Woman magazine: initial response and analysing the front cover

 For this session, you will be getting to grips with Woman Magazine, a UK women's lifestyle magazine published weekly for the best part of a century now. The edition we are exploring is from August 1964. Even just reading these basic facts will probably allow you to guess the main argument we'll be making in lessons:

The representation of women has changed significantly in the almost 60 years since this edition was published

Task one - familiarise yourself with the magazine

You can find the pages of Woman we have to study by clicking here. 

Look through it. You don't need to read every word. Briefly answer the following questions in your notes, using SPECIFIC EXAMPLES TO BACK THEM UP. Yes, I know that Woman magazine is targeting women. But how do you know? And what demographic of women?

• Who is the VERY SPECIFIC target audience for this magazine? How do you know?
• What stereotypical representations can you find?
• Who is not represented or is underrepresented in this magazine?
• What genre is this magazine? Is it typical of it's genre?
• What examples of lexis in this magazine may strike you as interesting, or strange?
• What message is the producer of this magazine presenting to its audience?
• Why might a woman in 1964 actually read this magazine?
• What messages about woman are presented in this magazine?
• How might a woman react to this magazine in 1964? How might a woman react to this magazine in 2023?
• How could this magazine be appealing to audiences?
• What uses and gratifications does it provide to it's audience?

Task two - analysis of the front cover

The front cover is the most important page of a magazine. It sits on a shelf in the newsagent and it screams BUY ME! But it doesn't scream to everyone. For example, Woman magazine is not 'talking' to a male audience. 

This process is called modes of address, because the magazine uses very specific elements of media language to address or talk to its target audience. 

Media language is everything on the toolkit. Shot type, camera angle, colour, mise-en-scene, lexis.... all of this is media language. And it CONSTRUCTS MEANING.

This is the front cover of Woman. Know it well. You WILL be talking about it in the final exam!

How does the front cover of Woman magazine make meaning and address it's audience? Make reference to: 

• Codes and conventions – changes over time? 
• Layout and design
• Composition - positioning of masthead/headlines, cover lines, images, columns 
• Font size, type, colour 
• Images/photographs - shot type, angle, focus
• Mise-en-scene – colour, lighting, location, costume/dress, hair/make-up 
• Graphics, logos 
• Language – headline, sub-headings, captions – mode of address
• Copy 
• Anchorage of images and text
• Elements of narrative

Here are a couple of more leading questions if you are feeling uninspired:

What does the purple background symbolise? 

How old is the model? Why is this important?

How can we describe the mise-en-scene of her facial expression?

Why has the producer chosen this particular font for the masthead?

What assumptions does the lexis of the coverlines (coverlines are headlines but on a maazine!!!!) make?

If you do not make notes, this information is lost, forever! Please don't waste your precious time!

A textual analysis of Parks and Recreation

Parks and Recreation season 2 episode 1: 'Pawnee Zoo'

Representation - what groups are represented, how are they represented, and why?

Gay people 

Positively and stereotypically. Confident, loud, and motivated by partying. In The Bulge , a tightly packed group of gay men excitedly chant Leslie's name, which constructs gay men as over enthusiastic, loud, proud and confident. Exclusively gay men. Use of Lady Gaga as a gay icon reinforces stereotypical representations of gay men. However, this episode arguably perpetuates a simplistic and straightforward stereotype of gay men, which can cause issues for gay men in real life, as it constructs an idea, standard, and stereotype. Gay men in this episode are an accessory and a function rather than being a fully fleshed character attribute. The gay best friend stereotype. Thingy is represented as feminine for the purposes of comedy, which also represents stereotypes surrounding gay people

Middle-aged women 

Awkward and cringy. This also reinforces a stereotypical representation of middle aged women. Lacks knowledge on current life, on LGBT+ lifestyles, is clueless, ditzy, scatty, and barely competent.

Young people 

[The homeless] - creepy, stalker-y, but also, really funny. Homelessness is a joke in this narrative. The MES of the pit in his former garden is a ridiculously over the top aspect MES. The serious issue of homelessness is so unrelatable to working class audiences that it is treated as straightforward.

Media language - close textual analysis

Genre - what genre is this show and what are the conventions that make it?

