Revising for KA2: the newspaper mock

In this session you will be using the blog to revise for the KA2 newspaper mock. This lesson will also help you practice using the blog as a revision resource. 

Basic information

There are two questions in the mock.

1 - Comparing an unseen newspaper front page to a newspaper front page that you have studied - approx 45 mins - media language or representation

The unseen newspaper could be anything. The 'seen' newspaper will either be the Boris Johnson cover of the Mirror or The Times 

2 - A question asking you to refer to a 'print edition' of either The Times or The Mirror. The 'print edition' we looked at was the Pele edition - approx 15 minutes - industry or audience

Practice unseen newspapers

Start with this Wikipedia list of UK newspapers. Pick one at random, and then google it looking for a front page. Analyse it using the textual analysis toolkit. 

Revise the set newspapers

Here they are! You can use the textual analysis toolkit to analyse these too. 

Revise the 'print editions'

You can find these here

Check out the newspaper posts already on the blog

There's lots of information about newspapers already on the blog. As long as you remember that current first year's are revising the Johnson covers, then you shouldn't get confused. There's nothing wrong with checking out older stuff too, as long as you don't get confused and talk about Teresa May in your exam...

Revise key theories

This post has every theory you NEED to know for A-level media. If you look carefully, you will see that under the theorist is a list of industries where you may be expected to talk about this theory. So go through this post, and either make notes or flashcards for every theory that has 'newpapers' under it!

Do even more theory revision

This video I made goes through every key theory in half an hour! Some of the theories are not applicable to newspapers, maybe, but it's a great use of your time if you want to zone out and watch a video

Check out past papers

Not every past paper is focused on newspapers, but check out this page for examples

Use the revision checklist to make your own questions

The revision checklist contains every single question that could EVER come up. So check out the two newspaper sections on it and start trying to work out what will come up in KA2!

Keep digging through the blog!

These are the most important revision resources. However, there's lots more information to find on the blog if you dig around, including stuff on how to write and structure a perfrct response, and lots more AMAZING videos...

Radio: industry matters

In this session, you will be exploring important aspects of the radio industry, as it relates to the BBC and Late Night Woman's Hour. Please follow these tasks through in order, making sure one is complete before you move on to the next one.

1 - Exam feedback 

Before you start the industry work below, it is essential that you check your email and read what grades, marks and feedback you have been sent. 

Then, please take the time to read through this post that gives feedback and suggests content that you could have included. Please read THE ENTIRE THING. Don't skip anything. This post tells you step by step how to achieve an A* grade for the TV unit.

If you've already addressed your feedback, then you can skip this step!

2 - Do your mock!

A few of you haven't done your mock yet, for various reasons. If you haven't, please do it now. Here are the questions:

1 - Explore how Humans and The Returned both target and maintain a specialised audience [30, 50 minutes]

2- To what extent do the representations in Humans reflect the time in which it was made? [15 marks, 25 minutes]

3 - Explore how The Returned has been shaped by the contexts of its ownership [15, 25 minutes]

Of course, if you've done your mock, please skip to the next task!

3 - Power and the media industries

Curran and Seaton argue that because only a few organisations actually own media products, there is a severe imbalance of power in the media industries. They argue that media conglomerates are motivated by power and profit, and this presents a limited choice for audiences.

However, we are going to argue that the BBC is NOT for profit, and presents a plurality of voices and ideologies that commercial services simply cannot.

Power Task - choose one of the BBC's commercial competitors. I recommend Netflix or Disney +, as both are funded through subscription. Either by scrolling through the BBC iPlayer app and the Netflix app side by side, or simply googling for a list of programmes currently on these services, compare and contrast the content presented by these two different services.

To what extent can it be argued that the BBC challenges the idea that all media products exist to make money?

4 - Regulation and the BBC

Livingstone and Lunt argue that the regulation of media industries is ineffective, essentially because digitally convergent media allows producers to bypass regulations.  Radio is regulated by OFCOM. To make things nice and simple, OFCOM monitor media products to ensure they do not have material that is likely to HARM AND OFFEND. 

