Wednesday, 5 June 2019
Friday, 24 May 2019
Exam Paper Practise
Component one
Section A: Analysing Media Language and Representation
Representation
Question 1 is based on the unseen audio-visual resource and the music video
you have studied: Formation.
The audio-visual resource consists of the Guinness: Compton Cowboys television advertisement, released in 2017.
You will be allowed one minute to read Question 1.
The advertisement will be shown three times.
First viewing: watch the advertisement.
Second viewing: watch the advertisement and make notes.
You will then have five minutes to make further notes
Third viewing: watch the advertisement and make final notes.
Once the third viewing has finished, you should answer Question 1.
1. Compare the ideologies conveyed through the representations in this television advertisement and the music video you have studied.
In your answer, you must:
consider how representations convey ideologies
consider the similarities and differences in the ideologies conveyed
make judgements and draw conclusions about how far social and cultural contexts affect the representations. [30]
Representations is the way in which producers RE-present a social group in a media product. These are constructed through visual and technical codes, revealing the ideology the producer is trying to convey. Stuart Hall would argue that representations exist through the repetition and remix of media trends. Ideologies of specifically ethnic representation are displayed in a variety of ways in both media products - social, cultural and historical contexts help to do so. I will exploring the way in which producers have done this in Beyoncé's 2016 music video Formation, released as a single from her album Lemonade, which additionally won a Grammy for the best music video of the year; and the Guinness: Compton Cowboys television advertisement released in 2017.
Both products present opposing ideologies where in which the characters subvert or conform to their 'black' narrative and stereotypes through the use of representations. In Formation, Beyonce is represented in a powerful and subversive way, through shot types and mise-en-scene techniques. For example, slow-motion dolly shots, high key lighting and shot composition of Beyonce in the foreground of every group shot places significance on ethnic empowerment and confronts racial hierarchies, shining light on racial binaries that still exist today. Along with the lack of white representation, this mirrors Gilroy's post-colonialism theory, of racial tensions being an ongoing social issue. Beyonce takes ownership of her black slavery narrative through ideologies represented in the antebellum costume and stereotypically white high class mansion setting choices of the producer. By exploring the historical context of the music video where it follows the New Orleans crisis of Hurricane Katrina, these ideologies are further enforced. This is represented through visual codes constructed by the producer, more specifically in the establishing montage of Beyonce floating on a sinking police car. This representation of criminal enforcement creates a polysemic meaning of both it's historical context of the crisis and also brings up ideologies surrounding police brutality.
On the other hand, in the advertisement for Guinness, representations of ethnic groups form ideologies that reject those of Beyonce's advert. For example, the conveying of the characters creates links to 'gang violence' in America, through symbolic codes such as tattoos, chains, police cars and diegetic sounds of sirens and helicopters. This is anchored by a screen caption reading 'South Central LA'; an area which holds a reputation for this type of ethnic representation. Additionally, the advertisements purpose glorifies and encourages alcohol, which has connotations of causing violence, creating the continued ideology that people of ethnic origin are associated with drugs and violence. It is done in a way that explores commodity fetishism, where the actual product is given 'magic', phantom-like features, where the human labour required to create the product is forgotten. This conforms to Hall's reception theory, forming an oppositional reading to the audience that implies this product consequences in violence, which may not have been intended by the producer.
In conclusion, both products present contrasting ideologies behind representations of the same social group of ethnic minority. This is accomplished through producers encoding meaning through visual and symbolic codes.
you have studied: Formation.
The audio-visual resource consists of the Guinness: Compton Cowboys television advertisement, released in 2017.
You will be allowed one minute to read Question 1.
The advertisement will be shown three times.
First viewing: watch the advertisement.
Second viewing: watch the advertisement and make notes.
You will then have five minutes to make further notes
Third viewing: watch the advertisement and make final notes.
Once the third viewing has finished, you should answer Question 1.
1. Compare the ideologies conveyed through the representations in this television advertisement and the music video you have studied.
In your answer, you must:
consider how representations convey ideologies
consider the similarities and differences in the ideologies conveyed
make judgements and draw conclusions about how far social and cultural contexts affect the representations. [30]
Representations is the way in which producers RE-present a social group in a media product. These are constructed through visual and technical codes, revealing the ideology the producer is trying to convey. Stuart Hall would argue that representations exist through the repetition and remix of media trends. Ideologies of specifically ethnic representation are displayed in a variety of ways in both media products - social, cultural and historical contexts help to do so. I will exploring the way in which producers have done this in Beyoncé's 2016 music video Formation, released as a single from her album Lemonade, which additionally won a Grammy for the best music video of the year; and the Guinness: Compton Cowboys television advertisement released in 2017.
Both products present opposing ideologies where in which the characters subvert or conform to their 'black' narrative and stereotypes through the use of representations. In Formation, Beyonce is represented in a powerful and subversive way, through shot types and mise-en-scene techniques. For example, slow-motion dolly shots, high key lighting and shot composition of Beyonce in the foreground of every group shot places significance on ethnic empowerment and confronts racial hierarchies, shining light on racial binaries that still exist today. Along with the lack of white representation, this mirrors Gilroy's post-colonialism theory, of racial tensions being an ongoing social issue. Beyonce takes ownership of her black slavery narrative through ideologies represented in the antebellum costume and stereotypically white high class mansion setting choices of the producer. By exploring the historical context of the music video where it follows the New Orleans crisis of Hurricane Katrina, these ideologies are further enforced. This is represented through visual codes constructed by the producer, more specifically in the establishing montage of Beyonce floating on a sinking police car. This representation of criminal enforcement creates a polysemic meaning of both it's historical context of the crisis and also brings up ideologies surrounding police brutality.
