Whiplash discussion: Is Terrance Fletcher justified?

These notes were formed from a discussion that occurred immediately after viewing Whiplash's superlative ending sequence. The power of cinema is such that it can provoke extreme reactions, and the joyousness experienced through the conclusion of Whiplash is no exception. Yet as the final credits roll, we as the spectator are forced to question our joy. Has Fletcher's abuse been instrumental in allowing Andrew to become an exceptional musician? Is even considering such a viewpoint deeply unethical? Is Terrance Fletcher Justified? 

• Fletcher’s methods are by their very nature destructive. His ideology is that true talent can only be forged through absolute abuse. It could be argued that this is never justified
• No one person ‘signed up’ to be abused by Fletcher. In fact, his methods came as a complete surprise to Andrew who is in no way ready for them 
• Is a destructive act of self-recognition actually necessary to construct an exquisite talent? 
• Does the ending, as wonderful as it, function as an apology for abuse? Even at his pivotal, most joyous moment, Andrew is dripping in a mixture of sweat and blood, which is connotative of his continued abuse
• Does Fletcher even see anything in Andrew? Fletcher can only see his way, and takes ownership for Andrew's success in the final montage! Yet ultimately he is totally vindicated!
• Andrew’s own returning to the site of abuse is borderline masochistic. Andrew’s respect for Fletcher is horrifying and grotesque! Andrew is totally self-destructive!

A brief analysis of the opening sequence

• The MES of the character’s costumes, in particular the contrast between black constructs a clear and even stereotypical diametrical conflict between ‘good and evil'. And not only does this allow the story to be told through colour, it immediately and expediently explicates to the spectator the fundamental conflict at the heart of the narrative 
• While Andrew is constructed through even and considered lighting, Fletcher literally emerges from the darkness to be captured by a single high key light. This high key light constitutes a polysemic array of interpretations. The light could signify a halo, constructing Fletcher as a de facto living god. 
• However, Fletcher also resembles a devil. His bald head, oversized features, sunken eyes and generally oppressive visage constructs Fletcher as a relentlessly hideous figure
• However, Fletcher has an element of both dominant masculinity and raw sexuality about him. This is constructed through the combination of the MES of his tight black t shirt, coupled with the performance of huis flexed bicep
• Both are completely different representations of masculinity, and both come in to sharp conflict as the narrative unfold

Gender, identity and conflict in Whiplash, Battle of Algiers and District 9

Ideology - an idea or belief, held by a group of people. Films also hold ideologies, but these are not intrinsic, and instead are encoded by the director

Conflict - two or more ideologies that directly oppose one another. This form of opposition can also be referred to as a diametric or binary opposition 

What ideological perspective does each film encode?

Battle of Algiers - the misuse of power leads to corruption

District Nine - The scars of apartheid are still felt in society today

Whiplash - There is danger in achieving perfection, and the pressure of the education system is needlessly cruel 

Each of these films features a complex male protagonist, who is defined by the complexity of his character and the richness of his personality. He does both good and bad things, and undertakes an ideological journey, confronting a variety of diametrically opposed ideological issues in order to explore their own agency.

However, in all three of these films, the representation of women is rather different. In each of the films, there is significantly less representation of women, and in each and every case, arguable females play subordinate roles that are accessory to the agency of the male protagonists. 

Ultimately, this clear issue is rendered invisible due to stereotypical functions of gendered individuals in society, and all three of these films are manifestations of patriarchal hegemony. While all of these three films deal with big and problematic issues, they still almost completely omit women from any serious role, and therefore reinforce certain societal expectations

Symbolic annihilation - where a certain group is completely or almost completely omitted from a film. This leads to a massive inequality, where one group is seen as being superior through their very existence. 