Regulation Task 1 -Using your notes from the 'vaginas/pockets' episode of Late Night Woman's Hour, what material here is actually likely to harm or offend? Is there anything to force the BBC to apologise, or to remove this content? Try and think beyond the word ' vagina', and consider the presenters, the subject matter, and the concepts they are talking about. Does this show meet the needs of it's audience?

Unless you are very uptight, then there is NO MATERIAL LIKELY TO (seriously) HARM OR OFFEND used in Late Night Women's Hour. The reason for this is that the BBC practice SELF-REGULATION. This means they deliberately moderate their own content so as not to upset audiences, and to be criticised by the UK news media. However, there have been some examples of criticisms of the BBC and its content

Regulation task 2 - using google, find examples of the following:

• A BBC show (radio or TV) that has been complained about by audiences for depicting drug use
• A BBC show (radio or TV) that has been complained about by audiences for depicting sex
• A BBC show (radio or TV) that has been complained about by audiences for depicting violence 
• Criticisms and controversies surrounding the BBC itself
• A story in a tabloid newspaper that criticises the BBC
• Criticisms about BBC Radio 4

5 - Hard facts

Task - Briefly answer the following questions in your blog post. If you don't know the answer, ask someone else if possible!

1. Who produced LNWH?
2. When did LNWH start broadcasting?
3. Give three ways in which LNWH is distributed to it's audiences
4. Who is the target audience for LNWH?
5. How would you describe the production values for this show?
6. How can audiences use digitally convergent media to access LNWH?
7. Who regulates the radio industry?
8. In what ways could an episode of LNWH harm or offend it's audience?
9. What measures are put in place to stop younger people from listening to this show?
10. How is LNWH an example of media plurality?
11. How successful is LNWH from a global perspective?
12. How can audiences use or take pleasure from an episode of LNWH?
13. Is the BBC vertically or horizontally integrated?
14. How does the BBC make money, and how is this different to Netflix?
15. What is one obligation the BBC has that Netflix does not have?

Remember, component one section B is all about cold, hard facts. These examples can simply slot in to your next mock exam or your final exam!

Exploring BBC Sounds

 In this session, you will be

• Listening to radio shows through the BBC Sounds web portal (www.bbc.co.uk/sounds) or the BBC Sounds App
• Making notes about a variety of topics, but mainly on how the NEEDS of the AUDIENCE are met

The notes you make today can ALL be used in your final Component One exam, as well as any mocks that feature radio. This is an important lesson, as you are digging out EXAMPLES. And examples get you MARKS.

In order to complete these tasks , you will need a BBC Sounds account, so please set one up if you do not have one already.

BBC Radio 4

Using Wikipedia, ChatGTP, or asking someone else in your house, write down some BRIEF information about BBC Radio 4, it's target audience, and what kind of shows it broadcasts.

Then, using BBC Sounds, find four radio programmes broadcast on BBC 4. What kind of shows are they? How to they appeal to their target audience? Who is their target audience? How do they meet the needs of their target audience? And how can audiences use these shows?

The BBC Sounds web portal

Many people, especially younger people will access BBC sounds using either the web portal (basically an old fashioned term for website: a 'portal' to other pages, or the BBC Sounds App, which can (and should) be downloaded for free for your phone. This approach is called convergent media, and it brings together different industries to target new audiences. In this case, it means the combination of internet and radio. [MICHAEL VOICE: WRITE THAT DOWN!]

These questions may seem a little weird, because you'll be briefly analysing a website or an app. However, a significant amount of time and money has been devoted to making these as user friendly and enjoyable to use.

Please answer the following question with screenshots from the site or above, as well as your own bullet point notes

How does BBC Sounds appeal and meet the needs of it's audiences? Make reference to:

• Thumbnails (the preview images that suggest programme content)
• Lexis
• Images
• Font
• Colour
• Hyperlinks (the words or images you click on to access content)
• Engagement (these are techniques that keep you engaged with the website, and stop you from leaving it. Engagement is a very important concept for online media!)
• Accessibility (is this website suitable and easy to use for people of different ages and abilities?)
• Plurality (the ability to appeal and meet the needs of multiple audiences)

How does BBC Sounds meet your needs?