On the other hand, in the advertisement for Guinness, representations of ethnic groups form ideologies that reject those of Beyonce's advert. For example, the conveying of the characters creates links to 'gang violence' in America, through symbolic codes such as tattoos, chains, police cars and diegetic sounds of sirens and helicopters. This is anchored by a screen caption reading 'South Central LA'; an area which holds a reputation for this type of ethnic representation. Additionally, the advertisements purpose glorifies and encourages alcohol, which has connotations of causing violence, creating the continued ideology that people of ethnic origin are associated with drugs and violence. It is done in a way that explores commodity fetishism, where the actual product is given 'magic', phantom-like features, where the human labour required to create the product is forgotten. This conforms to Hall's reception theory, forming an oppositional reading to the audience that implies this product consequences in violence, which may not have been intended by the producer.
In conclusion, both products present contrasting ideologies behind representations of the same social group of ethnic minority. This is accomplished through producers encoding meaning through visual and symbolic codes.
 |
Media Language
Question 2 is based on an unseen film poster for Let Me In, released in 2010. Study the film poster carefully before answering the question.
2. Explore how codes and conventions create meaning in this film poster. [15]
Producers use visual and symbolic codes to either subvert or conform to conventions typical to that products genre or industry. Film posters use these codes to identify the genre and to construct an audience. I will be exploring how producers have done so in the 2010 film poster for Let Me In, which noticeably belongs in the horror genre, and also presents genre hybridity of the vampire sub-genre.
At first glance the poster uses visual signifiers that conform to horror genre conventions. For example, dark lighting, blood, young innocent children, forrest settings, and a black, white and red colour scheme. These signifiers create meaning to contemporary audiences familiar with the horror genre, who will construct their own viewpoints on the film. The direct lexis of the film title 'let me in' creates an intrusive mode of address to audiences, imitating the 'shocking' themes used in the horror genre.
However the poster also subverts typical conventions of the vampire sub genre, as there are not clear genre paradigms constructed in the poster. This is noticeable in the lack of vampire iconography used in it's mise-en-scene, such as bats, capes, coffins, etc. Although the only semantic code that audiences would recognise would be the small droplets of blood around the mouth of the female character, as they would have come to understand how to decode this representation through the continuous repetition of media trends. Additionally, the choice in a young character creates a binary between the 'innocence' of children vs. the 'evil' of monsters such as vampires. This understanding of horror conventions creates meaning to audiences through being both familiar with conventions and reading new elements with in genre. This reflects Neale's theory surrounding genre being a construct of repetition and remix of conventions.
Section B: Understanding Media Industries and Audiences
3. (a) Briefly explain what is meant by diversification in media industries. [2]
Diversification is the way in which media companies expand into different forms of industry. For example, newspaper recently experiencing a fall in sales will diversify by constructing online platforms and mobile applications.
(b) Explain the impact of recent technological changes on the video games industry. Refer to Assassin's Creed III: Liberation to support your points. [8]
The videogame industry is a relatively new media form that has exponentially grown in the past four decades. Along with the rapid development of technology, the games industry is constantly changing. By looking at Assassin's Creed 3 Liberation, produced by Ubisoft in 2012, I can explore how the games industry has been impacted by technological changes.
The Assassin's Creed franchise has been a huge commercial and critical success that has construct a large fan base. When the Liberation addition was first released, the company was able to release the game on solely a new platform. This was called the PS Vita, which was the 8th generation of the videogaming industry, ultimately giving the game an large economic selling point. This largely impacted the videogaming industry as it constructed a new audience of an 'on the go' gamer, as it was a handheld device. And later on in 2014, Ubisoft then released the game on further platforms such as PS3 and Xbox 360; this is an example of digital convergence and synergy, allowing even more audiences to be available to the game, producing more profit for the company. However, the gaming industry has also been negatively impacted due the difficulty in regulating such a fast paced industry. For example, games could potentially be harmful by looking at Bandura's hypodermic needle theory, especially with young audiences. Yet games can easily be accessed by all audiences, as regulation is ineffective.
In Question 3(c), you will be rewarded for drawing together knowledge and understanding from across your full course of study, including different areas of the theoretical framework and media contexts.
(c) Explain how the producers of video games ensure their financial success. Refer to Assassin's Creed III: Liberation to support your points. [15]
Producers construct wide audiences to ensure financial success. They do this through attracting multiple target audiences in the marketing and distribution techniques. In particular, video games have recently been a hugely grossing mass market industry due to huge technological development and generally because it is a modern fast paced media platform. Assassins Creed Liberation 3 is an excellent example of how producers target multiple target audiences to ensure financial success.
In this edition of the game, producers chose to target a wider audience through using a female lead protagonist, additionally targeting people of ethnicity through representing this social group too. These are audiences that may not typically fall into the 'gamer' archetype, but will able to relate to them and consequently want to buy the product. As the franchise has never tried this before, it created unique selling point for the game.
On the other hand, the Assassins Creed franchise has a large following, and therefore each new game release will automatically have a pre-sold audience. Producers have targeted stereotypical fans, through using conventions familiar to this game type. As Richard Dyer explores, stereotypes can be a shortcut for producers, and also a reference point for audiences. For example, the official trailer uses multiple action codes, assassin narrative, and an adventurous, tense non-diegetic soundtrack. These are all techniques that producers are certain will attract a stereotypical mass audience, and therefore achieve financial success.
4. (a) Explain how advertisements target audiences. Refer to the WaterAid advertisement you have studied to support your points. [8]
The purpose of an advertisement is to attract a specific audience to sell a product to. Audiences are familiar with the conventions of charity adverts through the repetition of trends in the media. However the Wateraid advert, produced by Atomic London, targets an audience through subverting typical sympathy-craving conventions of the charity genre.