Representation, gender, ideology, conflict: the breakup montage

• The costume, casting and performance of Nicole is fascinating. The combination of film language here constructs a representation of innocence. This is anchored through the MES of her costume, with her chunky sweater and popped collar is connotative of a school uniform, and childishness. Her large eyes and mannerisms also reinforce her youth, and reinforces a hegemonic expectation that women should be submissive and otherwise listen to the whims of men
• Melissa Benoist is hegemonically attractive, which allows the target audience to feel empathy for her. This reinforces a problematic ideological perspective on women: that only hegemonically attractive women are sympathetic to the audience. Yet another example of patriarchal hegemony!
• Does the fact that Andrew is able to go out with this woman more impressive to the audience ? And does this reinforce Nicole's function as Andrew’s accessory? Does she lack any form of agency? (yes)
• Immediately before this, Andrew is replaced with with the stereotypical jock archetype character of Connolly. Connolly’s bright red t-shirt forms a diametric opposition to Andrew’s bland and camo green t-shirt, which constructs two completely different personalities. Connolly is taller, muscular, and has a masculine and chiselled facial structure that is very different to Andrew’s. Connolly is also more popular and relaxed in his body language 
• Andrew and Fletcher’s relationship is quasi romantic, and throughout the film, Andrew’s desire to please fletcher has sexual connotations 

Bonus question: A film’s protagonist is crucial in shaping the spectator’s response to narrative conflict. Discuss this in relation to the film’s you have studied. You must draw comparisons. 

Knee jerk reaction - the protagonist in all three films is essential to shaping the spectator’s response to narrative conflict, as in each case the director has positioned the spectator with the protagonist to align us with the ideologies of the protagonist 

Plan

Ali Dupont

Protagonist

Murray Smith 

Stuart Hall

Cinematography

Todorov - equilibrium 

Wikus

Andrew

Syd Fields

Fieldsian narrative structures

Fletcher

Althusser - IDA

bell hooks

WA shot

Levi strauss - binary oppositions

CU

Tracking shot

MS

Performance

Body language

Naturalistic

Othering

Antagonist

Dichotomous

Diametric opposition 

Allegory 

Hybrid genre

Dystopian

Juxtaposition 

Bricolage 

Lighting

Costume

Introduction (DAC)

Narrative conflict refers to how a story is told through technical elements in order to construct a series of binary oppositions that are essential in aligning the response of the spectator. Perhaps the most convenient way of presenting this conflict is through the use of a clear and easily identifiable protagonist. In this essay I shall argue that in all three films, the role of a protagonist is used to closely align the spectator to the ideology of the director, in order to make explicit the clear ideological juxtapositions of the narrative. To explore this point, I shall refer to Battle Of Algiers, an Italian/Algerian neorealist political drama, District Nine, a highly unconventional science fiction film that uses allegory and bricolage to construct a highly manipulative ideological perspective, and Whiplash, a more conventional Hollywood film that uses precise montage to attack abuse in the education system. 

BOA - Ali’s mob
D9 - Storming the township
W - the shouting match

Stories We Tell - approaches to analysis MEGAPOST

How do we get marks in film studies really?

1. Writing something!
2. Using theorists. Reference their work to strengthen your own point
3. Using film studies terminology, for example MES
4. Using a clear structure, for example PEE, PEA, PEEL, etc
5. Reference key scenes and explicit reference to film language 
6. Evaluating film form, and considering the use of cinematography, editing etc 

What is reality? What is the truth? What must we consider when considering the notion of ‘truth’?

Reality an illusion

Reality is based on perspective 

Reality is a construct of our own perception, and everyone’s reality is different

Reality is a combination of all of our experiences and knowledge

“My recollections may be faulty, but I’m not going to lie” - In what ways can filmmakers use micro elements to encode a notion of verisimilitude?

• The use of archive, both ‘real’ and that which was reconstructed for the film creates a powerful sense of verisimilitude
• The film is extremely self aware, and continually draws attention to its own status as a film. This is reinforced not only through Sarah’s explicit narration that discusses the filmmaking process, but also the anchorage of the MS of Sarah filming in Harry’s living room using a super 8 camera constructs a sense of authenticity and artificiality. This constructs a highly confusing yet also immersive and compelling address to the spectator.
• A metanarrative that extends beyond the traditional storytelling structures adopted by films. By featuring so prominently in her own film, Sarah fully accepts that her narrative is biassed, and she only emphasises this by using techniques such as reconstruction
• One particularly striking film making technique is Sarah’s decision to leave in ‘mistakes’ in order to construct a simultaneously confusing yet also ‘realistic’ address. A perfect example of this is the MES of Sarah’s hands abruptly entering the frame and clapping in her father’s face to signify a cut. This editing technique is usually completely cut out. By leaving in this ‘mistake’ , Polley is drawing attention to the contradictions of the documentary genre, and presents a total deconstruction of film form 
• Polley therefore lulls the audience in to a false sense of security before deconstructing their own sense of reality
• However, we can also argue that it is wholly self centred of Sarah to not only make a film about her own privileged family, but also herself. Sarah constructs herself as a flawed and even unlikable individual, yet in doing so creates a more personal and even more relatable address. 
• Sarah is making public a narrative that traditionally would be private, which gives the film an intimate and often delightful atmosphere. This is further emphasis by the film’s use of a sombre, classic piano soundtrack that clearly sounds like it from a different era, which constructs a deeply nostalgic atmosphere

