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.
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