Throughout the advertisement, the narrative remains positive through both visual and audio codes, for example, high-key lighting, lighthearted facial expression and body language and the humble diegetic song of the teenage girls, in which they sing about 'sunshine on a rainy day'. This reinforces the binary between the rainy weather in Britain and the hot weather in Zambia. This constructs an audience through advertising the positive outcomes of their organisation, rather than using typical conventions of guilting audiences into donation. This targets contemporary audiences in a way that they are not familiar with, therefore having a unique selling point.
(b) Explain how historical contexts influence audience interpretations of media products. Refer to the Tide advertisement you have studied to support your points. [12]
Historical contexts of products consist of the the events and attitudes towards the text at that time. Therefore these contexts will have different audience reactions dependant on the time the product was made. I will be exploring how this is influenced through the 1950's print advert for Tide, produced by Proctor and Gamble, the leading cleaning product brand in America.
Diversification is the way in which media companies expand into different forms of industry. For example, newspaper recently experiencing a fall in sales will diversify by constructing online platforms and mobile applications.
(b) Explain the impact of recent technological changes on the video games industry. Refer to Assassin's Creed III: Liberation to support your points. [8]
The videogame industry is a relatively new media form that has exponentially grown in the past four decades. Along with the rapid development of technology, the games industry is constantly changing. By looking at Assassin's Creed 3 Liberation, produced by Ubisoft in 2012, I can explore how the games industry has been impacted by technological changes.
In Question 3(c), you will be rewarded for drawing together knowledge and understanding from across your full course of study, including different areas of the theoretical framework and media contexts.
(c) Explain how the producers of video games ensure their financial success. Refer to Assassin's Creed III: Liberation to support your points. [15]
Producers construct wide audiences to ensure financial success. They do this through attracting multiple target audiences in the marketing and distribution techniques. In particular, video games have recently been a hugely grossing mass market industry due to huge technological development and generally because it is a modern fast paced media platform. Assassins Creed Liberation 3 is an excellent example of how producers target multiple target audiences to ensure financial success.
4. (a) Explain how advertisements target audiences. Refer to the WaterAid advertisement you have studied to support your points. [8]
(b) Explain how historical contexts influence audience interpretations of media products. Refer to the Tide advertisement you have studied to support your points. [12]
Monday, 20 May 2019
Exam Paper Practise
Component 1
The audio-visual resource consists of a television advertisement which is part of the Save The Children Most Shocking Second a Day campaign, made in 2014.
You will be allowed one minute to read Question 1.
The advertisement will be shown three times.
First viewing: watch the advertisement.
Second viewing: watch the advertisement and make notes.
You will then have five minutes to make further notes
Third viewing: watch the advertisement and make final notes.
Once the third viewing has finished, you should answer Question 1.
1. Compare how audiences are positioned by the representations in this Save The Children advertisement and the WaterAid advertisement you have studied.
In your answer you should:
consider how the representations construct versions of reality
consider the similarities and differences in how audiences are positioned by the
representations
make judgements and draw conclusions about how far the representations relate
to relevant media contexts. [30]
Positioning is the way in which a producer places the audience. They do this to attract an audience, by applying specific techniques and conventions, in which the audience then decodes, creating meaning from it. Both media texts use opposing techniques, by positioning the audience in a place where they either feel negatively guilted into donating or positively driven towards donating. I will be exploring the Wateraid visual advertisement, produced by Atomic London in 2016, where we follow a teenage girl, Claudia on her daily routine. I will also analyse the Save The Children advert, produced in 2014 to raise awareness for children refugees in Syria.
The Wateraid advert subverts typical generic conventions of charity advertisements, therefore positioning the audience, in a different position than that they are familiar with for this specific type of product. For example, the producer has chosen an upbeat diegetic melody which builds in sound, from just Claudia singing, to a whole group of teenage girls singing. This could seen as a symbolic code (Roland Barthes) for the amount of impact the Charity Organisation is having on people in the same situation as Claudia, and how it is constantly growing. Additionally, this representation of female ethnic minority being positively represented through conventions such as high-key lighting, happy facial expression and presentable costume choice, connotes a subversive viewpoint to that of typical stereotypes. According to bell hooks, her theory explores how being a female of ethnic background, enforces larger discrimination, which could be argued is challenged in this text. By doing this, the producer positions the audience in an unfamiliar place, as they have not recognised these representations and conventions in Charity adverts before, therefore intriguing them and inspiring them to make a donation, and be part of the solution that Wateraid is advertising.
In the Save The Children advert however, it uses very typical representations and genre conventions of charity adverts, positioning audiences in a familiar place. It does this through encoding ideologies of a 'victim in need' narrative. For example, the direct and intruding mode of address, is enforced through repetitive up close shots, using fast-paced editing of a little girl suffering in a violent and chaotic environment. The preferred reading of the text - the representation of the innocent little girl in danger - constructs an audience that may typically be parents, as they are positioned in the situation themselves, feeling guilt, as this is something happening to someone else's children. The representations are further anchored to the text revealed near the end of the advertisement, 'Just because it isn't happening here doesn't mean it isn't happening'. This creates a clear target audience, of British people, emphasised by the stereotypical British girl. This serious atmosphere is a typical convention of charity advertisements, which positions audiences feeling guilty, and to blame for these horrible incidents happening around the world. Ultimately, it is a very effective method of raising awareness and donations for organisations which is why charity adverts tend to do so.
In conclusion the representations in each of the products places the audience in a position where they feel the need to give donations. In the Save the Children advert they use the typical representation of a victim placing the audience to blame, where as the Wateraid advert challenges representation as well as charity advert conventions, through placing the audience in an inspired position to help.
