Key assessment one 2022: questions, mark scheme, feedback, and indictive content

Introduction

The Waitrose Christmas 2022 advertisement takes an unconventional approach, focussing on the supply chain, and how food reaches us

You've now completed key assessment one, your first mock exam. Well done! 

In A-level media studies, you are given feedback in four different ways:

1 - A fine grade, for example B2. This would indicate a mid or safe B.

2 - A mark. Lots of marks, actually. You'll have to use the mark scheme to work out how you did in each question

3 - A feedback numeral. This will be a Roman numeral, i.e i, ii, iii, iv etc. This will link to one piece of feedback that you will have to address next time

4 - Verbal, 1-1 feedback. This will be given in your upcoming progress audit 

Questions

Section A – Media language (please spend 30 minutes on this section. Your time starts the second the advert is first shown)

Advertising

• The advertisement will be shown twice.

• First viewing: watch the advertisement and make notes.

• You will then have five minutes to start your response.

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

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

You can view the advert by clicking here

1 - Explore how media language combines to create meaning in the It’s Beginning to Look a Lot Like Christmas Waitrose advert you have been shown. [15]

Section B – Media industries (please spend 20 minutes on this section)

Film industry

2a) Briefly explain what s meant by an independent film [2]

b) Briefly explain what you understand by horizontal integration [2]

c) Explain two features of independent film production? Refer to I Daniel Blake to support your points [6]

d) Explain how mainstream films are shaped by the means of their production. Refer to Black Panther to support your answer. [10]

Marks and grades

Above is a hypothetical stat block. You will be emailed something VERY similar. From left to right, these are the marks you got for all five of the questions in this exam, the total mark you received, the fine grade you received (in this case a high C), and the feedback you received, in this case a 'i'.

The colours are related to your target minimum grade. This comes from your average GCSE grade. Yellow means you achieved your TMG. Red is below, and green is above. In the example above, this person did pretty well!

Feedback

i - You must include more media language. Shot types, camera angles, mise-en-scene, lexis, colour, setting, whatever, if you're not using these words, you're not getting marks!

ii - You must focus on analysis and suggesting meanings. What do the de-saturated colours mean? How does the lexis target a working class audience? Don't describe... analyse!

iii - Focus on theory. You don't use enough. You should use more. Make sure to properly revise at least three theories for the next mock!

iv - Focus on presenting a clear argument or point of view. You've ticked every other box, so what do you think? Get argumentative! Get angry! And make a big conclusion!

v - Avoid colloquialisms and find your academic tone. Check out the detailed feedback below for more information on this. This one will take time: there's no quick fix!

Grade boundaries 

This assessment didn't have a lot of questions, so the grade boundaries are really close together! That's life!

A* - 81% - 29/35

A - 71% - 25/35

B - 61% - 21/35

C - 52% - 19/35

D - 43% - 16/35

E - 35% - 13/35

U - 0 - 12/35

Indicative content

This will be added to as your teacher marks your papers...

1)

2c)

2d)

Mark scheme

1 - Explore how media language combines to create meaning in the It’s Beginning to Look a Lot Like Christmas Waitrose advert you have been shown. [15]

Apply knowledge and understanding of the theoretical framework of media to analyse media products

5/A

13-15 marks

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

• Analysis of the advertisement is perceptive, detailed and is likely to be informed by relevant theories

4/B

10-12 marks

• Good, accurate application of knowledge and understanding of the theoretical framework to analyse the advertisement

• Analysis of the advertisement is logical and may be informed by relevant theories

3/C

7-9 marks

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

• Analysis of the advertisement is reasonable and straightforward

2/D

4-6 marks

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

• Analysis of the advertisement is undeveloped and there may be a tendency to simply describe features of the advertisement

1/E

1-3 marks

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

• Analysis of the advertisement is superficial and generalised

0 marks

• Response not attempted or not worthy of credit

Section B – Media industries (please spend 20 minutes on this section)

Film industry

2a) Briefly explain what s meant by an independent film [2]

Two marks: A film made outside of the commercial mainstream and outside of the financial and artistic control of a large film company. A film which is privately conceived and funded or is made by a smaller film company on a low budget. A reasonably detailed and elucidating example may be included in addition to a satisfactory definition

One mark:  One that is not mainstream, a film that costs less to make, etc

Credit any valid responses

b) Briefly explain what you understand by horizontal integration [2]

Two marks: Where an organisation acquires another organisation at the same level of industry, or at the same level of the supply chain. A reasonably detailed and elucidating example may be included in addition to a satisfactory definition

One mark: when companies work together, when a company buys a similar company or something similar. 