Genre - comedy

Subgenres and styles - situation comedy, mockumentary

Conventions of the mocumentary -  handheld camera, single camera setup, long take, shakeycam, low production values 

This Country, Modern Family, The Office, Brooklyn 99 (borderline!), Trailer Park Boys, Always Sunny

Generic fluidity - how genres change over time. Genres will evolve to appeal to the tastes of the public

Comedy elements - foolish characters for the audience to identify with, fast paced punchy editing, the use of reaction shots, use of song, dance and movement, use of colour constructing a positive atmosphere

Audience - how does this product appeal to multiple audiences?

Uses and gratifications -the ways in which audiences use and take pleasure from a media product

Uses and pleasures of Parks and Rec - themes of the show provide escapism for the target audiences. The characters provide an escapist fantasy, through being relatable. They make mistakes, but then they solve them by the end of the episode. This is in stark opposition to real life, where being threatened with forced resignation and having to go on local news to defend your job would of course be highly stressful and upsetting.

Representations of age and gender: Lena and Simon walk home

Representation is where the producer presents someone or something again, to show their ideas, beliefs and ideology. 

Van Zoonen - feminist theory - women are sexualised through representation for the pleasure of a heterosexual male audience. The male gaze theory 

Hall - representation theory  - representations are constructed through media language, and make heavy use of stereotypes. Representations construct reality. The way in which we see the world effectively comes from media 

Butler - gender performativity - the ways in which we perform our gender has an effect on the world around us

Lena - young woman 

Simon - young man

 

Key scene one - the Lake Pub

• The low key lighting of the bar creates a friendly and welcoming mode of address for the teenage secondary audience
• The low key lighting is red, which has connotations of love and passion, which is further anchored through Lena’s flirtatious performance 
• Lena bargains with Simon: “I’ll only tell you if you buy me a drink”. Her performance is very forward and highly assertive. This is further anchored through Lena keeping constant eye contact with Simon, and she is happily drunk and smiling 
• Lena is clearly trying to seduce Simon
• This representation is in many ways highly atypical. Lena is actively flirting with Simon, which subverts stereotypical expectations of gender performance
• A subversion of the stereotype that that men are interested in sex and women are not is presented 
• A binary opposition
• Lena is young and stereotypically hegemonically attractive woman. She’s wearing a dress, which is symbolically connotative of femininity. However, this forms a binary opposition with her scruffy denim jacket, which has connotations of masculinity. This binary opposition constructs a complicated representation of gender
• Lena is clearly sexually active, yet she is not presented in a negative way, which may be atypical
• The representation of Lena constructs a range of polysemic interpretations. Audiences may appreciate and identify with her demonstration of sexual freedom, yet others may be critical of her over drinking and her reckless behaviour
• Immediately before this scene, we see a shot of Julie on an empty bus, which constructs a vulnerable and bleak atmosphere. The scene immediately after is set in the Seurat family house, which presents an aspirational mode of address to the middle class French audience. French media, for example films and TV shows are far more likely to feature wealthy characters and aspirational upper middle class settings. These two scenes also forma a diegetic binary opposition to Simon and Lena’s night.
• The Lake Pub is lively, exciting, and inviting, and positions the target audience in an exciting mode of address. This mode of address is constructed. The MES of pool tables function as a proairetic code for social interaction and fun. The low key orange lighting presents a warm and inviting colour palette, that suggests the potential of a welcoming atmosphere. The MES of bottles of alcohol form a proairetic code, for drinking, fun and excitement. Finally, the clientele of the pub are young and hegemonically attractive people, which constructs a symbolic atmosphere of sexual potential. 
• Lena makes constant eye contact with Simon, which connotes her desire to seduce him. Her body language indicates her interest in him, by moving in close towards him. She asks Simón to “buy me a drink”, which indicates her interest in him. 
• Lena’s assertion is potentially stereotypically masculine. By actively picking up a man at a pub, and demonstrating her sexual interest, the producer of Les Revenants is actively contradicting Liesbet’s Van Zoonen’s feminist theory, and is potentially presenting an atypical, and even feminist ideology. By reinforcing the atypical representation of women being sexually active, Les Revenants challenges hegemonic norms and values that exist around women 
• Simon acts in a grumpy, impatient and even desperate manner. He clearly has no sexual interest in Lena, which is encoded through his complete lack of dialogue, and the short terse delivery of his questions. Simon almost seems surprised and even uncomfortable with Lena’s assertiveness. Simon’s uninterested approach here presents an extremely atypical representation of men, and challenges the stereotypical expectation that men are motivated by sex. In short, this scene constructs a highly complex representation of gender norms for a niche audience
• David Guantlett- pick and mix - audiences can pick and mix different elements of a TV show to construct their own identity