2. How does media language incorporate viewpoints and ideologies in these front pages of The Sun and The Daily Mail? [15]
Media language is used by producers for their audiences to deconstruct codes and conventions, creating meaning from the product. The Sun has one of the highest readerships in the UK, with a target audience of typically working class people. Many conventions in this front cover are encoded to present working class, right wing viewpoints and ideologies. In the November 2014 edition, following the election victory of Donald Trump, The Sun uses an intertextual referential image, from the show The Simpsons which is anchored with the caption '16 years after jokes Simpsons prophecy, The Donald really is The Prez...'. This lexis and image attracts a working class audience as it relates to their similar interests.This is further noticed due to the fact that the largest text used in the composition of the cover consists of a catchphrase from the show, 'D'OH!'. This creates a binary between the slightly mocking, humouring viewpoint and the actually very serious worldwide social matter behind the story.
In the Daily Mail however, the media language used takes a more left wing viewpoint and approach, representing Trumps victory as a 'Trumpquake', 'creating shockwaves on both sides of the Atlantic'. This use of sensationalist and emotive lexis is typical of a tablod newspaper, and also forms a negative ideology surrounding Trump as opposed to the 'fun' viewpoint of The Sun's frontcover.
The way in which a media product is published or uploaded. For example, newspapers can release physical copies that are sold in shops, as well as being able to access online newspapers on devices such as computers and phones.
(b) How have recent technological changes had an impact on the production and
distribution of newspapers? [10]
Technology is rapidly growing and adapting, due to advances with the internet, and digital convergence. This has impacted the way in which newspapers are produced and distributed. For example, after newspapers began to launch free online websites for their news to be broadcast, print copy sales began to fall rapidly. Other newspapers, such as The Times, chose to offer a £1 subscription to their online platform, to try and avoid revenue loss. Additionally, available access to news via social media websites, has had a largely negative impact on newspaper sales and distribution, due to a new active audience, creating and sharing their own constructions of media and news, for example, Buzzfeed, TMZ, etc. This is an excellent example of Shirky's, End of Audience theory, as audiences take roles in circulating news by sharing, posting, and commenting in forums of their own. Furthermore, recent technologies have impacted the production and distribution of sales following the Millie Dowler murder case. After journalist from Rupert Murdoch's News Corp, hacked into the dead teenagers phone to find more information, ultimately the production of these stories caused a huge lose in respect from the public, gaining large negative reputation in the press, which continued with a fall in the distribution of their newspapers.
(c) What is a media conglomerate? [1]
A large company that owns many subsidiaries, in different areas of media industries.
In Question 3(d), you will be rewarded for drawing together knowledge and understanding from across your full course of study, including different areas of the theoretical framework and media contexts.
(d) Explain how ownership shapes media products. Refer to The Daily Mirror to
support your points. [12]
Media products today, typically will have a large ownership structure, consisting of a conglomeration that is both vertically and horizontally integrated, owning a variety of subsidiaries in different areas of industry and production. I will be exploring how The Daily Mirror's ownership shapes it's media products by analysing the November 2016 editing, following the presidential victory of Donald Trump.
The Daily Mirror is owned by Reach PLC, a conglomeration previously known as Trinity Mirror,who own a range of over 150 newspapers including The Daily Mirror, The Sunday Mirror, Daily Record, etc. Curran and Seaton would argue that this ownership structure - a large horizontally integrated conglomeration - which is driven by power and profit, limits creativity, variety and quality within their products. This is clear in the set text from November 2016, as they use sensationalist lexis, 'what have they done?' anchored to an emotive image, connoting American iconography of the Statue of Liberty, yet also with intertextual reference to a British TV show, the weeping angles from Doctor Who. This constructs the ideology that the large corperation are trying to target a mass market audience, through the use of media language available to these audiences, such as the British working class.
4. (a) Explain how national and global audiences can be reached through different
media technologies and platforms. Refer to Late Night Woman's Hour to
support your points. [8]
The recent rise in digital convergence has allowed media corporations to branch out through new platforms and technologies. This is an example of synergy. Companys use these developments, such as the internet and online websites, to explore larger and new audiences. I will be analysing how Late Night Woman's Hour does this.
Late Night Woman's Hour, broadcast on BBC Radio 4 has used new technologies to their advantage by being available through podcast, constructing a new audience of 'on the go' consumers. They have also released their own app, iPlayer Radio, where audiences can download and follow the podcast monthly on platforms such as phones and tablets. Along with the intellectual and cultural discussion, the radio show reaches both national and global audiences. For example, they discuss Danish culture, in the episode 'hygge'.
(b) How do media organisations meet the needs of specialised audiences? Refer
to Late Night Woman's Hour to support your points. [12]
Media organisations construct an audience for their products, to gain profit from sales, and to form a reputation and brand image. A specialised audience, otherwise known as a niche audience is a group of particular people interested in a product that maybe breaks rules and conventions, taking a more postmodern approach in their ideologies and viewpoints. For example, Late Night Woman's Hour has a specialised audience of intellectual, middle aged, middle class women. BBC Radio 4 meets the needs of this audience through using an all female panel hosted by Lauren Laverne, an experienced presenter who is known for being outspoken and irreverent. The producer has made this choice in presenter deliberately to create controversy with in BBC Radio 4's usual conventions, and to construct a new specialised audience. The late night talk show consists of frank and open discussion. In the episode 'hygge' they cover intellectual topics such as feminism, social issues, and different cultures around the world, more specifically Danish culture. Additionally, the radio show, presented monthly, creates a following for the constructed specialised audience, who can both listen live each month, as well as catch-up on the BBC radio app through a podcast available from their convergent platforms. This may be significant for their target, as typically working, busy, strong women will want to find their own time to listen.