What filmmaking techniques have been used to convince the spectator that the filmmaker is offering a truthful account in the documentary you have studied?

Knee jerk reaction - SWT provides the spectator with a false and even unreliable sense of verisimilitude in order to convey the ideology that everyone has different stories, and everyone has their own truth. In order to construct this, Polley uses a variety of innovative filmmaking techniques to construct a complex yet quixotic set of narratives.

PLAN

Home videos

Archive footage

Grierson - Non fiction film ‘drama of the ordinary’ 

Nichols - documentary modes

Pennebaker - documentary and cinema verite and direct cinema 

Narration/narrator

Factual narration 

Super 8

Breaking the fourth wall

Direct address

High and low angle shots

Still images/freeze frames

Montage

Binary opposition

Performance

Graphics

Editing

Sarah Polley

Perspectives

Reflexive

Diane

Canted angles 

ECU

tracking shots

Handheld

Mid shots

Formalism

Experimental 

Olde time/vintage

Hybrid genre

Interviews

Bricolage

Representation of the Bourgeoisie 

Hyperreality 

Non linear narrative 

Verisimilitude - ‘like the truth’. A sense of verisimilitude is constructed through super 8 ‘archive footage’, talking heads (documentary convention) and the use of a narrator. 

Representation - a reconstruction of reality. SWT is a perfect example of self representation

Diegesis - in the world of the narrative. The diegesis of this film is remarkably complex, which is made possible through the huge number of differently constructed narrative strands which frequently contradict one another. A perfect example is the ‘real’ archive footage and the ‘reconstructed’ archive footage being played one after another. This means the speaker is completely unable to differentiate between what is real and what is not. 

Postmodernism - the idea that there is no objective reality, and there is no point in even trying to hide this. SWT is postmodern in the sense that everything is clearly a lie, and also true at the same time. This deliberately confusing mode of address will either alienate or enthral audiences 

Quixotic - delightfully confusing and complicated

Stories we Tell - postmodern approaches

Postmodernism - how do we define a theory that has no definition?

Postmodernism is an ontology. It is a way of interpreting the world. However, it’s smug application can often be frustrating to students and teachers alike. I don’t think there’s any one theoretical perspective that is more divisive than this one. So how can we actually define a theory that cannot be defined?

• A way of thinking that forces us to think differently
• Nothing is real, nothing exists. Anything can be interested in any number of ways by audiences, meaning that meaning is ultimately subjective
• Rejecting reality and embracing randomness and disorder 
• A nihilistic view of the world that argues that nothing matters, and anything could mean anything 
• We live in a postmodern world where meaning has collapsed 

Elements of postmodernism and examples from Stories We Tell

• The collapse of meaning 
• The structure of the film is unclear and unstructured. Scenes flow in to each other making it hard for audiences to differentiate between them
• The revelation that the Super 8 ‘home movie’ sections used to illustrate the film are often fabricated specifically for the film. This deliberately breaks the sentiment and the underlying structure of the documentary, and challenges the notion that the documentary is ‘real’ which is frustrating and causes disillusionment for the audience
• The very final shot of the film, where Harry surprisingly admits he may be Sarah’s completely negates the intensely emotional scene preceding it, and causes the film to collapse in a manner that makes the audience feel frustrated and betrayed 
• Self-reflexivity and mise-en-abyme - “this is a story about a story”
• There are several scenes where Michael is reading his own book out load. However, in the middle of his monologue, Sarah stops Michael and makes him restart, to force him to deliver his lines in the ‘perfect’ way. This highly subjective mediation constructs a narrative within a narrative
• At the start of the Narrative, Sarah explicitly directs michael in to the booth, directing him, and reminding the audience that ultimately, it i Sarah constructing this narrative 
• Hyperreality - where the representation is more real than that which is being represented
• The Super 8 footage has a distinctive quality that infers verisimilitude. Authenticity is constructed and anchored through the lack of editing, the shaky handheld cinematography, the pops and scratches all connote a hyperreal expectation of ‘home movies’ to the audience. In actuality, many of these scenes have been staged, with ‘realistic looking’ actors who are interchangeable from their counterparts constructs a hyperreal mode of address to the audience, where the construction is more real than the alternative 
• Bricolage - a style constructed from disparate elements
• Talking heads 
• Super 8 ‘home movies’ 
• The use of narration
• Deliberate breaking of the fourth wall
• Expressive shots and abstract shots
• Studio shots 