This next task is important, and it's fun. In order to explain how BBC Sounds adopts a pluralistic approach to media production, you are going to find an example of how it meets YOUR needs. You will then refer to this briefly in the exam.

Find a podcast, show, music mix, anything on BBC Sounds that is 'made for you'. Not something you 'sort of' like, something that meets your needs and interests in a specific way. You will need to listen to lots of different things.

Then, make notes on how it appeals to you, and meets your needs.

Using me (Michael) as an example, my perfect show is The New Music Show on BBC Radio 3. It's absolutely crazy! It plays some of the most challenging and experimental music I've heard. It's brilliant, and I can't believe it's played on national radio. Why? Because it meets the need of a very niche audience (experimental music fans). But from a financial perspective, it also encourages me to keep paying the TV licence, as I feel represented.

How does BBC sounds meet someone else's needs?

Final task! Find a podcast you ABSOLUTELY WOULD NEVER LISTEN TO. Listen to it. Sorry. How does this podcast meet the needs of a completely different audience that ISN'T YOU?

T block newspaper - 'The Seen'

For this practical, whole class assessment, first year students had to construct an entire newspaper as a class, in only a week, with no guidance from their teacher beyond news prompts. Please note that the views and opinions in this post do not necessarily reflect that of this blog, the institution, or even the students! 

P block newspaper - Insider News

For this practical, whole class assessment, first year students had to construct an entire newspaper as a class, in only a week, with no guidance from their teacher beyond news prompts. Please note that the views and opinions in this post do not necessarily reflect that of this blog, the institution, or even the students! 

First year: THREE HOURS OF POWER

Rules

1. You can do these questions in ANY ORDER
2. You might do a few in significant detail, or you might complete them all in brief detail
3. There are no 'right answers' to these questions, but you should all use examples from the print edition of these newspapers
4. For each and every heading, you must find EXPLICIT EXAMPLES from the print editions of The Mirror and The Times you have been set. Basically, you could get a question like

(b) Explain how social and cultural circumstances affect audience interpretations of newspaper content. Refer to a print edition of the Daily Mirror to support your points. [10] 

or

a) Explore how newspapers are shaped by the financial implications that surround the producer. Refer to a print edition of the Times to support your points. [12] 

 

You can find the print editions by clicking here.

Questions and study prompts

Bias through selection, bias through omission 

• Outline examples of bias in the two newspapers. 
• How does the selection or omission of stories reflect the ideological perspective of the producer? 
• And why?

Specialised forms of production

• Newspapers are a specialised medium. They do one thing, and they do it differently to every other media product. 
• So find examples of how this newspaper is most definitely a newspaper, and not, for example, a magazine! 
• HINT: check out the layout...

The Mirror is a product of a horizontally integrated organisation

• What are some examples of The Mirror being produced and published by an organisation that essentially just makes loads and loads of newspapers?

The Times is a product of a vertically and horizontally integrated conglomerate 

• Same question again, but The Times is also vertically integrated. 
• Any examples?

Issues with regulation

IPSO specifically STRONGLY SUGGEST that newspapers should not do the following: 

1. intrude in to the private lives of private citizens
2. intrude in to grief
3. cause harm and/or offense through their reporting

what examples can you find which might go against IPSO's guidelines?

Aspects of digital convergence

• If print is dead, no one told the newspaper industry. 
• However, what references to digital media are their in these newspapers? 
• How and why could they get the audience to explore the website, for example?

How does the Mirror appeal to a working class, left leaning audience?

• Remember: left wing BROADLY means collectivistic policies such as higher taxation, a focus on public ownership, the support of a welfare state etc. 
• However, remember that these ideas might be very broadly or vaguely alluded to in the newspaper you are studying!