In conclusion, media organisations, such as BBC Radio 4, make decisions in the production and distribution of their products that meet the needs of their constructed specialised audience by targeting a largely specific market.
Section A: Analysing Media Language and Representation
Representation
Question 1 is based on the unseen audio-visual resource and the WaterAid advertisement you have studied.The audio-visual resource consists of a television advertisement which is part of the Save The Children Most Shocking Second a Day campaign, made in 2014.
You will be allowed one minute to read Question 1.
The advertisement will be shown three times.
First viewing: watch the advertisement.
Second viewing: watch the advertisement and make notes.
You will then have five minutes to make further notes
Third viewing: watch the advertisement and make final notes.
Once the third viewing has finished, you should answer Question 1.
1. Compare how audiences are positioned by the representations in this Save The Children advertisement and the WaterAid advertisement you have studied.
In your answer you should:
consider how the representations construct versions of reality
consider the similarities and differences in how audiences are positioned by the
representations
make judgements and draw conclusions about how far the representations relate
to relevant media contexts. [30]
Positioning is the way in which a producer places the audience. They do this to attract an audience, by applying specific techniques and conventions, in which the audience then decodes, creating meaning from it. Both media texts use opposing techniques, by positioning the audience in a place where they either feel negatively guilted into donating or positively driven towards donating. I will be exploring the Wateraid visual advertisement, produced by Atomic London in 2016, where we follow a teenage girl, Claudia on her daily routine. I will also analyse the Save The Children advert, produced in 2014 to raise awareness for children refugees in Syria.
The Wateraid advert subverts typical generic conventions of charity advertisements, therefore positioning the audience, in a different position than that they are familiar with for this specific type of product. For example, the producer has chosen an upbeat diegetic melody which builds in sound, from just Claudia singing, to a whole group of teenage girls singing. This could seen as a symbolic code (Roland Barthes) for the amount of impact the Charity Organisation is having on people in the same situation as Claudia, and how it is constantly growing. Additionally, this representation of female ethnic minority being positively represented through conventions such as high-key lighting, happy facial expression and presentable costume choice, connotes a subversive viewpoint to that of typical stereotypes. According to bell hooks, her theory explores how being a female of ethnic background, enforces larger discrimination, which could be argued is challenged in this text. By doing this, the producer positions the audience in an unfamiliar place, as they have not recognised these representations and conventions in Charity adverts before, therefore intriguing them and inspiring them to make a donation, and be part of the solution that Wateraid is advertising.
In the Save The Children advert however, it uses very typical representations and genre conventions of charity adverts, positioning audiences in a familiar place. It does this through encoding ideologies of a 'victim in need' narrative. For example, the direct and intruding mode of address, is enforced through repetitive up close shots, using fast-paced editing of a little girl suffering in a violent and chaotic environment. The preferred reading of the text - the representation of the innocent little girl in danger - constructs an audience that may typically be parents, as they are positioned in the situation themselves, feeling guilt, as this is something happening to someone else's children. The representations are further anchored to the text revealed near the end of the advertisement, 'Just because it isn't happening here doesn't mean it isn't happening'. This creates a clear target audience, of British people, emphasised by the stereotypical British girl. This serious atmosphere is a typical convention of charity advertisements, which positions audiences feeling guilty, and to blame for these horrible incidents happening around the world. Ultimately, it is a very effective method of raising awareness and donations for organisations which is why charity adverts tend to do so.
In conclusion the representations in each of the products places the audience in a position where they feel the need to give donations. In the Save the Children advert they use the typical representation of a victim placing the audience to blame, where as the Wateraid advert challenges representation as well as charity advert conventions, through placing the audience in an inspired position to help.
Media Language
Question 2 is based on Resource A, the front page of The Sun newspaper (November 2016) and the front page of The Daily Mail newspaper (November 2016) provided on pages 7 and 8. Study Resource A carefully and use both front pages when answering the question.2. How does media language incorporate viewpoints and ideologies in these front pages of The Sun and The Daily Mail? [15]
Media language is used by producers for their audiences to deconstruct codes and conventions, creating meaning from the product. The Sun has one of the highest readerships in the UK, with a target audience of typically working class people. Many conventions in this front cover are encoded to present working class, right wing viewpoints and ideologies. In the November 2014 edition, following the election victory of Donald Trump, The Sun uses an intertextual referential image, from the show The Simpsons which is anchored with the caption '16 years after jokes Simpsons prophecy, The Donald really is The Prez...'. This lexis and image attracts a working class audience as it relates to their similar interests.This is further noticed due to the fact that the largest text used in the composition of the cover consists of a catchphrase from the show, 'D'OH!'. This creates a binary between the slightly mocking, humouring viewpoint and the actually very serious worldwide social matter behind the story.
In the Daily Mail however, the media language used takes a more left wing viewpoint and approach, representing Trumps victory as a 'Trumpquake', 'creating shockwaves on both sides of the Atlantic'. This use of sensationalist and emotive lexis is typical of a tablod newspaper, and also forms a negative ideology surrounding Trump as opposed to the 'fun' viewpoint of The Sun's frontcover.
Section B: Understanding Media Industries and Audiences
3. (a) Briefly explain what is meant by distribution. [2]The way in which a media product is published or uploaded. For example, newspapers can release physical copies that are sold in shops, as well as being able to access online newspapers on devices such as computers and phones.