Credit any valid responses

c) Explain two features of independent film production? Refer to I Daniel Blake to support your points [6]

Demonstrate knowledge and understanding of the theoretical framework

5-6 marks/A/B

• Excellent, detailed, and accurate explanation

3-4 marks/C

• Good, accurate explanation

1 - 2 marks/D/E

• Basic explanation which may be undeveloped or contain some inaccuracy

0 marks/U

• Response not attempted or not worthy of credit

d) Explain how mainstream films are shaped by the means of their production. Refer to Black Panther to support your answer. 

Demonstrate knowledge and understanding of contexts of media and their influence on media products and processes

5/A

9-10 marks

• Excellent, detailed, and accurate knowledge and understanding of how production contexts shape mainstream films, with possible reference to relevant theoretical perspectives

• Detailed reference to the set film to support points made

4/B

7-8 marks

• Good, accurate knowledge and understanding of how production contexts shape mainstream films

• Reasonably detailed reference to the set film to support points made

3/C

5-6 marks

• Satisfactory knowledge and understanding of how production contexts shape mainstream films, although this may lack development

• Straightforward reference to the set film to support points made

2/D

3-4 marks

• Basic knowledge of economic contexts, but there is limited, if any, understanding of how production contexts shape mainstream films

• Partial reference to the set film to support points made, but this is undeveloped

1/E

1-2 marks

• Minimal knowledge of economic contexts, but there is very limited, if any, understanding of how production contexts shape mainstream films.

• Very limited or no reference to the set film to support points made

0 marks/U

• No response attempted or no response worthy of credit

Exemplar answers

Teacher exemplar

Section A – Media language

1 - Explore how media language combines to create meaning in the It’s Beginning to Look a Lot Like Christmas Waitrose advert you have been shown. [15]

Media language refers to the combination of elements that constructs meaning for an audience. The Waitrose Christmas Advert uses a complex set of media language in order to construct a complex range of meanings, that predominantly construct a nostalgic mode of address for its middle-class target audiences. Waitrose is a UK supermarket that appeals in particular to middle class shoppers, and UK supermarkets will typically use expensive advertising campaigns to compete with one another directly at Christmas.

One excellent example of how the Waitrose adverts constructs meaning is through it’s inviting and inclusive use of representation A variety of different groups of people are represented in a variety of different ways. In the first half of the advert, a montage of predominantly working-class characters is constructed. Farmers and labourers are represented in a number of frankly stereotypical ways, including through the anchorage of working-class iconography such as tractors, the MES of tan lines on arms, and the depiction of traditionally working-class settings, such as a muddy field. This reinforces the idea that working class people are essential to Waitrose producing it’s food, However, the advert switches in a sharp binary opposition to a stereotypical middle class household. The MES of luxurious golden lighting, as well as the MES of thick cardigans and plentiful food constructs a stereotypical and highly leading representation of a middle-class family. The producer has chosen this family to be represented by mixed race actors, which provides a sense of inclusion for the target audiences and allows it to maximise profit. However, the message is still constructed that Waitrose is targeting affluent, middle-class families with the promise of working class labour.

A highly nostalgic mode of address is constructed through the use of stereotypically Christmas associated MES, that will allow the older, middle class target audiences to remember their own childhood. This is particularly evident in the second half of the advert, which is set in a stereotypical middle-class household. The use of low key, golden lighting is further reinforced through the luxurious MES of stereotypically Christmas food, which constructs a highly comforting and delightful mode of address for the target audience. The house itself is old and traditional, which reinforces an ideological perspective that tradition and conservative values are preferable. This is further anchored through the highly conservative and stereotypical selection of song, ‘It’s Beginning to Look A Lot Like Christmas by Bing Crosby (I THINK?), which once more reinforces and anchors a nostalgic mode of address. By reinforcing these conservative values, Waitrose communicates to it’s target middle class audience that it is the correct, traditional, and ‘real’ choice to make this Christmas.