Key scene two - Lena and Simon walk home 

• While Simon is in many ways stereotypically masculine, including through his terse and grumpy performance, he also subverts these gender expectations by not running off to sleep with the hegemonically attractive and sexually available Lena 
• Simon walks much faster than Lena, and completely ignores her, which visibly upsets her. His terse and blunt manner is simultaneously highly typical and atypical
• Lena is convinced that her hegemonically attractive looks and assertive manner can ‘turn’ Simon. However, he is clearly not interested in her, which subverts not only gender stereotypes. Simon is completely uninterested in her gender performance, which subverts the idea of gender performativity, or rather reinforces a complex representation of gender
• Lena shouts ‘de rien connard’, which is vulgar and angry, and presents a subversive and non-stereotypical representation of women

Subverting representations of women - Julie

Les Revenants = 'the returned'

In the exam, Les Revenants will be referred to as The Returned. But we refer to it as Les Revenants.

Why?

• It’s more authentic and more academic
• It sounds more sophisticated 
• The Returned is a wildly unpopular American remake of Les Revenants. The less we talk about this, the better

Recap

Last time we explored the representation of teenage girls. The French for ‘orgasm’ is ‘le petit mort’, which is a reference to the fact that every time we make love, we are one step closer to death . Life and death is the ultimate binary opposition, and is a fascinating and philosophical contradiction. This difficult and problematic binary opposition presents teenage girls as rebellious, irrational. To be a teenager is exciting, scary, and terrifying. 

What other groups are represented in Les Revs?

• Mothers (Claire)
• Middle aged women (Claire)
• Middle aged men (Camille’s dad)
• Teenage boys (hat guy)
• Young children - Victor
• Parents - The Suerats 
• Elderly people - Mr Costa 
• Women - Julie

What Makes Le Revs 'French'

This is a bit weird to try and say, but Les Revs is really really French. It presents a stereotypical French mode of address for a French audience. This is highly similar to how Humans uses stereotypically British characters, dialogue and settings to appeal to a British audience, and how Real Humans uses Swedish stereotypes to engage a Swedish audience. But what makes Les Revs 'French'?

• French Setting 
• Set in the French Alps, a setting that would only be relevant to French audiences 
• In French
• Dark, dismal moody setting 
• Themes: death, depression, philosophy 
• Stereotypically French actors 
• Architecture: the Seurat family’s house has an Alpine feel

Explore how the TV shows you have studied construct representations of gender. Make reference to Humans and Les Revenants in your response

Gender performativity - Judith Butler - gender is a social construct, and the way in which we perform gender constructs the world around us

Stuart Hall - theories of representation: stereotypes and their function

Liesbet van Zoonen  - representation of women - women in media products have a completely different function to men, often for pure sex appeal

Introducing Julie - how is Julie’s representation constructed through media language?

• Establishing shot of Julies flat shows that she lives in social housing, and is therefore working class
• The setting of Julie’s flat is run down and empty. 
• The use of low key lighting constructs ideologies of loneliness and isolation
• This is further anchored through the cluttered, messy mise en scene of her apartment, which is typified by stacks pf books, magazines, and other objects
• The cluttered nature of the apartment represents Julie as disorganised and untidy, which is a highly unconventional representation of women
• The MES of books also functions as a symbolic code for Julie being an intellectual character
• Julie’s costume is baggy, casual and understated. Dressed in dark colours she is rather atypical in her representation.
• Julie, through her hair and costume and lack of makeup, is not coded as being  hegemonically attractive
• Julie is watching The Texas Chainsaw Massacre, an intertextual reference to a notoriously violent slasher film. This constructs Julie as being edgy, fearless, and different from stereotypical women 
• Julie is a highly complicated representation of women! While her representation is highly relatable and even ‘realistic’, it is not a commonly seen representation in commercial TV
• External establishing long shot of a gritty, concrete apartment block. This has a symbolic connotation, connotations of crime, danger, violence. Julie clearly is a rough and dangerous 
• Julie is stereotypically working class. She lives in a social housing block, which forms a stark binary opposition to the Seurat family 
• The Mise en scene of the set design of Julie’s apartment is lit through low key lighting , and her apartment is littered with stacks of books . This symbolically encodes that julie is educated, and messy
• Julie’s costume comprises of a baggy jumper and baggy jeans, and has connotations of comfiness and relaxation. 
• Despite her costume being highly realtle to the target audience, it is in fact a subversive representation of women . It completely contrasts with Liesbet Van Zoonen’s theory that women in media products are presented purely for the purpose of sexualisation
• Julie is watching The Texas Chainsaw Massacre, a violent slasher horror film that features the torture and torment of many female characters. Julie’s bored reaction to this extremely violent film constructs a highly atypical representation. Not only does Julie not subscribe to gender norms and genre norms are also broken

