HW - News Question 3

Explain how the political context in which newspapers are produced, influences their ownership and regulation. Refer to The Guardian and The Daily Mail newspapers you have studied to support your answer. [10 marks]

The political context of both the guardian and the daily mail have significant impacts in the ways in which they’re owned and regulated. The newspapers political status influences its content, quality, opinions on public issues, but perhaps only to a certain level.

The Guardian is a left wing quality newspaper which supports the labour party. It is owned by The independent Scotts trust, a charity which supports values such as diversity and empowerment. The ownership of the guardian may be influenced by its political support for labour, which also encourages such values. This is seen in almost all of the covers and news stories of the guardian, which address issues relating to diversity or equality. The cover featuring Meghan Markle gives the message of Britain needing to accept ethnic diversity. The guardian also focuses on serious matters such as Brexit, the British education system, making audiences aware of their responsibility as citizens, mirroring the attitude of labour. The daily mail is a popular right wing newspaper, owned by daily mail and general trust which is under the control of Lord Rothermere, its chairman. His support for the conservative party is seen in the content of the daily mail, which often publishes its support for Theresa may , the royal family. Overall, the political context of newspapers significantly impacts its ownership often reflected through the content.

The Political context of newspapers also influences the ways in which they’re regulated. Press Freedom is a core value in the news industry, it gives journalists the freedom to openly support or criticize issues. Newspapers are not owned by a government body making them free to publish without government interference. It can be said that because of press freedom the political context of the guardian and daily mail cannot fully dominate its regulation. This may be why the guardian often publishes its criticism of the government e.g. lack of support for those in poverty. The daily mail openly publishes soft news such as celebrity gossip on its covers. However, despite the existence of press freedom both the guardian and the daily mail are often regulated according to their political status. The front covers of the daily mail almost always supports members of the royal family, and create a moral panic regarding the Muslim population.

Overall, it can be said that the political context of the guardian and the daily mail has a significant influence on the way their ownership and regulation. Although the political status of both newspapers largely influences ownership, impacting its content and opinions, it has limited control over the way both papers are regulated.

HW questions - News

Q1 Analyse the different representations of gender, social class, ethnicity in Sources A and B. Apply one appropriate theory of representation in your answer.

Sources A and B show news coverage of Prince Harry and Meghan Markle, in relation to their royal wedding. The cover for the Sun features the couple together, and constructs Meghan in a rather negative way, whereas the front cover for the Times creates a more positive presentation of Meghan and her mother.

Source A shows the front cover of the sun, a popular newspaper. The main image on the cover is of Meghan Markle and Prince Harry. When studied in terms of gender it can be said that this cover constructs a negative representation of gender, especially of Meghan as a woman. She is highly sexualised and objectified. She is wearing a red dress which reveals her cleavage, red lipstick. There is a  high level of makeup almost trying to make her look white, hence undermining her ethnicity. These features represent Meghan as a stereotypical western woman, which is conventional of The Sun. Furthermore, the headline addresses Meghan as ‘Princess pushy’ suggesting how she is dominating and bossy. The subheading ‘she’s met her Prince Charles’ implies the idea that women need men in their life. Zoonen’s theory of gender is applicable to this cover. Zoonen argues that in the media women are almost always an object and men are the spectacle. In this cover Meghan is clearly objectified, which Zoonen would argue is done to maintain patriarchy.

The second cover is from the Times, a quality newspaper, featuring Meghan and her mother quite positively. In the main image we see them smiling and close together connoting a loving and caring relationship between the two. Meghan’s mother is shot slightly in front of Meghan suggesting how she is protective of her daughter. The fact that two ethnic minority women are being featured on the front cover is in itself an achievement from the regular coverage of white, objectified women across newspapers. The long shot shows that they’re both wearing simple dresses which do not objectify or sexualise them in any way. This cover seems to undermine Zoonen’s theory, as it portrays Meghan and her mother in a quite graceful and respectable manner. However, the clothing is quite British in terms of style and colours, black, white and navy blue, perhaps showing the desperation of Meghan’s family to fit into British culture. The main headline ‘Welcome to the family’ creates a feeling them and us, it is as if the royal family is doing Meghan a favour by accepting her.