Additionally, the advert uses media language to construct a compelling and highly relatable narrative to it’s middle-class audience. This is constructed through the use of mysterious hermeneutic codes in the first half of the advert, which use low key natural lighting, bleak use of setting, and miserable, affecting MES such as mud and rain. This constructs a mysterious, confusing and provocative mode of address to the target audience, which is further anchored through the diametrically opposed, cheerily happy soundtrack. The preferred reading of this advert is doubtless that audiences should be confused, at least for the first half of the advert. However, when we switch to the more traditional setting of the middle-class household, audiences will recognise the genre conventions of the Christmas advert, and will realise that the producer’s ideological perspective is to infer how much graft and effort has gone into the production of it’s good. This compelling narrative will doubtless encourage audiences to engage with the second half of the advert, therefore maximising profit for the conglomerate.

The narrative, of course continues in the second half, with a highly relatable (to middle class people) slice of life story, with a young boy crying because he does not get a sausage. The emotional impact of this scene is emphasised by the use of a mid-shot, which emphasises the emotion of his crying face. This is yet further anchored through his age, and the MES of his soft, fuzzy cardigan, which functions as a symbolic code for innocence and purity. This supposedly delightful scene constructs a highly emotionally manipulative mode of address, made more affecting through the non-diegetic soundtrack being removed at the point of him crying. The narrative is concluded with a girl, presumably the crying boy’s sister cheerfully intoning “don’t worry, you can have mine”. Once more, this delightful scene allows Waitrose to associate it’s own produce with the so-called ‘magic’ of Christmas, and arguably functions as a proairetic code, indicating the exciting and delightful Christmas adventures that should occur should the audience choose to shop at Waitrose.

It is interesting that Waitrose have chosen a straightforward Christmas advert this year, with no hint of animation, big name celebrities or grand, complex narratives. In fact, the montage of the bleak realities of farming in the opening half of the advert reinforces the harsh realities of agricultural work, and symbolises the thankfulness that even well-off, middle-class families should experience when purchasing food. The second half of the advert is also remarkably straightforward. Although the family are mixed race, which could point towards a more modern, inclusive Britain, the MES of the household and the set design is fiercely traditional, and suggests far more conservative, old-fashioned, and traditional values. Once more this will appeal to Waitrose’s more conservative, older, and comparatively wealthy target audience, with an advert that proairetically encodes themes of value over more flashy, expensive, and ‘modern’ Christmas adverts that rival supermarkets tend to release.

Section B – Media industries 

Film industry

2a) Briefly explain what s meant by an independent film [2]

An independent film is a film produced outside of the mainstream, and without the financial backing of major producers, distributors, and conglomerates. An excellent example of an independent film is Primer (2002), which was independently financed, and cost only $8000 to produce.

b) Briefly explain what you understand by horizontal integration [2]

Horizontal integration refers to when an organisation buys out another organisation in the same sector, or at the same level of the production chin. An excellent example of this would by Disney forcibly acquiring Pixar. This invariably happens to minimise risk and to reduce competition.

c) Explain two features of independent film production? Refer to I Daniel Blake to support your points [6]

One essential feature of independent film production is that they will usually be financed by a range of different companies rather than one single financer. This is because even a small film like I, Daniel Blake (IDB) will cost a not insignificant $2million. IDB was funding by a range of organisations, including BBC Films, the BFI, The National Lottery and so on in the UK, and with additional funding from several French interests, including Canal + and related subsidiaries in France. Germany’s Wild Bunch also helped to finance it. This highly collaborative approach to financing is typical of independent film production

