Formation, Tailor shop with worker and customer, radio shop, lots of people on the streets and in the minibus in Losing You). This suggests that there are many aspects to black culture, all of which are valued and accepted (attitude), so not reducing ethnicity to simple traits (Hall) and allowing audience to pick and mix their identity (Gauntlett)

Both have the attitude that women are empowered and strong (this is seen as positive) – both Beyonce and Solange directly address the camera, are often central in the frame, have confident body language and facial expressions, bold costumes that make them stand out, Beyonce sings about being the next Bill Gates and being the one in control of her marriage

Differences:

• In Formation wealth is clearly valued and seen as a way of proving your status/ importance. Beyonce wears expensive/ designer costumes, she lives in a mansion with servants, sings about being the next Bill Gates. 
• This is the reverse of Losing You where wealth is not valued (the location is clearly a rundown township, but they are still valued for their individualism without obvious signs of economic wealth). People are more interested in celebrating style, creativity, and cultural exchange through fashion, colour, and dance. Shows an attitude of joy, playfulness, and independence, even though the lyrics are about a failing relationship.
• In Formation there is the clear attitude that women need to assert their power –‘Get in formation’ suggesting that women should support each other and work together to make sure they are in control/ powerful and not subjected to the patriarchy (bell hooks). It borders on almost aggression ( Beyonce gives the finger, reference to hot sauce in her bag, aggressive facial expressions)
• Formation has a strong political message/ attitude about the need for resistance and protest, there is imagery of police cars, a little boy dancing in front of armed officers, and graffiti saying “Stop Shooting Us” highlight police brutality and systemic racism. There is a clear attitude about the way minority group have been exploited (bell hooks), anger at injustice, and a demand for change (‘get in Formation’ suggest working together to bring about social change Van Zoonen).
• Women are clearly valued for their physical beauty – Beyonce and her dancers are dressed in quite provocative costumes that reveal a lot of skin. Supporting Van Zoonen and her ideas about the objectification of women’s bodies in the Media.
• At times Solange does this, but it seems less provocative and many her costume are suits and cover her body. This offers up the attitude that women don’t need to sexualise themselves to establish power/ status or appeal to the male gaze to be acceptable and that there are more ‘versions’ of what it means to be a woman so audiences can ‘pick and mix’ representations to construct their own identities (Gauntlett).
• It clear that Beyonce is more valued in her video than Solange’s is in hers. Beyonce has ‘self represented’ herself as being more powerful than others (she is most often in the centre of the frame, dressed in a more expensive/ different way to her dancers, references to ‘yellow bone’ in the lyrics etc) suggesting the attitude that she is more important due to her celebrity status. Solange on the other hand is often pushed out of the frame by other people (e.g. in the minibus) which show that she is not the most important one in the video suggesting a more ‘equal’ attitude towards people.
• Men are constructed differently in the videos. In Formation it could be argued that men are a little less valued in terms of how they are constructed via ML – they are in the background of shot which also feature Beyonce, they are dressed as servant (in uniforms that don’t suggest wealth), while they do feature in montage moments they have far less screen time than the women, the lyrics suggest that Beyonce has power/status over her husband etc. The is a clear lack of a patriarchal attitude and dominance of men. In Losing You there is not such a clear hierarchy of women being in control

Judgements and Conclusions:

Cultural context

- Beyonce is working in America (mainstream music industry) which idolises success/ status which is often defined by wealth/ economic success. Beyonce is representing the ‘American Dream’ of success and highlighting in an idealised/ hyperreal/ exaggerated way that this it possible for black Americans (but not really the reality for most) so it is not surprising that this value/ attitude is central to construction of representation

- While Solange also works in the American music industry, it is more in the indie side which is less focused on wealth, she has also chosen to highlight a very different culture, namely an African country that has been affected by colonialism and is offering up a very different representation of a less well-known culture but in a positive (yet realistic way)

- Formation clearly references slavery in the deep south of American and the persisting issues of inequality in America that still dominate in the post colonial era (impact of Hurricane Katrina in New Orleans as shown in the setting, footage from documentaries/ news reports, Beyonce on top of the police car, ‘what happened in New Orleans’ at the start of the video) and the suggestion of institutional racism in the police force (police lined up facing a dancing child, ‘Stop shooting us’ graffiti, reference to Black Lives Matter, MLK etc) reflecting current issues in America at the time of release.