Julie and Victor come home 

• The non diegetic soundtrack is creepy, eerie, and highly typical of horror films
• This entire montage is highly conventional of the slasher genre
• Slow, POV MS of her face as she gets off the bus positions the audience with julie , and allows the audience to  to see things from Julie’s perspective
• MES of extreme low key lighting throughout these scene connotes mystery and loneliness 
• The light is yellow, dull, menacing and artificial, which has symbolic connotations of fear and misery
• This is further anchored through the completely empty, run down suburban setting, concrete blocks of flats and overgrown weeds is symbolic of crime and danger. This highly stereotypical mode of address will resonate with audiences 
• Julie’s performance is highly atypical. Rather than being scared of her isolation, she appears to be bored. Additionally, by not being attacked, julie breaks this stereotype of women being vulnerable 
• The character Julie presents a highly complex representation of women that demonstrates the ideological perspective of the producer. She is represented most effectively in the montage of scenes that introducts
• Victor is establishes through a series of highly isolating shots. A high angled extreme long shot of victor is presented from Julie’s perspective, which positions the audience with Julie. This action reinforces Julie’s caring persona, and the idea that she is secretly protective of those around her
• The low key used throughout this montage is highly stereotypical of the horror genre, which positions Julie is a dangerous and threatening situation. 
• The lighting is low key, and comes from a lonely bus the light from the bus shelter. This artificial light take s on a sickly yellow quality, which gives the light a cheap, nasty, and threatening quality. This reinforces the stereotypical danger than Julie faces
• Julie’s actions reinforce however that she is clearly unafraid of this situation. This constructs a highly atypical representation of women for the target audience. This confusing and atypical subversion of genre expectations may make the target audience feel uncomfortable and even creeped out. Why is isn’t Julie more scared, and why isn't she behaving like women stereotypically would in this situation???
• However, the soundtrack, which combines a thrumming bass noise with eerie sound effects, which is highly typical of the horror genre. Additionally, the iconography of a creepy child all by himself 

Demonising the working class for a working class audience

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

Back to basics: the four types of media question

Industry - how a media product makes money 

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

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

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

Representation

Which group is being represented in this article?

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

Who is the target audience for this article?

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

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

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

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

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

Regulatory issues

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

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

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

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

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

Considering the representation of Camille and Lena

In what ways is age represented in the TV shows that you have studied?

In what ways does this scene construct an uncomfortable mode of address, and what message does this construct about teenage girls?

Les Revenants uses fantasy and horror conventions to emphasise and to allegorically draw attention to the issues that young women may face

Representation refers to how something is re-presented by the producer of a media product using media language to reflect their own ideology. Therefore, when a producer choses to re-present middle class teenage girls, they are not strictly re-creating reality, but instead are reinforcing and re-presenting certain ideologies about teenage girls. This process is extremely complicated, and must be analysed in detail. 

Representations construct reality. They reinforce and communicate to audiences what something ‘should’ look like, or how someone ‘should’ behave’. 

One way in which teenage girls is represented in Les Revenants is through the deliberately uncomfortable and potentially problematic final sex/death scene. 

• A close up birds eye view shot is shown for an extended period of time, deliberately positioning the audience not as a casual observer, but in the bedroom, right next to the couple as they have sex. This uncomfortable mode of address is anchored through the lack of musical/non-diegetic soundtrack, forcing the audience to confront the sounds of the couple. This is further emphasised through the characters whispering loudly, again positioning the target audience in an intrusive and intimate mode of address. Finally, this is yet further anchored through the deeply off-putting dialogue from Lena, as she discusses her resemblance to her twin sister during sex. 
• Awkward performance
• The MES of the hat...