(b) How have recent technological changes had an impact on the production and
distribution of newspapers? [10]
Technology is rapidly growing and adapting, due to advances with the internet, and digital convergence. This has impacted the way in which newspapers are produced and distributed. For example, after newspapers began to launch free online websites for their news to be broadcast, print copy sales began to fall rapidly. Other newspapers, such as The Times, chose to offer a £1 subscription to their online platform, to try and avoid revenue loss. Additionally, available access to news via social media websites, has had a largely negative impact on newspaper sales and distribution, due to a new active audience, creating and sharing their own constructions of media and news, for example, Buzzfeed, TMZ, etc. This is an excellent example of Shirky's, End of Audience theory, as audiences take roles in circulating news by sharing, posting, and commenting in forums of their own. Furthermore, recent technologies have impacted the production and distribution of sales following the Millie Dowler murder case. After journalist from Rupert Murdoch's News Corp, hacked into the dead teenagers phone to find more information, ultimately the production of these stories caused a huge lose in respect from the public, gaining large negative reputation in the press, which continued with a fall in the distribution of their newspapers.
(c) What is a media conglomerate? [1]
A large company that owns many subsidiaries, in different areas of media industries.
In Question 3(d), you will be rewarded for drawing together knowledge and understanding from across your full course of study, including different areas of the theoretical framework and media contexts.
(d) Explain how ownership shapes media products. Refer to The Daily Mirror to
support your points. [12]
Media products today, typically will have a large ownership structure, consisting of a conglomeration that is both vertically and horizontally integrated, owning a variety of subsidiaries in different areas of industry and production. I will be exploring how The Daily Mirror's ownership shapes it's media products by analysing the November 2016 editing, following the presidential victory of Donald Trump.
The Daily Mirror is owned by Reach PLC, a conglomeration previously known as Trinity Mirror,who own a range of over 150 newspapers including The Daily Mirror, The Sunday Mirror, Daily Record, etc. Curran and Seaton would argue that this ownership structure - a large horizontally integrated conglomeration - which is driven by power and profit, limits creativity, variety and quality within their products. This is clear in the set text from November 2016, as they use sensationalist lexis, 'what have they done?' anchored to an emotive image, connoting American iconography of the Statue of Liberty, yet also with intertextual reference to a British TV show, the weeping angles from Doctor Who. This constructs the ideology that the large corperation are trying to target a mass market audience, through the use of media language available to these audiences, such as the British working class.
4. (a) Explain how national and global audiences can be reached through different
media technologies and platforms. Refer to Late Night Woman's Hour to
support your points. [8]
The recent rise in digital convergence has allowed media corporations to branch out through new platforms and technologies. This is an example of synergy. Companys use these developments, such as the internet and online websites, to explore larger and new audiences. I will be analysing how Late Night Woman's Hour does this.
Late Night Woman's Hour, broadcast on BBC Radio 4 has used new technologies to their advantage by being available through podcast, constructing a new audience of 'on the go' consumers. They have also released their own app, iPlayer Radio, where audiences can download and follow the podcast monthly on platforms such as phones and tablets. Along with the intellectual and cultural discussion, the radio show reaches both national and global audiences. For example, they discuss Danish culture, in the episode 'hygge'.
(b) How do media organisations meet the needs of specialised audiences? Refer
to Late Night Woman's Hour to support your points. [12]
Media organisations construct an audience for their products, to gain profit from sales, and to form a reputation and brand image. A specialised audience, otherwise known as a niche audience is a group of particular people interested in a product that maybe breaks rules and conventions, taking a more postmodern approach in their ideologies and viewpoints. For example, Late Night Woman's Hour has a specialised audience of intellectual, middle aged, middle class women. BBC Radio 4 meets the needs of this audience through using an all female panel hosted by Lauren Laverne, an experienced presenter who is known for being outspoken and irreverent. The producer has made this choice in presenter deliberately to create controversy with in BBC Radio 4's usual conventions, and to construct a new specialised audience. The late night talk show consists of frank and open discussion. In the episode 'hygge' they cover intellectual topics such as feminism, social issues, and different cultures around the world, more specifically Danish culture. Additionally, the radio show, presented monthly, creates a following for the constructed specialised audience, who can both listen live each month, as well as catch-up on the BBC radio app through a podcast available from their convergent platforms. This may be significant for their target, as typically working, busy, strong women will want to find their own time to listen.
In conclusion, media organisations, such as BBC Radio 4, make decisions in the production and distribution of their products that meet the needs of their constructed specialised audience by targeting a largely specific market.
Wednesday, 15 May 2019
Exam Question - Online Media Audience
How does Attitude attract/target its audiences? How does it construct an audience? [15]
Magazine targeted at gay men through presenting a lifestyle that is relatable to this audience
Reference to similar interests, LGBTQ community, gay icons (such as brittany spears, lady gaga, madonna), arts culture
Visual codes of gay pride, eg, rainbow flag
Lexis, reflects stereotypical gay mode of address, flamboyancy, "Shawn Mendes the new face of Calvin Klein, the thirst is real"
Intertextual reference to gay dating website 'Grinder', would be of interest to gay audience
Age category of 25-50 year olds, not a young audience as there is lack of reference to younger audience interests
Huge marketing towards gay/lesbian audiences in all media industries, due to 'pink pound' , the concept that gay audiences have higher disposable income, as stereotypically do not have children.
Stuart Hall - reception, representation and stereotyping
Magazine targeted at gay men through presenting a lifestyle that is relatable to this audience
Reference to similar interests, LGBTQ community, gay icons (such as brittany spears, lady gaga, madonna), arts culture
Visual codes of gay pride, eg, rainbow flag
Lexis, reflects stereotypical gay mode of address, flamboyancy, "Shawn Mendes the new face of Calvin Klein, the thirst is real"
Intertextual reference to gay dating website 'Grinder', would be of interest to gay audience
Age category of 25-50 year olds, not a young audience as there is lack of reference to younger audience interests
Huge marketing towards gay/lesbian audiences in all media industries, due to 'pink pound' , the concept that gay audiences have higher disposable income, as stereotypically do not have children.