Social context

- Both videos are moving beyond post colonial ideas surrounding the representation of ethnic minorities as this was a common ideology at the time both songs were released therefore there are a more positive/ uplifting/ less stereotypical representation/ values/ attitudes towards ethnicity.

- Both represent women as equal to men, just as powerful and important, again reflecting the values/ attitudes/ ideologies of the time in which the text was made. There is less evidence of patriarchal values and attitude esp in Formation.

- It could be argued the Solange offers up a more nuanced, progressive set of values and attitudes surrounding the representation of women. There is less objectification of the female body which is not so true of Formation reflecting that there are still very contrasting values and attitudes toward some aspects gender representation in society.

Teacher 'exemplar' response

Please note that while a teacher (me) wrote this, it is very far from perfect. For one thing, I did not explicitly refer to values and attitudes by using the language of the question! While I did refer to many values and attitudes, this was generally implicit. This would potentially limit my mark, depending on how strict the examiner was. Basically, my own feedback to myself is: "use the terms values and attitudes if the question asks me to talk about values and attitudes!". Secondly, I would not be marked down for guessing 'Nigeria' for the setting of the Solange video. But I was totally wrong. It is a township outside Cape Town in South Africa!

Representation refers to the ways in which a group of people, an issue or an event are reconstructed by the producer of a media product. Representations are constructed through media language, and they present an opportunity for the producer to demonstrate their ideological perspective. In this essay, I shall argue that both the music video to Formation by Beyonce and the music video to Losing You by Solange use the language of postcolonial identity to construct a complex representation of black people, both in Nigeria (?) and in the south of America. However, both music videos construct this identity in different ways, for different political reasons. 

The music video to Formation primarily constructs a version of America where black people have been ignored, impoverished, and yet have thrived in terms of constructing a rich and powerful culture. Firstly, the destruction. Formation opens with an introductory establishing montage constructing New Orleans in the aftermath of Hurricane Katrina. The MES of flooded streets is anchored through the long, lugubrious tracking shots of desolate and largely uninhabited houses. Then we cut to the master shot: Beyonce, lying atop a police car, constructed through BEV and BCU, wearing a glamourous yet faded 70s dress, and drawling her lines to the camera. The police car is apparently floating in the middle of an expanse of water, constructing a diametric opposition between the confident yet vulnerable Beyonce, and the inherent hegemonic power of the police. This forces and positions the audience to either accept her punishment, or to empathise with her plight, a difficult and deliberately problematic positing. Elsewhere, we see further montages of squalor and deprivation. This ultimately constructs a reality where black people are vulnerable and neglected, and desperate for help.

Not so in Losing You. In stark opposition, the colour palette of Losing You (LS) is washed out, gorgeous, super high key lighting, with streams of natural sunlight washing through the Nigerian streets. Once more we see a choppy opening montage, which is entirely conventional of the music video. Yet here, Solange is not engulfed in water and alone; instead, she is engulfed with the constant MES of people and almost struggles at times to address the camera. Two wonderful shots: Solange dances awkwardly (and yet stylishly) outside a traditional Nigerian barber and is gently pushed away by the power of the shot. This gorgeous mid shot allows the audience to fixate on the MES of the hand painted signs as much as Knowles. Second shot: the de facto master shot. A crowded car, with Solange constantly pushing toward the camera to let herself be seen as the other passenger’s crowd around her. Here, Solange is constructed as confidently losing herself in the melee of Nigerian life, an African American her becoming part of the complex African diaspora. These shots are not just useful in constructing a complex representation of black identity in a globalised world, they also provide the video an edgy, stylish talking point.

This is not to say that Formation lacks this joy of living. Quite the opposite., While LY presents a cool, calm existence in the chaos, Formation constructs black working-class identity as an act of casual, cultural defiance against the wishes and forces of hegemonic postcolonial rule. This can be seen in the frequent use of close ups of aspects of black southern cultural heritage. The CU of sea food and other creole food, the CU of Beyonce’s braids swinging energetically as she leans out of her car, and the CU of batons being twirled in a parade filled with energy and excitement. Here we see black people as poor, but not victims, and presented their unique cultures in a way that will be thrilling and appealing even to black Americans, such is the hyper specificity of the representations on offer here. Paul Gilroy argued that media intrinsically constructs a hierarchy of importance through media language, where black people are subordinate to white. Here we see (almost) exclusive representation of black people in an alarming and delightful array of different representations, not simply the ‘token black’ stereotype reinforced by mainstream media. In this sense, the representation black people that Beyonce presents are far closer to the intersectional utopia that bell hooks presents, although it should be noted that hooks were highly critical of B. This will be explored below. 