Overall, it can be argued that the two front covers from The Sun and The Times construct two very different representations of gender, when studied in relation to Zoonens theory. The cover for The Sun reinforces the stereotypes of objectification and sexualisation which Zoonen discusses, through the highly sexualised depiction of Meghan. However, the cover from The Times refutes Zoonens ideas and it does not present women as objects but rather as powerful individuals, about to be a part of the royal family.

Q2: Q2. Sources A and B cover the same news event but are from two different newspapers. How far has the combination of elements of media language influenced meaning in the sources? In your answer you must:

• explain how the combination of elements of media language influences meaning in newspapers

• analyse how media language has been used to construct meaning in the sources

• make judgements and reach conclusions about how far the combination of elements of media language has influenced meaning in the sources. [15 marks]

Sources A and B both rely heavily on media language in order to present two alternative presentation of the same event. The sun largely follows the conventions associated with popular newspapers while the times shows a quality newspaper approach. Aspects of both newspapers such as mode of address, ideology and layout of page largely influence the meaning in both sources.

The Sun is a popular newspaper, owned by News Corporation, often supporting the ideologies of the conservative party. The page has a very crowded composition, with many headlines, captions and subheadings, the largest words on the page are ‘Princess Pushy’ written next to the image of Meghan, making us assume that she is the princess pushy. The fact that Meghan is dolled up supports this idea. The mode of address is very informal and easily understood keeping in line with the popular genre. The page is also crowded in terms of the many news stories it focuses on, the royal wedding, football, Remembrance Day, Christmas. Similarly the page is crowded with various images, the main image of harry and Meghan, at the top we see Lionel Messi, an image of a poppy. A crowded layout is a traditional convention of the Sun, but it can be said that this element creates a negative image of the newspaper, as it is interpreted to be for the lower class, the uneducated, who take joy in simple language, imagery and entertainment.  The Sun featuring stories which are to do with British history and traditions such as the royal family, remembrance day, Christmas show its support for the conservative party.

The times is a quality newspaper which also supports the conservative party. The layout the page is neat and clear as the texts and images are separate. There is more use of text than image because quality newspapers seek to inform rather than entertain readers. The colours are very subtle; black, blue and white. The use of just one image of Meghan and her mother adds value to the cover, showing how it’s for the well-educated, upper/middle class readers.  The main headline ‘Welcome to the family’ creates a very warm feeling about the royal family, presenting them as friendly people, tolerant to diversity despite being a traditional institution. In fact the whole cover focuses on just one event, every subheading and caption links to the royal wedding, e.g. ‘key role of Prince Charles’, ‘The order of service’. This idea is supported by the smiling image of Meghan and her mother, they look as if they’re been well looked after. It can be said that the Times purposely constructs a respectable image of the royal family, to keep loyal to its conservative ideologies.

Overall , it can be argued that both newspaper use a combination of the elements of media language to construct to very different presentations of the royal family. Both newspapers seem to be largely influenced by their genre of quality or popular as well as their political stance. They reflect these ideologies largely through the layout of the covers. 

Heaven Homework Question

With reference to Emeli Sande’s heaven how realistic are the representations offered by the video

 

Emeli Sande’s ‘Heaven’ depicts street life in a working class area of East London. The video itself is filmed in Bethnal Green and includes various representations which are realistic. The three most significant representations are the portrayal of street life in London, the presentation of the individuals and Emeli Sande’s presentation of herself as an artist.

Street life in ‘Heaven’ is significant as the whole video is filmed in a real working class district of East London, Bethnal Green, contributing towards the naturalistic representations. The depiction of poverty is quite realistic seen in the two different shots of men, one who is sleeping on the ground with a blanket, and another seen sitting on a carpet at the side of a street. Both these men represent poverty and homelessness in the working class areas of East London. Individuals in reality can be seen in these areas living on streets and sleeping on grounds, hence the representation here is highly realistic and relatable. Another realistic representation of street life in the video is the shot of a mother at a bus stop on a rainy day feeding her child. This shot may reflect the everyday struggles of a working class mother, who has to work and cater for her child. Many other shots of real and natural situations such as graffiti on walls, children playing outside their homes also adds to the naturalistic representation of street life.