A second feature of independent film production is the often less mainstream themes, genre conventions and ideologies that they will evidence. For example, IDB, rather than being shot on sound stages in Los Angeles, like stereotypical Hollywood films, was shot on location in the streets and rundown flats of Newcastle. This led to the film having remarkably low production values. This production context extends to the choice of actors: IDB, like many independent films, uses ‘unknown’ or less successful actors, who perform in a more naturalistic and therefore ‘realistic’ way, which will appeal to the target audience. This reflects the political ideology of the film IDB has been constructed to present a blunt and straightforward political ideolog to it’s audience, in this case criticising the UK government. This criticism extends to the unusual promotion of the film, where the director Ken Loach went of Channel 4 news to argue with conservative MP Kwasi Kwarteng about the economic impact of Tory austerity.

Clearly IDB targets a niche audience, and, like many indie films, this is reflected in its production context

d) Explain how mainstream films are shaped by the means of their production. Refer to Black Panther to support your answer. [10]

Mainstream, big budget, blockbuster films are typically highly shaped by the ways in which they are made. Black panther is an excellent example of how a blockbuster film is shaped by the company that makes it. 

One way in which Black Panther is shaped by being produced by a major film producer (Marvel Studios, a subsidiary of Disney), is that it has very high production values. This is shown off in the promotional trailer through the use of highly polished CGI, well known and hegemonically attractive actors, huge, expensive special effects and sets, and easily identifiable themes of good vs evil. It is absolutely essential that mainstream, big budget films demonstrate these qualities, in order to minimise risk and to maximise profit for Disney.

Another way in which BP has been shaped by being owned by a major conglomerate is the fact that it was constructed to receive a 12A rating. Film regulation can easily stop a film from maximising profit, and a 15 certificate would stop the younger, teenage target audience from watching this film in the first place. Therefore, while BP is filled with violence and conflict, it is only ever ‘fantasy violence’ which is deemed more acceptable by the BBFC. The BBFC explains how BP does not show excessive injury detail, and that there is only brief use of swearing (for example a middle finger gesture made in jest), which allows the film to achieve a 12A rating and therefore appeal to and be accessed as many audiences as possible.

Another way in which BP has been shaped by it’s ownership by Disney, a vast multinational conglomerate, is it’s highly expensive and expansive promotional campaign. Unlike an independent film such as IDB, a vast number of different marketing techniques have been used to advertise the film, from traditional (cinema trailers, teaser trailers, billboard posters and newspaper adverts and publicity interviews), to modern, digitally convergent methods, for example viral marketing campaigns on social media featuring catchy hashtags, banner adverts on websites and so on. Additionally, a vast range of additional merchandise, including toys, games, statues and clothes allows the vast conglomerate Disney to use its vertically integrated business practices to maximise revenue by using the Black panther branding in a variety of different products. This avenue of marketing would simply not be available to indie film producers.

Finally, Black Panther himself is an established superhero brand, from Marvel, a brand synonymous with superheroes. Audiences will be presold on the character, and Disney will be able to rely on the enormous amount of pre-existing fans coming to the cinema, and subscribing to Disney +, it’s digital streaming service, in order to maximise profit

Mock preparation 2 - analysis of the 'Just Eat & Katie Perry audio-visual advert

In what ways can advertisements use media language to present an ideological perspective? make reference to the 'Just Eat & Katie Perry audio-visual advert you have been shown.

You may wish to make reference to

• Mise-en-scene

• Montage

• Intertextuality

1 - underline key terms

2 - knee jerk reaction

The advert presents a straightforward, repetitive and highly manipulative mode of address, for the purpose of power and profit 

3 - Plan

Simply jot down key words, phrases and examples from the unseen text

• "did somebody say"
• Bright colours
• Letteuce bra
• Alice in wonderland
• Muppet 
• Animated 
• Montage
• 50's hairstyle

DAC

Definition, argument, context 

Ideology refers to the ways in which the producer of a media product presents their views and beliefs. Ideologies are always encoded through media language. In this essay, I shall argue that the Just Eat Katie Perry advert uses a highly persuasive and manipulative mode of address to address the target audience in a number of highly persuasive ways. 

