Unseen audiovisual advertisement analysis examples

Explore how this advert communicates meanings. [15]

Example one - The World Needs More Santas | Coca-Cola 

Plan

Semiotics

Barthes

Binary oppositions

Levi-Strauss

MES

Hyperreality 

Editing

Fast paced

Christmas iconography

Costume

Postmodernism 

Design 

High production values

Symbolic

Mode of address

Stereotypical 

Ideological perspective

Anchorage

Narrative

Straightforward 

Conventional 

Conservative

City setting

Consumerism 

Old fashioned song, traditional 

Sexist?

Racist?

Gilroy and hooks? 

Introduction

DAC - definition, argument, context 

Media language is used by producers to construct deeper and complex meanings to target audiences. I shall argue that this advert for Coca-Cola constructs a simple, straightforward and consumerist ideology to appeal to the widest audience possible. 

Paragraphs and potential content 

• One meaning that is created in this advert is the idea that Coca Cola is a completely positive and transformative experience…
• However, another meaning that is constructed is one of inclusivity…
• The gesture code of a santa gifting a bottle of coke to a different santa anchors the dominant ideology that coke is associated with inclusivity 
• The warm lighting, further anchored through the use of inviting facial expressions, constructs a warm and inviting mode of address. Furthermore, this representation of inner city life is hyperreal. It is completely perfect with no crime or poverty
• The use of mid shots positions the target audience within the restaurant, providing a comforting and relatable mode of address…
• The montage of different closely packed settings constructs a sense of community and togetherness
• A lack of hermeneutic codes and mystery creates a comfortable mode of address
• While the advert preaches inclusivity, ethnic minorities are completely othered throughout the advert, with the only demographic group being represented is white, middle aged men 
• While this is a modern advert, another straightforward meaning that is constructed is of traditional and conservative…
• Finally, a highly consumerist ideology is constructed…

Jaguar | Copy Nothing 

Plan 

Shots

Mid shots

Bright colours - 2

Hermeneutic codes - 1

Symbolic codes

Reverse editing

High production

Static cinematography 

Precise 

Robotic

Barthes

Levi-Strauss 

Binary oppositions

Diversity - 3 

Proairetic

Unconventional

Setting

Studio

Costumes 

Sci fi genre conventions - 4

Makeup

Soundtrack sci fi - 4

Electronic - 4

Baudrillard - postmodernism 

Polysemic

To sell a lifestyle

Introduction

DAC - definition, argument, context 

Many meanings can be constructed through media language, and adverts rely on using media language to sell a lifestyle to the target audience. I shall argue that this advert is highly polysemic in order to attempt to appeal to a wider and more diverse audience. 

Paragraphs and potential content 

• One way in which this advert constructs polysemic meanings is through the use of hermeneutic codes to construct a confusing mode of address. One perfect example of this can be found in the MES of the yellow hammer clutched by the woman wearing a rich orange dress standing in a completely blue cube. This communicates to the audience a powerful mystery, which the preferred reading encourages the audience to think deeply about the brand. In doing so, this complex hermeneutic code indicates that Jaguar are rebranding their image, to reflect the hegemonic norms of society in order to appeal to a new audience
• Colour is also absolutely essential to constructing meaning in this advert. The producers have used a primary colour palette throughout the advert to construct a clashing and striking mode of address. In an early mid shot, a binary opposition is constructed between the model’s poofy red dress and her rich skin tone, made blue by studio lighting. This striking opposition is anchored through the use of slow motion editing, which suggests the model is flamboyant, confident and unique. Here, this complex combination of media language suggests to the target audience that by purchasing this car, they will also live a fearless and confident life. This highly postmodern mode of address constructs a hyperreal world for the audience to buy in to.