Another realistic portrayal is of the individuals. The video shows a montage of a mix of people from different ethnicities, classes and backgrounds, done through various close ups. One of the first shots is of a young white woman in a red backless dress, presented in an ambiguous way as she seems to be sexualised because the camera focuses on her body, but the fact that she walks away from the camera implies how she herself refuses to be objectified. Another shot is of an elderly man who makes direct eye level contact with the camera, he seems to be speaking for people of his age who perhaps experience issues like poverty, illness. Another realistic portrayal is seen through an extreme close up of a black man with dreadlocks, representing ethnic minorities and diversity in London. The portrayal of individuals in heaven is highly realistic as people are captured in their natural state and setting, they have in no way been glammed up for the camera, which seems to be a true reflection of the diversity of people in London.

The final and perhaps the most significant representation in ‘heaven’ is of the artist herself, Emeli Sande. From the very first shot of her, Emeli is portrayed as an individual who is a part of the world in the video, as she does not break the realism of the video. This can be seen in the very first shot where she looks out of a window looking somewhat unhappy, implying how she herself has had negative experiences, connecting her to all the other individuals’ portrayed in the video. Emeli Sande is dressed is also dressed in a casual manner wearing a black overall, with minimal make up which makes her a character in the video rather than a star performer. Another realistic representation of her is the locations in which she is filmed, in various shots Emeli is seen standing in the middle of streets, inserting herself into the street life of East London. However, it can be said that Emeli Sande is an exception in the video. She is the only one professionally dressed, wearing makeup, and she seems to a level of power no one else does. Her presence in the video is almost godly, which questions the extent of her realistic representation.

Overall, it can be said that the representations offered by Emeli Sande’s Heaven are quite realistic as the whole video depicts a natural way of life in the working class district of East London.  The use of real locations and individuals and Sande’s position in this world all work together to create a genuine representation of street life, individuals and the artist.

 

Heaven Homework Question

With reference to Emeli Sande’s heaven how realistic are the representations offered by the video

 

Emeli Sande’s ‘Heaven’ depicts street life in a working class area of East London. The video itself is filmed in Bethnal Green and includes various representations which are realistic. The three most significant representations are the portrayal of street life in London, the presentation of the individuals and Emeli Sande’s presentation of herself as an artist.

Street life in ‘Heaven’ is significant as the whole video is filmed in a real working class district of East London, Bethnal Green, contributing towards the naturalistic representations. The depiction of poverty is quite realistic seen in the two different shots of men, one who is sleeping on the ground with a blanket, and another seen sitting on a carpet at the side of a street. Both these men represent poverty and homelessness in the working class areas of East London. Individuals in reality can be seen in these areas living on streets and sleeping on grounds, hence the representation here is highly realistic and relatable. Another realistic representation of street life in the video is the shot of a mother at a bus stop on a rainy day feeding her child. This shot may reflect the everyday struggles of a working class mother, who has to work and cater for her child. Many other shots of real and natural situations such as graffiti on walls, children playing outside their homes also adds to the naturalistic representation of street life.

Another realistic portrayal is of the individuals. The video shows a montage of a mix of people from different ethnicities, classes and backgrounds, done through various close ups. One of the first shots is of a young white woman in a red backless dress, presented in an ambiguous way as she seems to be sexualised because the camera focuses on her body, but the fact that she walks away from the camera implies how she herself refuses to be objectified. Another shot is of an elderly man who makes direct eye level contact with the camera, he seems to be speaking for people of his age who perhaps experience issues like poverty, illness. Another realistic portrayal is seen through an extreme close up of a black man with dreadlocks, representing ethnic minorities and diversity in London. The portrayal of individuals in heaven is highly realistic as people are captured in their natural state and setting, they have in no way been glammed up for the camera, which seems to be a true reflection of the diversity of people in London.