Point, evidence, argument 

Paragraph starter one: One way in which this advert encodes ideology through media language is through its startling and surprising use of MES...

Paragraph starter two: Another way in which the producer encodes meaning is through the heavy use of intertextuality...

Paragraph starter three: Yet another way in which ideology is constructed is through the selection of the song and the artist herself ...

• The advert shifts from live live action footage of Perry to an animated sequence, which creates a startling mode of address for the target audience. The cartoon Perry is standing on top of a stereotypical cartoon mushroom, which constructs an exciting fantasy world. However, a polysemic interpretation of this could be the hallucinogenic qualities of the mushrooms, which is further reinforced through the druggy, psychedelic mode of address of the advert. This potentially could be referring to the addictive qualities of takeaway food, but it is potentially appealing to a young, edgy audience
• The MES of Perry's costume is often associated with food, including the MES of a fried egg sitting on her left breast. This highly odd and even confusing stylistic choice constructs clear sexual symbolism. The egg is a symbolic code for a breast, which constructs a range of polysemic interpretations, including a highly sexualised mode of address. Perry is utilised throughout the advert as an object for a heterosexual male gaze. Other examples of highly sexualised MES include her suggestive Lettice bra, and her exaggerated hourglass figure in the animated insert. These elements combine to construct a highly sexualised representation that reinforce and reconfirm the hegemonic expectations that exist around women in our society. The producers are clearly using an appealing and suggestive representation of women to sell a product.
• Does the advert sell an unrealistic body image?
• The song itself is a highly repetitive and highly conventional pop song, that will traditionally appeal to younger, and potentially female audience. Pop conventions used here include repetitive themes, the bright, candy colours used in the advert, and synths, drum machines, and autotuned vocals. All these conventional pop elements combine to construct a highly conventional and appealing advert
• The advert uses media language to construct a highly cynical and invasive ideology to the target audience. While it is presented in a humorous and tongue in cheek way, Perry looks directly in to the audience, breaking the fourth wall, and commanding the audience to 'Eat, Just Eat'. This mode of address however could be considered to be highly ironic and humorous, which may resonate and appeal to younger, edgy audiences

Mock preparation 1 - analysis of the Coca Cola 'Street' World Cup 2022 advertisement

How do audiences respond to and interpret the representations in this product?

If we flesh this question out a bit, we get...

In what ways are representations used to appeal to a range of audiences? Make reference to the Coca Cola 'Street' World Cup 2022 advertisement. You may wish to make reference to:

• Cinematography

• Editing

• The use of MES
  
  

You can view the unseen advert by clicking here

How do we structure an introduction?

DAC

Definition, argument, context

Representation refers to how something is presented again by the producer for the purpose of profit, to secure power, and to construct meaning. In this essay, I shall argue that the Coca Cola 'Street' advert uses a range of complex representations to appeal to the widest target audience possible. This ensures that Coca Cola, a multinational conglomerate are able to maximise their potential profit. 

PEA

Point, evidence, argument

• One way in which the CC advert uses representations to appeal to a wide range of audiences is through the representation of football itself
• High key naturalistic and golden lighting reinforces a warm, sunny, enjoyable and wealthy atmosphere
• Another representation that is featured heavily in this commercial is that of a young, hegemonically attractive woman. She is constructed through
• MES of drum connotes a loud, exciting, carnival atmosphere
• The relatable setting of the small, local corner shop reinforces the ideology that football (and Coca Cola) is a part of everybody's life)
• Use of costume, football shirt and bell bottom jeans which construct a comfortable and relaxed representation of gender. Bell bottoms a symbolically connotative of the 1970s, which infers that Coca Cola is an established brand.
• Birds eye view mid shot of young woman and her male friend constructs women as being powerful and noteworthy. A binary opposition is constructed between the calm, relaxed and still girl, and the exciting chaos of the cityscape behind her, which reinforces a positive and exciting representation of women to the target audiences
• The girl's red top is connotative of both power and passion, which constructs polysemic range of meanings for the target audience. The passion here clearly refers to football, which subverts stereotypical and sexist representations of women. This clearly contradicts the male theory, as the main female character is not presented as a sexual  is further anchored through the MES of her natural hair, which once more presents a relaxed and less stereotypical representation of women
• A third and fascinating representation is the representation of Qatar. In this promotional film, Qatar is represented as a rich, vibrant and historically fascinating country. This is encoded through the sumptuous MES of warm golds and browns, which construct a range of symbolic messages of positivity and optimism. This is further explored and reinforced through the use of relatable settings, such as the run down corner shop, which forms a binary opposition with the resultant explosion of colour when the young woman open the coke (a gestures shown in a highly suggestive close -up). This diametric opposition constructs Qatar as a diverse, vibrant and exciting country where anything is possible, which positions the audience in an extremely inviting and positive mode of address. 