Industry - Revising the film industry

 Defining industry terms

1. BBFC - Stands for the British Board Of Film Classification, the BBFC is a regulatory body in the UK which regulates films, TV shows and video games distributed in cinemas, physical media and online in the UK. For example, Black Panther was awarded a 12A in the UK, a particularly profitable age certificate. 
2. Target audience - the group of people intended to view a media product. For example IDB clearly targets working class people in the north of the UK. 
3. Synergy - refers to the benefits of convergence. Convergence is the coming together of two previously separate industries, for example the combination of film and music to make music videos. Additionally, Black Panther has a synergistic relationship to many other companies, eg Lexus, Hasbro and of course Marvel
4. Subsidiary - a company that is owned by a larger company (or conglomerate), for example Disney acquiring Marvel Studios in order to ensure financial success. 
5. Right wing - a school of politics that favours the conservative party. Features of right wing politics include traditional values, anti immigration policies, capitalist ideologies and private ownership 
6. Marketing - the process of actively promoting or selling a media product. For example, Black Panther was actively marketed towards black American audiences using iconography from the black lives matter movement 
7. Conglomerate - a large corporation that owns a number of other companies, through the process of buying out other companies. An example of a conglomerate is Disney, who own Marvel Studios, Pixar and a number of other business interests 
8. Vertical integration - when a company buys out other companies on different levels of the supply chain. A great example would be Disney, who also own distribution services such as the digital Disney +, various adult programs and ventures, theme parks, merchandise and so on. 
9. Horizontal integration - where a company buys out other companies in the same sector, for example Ubisoft, a VG producer also opens a number of other VG producers 
10. Monopoly - refers to where a company controls a certain section of the industry through buying out almost all of a sector. An example would be Disney, who through their acquisition of Marvel and Lucasfilm now hold a monopoly big budget family action blockbusters
11. Regulation - the rules and restrictions a media company must follow. For example the film industry is regulated by the BBFC

Black Panther - a mainstream Hollywood blockbuster

(c) Explain how the producers of films ensure their financial success. Refer to Black Panther to support your points. [15]

Black Panther fact file: how can we use basic facts to prove that the producers ensured financial success?

• Premiered in LA Jan 2018 - Huge visibility, glamorous event, highly conventional 
• Nominated for 7 Oscars and won three - Oscars generate a huge amount of buzz, and being nominated will appeal to mainstream film fans 
• Initially optioned in 1992, and suffered a development hell. It was assumed that a film with a predominantly black cast would not achieve mainstream success and would not appeal to mass audiences. However, opinions shifting over time, and high profile events such as the BLM movement eventually helped the film to be produced.
• Genre fluidity: genres change over time, and the definition of a superhero film changes over time
• Film used established actors, including Chadwick Boseman, who had a cameo in Captain America, 21 Bridges, and 42. Killmonger was played by Michael B Jordan, famous for the Creed series. Also the same director as Creed films, Ryan Coogler. Having established stars helps the film’s financial success by appealing to a presold fan base
• Hegemonically attractive actors
• Budget without advertising 200$millions, ensuring higher production values and arguably a higher quality film 
• Run time 134 minutes, a standard Hollywood film runtime which again minimises risk and maximises profit 
• Huge revenue! 1.3$billion worldwide gross, the kind of money that could only be made by a blockbuster film produced by a multinational conglomerate
• Began filming in 2017, ensuring financial success through it’s comparatively swift production 
• Extensive digital postproduction with a range of extremely expensive and high proof value SFX shots 
• Generated 89 million views of the teaser trailer in 24 hours. Teaser trailers are essential at targeting fans, active audiences who have deep relationships with Marvel franchises 
• Official website helps to target and maintain a hardcore fanbase by drip feeding information to the audience
• March 2018: 35 million tweets on Twitter, most tweeted film. Excellent example of viral marketing #wakanda forever
• #BLM…