The Daily Mirror - representation analysis comparison

 10 Compare how the representations in these newspapers position audiences. [30]

In your answer you must:

• consider the similarities in how the representations position audiences

• consider the differences in how the representations position audiences

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

Knee Jerk 

Both of these newspapers use representations to position audiences, for the purpose of reinforcing the ideology of the producer, and cultivating an audience who will engage with the newspaper every day

Daily Mirror - Johnson

Daily Express - Badenoch

Tabloid  Sans serif masthead White, working class, middle aged target audiences Left wing, Labour audience 95p working class target audience Red top - stereotypical, conventional tabloid “Zero shame”, positions audience as rejecting Johnson’s ideologies Audience are positioned in a way to agree with the ideology of the newspaper, anchored by the dramatic lexis Represents the party in power as villainous  The ‘countdown’ lexis of the Mirror presents a dominant ideology of the country in collapse, an issue caused by the corrupt conservative party, with Johnson represented as the antagonist in this clear narrative Less educated working class audience targeted through simplistic and straightforward lexis to position audience and to evoke specific ideologies Lexis “the heart of Britain” is also patriotic, yet not as extreme as The Express, suggesting a more centrist audience  Skyline teases feature article, “Tears of the King” makes reference to King George, a monarch who died in the 1950s, targeting an older, nostalgic and patriotic audience

Tabloid Slightly serif masthead White, working class, middle aged target audiences Right wing, conservative audience  £1.80 - slightly more expensive  A tabloid but not a red top - less conventional  “Rural way of life” positions audiences as working agriculture, and living in the countryside Audience are positioned in a way to agree with the ideology of the newspaper, anchored by the dramatic lexis Represents the party in power as villainous  The dominant ideology of the producer is demonstrated through a patriotic mode of address, “lifeblood of this country”, anchored through the main image of Badenoch, determined, her clenched fist a proairetic code, suggesting she will fight Less educated working class audience targeted through simplistic and straightforward lexis to position audience and to evoke specific ideologies Stereotypically patriotic knight image in masthead positions the audience with patriotic and conservative mode of address, and anchors the right wing ideological perspective Sell line “free inside” suggest that the audience are concerned with money. The “We kept calm and carried on” lexis once more reinforces a patriotic mode of address

Introduction - DAC

Representation refers to the re-presentation of an issue, group of people, ideology or event. Representations are constructed by the producer, using forceful media language to not only shape the ideology of their target audience, but also to construct a new reality. Representations are essential in positioning audiences, which is how audiences are ‘placed’ within a media product. I shall argue that both these newspapers use representations to position audiences, for the purpose of reinforcing the ideology of the producer, and cultivating an audience who will engage with the newspaper every day. To explore this, I shall refer to the set edition of the daily mirror, a left wing, British tabloid published by Reach PLC, a horizontally integrated British media conglomerate. I shall also refer to The Daily Express, a British right wing tabloid. 

Paragraphs

• One representation that effectively positions audiences is the representations of Britain itself…
• Another representation that both newspapers share is the representation of the working class target audience 
• (both newspapers construct and target a working class audience. However, both newspapers choose not to represent working class people on the front pages, suggesting that the working class do not have a place in politics. This representational hierarchy is highly conventional)
• However, these newspapers differ in terms of their representation of conservative politicians…

• Stuart Hall - representations are constructed through media language, especially stereotypes 
• Stuart Hall - reception theory - different audiences respond in different ways, but ideologies are anchored through media language
• David Gauntlet - audience construct identity through these representations

The Times - representation analysis comparison

 1. Compare how these newspapers represent issues and events. [30]
In your answer you must:
• consider the similarities and differences in how issues and events 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

Both of these newspapers represent issues and events in different ways, to represent their ideologies to the target audience, and ultimately to cultivate the ideology of the audience, to minimise risk and to maximise