What message about teenagers is being constructed through media language in this scene?

While the scene is highly uncomfortable and highly atypical in terms of how it represents sex, it arguably represents teenagers in a stereotypical way. Lena is represented as being rebellious and independent. We are positioned with her rather than her lover in this scene, which is highly relatable to the secondary teenage female audience. It reinforces a not often seen stereotype that sex is often awkward, especially if it's for the first time. 

However, it also reinforces a further ideological perspective, that sex is dangerous as has hidden implications. Throughout this scene, we cross cut from the Sexually active, rebellious Lena to the stereotypically innocent Camille. 

In cross cutting between this two highly dichotomous scenes, a binary opposition in constructed between life and death. Sex is typically symbolic of reproduction, as in creating new life. However, this scene presents an ironic symbolic code, where sex instead is symbolic of death. A symbolic bond is constructed between these two sisters which constructs a highly confusing and upsetting mode of address for the target audience, which reinforces a stereotypical representation of the confusion and upsetting nature of being a teenager

How does this scene position it’s audiences? What is the intended response? 

• The sex scene positions the audience in a deeply uncomfortable mode of address. This is constructed through a variety of different ways:
• The apparent age of the characters is very young. Lena (the character) is 14 years old, which may mean that some audiences may feel uncomfortable by this. 
• The use of close up BEV shots position the audience literally on top of the young couple as they have sex, which again is a deliberately uncomfortable mode of address
• A highly voyeuristic mode of address, where the audience are essentially seeing something that they shouldn’t see
• The MES of the duvet completely obscures the audiences vision, and heightens the voyeuristic mode of address. Additionally the performance is very innocent, awkward and naïve 
• Lena makes explicit reference to her own sister in bed, which is highly innapropriate, and a little creepy
• The pleonastic sound of the characters whispering construct a deeply voyeuristic, intimate and off putting mode of address for the target audience. 
• Ultimately this sex scene is potentially relatable for teenage audiences, who may be going through similar things
• Lena loses her virginity in this scene. To loose one’s virginity is symbolic of losing one’s innocence, and in this scene, this is symbolically occurring with both Lena and Camille.
• Le petit mort - the little death. This oxymoronic term is confusing considering one ‘function’ of sex is to create life. It could refer to the death of one’s childhood and innocence, and the vulnerability that one has in such in a situation. 
• However, Camille, experiencing what her sister experiences, has a violent panic attack in confusion, and ultimately this Camille and all her friends. 
• This scene makes a profound and symbolic comment on what it is like to be a teenager. It is uncomfortable, strange, awkward, scary, terrifying and confusing 

An analysis of the Daily Mirror set edition double page spread

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

Headline, centre spread image etc

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

Body text - Keir Starmer addresses Mirror readers

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

Editorial: voice of the Daily Mirror

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

Political cartoon

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

UK newspapers: how representations reconstruct reality

Introduction: the sticky relationship between UK newspapers and UK political parties

As you leaned in the last session (and if you didn't do the last lesson, click here to do it now!), UK newspapers are EXTREMELY biased. This is for a number of reasons:

1 - Demonstrating a clear and biased political ideology allows the newspaper to target audience members who share the same ideology

So The Guardian is broadly a centrist newspaper. Not too left, not too right. Audience members who have a similar political ideology will feel right at home with this kind of newspaper. And a clear audience allows the newspaper to minimise risk and maximise profit!

2 -  Demonstrating a clear and biased political ideology allows the newspaper to manipulate the ideology of the target audience

This one is a bit trickier. As we saw with George Gerbner's cultivation theory,. audience members are not just sheep. But, if they see the same thing over and over and over again, the audience may agree with this ideology! So, if the newspaper tells the audience over and over again that there is mass immigration in this country, and we are running out of space, then they are more likely to believe this, and therefore buy the newspaper that tells them this 

3 - Demonstrating a clear and biased political ideology allows the newspaper to manipulate who the audience will vote for

This is closely related to the last point, and it works along the same principal. If a 'Labour Voter' feels at home reading the Daily Mirror, then they are more likely to buy it. And if a Conservative voter feels more at home with the Daily Mail, then they are more likely to buy this one. 