How does the Times appeal to a middle class, right wing audience?

• Remember: right wing BROADLY means individualistic policies that favour personal freedoms, lower taxation, a focus on private ownership, and less government intervention etc. 
• However, remember that these ideas might be very broadly or vaguely alluded to in the newspaper you are studying!

Ideologies, and how they are encoded and cultivated

• Ideologies are the messages and values of the producer. 
• So what are the beliefs of the newspapers in front of you? 
• And how do you know? 
• Here's a TOP TIP: if in doubt, just guess! This entire subject (and, by extension, life) is all about educated guesses!

Uses and gratifications

How do audiences use or take pleasure form the news stories in front of you? Here are some suggestions:

1. SOCIAL INTERACTION - audience can use the newspaper to make friends 'in real life', for example having a chat at the office (so-called 'watercooler moments'...)
2. INFORMATION - the newspaper tells us things we didn't know about previously. We can then use this information in a variety of circumstances
3. PERSONAL IDENTITY - we identify a viewpoint we already have. For example, you may find right leaning ideologies in the Times, which may reinforce the audience's viewpoints, and make them feel safe. Or angry. This is pretty similar to Gauntlet's theory of identity 
4. SEXUAL GRATIFICATION - we find people attractive. This is a creepier way of saying 'sex sells'
5. SIMILAR LIFESTYLE - We identify with people who are just like us, FR. For example, what working class identities do we see in The Mirror?

Bonus - alternatives to mainstream news

• Clearly, physical print newspapers are not how a lot of people get their news. In fact, you lot get your news in an increasingly digitally convergent hodgepodge of different sources.
• Find and research some 'alternative news' sources. This is really broad, and given that you may be using social media, it can be accomplished on your phone, maybe
• What issues and complications are bought up by using digitally convergent distribution practices to distribute news media?

Example newspaper for 2022 - 2024 cohort - The Daily Mirror and The Times 30/12/22

 The Daily Mirror

The Times

The difference between tabloid and broadsheet newspapers

Regulating newspapers: researching case studies

Today's task involves clicking on lots of links and researching. Please make sure that you make notes: you don't need to write a million words, but this information will be essential for a question on regulation of newspapers, which is frankly very likely to come up in your upcoming KA2 mock!

Introduction - starting with the conclusion

Sonia Livingstone and Peter Lunt argue that by and large, the regulation of all UK media is largely ineffective for a variety of reasons:

• Powerful media industries are motivated by maximising profit and securing power (Curran & Seaton), and are able to use their power and influence to bypass regulations
• Digitally convergent media technologies, for example streaming, internet piracy and difficult to regulate social media sites mean that traditional regulation is now essentially impossible
• The regulatory bodies that have been set up to regulate media are hands-off and ineffective at doing their jobs
  
  

Essentially, when writing about regulation, your conclusion will usually be that the regulation of the [x] industry is largely ineffective.

IPSO - the Independent Press Standards Organisation 

Click here to find resources appropriate to IPSO. 

(only the link to IPSO's code of practice still works, so don't worry about the other link)

Task 1 - Make notes on the IPSO code of conduct. What do newspaper editors have to think about when including stories? The following headings may help you

• Invasion of privacy
• Grief
• Self-harm and suicide
• Racist and discriminatory language
• Crime
• Reporting on children

Regulation in context: the News Of The World phone hacking scandal

First, watch this short (five minute) news broadcast that concisely explains what the phone hacking scandal was all about

Then watch this one, which goes in to more detail, several years on

Task 2 - make as many notes as possible on the News Of The World hacking scandal. What happened, who did it, where did it happen, why did it happen?

As a result of this incident, IPSO was formed to replaced the PCC. However, IPSO's guidelines are almost identical to the guidelines set out by the PCC. Why would so little change?

Criticisms of IPSO

Click here to find a link to a valid criticism of IPSO

Check out this short article by Mark Dixon which outlines some more issues and criticisms of IPSO's regulation of The Daily Mirror, as well as the hands-off method of regulation that IPSO operate.