Losing you also considers postcolonial identity. However, the hierarchy here is if anything more complicated, and not simply because the cast is exclusively black. As noted, while poverty here is an absolute, there is no trace of victimhood, only the joyful expression of culture. And unlike Formation, that presents a specific representation of Louisiana microculture, Losing You presents an immersive wash of iconography from a variety of different world cultures. This can almost instantly be noted through the MES of the dapper Nigerian man twirling a union flag umbrella. A later ECU sees him sipping tea, lit by the high key gorgeous Nigerian sunlight. This powerful diametric opposition constructs a powerful representation of postcolonial identity. While not erasing the devastation and inherent racism of colonialism, it still does present an exciting and fascinating depiction of Nigerian identity. The MES of the barber shop signs, beautifully yet cheaply manufactured, boast British and German haircuts alongside black and beautiful (quote?) skin treatments, demonstrating and constructing a reality where black identity is decidedly more complex than simply skin colour. This influx of cultural iconography can be seen throughout the video. The specced up bicycles reference European cultural norms, again forming a binary opposition the harsh yellow if the Nigerian sand on the floor. In this way, we see black people represented as powerful, beautiful, filled with life, and vastly more complex that mainstream white hegemonical ideological perspectives may suggest.

Moving beyond representations of race, there is a clear and considered difference in the representations of femininity constructed in both music videos. As mentioned previously, hooks considered Beyonce a ‘terrorist’ for hijacking media language and constructing a world where to be powerful is to be sexually desirable. I doubt that hooks would see much to dispel her views in formation. While there are a range of complex referents construct black people as powerful in the face of adversity, Beyonce consistently self-sexualised. The MES of her dance routine in the swimming pool sequence is a perfect example of this. Her movements are aggressive, powerful, and emphasised through the MES of her backing dancers. Her tight, figure-hugging leotard emphasises her musculature. It is clear that the preferred reading is to understand her as a beautiful and yet powerful woman. Liesbet Van Zoonen argues that gender is constructed not through biological differences, but in this case through media language. Wit the MES of her tight, sexualised costume emphasising her curves (perhaps Beyonce’s USP, a fact recently emphasised by her bottom being almost comedically emphasised in a recent Levi jean commercial!), we see a stereotypical construction of women only being powerful through their hegemonic attractiveness. This is emphasised through the production of the music itself: a dry, percussive, aggressive recontextualization of New Orleans bounce music, stripped of the queer lyrics, and now fixated on Beyonce’s status as a powerful and rich woman. In one telling shot, we see B making a ‘money’ gesture with her hands’ and directly addressing the camera, delivering the iconic line ‘if he fuck me good I’ll let him take a ride in my chopper".

Yet, and finally, Solange, is most at odds with her siter in her self-construction of her sexuality. Firstly, this is contrasted through the choice of genre. Unlike the aggressive trap beats of Formation, Losing You is a gorgeous, mellow, 80s inspired anthem that features swashes of keyboards and less demonstrative beats. We see Solange dancing in mid shot and MLS throughout the video, never accompanied by backing dancers, only totally impassive citizens going about their day. Solange dresses in striking, gorgeous, fabulously tailored suits that emphasise not her curves, but her tall, even skinny frame. Her make-up is feminine, but more striking than Beyonce. While she is clearly hegemonically attractive, and constructed as an attractive woman, she is never sexualised. It is difficult to contextualise Solange into the framework of Mulvey/Van Zoonen’s make gaze. Even intradiegetically she is resolutely ignored by the men and even women in the video. This stylish and performative presentation of gender clearly demonstrates how gender is fluid and that norms evolve over time (Van Zoonen), while also presenting an intersectional set of references that will appeal to a diverse range of audiences (bell hooks), and even constructs a complex, performative construction of gender that is highly likely to provide an inspirational framework of identification for her many target audiences (Butler). This is all reinforced through Solange’s performance. She dances stylishly yet awkwardly in her skinny suit, constructing a world where to be a woman (black, cis, Nigerian, American, etc) can be many different things.

