Shelter Advert Analysis

How is media language used in the shelter advert?

Refer to the social, political and cultural context (15 marks)

 

Shelter is a charity targeted at individuals with vulnerable housing. The adverts encourage people to seek help from the organisation and not live in the fear of losing their home.  The organisation offers advice to those who are in the fear of losing their homes, are in debt or having to deal with difficult landlords. The Shelter advert uses various elements of media language for example imagery, text and political context to construct meanings about the issue of housing.

The first aspect of media language used in the shelter advert is imagery. The advert comprises of three images showing a close up of three individuals, allowing their facial expressions to be clearly read, which present misery, stress and nervousness. It can be argued that these individuals represent those who are facing financial and housing issues. We see two females and one male, who look middle aged connoting how the issue of homelessness could affect any age or gender. However, the three individuals seem white Middleclass, hence the advert lacks in racial diversity, making it difficult for a non-white person to relate to. The black background connotes a sense of emptiness and loss which may reflect the feelings of the individuals featured. The use of eye level angels, directly address the audiences and establish the connection of us being in this together. The colour scheme is black and red, black portraying the dark emotions of the people at risk e.g. anxiety. Red being a colour of danger and fear, is perhaps a warning sign for audiences to seek help from the organisation and avoid experiencing a difficult situation.

The second aspect media language used in the advert is its text. There are three large headlines written in a transparent red, reading ‘But where will we live’, ‘He can’t do that’ and ‘I can’t face it’. The statements are simple and clear making them relatable to the ordinary person, establishing a connection between the organisation and audiences. They offer a contrast to the idea of individuals complicating financial and housing issues. The use of red for the text is significant as it symbolises blood which is vital in the human body, implying the intensity of financial and housing issues in people’s everyday lives. However, the red is in a transparent texture, connoting how the problem does not have to be permanent and can be dealt with. The phrases below add depth to the headline at top and all end with ‘We can help’ assuring individuals that shelter is there for support in any situation. At the bottom right hand corner the logo of the organisation is recognisable establishing brand identity. The red search box at the bottom centre of the page encourages individuals to seek help as it is just a click away.

The final aspect of media language associated with the advert is its cultural and political context. The shelter adverts were released in 2011 as a result of the government’s spending budget in 2010. It was decided that there will be 60% plus cut in the social housing budget leading to house rent becoming unaffordable for people and homelessness increasing. The Shelter adverts are thus a criticism of the government’s failure to deal with the housing crisis, which effected millions across the UK. The organisation’s mission is to exist to defend people’s right to a safe home, so that no family has to suffer and live in the fear of being homeless.

Shelter Advert Analysis

How is media language used in the shelter advert?

Refer to the social, political and cultural context (15 marks)

 

Shelter is a charity targeted at individuals with vulnerable housing. The adverts encourage people to seek help from the organisation and not live in the fear of losing their home.  The organisation offers advice to those who are in the fear of losing their homes, are in debt or having to deal with difficult landlords. The Shelter advert uses various elements of media language for example imagery, text and political context to construct meanings about the issue of housing.

The first aspect of media language used in the shelter advert is imagery. The advert comprises of three images showing a close up of three individuals, allowing their facial expressions to be clearly read, which present misery, stress and nervousness. It can be argued that these individuals represent those who are facing financial and housing issues. We see two females and one male, who look middle aged connoting how the issue of homelessness could affect any age or gender. However, the three individuals seem white Middleclass, hence the advert lacks in racial diversity, making it difficult for a non-white person to relate to. The black background connotes a sense of emptiness and loss which may reflect the feelings of the individuals featured. The use of eye level angels, directly address the audiences and establish the connection of us being in this together. The colour scheme is black and red, black portraying the dark emotions of the people at risk e.g. anxiety. Red being a colour of danger and fear, is perhaps a warning sign for audiences to seek help from the organisation and avoid experiencing a difficult situation.

The second aspect media language used in the advert is its text. There are three large headlines written in a transparent red, reading ‘But where will we live’, ‘He can’t do that’ and ‘I can’t face it’. The statements are simple and clear making them relatable to the ordinary person, establishing a connection between the organisation and audiences. They offer a contrast to the idea of individuals complicating financial and housing issues. The use of red for the text is significant as it symbolises blood which is vital in the human body, implying the intensity of financial and housing issues in people’s everyday lives. However, the red is in a transparent texture, connoting how the problem does not have to be permanent and can be dealt with. The phrases below add depth to the headline at top and all end with ‘We can help’ assuring individuals that shelter is there for support in any situation. At the bottom right hand corner the logo of the organisation is recognisable establishing brand identity. The red search box at the bottom centre of the page encourages individuals to seek help as it is just a click away.

The final aspect of media language associated with the advert is its cultural and political context. The shelter adverts were released in 2011 as a result of the government’s spending budget in 2010. It was decided that there will be 60% plus cut in the social housing budget leading to house rent becoming unaffordable for people and homelessness increasing. The Shelter adverts are thus a criticism of the government’s failure to deal with the housing crisis, which effected millions across the UK. The organisation’s mission is to exist to defend people’s right to a safe home, so that no family has to suffer and live in the fear of being homeless.