Task 3 - in your notes, online the criticisms that exist about IPSO, and the regulation of newspapers in the UK. Why is it so hard to regulate the UK news industry?

Looking for trouble 

Now you know a little bit about IPSO, pick an online newspaper (eg The Sun, The Mirror, The Star, The Express... frankly tabloids will work better for this task) and complete the following task

Task 4 - make screenshots of articles that may breach IPSO's guidelines. Invasion of privacy is the easiest one to find here. How and WHY does this article breach IPSO guidelines? See how many you can find!

Bonus tasks

Here are some more tasks you may or may not have already completed. They're all importnant, so check them out!

Political ideology

UK newspapers: how representations reconstruct reality

If you are NOT in P block, or you just missed the lesson, then check out THIS post on a time when the Daily Mirror broke IPSO guidelines so significantly, IPSO had to step in! And... ask them to print a very small apology...

Demonising the working class for a working class audience

Click here to read the article as it was published in the Mirror's online edition before reading any further

Back to basics: the four types of media question

Industry - how a media product makes money 

Representation - how a group is re-presented by the producer to demonstrate their ideology

Audience - how the audience uses or interacts with a media product

Media language - how shot types, camera angles, MES etc make meaning for the audience

Representation

Which group is being represented in this article?

Working class people, specifically lower working class, the struggling working class. 

Who is the target audience for this article?

The target audience for the Daily Mirror is working class people, and it targets a left wing audience through it's political bias. 

What ideological perspective about this group is being constructed for the target audience? How?

That this family are unlikable, lazy, and bad with money. Therefore, it's their fault that they're poor. This ideological perspective is reinforced through the selection of images and the anchorage of MES

• Setting of a car boot sale is a sterotypically a working class environment, which has connotations of poverty and finacnial desperation
• The mother is wearing a handbag, which may suggest that far from being actually poor, she is spending money on hereself. This reinforces the narrative of the article. 
• Additionally, she is wearing the bag round the front, which functions as a proairetic code, suggesting that she is showing off her wealth 
• However, a polysemic interpretation is that the mother is vulnerable, and that she is taking care and control of her money, looking after it by keeping it in plain sight
• The man is wearing an Adidas tracksuit, which is a potentially expesive tracksuit. Once more the inclusion of this image constructs a representation of a family that have made poor finacial descisions
• The MES of the objects of the table further connote wealth. This includes a sterero, a keyboard, football shoes, and protien powder. However, the fact thayt they are selling these things constructs a narrative where the family have realised that these are not necesities, and must do things to make ends meet
• The family are clean, and are wearing nice clothes
• The Addidas trancksuit suggests stereotypical connotations of a working class lifestyle, involving council houses, being bad with money, and even crime
• Sterotypes are a widely held belief about a certain group of people, and they must be reinforced by being repeated multiple times in multiple situatuins
• The MES of the man's balding head and severe features further reinforces his status as a stereoypical working class person
• The MES of the cigarette in the woman's hand yet again further reinforces a stereotype that the working class are uncultured and bad with moeny
• The families car is small, modest and non-descript, which could be connotative of poverty

This entire article takes a highly voyeuristic mode of address which positions the audience in a judgemental position. 

Regulatory issues

• IPSO are the regulatory organisation for UK newspapers
• The Daily Mirror is owned by Reach PLC, a horizontally integrated distributor of hundreds of UK newspapers 
• However, despite being factually incorrect to a level that legally means that the newspaper has to apologise for it, the story is still being hosted, for financial reasons.

Why does the Daily Mirror encourage hatred of working class people?

• If the working class hate other working class people, does it make them feel better about themselves? Yes potentially! But it also means that working class people are more likely to blame other working class people for their issues. However, it is the ruling class, i.e. the government, the rich and those in power who actually cause widespread societal issues. If working class people are blaming the working class, then they are not blaming the people in power for their issues.

Does the Daily Mirror force the working class to fight against each other rather than facing their own issues? Does it reinforce hegemony?