Additionally, if a newspaper sides with a particular political party, then the newspaper themselves gets certain benefits and privileges. For example, access to exclusive interviews, articles, editorial byline and 'off the record' gossip.

This might seem like a wild conspiracy theory, but the relationship between the UK media industry and politicians is well documented. An excellent example is former UK prime minister Boris Johnson, who started his career writing for The Times, The Telegraph and The Spectator, where he wrote often politically incorrect articles about ethnic minorities. He then became a conservative MP, arguably utilising the same ideological perspectives he previously 'sowed' (see Gerbner) to garner public support.

You can check out this Wikipedia page and the pages it links to for more information. It's surprising what information is sitting out there in the open!

Constructing reality

Nothing in a media product is 'real'. It is a representation. This means a 're-presentation' of pre-existing concepts by the producer. So, if for example you see 'an old white man' in a music video, this person doesn't exist. However, the producer has chosen (casted) an actor, and has used shot types, camera angles, editing, colour grading, soundtrack and so on to 're-present' this old white man, according to their own ideology. 

Basically, this makes whoever makes media products extremely powerful, because the producer gets to argue what is 'really real'.

Task 1 - How is Boris Johnson represented in both the front page of the Daily Mirror and the front page of The Times set editions?

Access the front pages by clicking on this link and then pasting them in to your blog post.

Now answer these questions, first for the Mirror, then for the Times. Yes, this is a little repetitive! That's the point!: 

• Who is Boris Johnson? What groups does he represent? I'll get you started: he is white, he is middle aged... 
• How is the representation of Boris Johnson constructed through media language? You can and should run through the following points for both newspapers:

• Point of view and ideology 
• Codes and conventions of news products/newspapers/type of newspaper
• Layout and design 
• Composition – positioning of headlines, images, columns, combination of stories
• Images/photographs - camera shot type, angle, focus
• Font size, type of font (e.g. serif/sans serif)
• Mise-en-scène – colour, lighting, location, costume/dress, hair/make-up
• Graphics, logos 
• Language – headline, sub-headings, captions
• Copy 
• Anchorage of images and text
• Elements of narrative

• What elements of political bias are evident in both front pages? Remember, The Mirror generally favours a left wing/labour audience, but The Times generally favours a right wing, conservative audience... So what is going on here?

Exploring the representation of women in The Mail Online's 'sidebar of shame'

The 'sidebar of shame' is officially called the 'Don't Miss' bar, and can be found by scrolling down a bit on the main page and looking to the right.

I'm going to be frank with you: this next task makes me uncomfortable. But it's an important one. The Mail Online is the most read online English language news source in the world. It is absolutely massive. The Daily Mail (the newspaper) is a newspaper with a significant right wing ideology, that targets an older, right wing UK audience. The Mail Online targets a similar audience, but it targets a significantly larger female audience than many news sources. The Mail Online has a significant focus on gossip, which is generally crammed in to the 'don't miss' bar to the right of the website. This is sometimes refered to as 'the sidebar of shame' (obviously not by the paper!) for reasons which may become apparent as you read it!

Task 2 - Analyse the representation of women in The Mail Online 'don't miss' bar

Go to The Daily Mail website which can be found by Google searching for 'daily mail' (or save time by using the images below!)

Find the 'don't miss' bar (scroll down, two the right)

Find three stories on this bar featuring sexualised representations of women. This may sound like a subjective task, but you may quickly realise it's rather straightforward. Scroll down a bit to find stories and representations that you may find striking. 

Click on the story, and make screencaps. 

• What language is used to represent women? 
• What images are selected to represent women?
• What anchorage is constructed through the se of captions?
• Why are these images included?
• How do these images appeal to a heterosexual female target audience?
• What information is included about these women?
• Where have the images been sourced from?
• In what ways do these stories utilise stereotypes?
• What messages about women are constructed through the combination of images and copy (text)?
• What values and ideologies are reinforced through the representation of women in these stories?
• And (this is the most important question) why is the producer expressing these ideological perspectives?

Note: since a few students have mentioned that they are uncomfortable with accessing the Mail Online, and to save time for students who just wish to jump in to the analysis, I have included a range of highly selective and leading images found on The Mail Online on 01/12/22. You can use these to complete the questions above

Criticisms of tabloid newspapers

The Daily <ail presents it's audience with a highly compelling and clearly successful mix of highly sexualised representations of women in the public sphere, and often scandalous, high impact news stories from around the world. We will be investigating this mode of address on audiences as we progress through this unit, but in the meantime, check out this cartoon, published in UK adult comic Viz and made by Lee Healy and Barney Farmer.