Kiss Of The Vampire Mega Analysis

Super.Human mega analysis

 

Final Advertising Mega Analysis 3000

•  In this session, you will create a visual resource analysisng just a single element of an advert we have studied. 
• These analyses will be combined to create a MEGA ANALYSIS, which will be published on the blog.
• And, in years to come, A-level media studies students (including you) will use them to revise for their final exams, and get amazing grades.
• Because you are producing a resource, you will make it look as visually striking as possible. Basically make it pretty.
• Use VISUAL EXAMPLES for each of these tasks. No big blocks of writing. Label screenshots! Draw little cartoons!
• You only have ONE thing to do, so do it well!
• You will email your resource to your teacher BEFORE the end of the session (so they can collect it all together and publish it to the blog). AND publish it to your blog, to help us know who did what. It forms part of your initial assessment (along with everything else you've done on your blog)

T block - Super.Human

P block - Kiss Of The Vampire

1- Textual analysis - break apart your case study, making reference to every bit of media language you possibly can. Try not to use much theory though. 

2 - Barthe's semiotic theory - give SPECIFIC examples of how this product uses proairetic, hermenutic, symbolic and referential codes.

3 - Levi-Strauss's structuralist theory - Opposites make meaning! Find and give examples of as many binary oppositions as possible! What do they mean???

4 - Hall's representation theory - How are re-presentations encoded in your case study? What stereotypes are used and why? WHAT IS THE IDEOLOGY OF THE PRODUCER? And what claims about REALITY are being made here?

5 - Gauntlett - Identity/pick and mix theory - In what ways can audiences use this case study to construct their own identity? How can audiences respond to the representations in this product? What 'blueprints' or inspirations are encoded in this advert?

6 - Van Zoonen's feminist theory - How are women represented in this product? How does the representation of men and women differ? Does this product reinforce of subvert stereotypes? Do what extent does this product reinforce the notion of a heterosexual male gaze?

7 - Gilroy's postcolonial theory - How are non-white people represented in this advert? What messages and ideologies does this construct? Does this subvert or reinforce stereotypes? How is Britain represented? How are non-British countries represented?

8 - Gerbner's cultivation theory - what ideological perspectives are cultivated in this advert? Does it reflect the dominate idea of society? What would happen if everyone agreed with this message? What are three other products that share this ideological message? What violent or upsetting elements may affect the audience?

9 - Hall reception theory/encoding decoding model - How can different audiences interpret this product in different ways? What is the dominant ideological perspective of this advert? And what tare the preferred, negotiated and oppositional readings?

10 - Hegemony!!! What hegemonic values and expectations are reinforced by this poster? Howe does it 'play by the rules'? This about all elements of media language, because remember, HEGEMONY RUNS DEEP...

11 - Audience - who is the target audience for this product? Secondary audience? What demographics does it appeal to? How does it specifically use audience appeal? How does it position the audience? How does it ensure financial success?

Kiss Of The Vampire theatrical poster initial analysis

Click image to view full resolution, and save it to your blog

Initial analysis

Run through this list of media language, and find one example for each heading:

• Codes and conventions
• Layout and design
• Composition
• Images/photographs - camera shot type, angle, focus
• Font size, type of font (e.g. serif/sans serif), colour 
• Mise-en-scène – colour, lighting, location, costume/dress, hair/make-up 
• Graphics, logos etc.
• Language – slogan/tagline and copy 
• Anchorage of images and text
• Elements of narrative

Applying theory

Stuart Hall

• What representations are encoded in this poster? 
• Dies this poster use stereotypes? And if so, how and why?
• What messages about society in Britain in 1966 are constructed in this poster?