• Marxist ideology - there are two types of people: the working class, and the ruling class. Everything in our society is based on the domination of the working class by the ruling class. 
• George Gerbner: cultivation theory
• Intertextuality: where one media product makes reference to another media product

An analysis of the Daily Mirror set edition double page spread

This article has been compiled from the responses of three separate classes, and therefore contains some repetition. Repeat, revise, remember!

Headline, centre spread image etc

• Front line workers are constructed through the MES of the hospital setting and the MES of surgical masks. These elements of media language construct the enormous pressure that frontline workers are under, and constructs a message that frontline workers are heroic and hard working
• However, a binary opposition is constructed between the heroic frontline workers and Boris Johnson. Johnson is pictured with the MES of a glass of prosecco in his hands, which has connotations of wealth, fun, and relaxation. This damning representation is further anchored through the lack of MES of a mask, the MES of his suit and his smug facial expression
• The lexis of the headline reinforces an ideology that Boris Johnson does not care about Britain or frontline workers. The word ‘shame’ in particular has connotations of not caring, but it also accuses Johnson of being guilty of something, in this case a potentially serious crime 
• This story would resonate with nurses and other medical professionals, as well as the general public, who would be aware of viral campaigns by NHS workers discussing the pain and discomfort of wearing masks for long shifts 
• Caption: rule breaking Boris Johnson took us for fools’. Caption reinforces the ideology that Johnson has fooled the public. The use of the term ‘us’ is more intimate, and it allows the audience to identify not only as those being exploited, but also it reinforces the ideology that the Mirror is ‘one of us’ 
• A binary opposition is formed between the picture of Johnson and the picture of the NHS workers. 
• The Mis en scene of Johnson’s alcoholic beverage as connotations of wealth and status. Champagne is a stereotypically wealthy drink, and it has symbolic connotations of celebration
• However, immediately to the left of this picture, the surgical setting and the MES of surgical masks and eye shield has connotations of suffering, death and danger. Clealry, these two images are a strong contradiction
• The facemasks present a highly relatable mode of address to the target audience, as the vast majority of the audience would have experience of wearing a a facemask. 
• However, Johnson is not wearing a mask, which could be symbolic of carelessness, superiority and a sense of social hierarchy. Johnson is wearing a suit, which is symbolic of superiority. The tone of his shirt is similar to that of the key workers, yet they are clearly from different parts of society. The use of a mis shot here does not create intimacy, but instead positions him too close to the audience, indicating that he is not ‘social distancing’ 
• Lexis: ‘man’ connotes that Johnson is a human like anyone else, and it is highly hypocritical that he is getting special treatment. ‘Man’ here suggests he is a man like any other, and should bare responsibility for his crime.
• Man with no shame is a (weak) pun, and symbolically encodes that johnsons crimes are a joke and ridiculous. The word ‘shame’ clearly has significant negative connotation. The shadows on his face, along with his smug and sarcastic facial expression even have connotations of villainy and ‘evil’
• Lexis of headline, in particular the word ‘shame’ has connotations of a negative nature. It heavily insinuates that Boris Jophnson is guilty of something
• The layout is busy and exciting with a big emphaiss of the colour blue. This has connotations of cold, death, misery and a hospital setting
• The mise en scene of Johnson’s cheeky smirk forms a symbolic code of villainy and guilt. This is confirmed and anchored through the lexis of the enormous word ‘shame’ hanging above his head. This combination of media language confirms a negative perspective of Johnson. 
• The caption immediately beneath Johnson reinforces the ideological perspective that Johnson’s presence is negative. “rule- breaker”, which clearly demonstrates the newspaper’s opinion
• The MES of the champagne flute has symbolic connotations, parties, wealth, and celebration. It’s presence forms a powerful binary opposition with the hospital setting immediately to the left, where the MES of machinery, the chaotic arrangement of people, and the MES of surgical masks all construct a stressful and exhausting mode of address
• The chaotic and frantic nature of the hospital scene positions us in an up close and personal mode of address
• An unflattering image of Johnson holding a champagne flute is selected, which constructs a highly biased representation of the former PM. By constructing him almost as a Bind villain, the producer is making intertextual reference to James Bond films