Task 3 - Read this comic

This comic contains 'adult themes which may offend some audiences'. But then so does the Mail Online I guess. 

What are some criticisms of tabloid newspapers as raised by this comic?

Political ideology

Introduction: lets make this political

Ideology refers to the beliefs and values of the producer of a media product. But it also refers to our own beliefs and values.

Politics refers to how power is distributed. When we say 'politics', we tend to think of government, politicians, and world leaders like Emanuel Macron, Joe Biden and Liz Truss I mean Rishi Sunak.

For some people, EVERYTHING is political, as everything is about power and its exchange. For example public transport is political, as it reflects a decision as to how easily certain people can and cannot move freely. Videogames are political, as they reflect certain ideologies about sex and violence, and this can be reflected in society. When we think like this, the world becomes very complicated, and even scary.

For other people, NOTHING should be political. Games should just be games, books should just be books, and things like gender and race should be less important. You might have heard the phrase: "let's not make this political". When we think like this, the world becomes very straightforward.

For media studies, we are more likely to assume that everything is political. This is because, at it's heart, media studies is the study of power, who has this power, and how it gets distributed. One aspect of media studies that is unarguably political, however, are newspapers, which always demonstrate a political ideology, and therefore always demonstrate a political bias.

Bias - to favour one perspective, opinion

Types of bias

Bias through selection - where a particular story, image or source is used to reinforce a certain ideology

Bias through omission - where a particular story, image or source is NOT used, to reinforce a certain ideology

This handy guide represents the political ideologies of many of the major UK newspapers. Of course, this is completely up to interpretation, but generally I think it's spot on! Image via Nathan Gamester

Researching the difference between left and right wing politics

You may have heard these terms before, but what do they actually mean? Well, you are going to use the internet to find out!

Task 1: make two headings: right wing and left wing, and make notes about what these could mean underneath them.

BUT: this task is filled with difficulty. Why? Because every media product, and every person is biased. Yes, this includes me. It is absolutely impossible to avoid bias. So please, look at several sources when completing your research. 

By way if example, here's how my father in law explained right and left wing policy to his children when they were young:

"If you worked really hard for your money, would you just give it to someone who hadn't worked at all for it? Let's say you were on a desert island. You work really hard to make a hut and a running water supply. You grow crops and make a toilet. But this other guy lazes around and does nothing. Should he get to use your hut? No. That's why I'm right wing"

This is a pretty unhelpful analogy, even if it is very simple. It is extremely specific and is related to an imagined society of two people rather than 70 million. But most of all, it is deliberately emotive, and is designed to accept one answer. "Yes, I would let the bad man live in my hut" is clearly the wrong answer. In general, simple analogies like this tell us absolutely nothing about our world. A similar example might be "Rishi Sunak is literally Hitler". This is also simple, straightforward, emotive, and means that if you argue against it, you are probably a Nazi.

This type of argument is called a 'persuasive definition'. You cannot disagree with it without looking like a fool. It's a terrible way to make an argument, as it is made to deliberately wind up the recipient

However, newspapers use biased and emotive ideological perspectives like this all the time

Bias in action 1

The above page was published on the night of a general election between Teresa May's conservative government and Jeremy Corbyn's labour government. It is probably the most open and extreme example of political bias ever seen in a UK newspaper. 

Task 2 - use the textual analysis toolkit to answer the below questions

• What techniques are used to construct representations in this front page?
• How does the front page utilise both bias through selection and bias through omission? How do you know?
• How does this newspaper use 'persuasive definitions'? What are you if you disagree with the ideology of the newspaper?
• Why is this newspaper being so blatant with it's ideology? What is it trying to achieve? AND WHY?

Bias in action 2

You're probably really familiar with the above image. If you are sitting the exam in 2024 and beyond, you will be expected to make reference to this front page!

So, exactly the same:

Task 3 - use the textual analysis toolkit to answer the below questions

• What techniques are used to construct representations in this front page?
• How does the front page utilise both bias through selection and bias through omission? How do you know?
• How does this newspaper use 'persuasive definitions'? What are you if you disagree with the ideology of the newspaper?
• Why is this newspaper being so blatant with it's ideology? What is it trying to achieve? AND WHY?