The final and perhaps the most significant representation in ‘heaven’ is of the artist herself, Emeli Sande. From the very first shot of her, Emeli is portrayed as an individual who is a part of the world in the video, as she does not break the realism of the video. This can be seen in the very first shot where she looks out of a window looking somewhat unhappy, implying how she herself has had negative experiences, connecting her to all the other individuals’ portrayed in the video. Emeli Sande is dressed is also dressed in a casual manner wearing a black overall, with minimal make up which makes her a character in the video rather than a star performer. Another realistic representation of her is the locations in which she is filmed, in various shots Emeli is seen standing in the middle of streets, inserting herself into the street life of East London. However, it can be said that Emeli Sande is an exception in the video. She is the only one professionally dressed, wearing makeup, and she seems to a level of power no one else does. Her presence in the video is almost godly, which questions the extent of her realistic representation.

Overall, it can be said that the representations offered by Emeli Sande’s Heaven are quite realistic as the whole video depicts a natural way of life in the working class district of East London.  The use of real locations and individuals and Sande’s position in this world all work together to create a genuine representation of street life, individuals and the artist.

 

HW Question

How is media language including intertextuality used in burn the witch to construct representations of groups, message and values?

Burn the witch is a narrative music video by Radiohead which depicts the horrific experiences of a man who observes a tyrannical society concealed under the face of an idealistic British town. The video was released before the EU referendum hence it focuses on themes of social exclusion during the immigration crisis. The video uses aspects of media language such as mise en scene and intertextuality to construct alternative messages and values regarding immigration and social exclusion.

Mise en scene is used in Burn the witch constructs messages about the oppression and the theme of appearance vs reality. The video begins by showing a traditional rural British village where the townspeople and mayor seem to agree on an issue. Shots of citizens carrying out daily tasks such as mowing the lawn, painting the post-box further reinforce the happy and normal village life.  The setting implies feelings of warmth and safety in the town which contradicts the concealed oppression, seen in the shots which follow. A man is seen marking someone’s front door with a red cross, eradicating a member, and waving at him at the end , children joyfully play on a dunking chair traditionally used to punish witches, and a beautifully decorated pastry is seen from which blood is dripping. All of these shots are clear examples of oppression in the town, however they appear in a manner which makes it seem that there is nothing wrong, for example the reality of an animal being slaughtered is neatly hidden under the sheet of pastry. Burn the Witch’s use of mise en scene such as setting location, bright lighting give an important message about the reality of oppression which is often concealed under the appearance of stability.

A significant intertextual reference made in Burn the Witch is to the 1973 film The Wicker man, which shows the journey of Sergeant Howie, an outsider on a remote island.  The reference is clearly seen in the final shots of the video where the townspeople show the tourist a wooden effigy, similar to the one shown in the film. This scene is the final act committed to remove the tourist from the town, hence it is a strong message about social exclusion. Throughout the video thbe mayor of then town is seen leading the tourist and showing him the different acts of oppression practiced in the town. For example, towards the middle of the video a woman is seen tied to a tree and men in swords cover her, two women joyfully are seen decorating some wood with flowers  which turns out to be a hanging rope, showing how normal pubic execution is in in town. However, the tourist not once questions the towns idea of justice and punishment, and his silence eventually leads to his death, as he is burned in the effigy. This intertextual reference is perhaps the bands way of spreading the message of people needing to shed light on injustices.

The final piece of intertextual reference made in Burn the Witch is to 1960s animated children’s programmes; Trumpton and Camberwick Green. Both series depicted idyllist communities, created to teach the young values of social solidarity. However Burn the witch seems to mock such traditions through the dark narrative. The video uses similar bright lighting, slow editing and steady camera work, and even characters such as the mayor to construct the same peaceful world. However, the acts of cruelty committed and normalised during the video, for example, children on dunking chairs, the bloody cow pie and the tourist burned in the effigy criticises the ideal worlds the programmes build. Perhaps the band uses the village as a metaphor to give the message of hidden oppression in society, which people often fail to recognize because they are brainwashed into the idea that they exist in a perfect community.  