Body text - Keir Starmer addresses Mirror readers

• The ‘dear mirror readers’ first sentence is in larger font, and is in italic, which has connotations of handwriting, and has the connotation of it being more personal and relatable to the target audience
• Use of emotive language, including lexis such as ‘missing funerals’ has the effect of remind the target audience of what they suffered. Sacrifices…
• An informal mode of address is adopted, which might be surprising given the status of ‘sir kier starmer’. He uses contractions such as i’ts’, and uses emotive speech, a direct mode of address, and the use of the word ‘we’ suggests a collective response that both we (the audience) and he (stramer) were involved in. His language heavily infers that we all (he included) were as affected as one another!
• Letter singed off as ‘yours, Kier Starmer’ 
• The mug shot of Starmer’s face leaning over and directly addressing the audience has connotations aof a friendly pub like setting, where he is enjoying a pint with us. His lack of tie has connotations of infomrality, which allow the audience to relate to him more effectively
• The colour red has connotations of love, affection, power, and is also the colour of the labour party, and therefore the colour of revolution
• Use f ‘the British people’ evokes patriotism, pride in Britain. The use of the lexis ‘we’ symbolically constructs a sense of togetherness, the country 
• Missing off the ‘sir’ is more informal, but makes him more relatable
• The italic (comic sans?) font has connotations of handwriting, constructing an informal mode of address
• Starmer’s mugshot seems candid, caught off guard, and relatable for the target audience. He is slouched, and directly addressing the audience in an informal and welcoming way. 
• By referring to the audience’s intelligence, he is flattering the audience, and the use of the term sacrifice infers that the target audience have followed the rules. this is highly emotive language, and infers that the entire audience (and British public) are all in this together
• Italic, serif font of ‘Dear Mirror Readers has connotations of being handwritten. This clearly presents a relatable mode of address to the target audience of working class labour voters. 
• Starmer’s serious facial expression is further anchored through his relaxed yet firm body language,that positions us in a serious, yet friendly mode of address. His lack of tie is symbolic of his casual laid back nature
• Use of definite language constructs a mode of address which is clear and precise to the target audience. The use of language is appropriate to an audience with little or no education.
• “He insulted your intelligence” suggests the target audience are intelligent, and presents a flattering mode of address
• The word ‘sacrafice’ is highly emotive, and constructs a sense of unity and togetherness

Editorial: voice of the Daily Mirror

• Lexis ‘voice of the’ suggests that this newspaper is a spokesperson for ‘the people’ the general public, which heavily infers a sense of consent from the general public. If we disagree with the ideology of the daily mirror, then we are clearly on the same level as Johnson, the ‘villain’ of this narrative
• The use of patriotic language ‘our great nation positions the audience as British and proud and powerful. However, Boris Johnson is represented as an other, as different, and as destructive to the British way of life
• The word stain has connotations of being messy, disgusting, corrupt, and hard to get out. This reinforces the ideological perspective that essentially Boris Johnson is less than human. He is a traitor to our country. Clearly the Mirror does not say this explicitly, but it heavily infers this
• The lexis ‘charlatan’ is an old fashioned word with connotations of being upper class and well spoken, which presents an authentic and compelling mode of address
• Patriotic mode of address is constructed through the lexis ‘our great nation’ that positions the working class target audience as British, proud, and patriotic
• The symbolic connotations of the word stain include being dirty, and less than human. This is an aggressive and insulting mode of address

Political cartoon

• A satirical joke is one that criticises stupidity of those in power 
• Political cartoon humorously infers than Johnson is actually worse than Putin. Satirical comedy is often very harsh, and draws attention to public figures and political figure’s idiocy 
• The joke is heavy handed, and clearly argues that Boris Johnson is worse than Vladimir Putin!