500 words - Lucozade advert

Lucozade is a widely popular soft drink marketed by Suntory. First launched in the 1990s as a sports and energy drink, it comes in a variety of flavors, colors, and packaging. Lucozade is targeted at individuals who want to keep physically fit and enhance their sports performance. This is seen in the advert which shows well known professional footballer Gareth Bale. The advert utilizes composition, image and text to construct meanings about the brand.

The first way in which the advert constructs a representation of the Lucozade brand is through the composition, which is very simply structured. We see the main image; a mini profile picture of Bale with the Lucozade bottle on the right hand side, and pieces of text neatly arranged around the image. One thing the target audience may notice is that the advertising agency has adhered to traditional Lucozade adverts, because the image, text and product are in the same position as in other adverts, e.g. the Alex Chamberlain and Alexa Matthews advert, showcasing the brands consistency in structure relating to the 2013 campaign #IBELIEVE. The brand has also maintained its traditional colors, blue and yellow, deliberately matching with the colors of the product.

One of the main aspects of the advert is its main image of footballer Gareth Bale, who plays as a winger for the wales national team. Bale is presented as a determined athlete, he is wearing sportswear showing his passion for football, the sweat on his forehead implies that he practices rigorously. The white square around the image represents the football pitch and the details of him at the top right hand corner create the atmosphere of a sports selection taking place, with the yes on the bottom saying how Bale has been selected as the right candidate, due to the energy he gained from consuming Lucozade. Roland Barthes theory of mythical masculinity can be applied to this representation of Bale, because he is being portrayed as the stereotypical western man with broad shoulders, physical strength and good looks. His facial expression as a serious, committed and assured man, enhances his imagery as Barthes mythical man.

The final way in which the advert constructs the Lucozade brand is through it use of text. The largest piece of text on the page is ‘In a different league’ written clearly in a yellow box. The words connote a sense of superiority and greatness about the brand. They imply how Lucozade is better than any of its competitors or perhaps they do not even consider other sports drinks as competition. The words may even reinforce Barthes theory of mythical masculinity, suggesting the supremacy society attaches to men, which is physically represented by Bales here. The #Scientifically proven written next to the product gives credibility to the brand, showing how it is validated to work, encouraging the audiences to consume the drink and experience strength like Bale.

500 words - Lucozade advert

Lucozade is a widely popular soft drink marketed by Suntory. First launched in the 1990s as a sports and energy drink, it comes in a variety of flavors, colors, and packaging. Lucozade is targeted at individuals who want to keep physically fit and enhance their sports performance. This is seen in the advert which shows well known professional footballer Gareth Bale. The advert utilizes composition, image and text to construct meanings about the brand.

The first way in which the advert constructs a representation of the Lucozade brand is through the composition, which is very simply structured. We see the main image; a mini profile picture of Bale with the Lucozade bottle on the right hand side, and pieces of text neatly arranged around the image. One thing the target audience may notice is that the advertising agency has adhered to traditional Lucozade adverts, because the image, text and product are in the same position as in other adverts, e.g. the Alex Chamberlain and Alexa Matthews advert, showcasing the brands consistency in structure relating to the 2013 campaign #IBELIEVE. The brand has also maintained its traditional colors, blue and yellow, deliberately matching with the colors of the product.

One of the main aspects of the advert is its main image of footballer Gareth Bale, who plays as a winger for the wales national team. Bale is presented as a determined athlete, he is wearing sportswear showing his passion for football, the sweat on his forehead implies that he practices rigorously. The white square around the image represents the football pitch and the details of him at the top right hand corner create the atmosphere of a sports selection taking place, with the yes on the bottom saying how Bale has been selected as the right candidate, due to the energy he gained from consuming Lucozade. Roland Barthes theory of mythical masculinity can be applied to this representation of Bale, because he is being portrayed as the stereotypical western man with broad shoulders, physical strength and good looks. His facial expression as a serious, committed and assured man, enhances his imagery as Barthes mythical man.

The final way in which the advert constructs the Lucozade brand is through it use of text. The largest piece of text on the page is ‘In a different league’ written clearly in a yellow box. The words connote a sense of superiority and greatness about the brand. They imply how Lucozade is better than any of its competitors or perhaps they do not even consider other sports drinks as competition. The words may even reinforce Barthes theory of mythical masculinity, suggesting the supremacy society attaches to men, which is physically represented by Bales here. The #Scientifically proven written next to the product gives credibility to the brand, showing how it is validated to work, encouraging the audiences to consume the drink and experience strength like Bale.

Old Spice Analysis

Old spice is an American brand, introduced in 1930s, which sells male grooming products such as deodorants, shampoo’s and soaps. This particular advert with the face of the brand Isiah Mustafa seems illogical and fictitious, due to its erratic choice of images and text, which are key aspects through which meanings and ideologies are communicated.