Overall it can be said that Radiohead uses three different pieces of media language to construct messages around the idea of community, hidden oppression and social exclusion. The band plays with various elements of genre to not only criticise the stereotypes regarding immigration and exclusion but also build a rather alternative viewpoint.

HW Question

How is media language including intertextuality used in burn the witch to construct representations of groups, message and values?

Burn the witch is a narrative music video by Radiohead which depicts the horrific experiences of a man who observes a tyrannical society concealed under the face of an idealistic British town. The video was released before the EU referendum hence it focuses on themes of social exclusion during the immigration crisis. The video uses aspects of media language such as mise en scene and intertextuality to construct alternative messages and values regarding immigration and social exclusion.

Mise en scene is used in Burn the witch constructs messages about the oppression and the theme of appearance vs reality. The video begins by showing a traditional rural British village where the townspeople and mayor seem to agree on an issue. Shots of citizens carrying out daily tasks such as mowing the lawn, painting the post-box further reinforce the happy and normal village life.  The setting implies feelings of warmth and safety in the town which contradicts the concealed oppression, seen in the shots which follow. A man is seen marking someone’s front door with a red cross, eradicating a member, and waving at him at the end , children joyfully play on a dunking chair traditionally used to punish witches, and a beautifully decorated pastry is seen from which blood is dripping. All of these shots are clear examples of oppression in the town, however they appear in a manner which makes it seem that there is nothing wrong, for example the reality of an animal being slaughtered is neatly hidden under the sheet of pastry. Burn the Witch’s use of mise en scene such as setting location, bright lighting give an important message about the reality of oppression which is often concealed under the appearance of stability.

A significant intertextual reference made in Burn the Witch is to the 1973 film The Wicker man, which shows the journey of Sergeant Howie, an outsider on a remote island.  The reference is clearly seen in the final shots of the video where the townspeople show the tourist a wooden effigy, similar to the one shown in the film. This scene is the final act committed to remove the tourist from the town, hence it is a strong message about social exclusion. Throughout the video thbe mayor of then town is seen leading the tourist and showing him the different acts of oppression practiced in the town. For example, towards the middle of the video a woman is seen tied to a tree and men in swords cover her, two women joyfully are seen decorating some wood with flowers  which turns out to be a hanging rope, showing how normal pubic execution is in in town. However, the tourist not once questions the towns idea of justice and punishment, and his silence eventually leads to his death, as he is burned in the effigy. This intertextual reference is perhaps the bands way of spreading the message of people needing to shed light on injustices.

The final piece of intertextual reference made in Burn the Witch is to 1960s animated children’s programmes; Trumpton and Camberwick Green. Both series depicted idyllist communities, created to teach the young values of social solidarity. However Burn the witch seems to mock such traditions through the dark narrative. The video uses similar bright lighting, slow editing and steady camera work, and even characters such as the mayor to construct the same peaceful world. However, the acts of cruelty committed and normalised during the video, for example, children on dunking chairs, the bloody cow pie and the tourist burned in the effigy criticises the ideal worlds the programmes build. Perhaps the band uses the village as a metaphor to give the message of hidden oppression in society, which people often fail to recognize because they are brainwashed into the idea that they exist in a perfect community.  

Overall it can be said that Radiohead uses three different pieces of media language to construct messages around the idea of community, hidden oppression and social exclusion. The band plays with various elements of genre to not only criticise the stereotypes regarding immigration and exclusion but also build a rather alternative viewpoint.

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.

HW - 15 Marker

Analyse why The Big Issue has used an intertexual approach on its front cover

 

The Big Issue is a street newspaper, made to distribute knowledge on public issues. The magazine is highly unusual as its content is often user generated, seen in the front cover which appears to have been hand drawn by a child. The ‘Education Special’ front cover relies heavily upon the use of intertexuality embedded in the images and text, to generate meanings about the British Education System. The three significant intertexual references on the cover are the use of text, which mirrors that of Grange Hill, a British drama series. The images of three leading characters from JK Rowling’s novel series Harry Potter, also a film series. Lastly, the iconic hammers from The Wall by a British band Pink Floyd, later developed into a film. 