Liesbet Van Zoonen

To what extent does this poster live up to the following statements:

• "Men and women are constructed differently through media language"
• "Men act, women appear"
• "the sole function of every media product is to appeal to a heterosexual media audience"

Paul Gilroy

Think CAREFULLY: what messages about race, ethnicity, Britain and cultural hierarchies does this poster demonstrate?

Discourse analysis of TV listings (Tuesday 12th October 1993)

These scans were taken from the wonderful Transdiffusion Twitter account (@transdiffusion), who you should totally follow if you're interested in broadcast media archival 

Discourse analysis of UK TV spot advertisements (approx 1993-1994)

 Follow this link to view the adverts

Click to a random bit, and just go nuts.

What messages, values and ideological perspectives do you see REPEATED in these commercials?

Applying Gilroy to American snack food adverts

Paul Gilroy's work and analysis of media products sought to outline the ways in which subtle and not so subtle racism is encoded in media products. Gilroy argues that even long beyond it's colonial period, the UK still is inherently racist in it's discourse, and routinely presents white people as normal and acceptable, and black people as disruptive and different.

Much of Gilroy's most famous work was written in the 1980s, when racism in UK newspapers was barely concealed. This article in The Sun from 1987 casually suggests that black men are a sexual threat, and that the famous poet and activist Benjamin Zephaniah should not be a visiting lecturer at Trinity College, Cambridge, on the basic that he has dreadlocks (and "could do with a good shampoo"). Articles such as this reinforce the ideological perspective that black men are violent, threatening, and above all, different. 

For this activity, students analysed recent junk food adverts screened during the Super Bowl, one of the most watched sporting events in the world, with the most expensive advertising slots in the world. This is an excellent example for advertisers to demonstrate the dominant ideology of the society they are representing, and create an advert that appeals to the biggest, broadest audience possible!

Super bowl Doritos, Lays and Pepsi advert 2022

• In the Doritos, Lays and Pepsi advert, white people are represented as being boring, and 'normal'. A stereotypical white suburban setting is used. Audiences will understand this with being familiar with this stereotype, and it is anchored through the open plan staircase and the simple, straightforward furniture. The MES is neat and tidy, and a bland white colour scheme is used throughout. Their conversation is theatrically bland and boring as they discuss crisps and soft drinks.
• The first black person to enter the advert is represented as being loud, obnoxious, intrusive, chaotic, disruptive... The billowing smoke and and shattered wood resemble the conventions of an action film, which reinforces a representation of black people as being exciting, loud, and obnoxious. 
• After the house is literally demolished by two black visors, the remaining white character tells the audience "I'll tell your mum" which reinforces a stereotype about white people that they are no fun, and respect. However, the binary opposition of this is that the black characters do not respect authority, and are fun and exciting. 
• Another binary opposition is constructed through sound. Black characters are associated with with loud and obnoxious noises, while white characters are constructed through sudden silences. This differences reinforces a perceived difference between quite and black people
• The advert reflects commonly held stereotypes about both white people and black people. However, in doing so, the advert argues that white people are in a position of superiority over disruptive black people. 