SET TEXT - The Times - partygate

UNSEEN - The Daily Mail - labour strike action

Broadsheet newspaper Middle class target audience Right wing/centre right Conservative party Constructs a more balanced middle ground, with less emphasis on patriotism  Article is lightly critical of the conservative party, despite the newspaper’s political leanings, suggesting a more diverse audience Targets a specific, middle class, educated, conservative audience More copy, smaller font, formal lexis News UK, a subsidiary of News International, a multinational billionaire owned news conglomerate. Also publish The Sun. Conglomerate owns Fox news, part of 20th Century Fox and hundreds of channels and newspapers around the world. Vertically and horizontally integrated company Big emphasis on political news Big emphasis on hard news Soft news skybox, with a middle class target Social issues - post pandemic news stories, masks on planes, ‘pandemic puppy’  Exaggeration of issues and events in order to construct an entertaining and distressing narrative “Police investigate four lockdown audience” - a bland and somewhat sophisticate mode of address that does not overtly criticise the conservative party

Tabloid  Working class target audience A right wing newspaper Conservative party Critical of Megan Markle, yet supportive of the royal family, a patriotic mode of address Highly critical of the labour party, with a very clear ideology Targets a specific working class, conservative audience, less educated Less copy, bigger font, slightly less formal lexis Also conglomerate ownership Big emphasis on political news Less of a focus on hard news Gossipy news and celebrity news targets a working class audience The collapse of the labour party, interpersonal relationships, Megan Markle’s family  Exaggeration of issues and events in order to construct an entertaining and distressing narrative ‘Now Labour is facing a winter of discontent” - anchors target audience, reinforcing anti labour ideology - directly addresses an older target audience with winter of discontent  Highly critical of unions and strikes

Introduction - DAC

Representation refers to how a group, issue, event or place is constructed through codes and conventions by the producer of a media product, to demonstrate their ideology and to manipulate the ideology of their target audience. Furthermore, representations reconstruct a version of reality, that will appeal to the target audience, and further minimise risk and maximise profit. In this essay, I shall argue that both of these newspapers represent issues and events in different ways, to represent their ideologies to the target audience, and ultimately to cultivate the ideology of the audience, to minimise risk and to maximise profit. To explore this, I shall refer to The Times, a broadsheet, conservative/right wing British newspaper, targeting a middle class and middle aged audience. I shall also refer to the Daily Mail, a British Right wing tabloid

Top tip! The Daily Mirror and The Guardian and the only two MAINSTREAM left wing newspapers in the UK. 

• Representation of issues with the government…
• The representation of famous individuals…
• A lack of representation of the working class.. 
• The representation of soft news… 
• The representation of political issues… (a different reality is constructed for working class and middle class audiences…)
• Representation of gender and sexism

• Stuart Hall - representation. Producers construct ideologies through representations, in particular stereotypes 

• Curran and Sean - profit and power. Most UK newspapers support the conservative party, who ultimately tend to be the bigger party, but also will support the party that encourages privatisation, low taxes and so on 

• Davide Gauntlet - pick and mix - audiences construct their ideologies and identities. Buying the times allows the target audience to construct a middle class, educated and conservative identity 

• Paul Gilroy - postcolonial theory. Favours white middle aged middle class men 

• Van Zoonen - the male gaze and the construction of gender. Johnson is completely unsexualised, however Kim Kardashian is solely featured for being hegemonically attractive

Film industry revision 2025

 The film industry - only industry questions can come up for this!!!!

Two films - Black Panther and I Daniel Blake...

Fact file - version one

Black Panther

I, Daniel Blake

High production values Clear, Hollywood narrative  Traditional marketing techniques: interviews, billboards, trailers Multinational distribution, many world markets Huge Hollywood budget (200mil) Huge star appeal (Chadwick Boseman and Michael B Jordan)  Soundtrack - big budget, dramatic, conventional, known songs  Action, superhero, blaxploitation, social justice UK BBFC rating 12A - under 12s can attend with a guardian  Minimises risk and maximises profit All black cast Exotic expensive locations Major conglomerate production  Produced by Marvel Studios, distributed by Disney

Low production values Depressing, tragic narrative  Guerilla marketing techniques: projecting quotes on to the houses of parliament  Predominantly successful in the UK and France Low budget (8 million) Unknown actors  Low budget, sparse Social realist (reflects reality, themes of poverty, white working class identity)  BBFC 15. One use of very strong language  A risky financial venture. For the message All white cast Newcastle  Independent production Produced and distributed by many companies, 16 Films, E1, Why Not?. BBC. National Lottery, Canal +...