 

The first image that audiences may be drawn to are the widely popular fictional characters Harry Potter, Ron Weasly and Hermione Granger, centre of JK Rowling’s novels. The Big Issue has used Harry Potter’s signature round glasses, the long robes of Hogwarts and the magic wand Ron’s holding, featured in the film, to help audiences connect through recognition. The plot focuses on the lives of these three friends who are students at Hogwarts magic school, where they are given the freedom to use their superpowers. Rowling creates an optimistic education system that caters to its student’s needs, offering a sharp contrast to the British education system in which students are passive. Perhaps the purpose of this intertextual reference is to compel audiences to compare, and question the true purpose of education. The Big Issue gives hints as to how education should be the way Rowling portrays it in her novels; encouraging independence. The creative freedom offered by Hogwarts perhaps results in the characters satisfied facial expressions, and Harry’s arm around his friends connoting how they’ve developed to work in unity, rather than compete, encouraged by British education.

 

The second intertextual reference created by The Big Issue is the presence of the iconic marching hammers along the bottom of the cover from Pink Floyd’s The Wall, originally a music album that later developed into a BBC drama , depicting the lives of students in an oppressive educational institution. Hammers are tools used to build and destroy materials, reflecting the nature of The Walls education system that developed its students into unquestioning obedience, resulting in their creative thinking and independence slowly destructing. It is interesting that the colours of the hammers are black, white and red, the same as the Nazi flag, creating a powerful imagery of education as a dictatorship that silences voices and freewill. The fact that the hammers are the logo of The Wall, connotes how its education system is a symbol of tyranny. The hammers act as a barrier to the characters behind, who are a representation of education but in reality are trapped in it. The use of intertextuality hints at the dominating nature The British Education system which seems to erase creative freedom of children.

 

The final piece of intertextual reference is in the masthead which embodies the font style of drama series ‘Grange Hill’. The show is popular for its unusual plots, where students are victims of issues like racism , drugs , teenage pregnancies. Similar crises are affecting young adults in the UK, hinting at how our education system is failing to cater to students emotional needs, as it is too focused on academic success. The following cover line ‘What’s school for’ summarises the purpose of this issue, to question and reconstruct the real aim of education and whether Britain is fulfilling that. The cover line at the bottom of the page ‘Does Finland have the answer?’ seems to be a clear message that the British Education system needs changes, because it tells us to take inspiration from Finland, where children don’t begin school until age seven and are not constantly made to take assessments e.g. SAT’s, GCSE’s , A levels, as is the norm in Britain.

It can be argued that the intertextual references used by The Big Issues serve as the possible purposes of education, for example, should the aim of it be like Rowling portrays it, offering complete independence. The intertextual references almost act as different scenarios which motivate audiences to think about the purpose of education. The image of all the characters together give the powerful message of any change being possible through group action, especially by the youth, who need to perhaps question the system they exist in, while receiving support from society.

HW - 15 Marker

Analyse why The Big Issue has used an intertexual approach on its front cover

 

The Big Issue is a street newspaper, made to distribute knowledge on public issues. The magazine is highly unusual as its content is often user generated, seen in the front cover which appears to have been hand drawn by a child. The ‘Education Special’ front cover relies heavily upon the use of intertexuality embedded in the images and text, to generate meanings about the British Education System. The three significant intertexual references on the cover are the use of text, which mirrors that of Grange Hill, a British drama series. The images of three leading characters from JK Rowling’s novel series Harry Potter, also a film series. Lastly, the iconic hammers from The Wall by a British band Pink Floyd, later developed into a film. 