What is your own ideology?

You might have a clear idea of your ideology. You might not. You might not care. But ideology, and politics influences every aspect of your life, weather you chose to think about it or not. 

I Stand With is a comprehensive online tool that lets you answer a number of questions, and then will tell you which UK political party best suits your ideology, based on their own manifestos (which are essentially a list of promises that parties make if they are to get voted in. Whether or not they actually do these things is another story!)

There are some difficult questions on here, and you can click to get more information. Remember, that every definition is potentially biased, and even something like I Stand With, which broadly seems legit, is swimming with bias. But it's a good starting point.

Task 4 - what political ideology are you? Take this quiz to find out!

Click here to take the quiz

Negotiating Humans

The common consensus regarding 'the media' and how audiences are affected through media, is that media 'brainwashes' us. This idea is what we refer to as a passive model of audience interaction. When someone is passive, they go with the flow, and agree with whatever they are shown. However, in media studies, we generally argue that things are a lot more complicated than this. Stuart Hall's reception theory helps us to explore this idea. 

Stuart hall - reception theory

Reception theory refers to the many different ways that audiences can decode, or make sense of a message within a media product.

Every media product has an ideology, message of belief encoded in it by the producer. However, audiences can decode this meaning in many different ways. This process can be referred to as audience negotiation. In other words, a compromise is reached.

There are three broad ways to interpret a media product:

• The preferred reading - where the audience agrees with the ideology of the producer, and decodes the product in the way they 'should do' 
• The oppositional reading - where the audience disagrees with the ideology of the producer
• The negotiated reading -where the audience agree to some extent, but disagree with other elements of the producer's ideologies

Audiences can negotiate a media product in almost infinite ways. This can be mediated through the audience's

• Morals
• Personality 
• Social groups
• Social class (working class, middle class)
• Upbringing 
• Influence of others 
• Body type 
• Age
• Gender identity 
• Sexual preference
• Ethnicity 
• Race
• Religion 
• Level of education

Applying reception theory to the final montage sequence of Humans

The ending montage of humans constructs a highly inviting and highly polysemic mode of address to it's many target audiences, encouraging a range of wildly different negotiations

• East Asian audiences may have a complicated reaction to the character of Anita. these audieces may take exception to Anita's stereotypical representation as an emotionless sex slave, which frankly reinforces racist stereotypes that exist regarding East Asian women. However, Anita is the protagonist, and East Asian audiences may simultaniously take pleasure from seeing an East Asian Brit in the main role, as she increases visibility. 
• Themes of remembering may be both compelling and deeply stressful to older audiences, as it will bring up themes of dementia and aging
• Audiences who have grown in non-traditional household, for example without a mo0ther figure, may find the character Anita as compelling. Additionally, families who are unable to have children may find Anita's desire to have a child compelling and relatable
• Leo has lost Mia/Anita, and is desperate to find her, which calso could be a relatable situation for the audience
• Exclusive representation of heterosexal relationships may of course appeal to heterosexual audiences, but may also alioenbce gay audiences
• Gemma Chan's casting as Anita is clearly becuase she is a hegemonically attractive woman, and many audience memebers, will find her attractive
• The character of Mattie is encoded as hegemonically attractive, and may appeal to teenage audiences in particular. This idea of Mattie being a relatable character is anchored through the MES of her staring into her device in bed, which may connote inteleigence, seriousness, but also ecodes her as a stereotypical teenager. She represents teenage girls, and may appeal to a teenage secondary audience who would not engage with this show otherwise
• The man who visits the brothel is represented as a stereotypical working class man. His appearance is highly stereotypical, being a bald, hegemonically unattractive white man in a tracksuit, all of which reinforce a highly leading and stereotypical representation of working class men. His costume has connotations of blue collar manual work. Working class people may react negatively to this scene, and be angry at the use of stereotyping. However the middle class target audience may simply have their worldview reinforced
• The representation of the scientist is also potentially problematic. He is a stereotypically nerdy east Asian man, who is presented in this context to be as easily identifiable to audiences as possible. East Asian audiences may take offense at this straightforward and lazy stereotype. Even positive stereotypes can be problematic, and arguably even this apparently straightforward scene can be decoded as racist and highly alienating

Considering the representation of mass murderers in tabloid newspapers

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