Stuart Hall - reception, representation and stereotyping
Exam Question - Online Media Industry
How have new digital technologies affected how the online media industry is regulated?
Knee Jerk Reaction
There is no regulation for online media other than websites self-regulation of their own rules and implications, so is very ineffective.
Demonetisation is one ineffective implication Youtube uses to regulate harmful material, by taking away funds for the producers of channels publishing this harmful content.
Online media is fast growing, modern industry, and audiences and individuals are active participants in the construction of media
Youtube algorithms can lead to younger audiences watching disturbing content
More convergent digital technologies
Zoella - blurring of advertisement and reality, been in trouble for this before. Young female demographic of the audience of her channel are most at risk to her harmful ideologies.
Lack of unifying regulatory body (no PEGI, IPSO, etc)
Lack of protection from potentially harmful content
Power of tech companies eg, google (owns youtube, android, all google platforms(maps, translate))
Livingstone and Lunt
- regulation is at risk due to increasing convergent technologies and and increasing power of global media corporations
Attitude however is a magazine, and even though it is an online platform, it is still regulated by IPSO (Independent Press Standards Organisation), who create a clear set of rules, but still, they are ineffective in reinforcing these rules, and online magazine companies can easily find ways around this.
Boys section, very sexualised, emphasis on naked body, could be harmful to younger audiences
Regulation is the rules an restrictions every media product must follow. These are generally implicated through a unifying regulatory body, some examples of these include, PEGI (Pan European Game Information) IPSO (Independent Press Standards Organisation), etc. Online media industry however, does not
Knee Jerk Reaction
There is no regulation for online media other than websites self-regulation of their own rules and implications, so is very ineffective.
Demonetisation is one ineffective implication Youtube uses to regulate harmful material, by taking away funds for the producers of channels publishing this harmful content.
Online media is fast growing, modern industry, and audiences and individuals are active participants in the construction of media
Youtube algorithms can lead to younger audiences watching disturbing content
More convergent digital technologies
Zoella - blurring of advertisement and reality, been in trouble for this before. Young female demographic of the audience of her channel are most at risk to her harmful ideologies.
Lack of unifying regulatory body (no PEGI, IPSO, etc)
Lack of protection from potentially harmful content
Power of tech companies eg, google (owns youtube, android, all google platforms(maps, translate))
Livingstone and Lunt
- regulation is at risk due to increasing convergent technologies and and increasing power of global media corporations
Attitude however is a magazine, and even though it is an online platform, it is still regulated by IPSO (Independent Press Standards Organisation), who create a clear set of rules, but still, they are ineffective in reinforcing these rules, and online magazine companies can easily find ways around this.
Boys section, very sexualised, emphasis on naked body, could be harmful to younger audiences
Regulation is the rules an restrictions every media product must follow. These are generally implicated through a unifying regulatory body, some examples of these include, PEGI (Pan European Game Information) IPSO (Independent Press Standards Organisation), etc. Online media industry however, does not
Monday, 13 May 2019
Exam Question - Online Media Representation
How far are the representations constructed in the set texts of Zoella and Attitude stereotypical? [30] or 2x[15]
Constant RE presentation of certain groups
Stereotype (Stuart Hall) - fixed ideologies created as a labelling process in media products, as a shortcut for producers, and something recognisable for audiences
This often leads to misjudgment and unfair discrimination towards certain groups
Attitude Online
Typical stereotypes of gay men: feminine characteristic clothing, fragile, sensitive, vulnerable, victimised, camp, theatrical, flamboyant,
Does not reflect the diversity of gay male identities.
Representations are promoting hegemonic understandings of masculinity by constructing the gay man as 'other'.
Masculinity is often equated to heterosexuality
This construction of dominant ideologies can be related to Stuart Hall's Theory.
George Gerbner - argues that the media participate in the symbolic annihilation of the LGBTQ community by negatively stereotyping them, rarely portraying them realistically, or by not portraying them at all.
Gauntlett
- argues that media today offers a more diverse range of representations, progression of representations of masculinity
- online audience become producers of meaning, creating own identities, and influencing other identities
- gender identity has become less constricted and constrained which can be explored through producer and audience identity constructions
Zoella
Stereotypical vlogger, as she is the foundation of this archetype, and constructed the stereotype herself, being one of the first to take this role.
Gatekeeper - a person or organisation that is involved in filtering content in some way, zoella choses specifically was to disclose and what to share with her audience
Her blogs and vlogs have similar construction of gender to that of teenage girl magazines.
Gender reinforcement through promotion of her beauty brand, by sponsorship and deals, therefore for commercial purposes.
The way she cultivates her own image is very conventional of a feminine
She is the 'madonna' in the Madonna and Whore complex, being very respected but not sexualised.
Contrasted to boyfriends very stereotypical construction of masculinity, going to the gym, not helping around the house, going out when Zoella stays in.
How far are the representations constructed in the set texts of Zoella and Attitude stereotypical? [30]
INTRODUCTION:
DEFINE - Stereotypes are a constant RE presentation of certain groups constructing fixed ideologies in the labelling process of media products. These act as a shortcut for producers, and something recognisable for audiences which often leads to misjudgment and unfair discrimination towards certain groups.
ARGUMENT - I find that Zoella and Attitude both construct stereotypical representations of gender through visual and technical codes, yet in very opposing ways.
CONTEXT -
Constant RE presentation of certain groups
Stereotype (Stuart Hall) - fixed ideologies created as a labelling process in media products, as a shortcut for producers, and something recognisable for audiences
This often leads to misjudgment and unfair discrimination towards certain groups
Attitude Online
Typical stereotypes of gay men: feminine characteristic clothing, fragile, sensitive, vulnerable, victimised, camp, theatrical, flamboyant,
Does not reflect the diversity of gay male identities.