3. (a) Briefly explain what is meant by diversification in media industries. [2]
Diversification refers to when a media company begins to produce different media forms that they are not traditionally associated with. For example, Disney has diversified to also focus on videogame production.

I, Daniel Blake - An independent British social realist film 

3. (a) What is meant by an independent cinema? [2]

Independent cinema refers to films produced without the aid of a major production and distribution company. Independent films are often financed in  a range of different ways. For example, I, Daniel Blake was funded by…

I Daniel Blake Fact File

• Directed by Ken Loach 
• Written by Paul Laverty 
• Ken Loach’s directorial debut was KES (1969)
• The film is a social realist film
• Produced by 16 Films, BBC films, Why Not? Productions and Wild Bunch 
• Independent films are often produced by many companies to share funding costs!
• Distributed by Entertainment One and BFI distribution 
• Blake is played Dave Johns
• Estimated Budget: 3.5million
• Estimated gross (worldwide) 15.8 million (4 million in UK, 6 million in France!???)
• Won Frances Prestigious Palme D’Or award, a huge honour!
• Second time Loach has won the award
• Interesting distribution, including a pay what you can system in non-traditional locations like village halls and community centres
• Guerilla marketing techniques for example projecting quotes from the film on the houses of parliament 
• Set in Newcastle, and featuring mainly non-professional actors, partly to save money and to increase relatability 
• Premiere held in Newcastle, highly unconventional

(c) Explain the effect of digital technologies on the distribution of Films. Refer to Daniel Blake to support your points. [9]

• The film was not only distributed theatrically, but has been distributed digitally, including through YouTube and Amazon Prime, and also available for streaming on Disney +. While IDB is clearly not targeting a mass audience, it being streamed on Disney + allows the indie producers to minimise risk and to maximise profit. 
• Digitally convergent distribution method
• How3ver, there are ethical issues with a social realist film being distributed on Disney +. D+ is renowned for favouring profit over ethics. However. IDB was made to challenge political ideological perspectives. This contradiction underlines the fact we live in a capitalist society, and films ultimately must make money
• Minimising risk and maximising profit through being distributed in a variety of ways, booth digital and traditional 
• The digitally convergent distribution of this film allows a socially conscious social realist film to target younger people through digitally convergent distribution methods
• Filmed and edited digitally, which presents a quicker and cheaper production values, and allows the film to be made and therefore distributed more quickly 
• Traditional and Guerrilla advertising for the film, and not digital marketing helped ensure financial success 
• Ultimately the film has been relatively financially successful due to winning the Palme D’or, and Loach's comparatively large and devoted fanbase
• The #Idanielblake allowed the film to obtain viral success using social media platforms 

Representation and audience - The newspaper industry revision

What goes where?

Newspapers can come up in any section of component one! So make sure you are prepared. 

Component one section A

Media language - an unseen front page or interior page from an unseen newspaper

Representation - the set edition of either the Mirror or The Times (‘partygate’ editions) COMPARED to an unseen product, probably another newspaper front page 

Component one section B

Industry - the newspaper in general, including the website - DO NOT TALK ABOUT SET EDITION

Audience - the newspaper in general, including the website, and may ask to refer to ‘a print edition’  - DO NOT TALK ABOUT SET EDITION

Note: for the following two representation questions we focussed on the respective set edition. However, please note that in the final exam, the representation question will involve an unseen comparison

Representation

1. Compare the ideologies conveyed through the representations in this newspaper and the set edition of The Daily Mirror you have studied.