The first ideology which can be applied to the old spice advert is Barthes ideology of mythical masculinity. Barthes believes that men are almost always portrayed as superior to women in the media. Barthes views these representations of men as codes with meanings which reflect the current culture of society, and when these images are repeated in the media, they begin to create meanings about the world. ‘Mythical’ implies how the images communicated in the media are a fictional, which do not exist in the real world. Evidence of mythical masculinity is seen in the old spice advert, where Isiah Mustafa is an embodiment of the mythical man. He appears strong, confident, believing that he is better than anyone else, seen in his facial expression which is a smile with a smirk. The volcanic explosion on his head and the imagery of the Bahamas around him depict him as a super strong man because they suggest how he can bear anything, making him Barthes ideal mythical man audiences often view in the media.

Butler’s ideology of gender performativity is also communicated in the old spice advert. Butler believes that gender roles are created through performance, when a series of repetitive tasks become naturalised, making gender a social construct of society. Butler’s theory is seen in the advert where Isiah Mustafa performs the role of a hyper masculine man. He is at the centre of extremely crowded imagery, for example, a volcanic explosion is happening on his head, a man is seen fishing for a shark from his left ear and there’s an island on each of his shoulders. This weird composition of the advert connotes a high level of energy, and Mustafa being at the centre of it all implies how he is capable of bearing this overpowering energy, which is what we would associate with his role as a hyper male.

The most significant viewpoint through which the old spice advert can be analysed is through Baudrillard’s ideology of Postmodernism. Baudrillard believes that we exist in a society of simulacra, where copies of reality replace originality and the boundary between the real and imaginary has disappeared. Evidence of this is seen in the advert which constructs a surreal image of the Bahamas on the body of Isiah Mustafa. We can see a woman sunbathing under the palm trees, an island on which a man is sitting and another on which a ships is drowning and a mermaid is attacking a man hanging from it. All these images are highly photo shopped and edited simulacra’s representing the Bahamas. Baudrillard’s ideology is also supported through the final line of the main text which reads; ‘This fact has not been fact checked’. This line sums up Baudrillards theory of postmodernism in the media, where audiences are incapable of sensing the difference between original things and copies of them.

Overall, it can be argued that the old spice advert communicates a range of ideologies which offer a deep analysis of the advert and allow audiences to discover potential meanings. Baudrillard’s theory of Postmodernism is perhaps the most dominantly relevant one here, as the entire advert is an imaginary construction, showcasing diverse and illogical situations, which all work together to create a surreal image of masculinity.

Old Spice Analysis

Old spice is an American brand, introduced in 1930s, which sells male grooming products such as deodorants, shampoo’s and soaps. This particular advert with the face of the brand Isiah Mustafa seems illogical and fictitious, due to its erratic choice of images and text, which are key aspects through which meanings and ideologies are communicated.

The first ideology which can be applied to the old spice advert is Barthes ideology of mythical masculinity. Barthes believes that men are almost always portrayed as superior to women in the media. Barthes views these representations of men as codes with meanings which reflect the current culture of society, and when these images are repeated in the media, they begin to create meanings about the world. ‘Mythical’ implies how the images communicated in the media are a fictional, which do not exist in the real world. Evidence of mythical masculinity is seen in the old spice advert, where Isiah Mustafa is an embodiment of the mythical man. He appears strong, confident, believing that he is better than anyone else, seen in his facial expression which is a smile with a smirk. The volcanic explosion on his head and the imagery of the Bahamas around him depict him as a super strong man because they suggest how he can bear anything, making him Barthes ideal mythical man audiences often view in the media.

Butler’s ideology of gender performativity is also communicated in the old spice advert. Butler believes that gender roles are created through performance, when a series of repetitive tasks become naturalised, making gender a social construct of society. Butler’s theory is seen in the advert where Isiah Mustafa performs the role of a hyper masculine man. He is at the centre of extremely crowded imagery, for example, a volcanic explosion is happening on his head, a man is seen fishing for a shark from his left ear and there’s an island on each of his shoulders. This weird composition of the advert connotes a high level of energy, and Mustafa being at the centre of it all implies how he is capable of bearing this overpowering energy, which is what we would associate with his role as a hyper male.

The most significant viewpoint through which the old spice advert can be analysed is through Baudrillard’s ideology of Postmodernism. Baudrillard believes that we exist in a society of simulacra, where copies of reality replace originality and the boundary between the real and imaginary has disappeared. Evidence of this is seen in the advert which constructs a surreal image of the Bahamas on the body of Isiah Mustafa. We can see a woman sunbathing under the palm trees, an island on which a man is sitting and another on which a ships is drowning and a mermaid is attacking a man hanging from it. All these images are highly photo shopped and edited simulacra’s representing the Bahamas. Baudrillard’s ideology is also supported through the final line of the main text which reads; ‘This fact has not been fact checked’. This line sums up Baudrillards theory of postmodernism in the media, where audiences are incapable of sensing the difference between original things and copies of them.

Overall, it can be argued that the old spice advert communicates a range of ideologies which offer a deep analysis of the advert and allow audiences to discover potential meanings. Baudrillard’s theory of Postmodernism is perhaps the most dominantly relevant one here, as the entire advert is an imaginary construction, showcasing diverse and illogical situations, which all work together to create a surreal image of masculinity.