Steve Carrel Pepsi advert 2019

• In this advertisement, white people are consistently represented as being boring. This representation is constructed through the lexis, which is consistently formal throughout. This encodes the symbolic connotations that white people themselves are stereotypically formal and even dull. 
• This stereotype is further reinforced through the casting of the waiter. He is physically weak looking, and has an awkward mannerism, which is made clear through how slowly he talks and is further anchored through his confused facial expression.
• The advert is set in a stereotypical American diner, which is made clear through the patriotic colours of red and white. This normal, straightforward and stereotypical setting would be instantly familiar to white working class audiences. 
• However, when BME people enter, the cinematography completely changes. The previously static, formalist shots are replaced with a more fluid and energetic cinematography, where the camera moves and drifts throughout the diner. This exciting change is further anchored through the significant change in costume. Cardi B's elaborate nails and jacket match the red white and blue colour scheme of Pepsi, which reinforces Pepsi as an exciting and interesting branding. 
• The deep, rolling sub bass has symbolic connotations of rebellion and excitement. The volume is excessively loud and over the top, which has connotations of both excitement and also threat. This notion of threat is emphasised through Cardi B's performance, as she assertively bursts through the door, which forms a direct mode pf address with the audience.
• Black people in this advert are represented as being loud, threatening, exciting and extravagant. In doing so, this advert constructs a binary between black and white people, where white people are represented as being 'normal' and relatable, and black people are construct as an other.
• However, black working class audiences may identify with the non-white characters in this advert, and see the white characters as 'other' 

Cheers to P and T block respectively for analysing these adverts! Good job!

Super. Human: initial representational analysis

Who and what is being represented in this promotional video?

• Athletes with a wide range of disabilities 

How is this representation constructed through media language?

• The fast paced editing constructs a a positive and varied ideology around people with disabilities. Fast paced editing is typical of sports movies, and therefore communicates to the audience themes of sport. By contrasting themes of sport , exercise and also disability, the advert encodes themes of difficulty and persistence. This therefore constructs a representation that those with disabilities are strong, powerful, and resilient.
• The choice of soundtrack is upbeat, informal and presents a positive ideological perception of those with disabilities
• In addition to the musical soundtrack, a number of jarring sound effects are including, including alarms blaring, crowd noise, mechanical sounds and so on,. This has the effect of positioning the target audience through a confusing and even annoying mode of address. This provides the audience with valuable insight in to the lives of Paralympians, and further reinforces the ideological representation that life for people with disabilities is challenging. 
• Frequent use of low key lighting throughout the promotional video symbolises a dark, depressing and tough moments that these athletes must suffer through. This is further reinforced through the performance of the athlete slumping her shoulders as if carrying a heavy weight. Picked out with a high key light, the emphasis is made on her facial expressions, which emphasises her as a normal person, which can be relatable for the target audience
• Rapid fire montage of various internal organs and extreme close ups of bleeding body parts constructs an intimidating and even horrifying mode of address for the target audience, forcing them to question exactly why the athletes in this trailer would even participate in this. This therefore represents Paralympians as ruthless and tough. A highly subversive representation of people with disabilities. 
• The MES of blood is used throughout the trailer, in particular in an ECU of a bloody tooth hanging in a socket. This odd tooth has symbolic connotations of differentiation, and clearly depicts how Paralympians are viewed and stereotyped by wider society. 
• Another way in which disabled athletes are represented is being tough and strong. This is most notably constructed through the montage of extreme closeups of the performers faces, which connotes the humanity and personality of the individuals, and how they matter as much as anybody else
• There is a focus on the athletes as individuals, as opposed to including MES of prosthetic limbs and so on. 
• There are a number of unflattering and even grotesque elements of MES, for example an ECU of a camera going down the throat of a performer. This positions the audience literally internally, and able to see the internal organs, as well as the literal blood sweat and tears of the athletes. This connotes that the athletes are truly human.
• A longshot, underwater shot of an athlete swimming while dragging an enormous and heavy medal is lit through low key lighting, which connotes the uncertainty ahead for the athlete. This positions the audience in a relatable and exciting mode of address. 
• A significant contrast between low key training sequences and high key performance sequences functions as a symbolic code, suggesting both the high points and the low points the athletes are facing
• A significant binary opposition is formed between the exciting MES of performance shots, and the dull, depressing MES of the café. where the performer is unable to get over the step of the café on her wheelchair. This contrast reinforces the difficulty that disabled athletes face in everyday life
• Lexis of "you might as well quit" constructs a theme of defiance against common advice, again reinforcing the ideological perspective that these athletes are both human, and...
• Stock footage of armies marching, which presents a reference to discipline and even war, and also uniformity, which creates a complex and even contradictory representation of people with disabilities 

These brief notes are a mash-up of P block and T block's notes. Go you!