In your answer, you must:
consider how representations convey ideologies
consider the similarities and differences in the ideologies conveyed
make judgements and draw conclusions about how far social and cultural contexts affect the representations. [30]

Knee-jerk reaction

The mirror uses a series of straightforward representations to construct a straightforward ideology to appeal to and to manipulate the ideology of the working class target audience in order to maximise revenue

Plan

Masthead

Stuart Hall

Red

Labour

Bold font

Lexis

Main image

Left wing ideological perspective 

MES

Colours

Yellow

Gender performativity

Anchorage 

Typography

Colloquial 

Skyline

Gauntlet's identity theory 

Baggy suit

MES of hair

Male gaze theory subversion 

Postcolonialism Gilroy

Stereotypes

Strapline

Caption 

Binary opposition 

Headlines

High key lighting

Candid image

Symbolic annihilation - lack of representation

Representation of ruling class

DAC

Representation refers to how a group of people, an issue or event are constructed through media language by the producer. Representations are a re-presentation: they are a reconstruction of reality, and always reflect the ideology of the producer. In this way, representations can be used to reinforce and to manipulate the ideology of the audience, primarily for the purpose of power, profit and to construct a dedicated target audience. In this essay I shall argue that The Daily Mirror uses straightforward and stereotypical representations to construct a straightforward ideology for its working class and middle aged target audience, in order to both minimise risk and to maximise profit. I shall compare the representations in the Daily Mirror to [the unseen newspaper]. The Daily Mirror is a working class tabloid newspaper produced by Reach PLC that broadly supports the Labour party. 

Content

• MES of scruffy hair constructs an ideology where Johnson is presented as unprofessional, reinforcing an ideology where Johnson should not be listened to. Therefore, the newspaper constructs a manipulative ideology that positions the audience in direct opposition to Johnson. A childish and informal mode of address.
• This is further reinforced through the biased selection of image, where the MES of Johnson's smug face anchors an ideological perspective that Johnson should not be prime minister. Therefore this representation of a privileged ruling class white man is used to position the audience
• Further anchored through the sans serif, bold and blocky font, which constructs Johnson as a moronic child, playing with the citizen’s of the united kingdom. This is further reinforced through the highly leading and even stereotypical MES of Johnson’s ill fitting suit, constructing him as a clownish and unserious figure
• The headline perfectly anchors the dominant ideological perspective of the newspaper, and constructs a polysemic representation, of Johnson not only as shameless but also incompetent 
• The lexis of the headline uses numbers in a highly leading way to construct the image of a countdown, perhaps a failed countdown to the target audience. Not only do these numbers connote actual factual evidence to present the audience, they also make intertextual reference to a bomb detonation. This intertextual reference to action films not only constructs Johnson as the evil antagonist of an action film, it also potentially positions the audience as the protagonist.  In order to win this battle, the audience must vote.
• Further emphasised through the MES of starmer authoritatively talking to the audience. This binary opposition also constructs starmer as the helper in a classic narrative, and positions the audience in a perfe3ct hyperreality where their ability to vote actually has a conceivable impact
• Binary opposition is constructed in the double page page spread between the frantic MES of the ICU and Johnson's smug look at the camera while clutching a glass of champagne in open defiance of his own rules. While the image was clearly taken at an official event, the anchorage of the article confirms the left wing ideology of the newspaper and further reinforces the tabloid mode of address of the newspaper. The caption is highly leading, and further anchors the ideology of the newspaper, blatantly constructing a reality where Johnson is an unreliable rule breaker. Finally, the anchorage of the placement of the editorial column constructs a reality where the composition of the page seems to show Johnson staring smugly at the allegations against him.
• Additionally, through the intertextual references to action films, most notably confirmed through the countdown lexis, as well as the villainess MES of Johnson clutching the glass, a narrative is constructed where Johnson is the antagonist of the lives of the working class target audience. This broadly Marxist ideology is typical of a working class newspaper, and helps the working class audience to construct their own identity 
• Both images also produce a voyeuristic mode of address, positioning the audience in an investigative and active mode of address. By piecing together the numerous headlines, copy and pull quotes, along with the highly leading images, the audience is encouraged to feel like they are making their own mind up. However, the tabloid newspaper utilises a highly biased and even manipulative mode of address to encourage the working class, left wing audience, to both oppose the Tories, and ultimately to vote labour. 
• The ‘personal letter’, actually an editorial guest column from leader of the opposition Kier starmer, provides a personal mode of address, and forms a diametric opposition between friendly Starmer, and the cold, distant, calculating Johnson. This informal lexis and address is typical of tabloid newspapers and infers the audience are to be treated through a patronising address

1. Compare how this newspaper and the front page to the Times you have studied represent social groups. [30]

In your answer you must:
• consider the similarities and differences in how social groups are represented
• consider how stereotypes can be used positively and negatively
• make judgements and draw conclusions about how far the representations reflect social and cultural contexts.