In these many ways, we have seen how representations of ethnicity and gender have constructed a complex set of social and cultural meanings for the many audiences. Perhaps negatively, however, we must conclude that even though these images are positive and even emancipatory,  they still exist for the sole purpose of selling these songs within a capitalist system, and that while we may take inspiration and change our lives through their existence, they solely exist to make as much money as possible in the most efficient way possible. 

Solange’s representation as a woman is infinitely more nuanced.

A detailed deconstruction of the Tide advertisment

 How and why are representations constructed in the Tide advert - PEA paragraph examples

The advertisement constructs a stereotypical representation of a white working class American housewife. This representation is constructed through the MES of the gesture of the housewife hugging the box of soap. This message is anchored through the MES of the cartoon-like hearts, and finally through the lexis, Tide’s Got What Women Want, a hyperbolic mode of address which emphasises the housewife’s relationship with the product. This all constructs the straightforward ideology that women love to clean and to wash clothes. By reinforcing an ideology that women clean, a reality is constructed where the female audience will agree with the hegemonic message of the advert, and more importantly will buy the product to buy into this lifestyle. 

---or---

In the Tide Advert, a representation of a stereotypical, American, white working class housewife is constructed. This representation is constructed through the gesture code of the housewife hugging the box, confirming its importance. Furthermore, the anchorage of the colour red symbolically represents love and passion, which in combination with the cartoonish MES of the love hearts all construct a representation of an all American stereotypical housewife. This combination of media language constructs an ideology that white American women love to clean. This deeply sexist ideology would have been tolerated in 1950s America, as it would have been a dominant hegemonic value. Ultimately this advert would strengthen the stereotypical representation of women in 1950s America. 

A detailed deconstruction

The title

• The font is bold, which connotes both importance and excitement. 
• The colour red here connotes love, passion and excitement
• The letters appear to be painted on, which has connotations of being carefree, constructing a reality where women are carefree and less serious 
• The typeface follows a wave pattern, reinforcing the themes and symbolism of water
• The letters are sans serif, which has connotations of the working class
• The exclamation mark, in combination with the bold typography constructs a stereotypical representation of women. It represents washing as the most important aspect of a woman’s life. 
• The lexis suggests a universal love for cleaning. The binary opposite of want is do not want, with the suggestion that women that do not want to clean are wrong.
• The painted font suggests a quick process and a lack of effort. It represents women as a group who do not make effort. The plain san serif typography here suggests a plain and straightforward life
• The text takes the shape of a wave, suggesting silliness and a lack of effort, again reinforcing stereotypes about women

The insert image (housewife holding the sign)

• The use of red typeface has symbolic connotations of importance 
• The housewife’s expression is exaggerated to the point of ridiculousness, constructing a hyperbolic mode of address
• The housewife holds up a sign, connotative of her passion for this product
• The use of hyperbolic lexis here represents the product as beyond the quality of its competitors
• The MES of the woman holding the sign is connotative of the woman advertising the product.  This reinforces the ideology that the white working class American housewife believes 
• The MES of the housewife’s facial expression is also ridiculously hyperbolic, constructing a representation of a stereotypical stay at home housewife 
• Finally, the MES of the overflowing washing machine is connotative of the power of the washing, again reinforcing the power of cleaning in the lives of contemporary women

The comic insert

• The facial expressions are exaggerated, with the MES of the exaggerated smiles of the women in the garden constructing a symbolic code that women enjoy washing and hanging clothes
• The setting constructs an everyday activity. Yet the representation is exaggerated and clearly fake. The MES of the speech bubbles are iconographic of comic books, a medium that tends to target younger people. This childish mode of address assumes the target is less educated, reinforcing a stereotype about women. 
• The lexis ‘there’s like proctor and gamble’s tide’ is connotative of advertising, and constructs a world where women only talk about the quality of cleaning products.
• The sans serif font of the discussion reinforces the overall style of this advertisement. Sans serif here connotes bold and eye catching, constructing a reality where the less educated female audience will be able to engage with this advert
• The binary opposition formed by the colours, with the multicoloured clothes compared to the stark white background constructs a reality where ‘washday’ is an exciting day
• The cartoon speech bubble is connotative of a much younger audience. Yet the target audience is much older than the audience for comics. Not only does the MES of the speech bubbles connote childishness, it also suggests that words are literally being put in to the mouths of the women by the producer.
• The lexis ‘there’s nothing like proctor and gamble’s tide is completely unrealistic and forced, suggesting this advert is trying every trick to convince and even manipulate the target audience to buy it. It subjectifies the audiences 