Representations are promoting hegemonic understandings of masculinity by constructing the gay man as 'other'.
Masculinity is often equated to heterosexuality
This construction of dominant ideologies can be related to Stuart Hall's Theory.
George Gerbner - argues that the media participate in the symbolic annihilation of the LGBTQ community by negatively stereotyping them, rarely portraying them realistically, or by not portraying them at all.
Gauntlett
- argues that media today offers a more diverse range of representations, progression of representations of masculinity
- online audience become producers of meaning, creating own identities, and influencing other identities
- gender identity has become less constricted and constrained which can be explored through producer and audience identity constructions
Zoella
Stereotypical vlogger, as she is the foundation of this archetype, and constructed the stereotype herself, being one of the first to take this role.
Gatekeeper - a person or organisation that is involved in filtering content in some way, zoella choses specifically was to disclose and what to share with her audience
Her blogs and vlogs have similar construction of gender to that of teenage girl magazines.
Gender reinforcement through promotion of her beauty brand, by sponsorship and deals, therefore for commercial purposes.
The way she cultivates her own image is very conventional of a feminine
She is the 'madonna' in the Madonna and Whore complex, being very respected but not sexualised.
Contrasted to boyfriends very stereotypical construction of masculinity, going to the gym, not helping around the house, going out when Zoella stays in.
How far are the representations constructed in the set texts of Zoella and Attitude stereotypical? [30]
INTRODUCTION:
DEFINE - Stereotypes are a constant RE presentation of certain groups constructing fixed ideologies in the labelling process of media products. These act as a shortcut for producers, and something recognisable for audiences which often leads to misjudgment and unfair discrimination towards certain groups.
ARGUMENT - I find that Zoella and Attitude both construct stereotypical representations of gender through visual and technical codes, yet in very opposing ways.
CONTEXT -
Friday, 10 May 2019
Exam Question - Magazine Industry
Component 2 Section B (either two 15 markers or one 30 marker)
How exactly is the magazine industry regulated? [15]
Who regulates magazines?
IPSO (independent press standards organisation)
Both magazines and newspapers
A self regulatory body for press standards
Hold newspapers, magazines and journalists to account for their own actions to maintin freedom of expression for press.
Editors Code of Practice - quite flawed as there are 'exceptions' to the rules that have been laid out.
Before this, press was regulated by the PCC (Press Complaints Commission) 1990-2014 closed due to phone hacking scandal of Millie Dowler murder.
1953 - General Council of the Press, voluntary regulation, didn't have much power.
Livingstone and Lunt
- regulation being at risk due to increasing power of global media corporations and rise in development of technology
- adbusters uses graphic and violent lexis and imagery that could be harmful to certain audiences eg 'save the planet kill yourself' article, louboutin advert.
What economic factors have affected this product? How financially successful was it? Was it made commercially or not for profit? [15]
Woman
Owned by IPC media, a conglomerated horizontally integrated media company
Hugely successful of it's time, due to successful target audience, working class domestic house wives, affordable magazine, etc.
30% revenue comes from advertising.
Mass market basic audience, capitalist advertisements, pro-consumerist
Adbusters
Owned by Adbusters Media Foundation - self-owned
No outside influence for their production
Socially diverse, not for profit, aggressively anti-advertisement
£10.99 per copy?! /120,000 readership / released 6 times a year (bimonthly)
Curran and Seaton
- media is controlled by a small number of corporations driven by profit and power, limiting creativity , creativity and quality
- Woman conforms to this theory, being produced by a large conglomeration IPC, driven by profit, owning a huge number of magazines.
- Adbusters subverts this theory, due to having ideologies around anti-consumerism, anti-capitalism, and self-ownership, through attacking advertisement and lack of recognisable conventions.
How exactly is the magazine industry regulated? [15]
Who regulates magazines?
IPSO (independent press standards organisation)
Both magazines and newspapers
A self regulatory body for press standards
Hold newspapers, magazines and journalists to account for their own actions to maintin freedom of expression for press.
Editors Code of Practice - quite flawed as there are 'exceptions' to the rules that have been laid out.
Before this, press was regulated by the PCC (Press Complaints Commission) 1990-2014 closed due to phone hacking scandal of Millie Dowler murder.
1953 - General Council of the Press, voluntary regulation, didn't have much power.
Livingstone and Lunt
- regulation being at risk due to increasing power of global media corporations and rise in development of technology
- adbusters uses graphic and violent lexis and imagery that could be harmful to certain audiences eg 'save the planet kill yourself' article, louboutin advert.
What economic factors have affected this product? How financially successful was it? Was it made commercially or not for profit? [15]
Woman
Owned by IPC media, a conglomerated horizontally integrated media company
Hugely successful of it's time, due to successful target audience, working class domestic house wives, affordable magazine, etc.
30% revenue comes from advertising.
Mass market basic audience, capitalist advertisements, pro-consumerist
Adbusters
Owned by Adbusters Media Foundation - self-owned
No outside influence for their production
Socially diverse, not for profit, aggressively anti-advertisement
£10.99 per copy?! /120,000 readership / released 6 times a year (bimonthly)
Curran and Seaton
- media is controlled by a small number of corporations driven by profit and power, limiting creativity , creativity and quality
- Woman conforms to this theory, being produced by a large conglomeration IPC, driven by profit, owning a huge number of magazines.
- Adbusters subverts this theory, due to having ideologies around anti-consumerism, anti-capitalism, and self-ownership, through attacking advertisement and lack of recognisable conventions.
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