Knee jerk reaction

The Times represents middle class and ruling class people in a stereotypical and broadly complex way, in order to reinforce the newspaper’s ideological perspective

Plan

Stuart hall representation - stereotypes are useful!

Headline

Hegemony

Broadsheet

Main image 

Target audience: right wing middle aged middle class

bell hooks feminism 

Van Zoonen

Colour

Bland

Codes and conventions

Lexis

Pull quote

Font

Serif masthead

Anchorage

Captions

Byline 

Credibility

David Gauntlett identity!

Binary oppositions

Paul Gilroy

Cultural hierarchy 

MES

Gutters

Sophisticated mode of address

Hegemonically unattractive

Bias through selection

Ideology

Minimise risk maximise profit

Target conservative audience

DAC

Representation refers to how the producer present’s their ideological perspective through media language, and re-presents social groups and reconstructs reality. By reconstructing reality, newspapers are able to present the ideology of the producer, and position the audience in a leading way in order to accept the dominant hegemonic ideological position. By reinforcing conservative values, The Times not only appeals to a right wing middle class audience, but actively constructs a target audience who will read The Times every day. In doing so the producers minimise risk and maximise profit. This manipulation of the target audience is typical of UK newspapers, and it uses stereotypes to do this. The Times is a centre right broadsheet newspaper that targets a middle aged and middle class target audience. It is produced and published by News UK, a subsidiary of News Corp, one of the largest media conglomerates in the world. 

Content 

• The MES of serif font constructs a stereotypical representation of a middle class target audience, and allows the target audience to pick and mix their own identity form this newspaper. Buying the times every day becomes a performative ritual for the target audience
• The main image of Johnson, constructed through an unflattering close up constructs Johnson as a smug and problematic, yet also reinforces Johnson’s persona as a bumbling and yet loveable clown. This complex representation will appeal to  the readers of the times, who will take pleasure in this stereotypical representation of an upper middle class British man . Additionally, this complex representation assumes a more mature and complex target audience
• Compared to the image from the front of the mirror on the same day, a particularly biased image is used
• The lexis is resolutely anti Johnson. Words such as ‘four lockdown parties’ and ‘police’ reinforce the fact that this hard news story has real implications
• The promotional advert in the skyline constructs a binary opposition. The bright and appealing use of Blue and yellow conflicts with dull and dark colours of the main image, and further anchors the ignorance of the conservative party. It alsp constructs a clear demarcation between hard and soft news, providing the middle class target audience with a less serious distraction
• The soft news story presents a hegemonically attractive yet clearly relatable representation that will appeal to the target audience. Additionally, the MES of her haircut and gym gear reinforce a representation of this woman as middle class, and therefore she not only appeals to the male gaze, but also presents an aspirational mode of address to the family, middle class target audience. The lexis ‘do the bare minimum’ anchors and targets an overworked middle class aspirational audience who may be predisposed with motherhood. Therefore, the newspaper presents an apparently easy solution to getting fit which will appeal to stereotypical middle class audiences.
• Additionally, the conservative, middle class and middle aged audience are specifically target here, as the suggestion of doing the bare minimum will be particularly appealing . it reinforces a stereotype that middle class people have less free time to exercise, and therefore must be smarter with their free time. 
• “I was bitten by a pandemic puppy” provides anchorage to the main, headline story, as it humorously deals with a real issue caused by the lockdown. Once more a relatable mode of address is constructed for the stereotypical middle class target audience. The selection of relatable situations actively addresses a privileged target audience who may not have to worry about material deprivation
• The pull quote takes a serious and officious mode of address, using very formal language to reinforce the seriousness of the situation. A binary opposition is formed between the terms leadership and failure, with, when provided with the anchorage of Johnsons’ smug face, once more reinforce a representation of Johnson as a weak authority. This highly typical representation of a failed authoritarian political leader reinforces the notion that Johnson is a poor choice for PM. 
• While the Times is a right wing newspaper, here it takes an overtly critical approach of Boris Johnson. This is due to the wildly unfavourable public opinion of Johnson at the time. By representing Johnson in such a stereotypically unfavourable way, the newspaper is able to communicate with the critical audience, and reinforce widespread hegemonic condemnation of the prime minister. Curran and Seaton argue that newspaper producers are solely motivated by power and profit. That newspapers can shift their ideology to conform to the ideology of other newspapers in order to please audiences is shocking, and displays a lack of critical integrity.