Explain how the producers of films  ensure their financial success. Refer to I Daniel Blake to support your points. [15]

• Clear and easy to understand narrative, typical of the social realist genre

• Relatable to working class audiences… although the actual target audience is clearly middle class

• Marketing techniques - trailers, posters, as well as guerilla marketing techniques such as projecting quotes on the houses of parliament

• Relatable and appealing to a left wing audience. Film has a socialist ideology. The antagonist is the capitalist right wing government

• Construction of brand identity - the director is an auteur and makes distinctive films. Therefore the film targets a pre-sold audience!

• Film financed by a number of international organisations, spreading the risk factor 

• Recognisable location for UK audiences 

• David Hesmondhalgh - minimising risk and maximising profit

• Curran and Seaton - the media industries are motivated by power and profit…

• However, as an independent social realist film, I Daniel Blake will always be limited in it’s financial potential. Curran and Seaton argue that we should move to a system of smaller producers, making interesting products that are not influenced by rampant capitalism. 

• There are other ways of being successful beyond financial success!

• Social message drawing attention to social issues

• To raise awareness of poverty

• The love of making films, and making art

• To entertain and appeal to an audience 

• To win awards, IDB won the Palme D’Or award

Fact file - version two

Black Panther

I, Daniel Blake

High production values Extensive use of CGI Fantasy/superhero/action/adventure/sci fi Hybrid genre Studio production Costumes - conventional superhero  Chadwick Boseman and Michael B Jordan - established star appeal  Part of an established franchise - the MCU A classical Hollywood narrative: narrative closure, but part of a series A mainstream, mass, global audience Marvel Studios, subsidiary of Disney Budget $200 million Total revenue: 1 billion dollars Advertised in high profile traditional means. Superbowl ad, online ads, billboards, TV interviews, magazine preview features and teaser trailers A range of accents and settings across the world A mainstream Hollywood blockbuster

Low production values Absolutely no CGI Social realist film Single genre On location shooting Authentic costumes Unknown actors Not part of a franchise A depressing and somewhat unconventional narrative A niche, predominantly UK and French audience Produced and distributed and funded by many companies, inc 16 Films, BBC, E1, Canal +, Why Productions and The National Lottery Budget and advertising $8 million  Total revenue: 15 million dollars A cross media campaign, using social media, guerilla marketing campaigns including projecting quotes on to houses of parliament, and screenings in village halls Use of regional accents and specific UK setting (Newcastle)  A indie film

(c) Explain the role of regulation in the global distribution of films. Refer to Black Panther to support your points. [9]

BBFC - 12A. A desirable certificate, as everyone can access, including younger audiences

MPAA - PG13. Suggests that this film is suitable for children worldwide, in order to minimise risk 

In the final sequence, we see an epic fantasy battle. While there is much on screen violence, it is fantasy violence, and unlikely to harm or offend the audience. The lack of extreme sadistic violence allows for a lower BBFC rating, and worldwide distribution 

The lack of explicit sex, foul language, overt political themes allow this film to be distributed without censorship worldwide

Livingstone and Lunt argue that the regulation of media is largely ineffective

Digitally convergent technologies allows for easy and largely unregulated access to films, through the use of pirate unregulated streaming services, and also through the almost completely unregulated Disney+ service

Bonus task - make sure you can define the following terms

BBFC

Circulation 

Conglomerate

Distribution

Horizontal integration

Independent studio

Major studio

Monopoly

Regulation

Subsidiary

Target Audience

Vertical integration