 

The first image that audiences may be drawn to are the widely popular fictional characters Harry Potter, Ron Weasly and Hermione Granger, centre of JK Rowling’s novels. The Big Issue has used Harry Potter’s signature round glasses, the long robes of Hogwarts and the magic wand Ron’s holding, featured in the film, to help audiences connect through recognition. The plot focuses on the lives of these three friends who are students at Hogwarts magic school, where they are given the freedom to use their superpowers. Rowling creates an optimistic education system that caters to its student’s needs, offering a sharp contrast to the British education system in which students are passive. Perhaps the purpose of this intertextual reference is to compel audiences to compare, and question the true purpose of education. The Big Issue gives hints as to how education should be the way Rowling portrays it in her novels; encouraging independence. The creative freedom offered by Hogwarts perhaps results in the characters satisfied facial expressions, and Harry’s arm around his friends connoting how they’ve developed to work in unity, rather than compete, encouraged by British education.

 

The second intertextual reference created by The Big Issue is the presence of the iconic marching hammers along the bottom of the cover from Pink Floyd’s The Wall, originally a music album that later developed into a BBC drama , depicting the lives of students in an oppressive educational institution. Hammers are tools used to build and destroy materials, reflecting the nature of The Walls education system that developed its students into unquestioning obedience, resulting in their creative thinking and independence slowly destructing. It is interesting that the colours of the hammers are black, white and red, the same as the Nazi flag, creating a powerful imagery of education as a dictatorship that silences voices and freewill. The fact that the hammers are the logo of The Wall, connotes how its education system is a symbol of tyranny. The hammers act as a barrier to the characters behind, who are a representation of education but in reality are trapped in it. The use of intertextuality hints at the dominating nature The British Education system which seems to erase creative freedom of children.

 

The final piece of intertextual reference is in the masthead which embodies the font style of drama series ‘Grange Hill’. The show is popular for its unusual plots, where students are victims of issues like racism , drugs , teenage pregnancies. Similar crises are affecting young adults in the UK, hinting at how our education system is failing to cater to students emotional needs, as it is too focused on academic success. The following cover line ‘What’s school for’ summarises the purpose of this issue, to question and reconstruct the real aim of education and whether Britain is fulfilling that. The cover line at the bottom of the page ‘Does Finland have the answer?’ seems to be a clear message that the British Education system needs changes, because it tells us to take inspiration from Finland, where children don’t begin school until age seven and are not constantly made to take assessments e.g. SAT’s, GCSE’s , A levels, as is the norm in Britain.

It can be argued that the intertextual references used by The Big Issues serve as the possible purposes of education, for example, should the aim of it be like Rowling portrays it, offering complete independence. The intertextual references almost act as different scenarios which motivate audiences to think about the purpose of education. The image of all the characters together give the powerful message of any change being possible through group action, especially by the youth, who need to perhaps question the system they exist in, while receiving support from society.

HW - 10 marker

How does the Big Issue cover you have studied use media language to construct an alternative representation of an event / group / issue?


The Big Issue uses various elements of media language to construct an alternative representation of poverty in its January 2018 issue. The image on the front cover shows close up, eye level angle shots of roughly twenty people, portraying the cover as unusual due to its crowded composition. The mise en scene includes the signature red jacket worn by the big issue vendors, connoting their contribution to the organisation. All models are featured in their natural state, as they have not been styled, for example, the man on the left hand side is seen carrying his dog, many vendors  are wearing hats, caps, headbands and two women are seen wearing a headscarf, indicating their belonging from various ethnic communities, addressing cultural diversity in the UK. The Big Issue claims to be a social merchant bank, seeking to dismantle poverty through helping people out of financial crisis, perhaps the vendors featured on the cover are those who have been aided by the organisation. The image breaks the stereotype that we have of destitute people, we often picture them as beggars on the street, appearing homeless and dirty. However, the vendors look very neat, hence rebuilding the idea that not everyone who faces financial struggles is homelessness , neither are all homeless people beggars. Hall’s theory of oppositional ideology can be applied here, as the image challenges the dominant representation of indigence in the media, e.g. in films, news, TV. Overall, the cover features the individuals in a positive manner, seen in their pleased facial expression, connoting how the issue of poverty and financial instability can be tackled in the UK, an important aim of the Big Issue.