Audience

These two questions make reference to the print edition. The print edition that I have selected for students sitting the exam in 2024 can be found here.

Explain how media producers attract audiences. Refer to a print edition of the The Times  to support your answers [12]

What theories?

• Encoding/decoding (negotiation)
• Cultivation
• Pick and mix/identity
• Jenkins
• Clay Shirky

• Headline story ‘strike costs will force unions in to climbdown’ takes an anti union perspective, which reinforces the right wing middle ideology of the newspaper, and allows it to target its audience. Audiences are able to pick and mix their identity, and by allying themselves against disruptive unions helps the audiences to feel a sense of unity with one another
• The formal lexis of the times is seen throughout the print edition. For example ‘ministers resist covid curbs’ uses broadly technical language to discuss a complicated international news story
• The intrusive selection of an image of a pro cannabis protester cultivates the ideological value that recreational use of cannabis is bad. This belief will resonate with conservative audiences, and clearly reflects Murdoch’s conservative and anti-drug agenda 
• A broadsheet works through taking a far more sophisticated mode of address, using sophisticated lexis, and resisting colloquialisms. The font of the masthead is an excellent example, with it’s subtly serif bold capital typography, anchored through the use of it’s formal crest, which reflects the long established values of the newspapers . The brand identity of the time is it’s most important selling point, and audiences will buy it every day as it consistently meets their expectations and cultivates their ideologies and worldview 
• The cover price of £2 for subscribers clearly encourages to apparently save money which appeals to conservative values. It also encourages audiences to financially support the times, and therefore apparently take ownership of it

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]

• Stuart Hall argued that audiences can interpret media products in wildly different ways based on their own social and cultural circumstances. However, newspaper producers will both address and anchor the audience using highly leading and even manipulative selection of stories and coverage. To explore this idea I shall look at the 30/12/22 edition of The Daily Mirror. 
• The front page features a cover story on the death of Pele, a famous footballer. Many assumptions are being made here: that the audience cares about football, and that they recognise Pele. Here the audience are positioned as working class
• Vivian Westwood’s death is given less column inches, indicating she is less newsworthy. This suggests that high fashion is less important to the working class target audience, a stereotypical assumption that newspaper journalists rely on
• The assumed audience are able to identify with rags to riches story, and therefore his death is made impactful 
• A double page splash story about covid ties into the dominant ideology of the newspaper. Representing foreign people, in particular Chinese people as a threat, the newspaper plays to stereotypically racist assumptions of working class people, and assumes that the target audience are xenophobic. The image of a middle aged east Asian woman pushing a trolley constructs a threatening mode of address that ensures the target audience keep reading 
• Coverage of the Ukraine crisis appears later in the newspaper (page 19), and suggests that this story is less newsworthy. It makes the stereotypical assumption that not only are working class people less educated, they are also less interested in international news
• The national news story on page two focuses on soaring bills and falling pay in the UK. This alarmist mode of address will particularly align with working class audiences who will be specifically affected by these issues. 

Daily Mirror fact file

• Left wing tabloid newspaper
• Circulation of 240,000 - has recently collapsed!
• Print newspaper doing terribly due to competition from digitally convergent platforms
• Founded 120 years ago
• Website is not paywalled but funded by many many adverts 
• Owned by Reach PLC, a horizontally integrated organisation specialising  in UK newspapers, particularly local news
• Price of £1.40, higher than competitors such as The Sun
• Originally launched as a newspaper for women
• Scandals with Piers  Morgan, dodgy Nazi references and the phone hacking scandal!
• Regulated voluntarily by IPSO
• Originally middle class audiences
• The only mainstream left wing tabloid in the UK