The ‘conclusion’

• The facial expression of the housewife here borders on mania. Her expression is so exaggerated it is ridiculous once again reinforcing the ideology that women adore tide. This condescending mode of address assumes a low level of education. The tone is annoying, insistent and even manipulative. 
• The endorsement by Good Housekeeping magazine reinforces the quality of the product, and is an example of brand synergy 
• The dominant ideological perspective on women in America in the 1950s is that they should cook, clean, look after the house and have/rear children.
• “Cleaner than anything you can buy” - highly manipulative mode of address that infers that not agreeing with the dominant ideology would be stupid. 
• “The best” - exaggerated language
• The housewife appears 4 times in the advert, reinforcing the definitive target audience for the advert. It also reinforces hegemonic standards of being a woman
• There is an endorsement by Good Housekeeping magazine, reinforcing the values and quality of the product. 
• Finally, the graphic encouraging the target audience to ‘remember’ reinforces the idea that this audience is less educated

A semiotic and structuralist initial analysis of the Tide advert

Let's all get used to looking at this image, because you will need to know it inside out!

•  The heading ‘Tide’s got what women want’ stereotypically places the female target audience in the position of traditional values; that women should complete household chores. 
• While the advert features 4 separate images of women, there is no explicit representation of men. The only symbolic signification that men exist is the MES of the men’s clothes, which in the context of the time this advert was produced (the 1950’s) could be assumed to belong to a man
• The text at the side of the picture occupies less space than the main image. However there is a lot of text on this advert, a convention of 50s advertising. The amount of text functions as a proairetic code, suggesting the complex formula of this powder will clean clothes better 
• The three points on the right of the image is a good example of the rule of three: three memorable points to help the target audience understand the value of this product
• The red font and the MES of the red packaging has symbolic connotations the housewife’s passion for the product. Here passion functions polysemically: it means both enthusiasm, but also a sexual lust.
• This lust is encoded through the signification of red lipstick, which has connotations of sexual passion. This use of red here links to the headline, also in red ‘Tide’s got what women want’. This is also polysemic, suggesting that women not only want to clean clothes, but are also passionately and even lustfully involved in the cleaning process. This is reinforced through the ‘kissy hearts’ jumping out of the housewife’s head, iconography of cartoons, and the red lipstick, stereotypically symbolic of passion.
• The woman is a housewife. She is situated in a home environment, reinforced through the MES of the washing line, the washing machine, and she is wearing clothes which stereotypically and symbolically suggest she is a housewife. 
• The most important words are highlighted in red, symbolically suggesting that these are most useful (and most passionate!). For example, ‘clean’ is highlighted, suggesting the important cleaning power of the product. 
• The language used is hyperbolic, including the MES of the sheer amount of bubbles emerging from the washing machine, proiretically suggesting the extreme cleaning power of Tide.
• The advert was made in the 1950s in America. Immediately post world war two, the patriotic symbolism of the red white and blue colours (a classic example of the rule of three) will appeal to Americans in a post-war climate
• The heading also functions as a slogan: Tide’s Got What Women Want, symbolically suggesting that the women reading this advert will benefit from owning and using this product. 
• The product itself is washing powder. However, the advert constructs washing powder as exciting. The use of block capitals addresses the audience in an exciting and over the top way. Furthermore, the hyperbolic claims of the subheadings (“world’s cleanest wash”) makes ridiculous claims about the quality of the product. 
• The colour red, used throughout the advert, is symbolic of love, and even passion. This is anchored through the red of the box, symbolically encoding excitement and passion. Further, the gesture of the woman hugging the box is reinforced through the MES of the model’s bright red lipstick, functioning as a proairetic code, suggesting she’s going to kiss the box. Finally the cartoonish lovehearts blasting out the woman’s head confirm her passionate love.
• This advert carefully constructs society's expectations of women in America in the 1950s. The sole expectation for women in the world of this advertisement is laundry, washing and hanging. However the housewife appears to be excited about the hard work that she is forced to accomplish. 
• The advert presents a misogynistic ideology: the hatred of women. The only function of women in this advert is to clean clothes: a clear example of objectification, with  the housewife character never given a name.
• The model is highly stereotypically attractive, which is reinforced through the MES of the glamorous makeup of the model. Symbolically connoting a night on the town rather than cleaning up, it reinforces the assumption that women should be presentable, that is to be shown off to men at all times