The main cover line ‘We are here’ portrays the vendors as a collective group. It works with the image to compel us to see destitute individuals as an equal part of society. ‘Here’ implies how poverty and financial instability is a mass problem in the UK. ‘We are here’ is an overall positive phrase because it establishes the existence of a group working together to dismantle poverty, assuring society. The mast head of the big issue is seen clearly on the cover, connecting the audiences to the foundation through recognition. The words are written in a professional font, they’re bold red and outlined in yellow, traditional colours of the Big Issue, showing consistency. #Celebrateyourvendor uses direct address to encourage readers to become a part of the foundation and positively contribute to society. The traditional strapline ‘A hand up not a hand out’ is written to establish how the organisation helps people to get out of financial and social exclusion through self-sufficiency.


Overall, the image, mise en scene and text is used to construct a positive message regarding poverty. The crowd of close up’s showing ethnically diverse people presents a sense of community in the UK. The image and text work together to acknowledge and celebrate the contribution of vendors towards erasing destitution. Choosing to feature people belonging from various backgrounds is perhaps a celebration of the will that The Big Issue vendors possess to become a better person and bring a positive change within their lives and wider society. This portrays the organisations ultimate goal, of working with people to defeat any issue, whether it’s social or personal.

HW - 10 marker

How does the Big Issue cover you have studied use media language to construct an alternative representation of an event / group / issue?


The Big Issue uses various elements of media language to construct an alternative representation of poverty in its January 2018 issue. The image on the front cover shows close up, eye level angle shots of roughly twenty people, portraying the cover as unusual due to its crowded composition. The mise en scene includes the signature red jacket worn by the big issue vendors, connoting their contribution to the organisation. All models are featured in their natural state, as they have not been styled, for example, the man on the left hand side is seen carrying his dog, many vendors  are wearing hats, caps, headbands and two women are seen wearing a headscarf, indicating their belonging from various ethnic communities, addressing cultural diversity in the UK. The Big Issue claims to be a social merchant bank, seeking to dismantle poverty through helping people out of financial crisis, perhaps the vendors featured on the cover are those who have been aided by the organisation. The image breaks the stereotype that we have of destitute people, we often picture them as beggars on the street, appearing homeless and dirty. However, the vendors look very neat, hence rebuilding the idea that not everyone who faces financial struggles is homelessness , neither are all homeless people beggars. Hall’s theory of oppositional ideology can be applied here, as the image challenges the dominant representation of indigence in the media, e.g. in films, news, TV. Overall, the cover features the individuals in a positive manner, seen in their pleased facial expression, connoting how the issue of poverty and financial instability can be tackled in the UK, an important aim of the Big Issue.


The main cover line ‘We are here’ portrays the vendors as a collective group. It works with the image to compel us to see destitute individuals as an equal part of society. ‘Here’ implies how poverty and financial instability is a mass problem in the UK. ‘We are here’ is an overall positive phrase because it establishes the existence of a group working together to dismantle poverty, assuring society. The mast head of the big issue is seen clearly on the cover, connecting the audiences to the foundation through recognition. The words are written in a professional font, they’re bold red and outlined in yellow, traditional colours of the Big Issue, showing consistency. #Celebrateyourvendor uses direct address to encourage readers to become a part of the foundation and positively contribute to society. The traditional strapline ‘A hand up not a hand out’ is written to establish how the organisation helps people to get out of financial and social exclusion through self-sufficiency.


Overall, the image, mise en scene and text is used to construct a positive message regarding poverty. The crowd of close up’s showing ethnically diverse people presents a sense of community in the UK. The image and text work together to acknowledge and celebrate the contribution of vendors towards erasing destitution. Choosing to feature people belonging from various backgrounds is perhaps a celebration of the will that The Big Issue vendors possess to become a better person and bring a positive change within their lives and wider society. This portrays the organisations ultimate goal, of working with people to defeat any issue, whether it’s social or personal.

HW- Big Issue Media Kit

The Big Issue Media Kit by Fatima Hussain

HW- Big Issue Media Kit

The Big Issue Media Kit by Fatima Hussain

TASK 9 - Final statement of Intent

TASK 9 - Final statement of Intent