UNSEEN-IT-ALL-BEFORE-AS-GOOD-SAMARITAN-SLIDES.pptx

Stuart Hall Representation
Theory

1. AS UNSEEN IT ALL BEFORE DECONSTRUCTION

2. READY TO WRITE A SHINING RESPONSE (*COUGH*)? WELL, BEFORE YOU GO THROUGH THAT DOOR, CHECK OUT THE FOLLOWING TWO SLIDES. SERIOUSLY…

3. POINT ANALYSIS CONCLUSION To begin, a stereotype is a fixed, often commonly held oversimplification of some imagined trait or negative characteristic associated with a group within society. Stereotypes surrounding gender, sexuality and race are but a few examples of ways in which groups within society can be demonised and misrepresented. It is this construction of flawed representations and one may argue, the Media’s historical perpetuation of such regressive representations, that has led to an entrenchment of ideologies and socio/cultural norms. Throughout the course of this essay, I will explore this debate using critical analysis and key contextual debates …in the hope of arriving at a justified conclusion. INTRO: I like to remember this stage by picturing PAC MAN. You intro should basically put the examiner at ease and outline the debate raised in the question. DO NOT SHOW YOUR CARDS!!!! By that I mean, do not establish your stance. That is what the main body of the essay is for. Like an enigma code, let the examiner read on to decode it. CONCLUSION: This should be the first time where you actually declare what YOU believe. All throughout the main filling of the essay, you should be writing in a PETER structure, covering your back with “one may argue…”, “a post-feminist perspective may suggest…”. So a conclusion is simple, make your point, show an alternative view to show how well-rounded you are to the examiner… and then end on your stance. Why? You get the final say. It’s your essay. POINT ARGUE POINT In conclusion, I believe that both posters heavily juxtapose one another in their depictions of gender and stereotypes. Whilst the zeitgeist both texts were created in needs to be taken into account from a social, cultural, political and historical perspective, the ‘Wonder Woman’ poster highlights a clear progression as to how gender equality has advanced and with it, representations of women outside that of the domestic sphere. Whilst a feminist perspective may argue that Wonder Woman is still being objectified and positioned with the intention of perpetuating the male gaze via her minimal clothing and impractical battle armour, I take both an oppositional reading to this and adopt a post-feminist perspective. Instead, I view Wonder Woman not as a by-product of patriarchy and objectification but as a countertype instead. Unlike that of the protagonist in ‘Tide’, women should now have the right to showcase their bodies and fulfil roles within the home or external to it based upon their own decision and not based upon the societal norms imposed upon them. This is indicative in real life with the actress who plays Wonder Woman, Gal Gadot , having done something that the protagonist in the 1950’s ‘Tide’ advert never could, she has served in the military. Ultimately, advancements such as the 1975 Sex Discrimination acts and the 2010 Equality Act protect this right and it should be upheld, with contemporary viewings of historical texts like the ‘Tide’ advert an example to those within society that no woman should be defined by their gender. MAIN BODY OF ESSAY: PETER STRUCTURE 10. Compare how representations of ethnicity convey values and attitudes . In your answer, you must consider : • the similarities and differences in the representations of ethnicity • how far the representations relate to social and cultural contexts. [25] This is adeconstruction of how to write an Introduction and conclusion for the question on Page 18. I REMEMBER THIS STAGE AS PAPARAZZI OR GETTING ‘PAPPED’

4. Point Theory/terms Explain Reference to contexts? Topic sentence with starting connective and reference to/use of key words in the question. What are some examples from the set text/texts? Can you apply a theory or embed RAIL specific terminology to… …explain the point you are making Have you used CHEPS throughout your paragraph/response? Evidence HOW TO WRITE A KILLER PARAGRAPH IN A PETER STRUCTURE!

5. NOW, I HAVE ONE QUESTION TO AXE ASK YOU. ARE YOU READY TO GET STARTED? IF SO, LET’S TAKE THE DOOR OFF IT’S HINGES AND DON’T OVERLOOK ANY OF MY ADVICE! RIGHT, LET’S GET STUCK IN… The examiner who can’t defend themselves against you’re a grade brilliance!

6. CULTIVATION THEORY: One may argue, that the progressive narrative of this advert subverts stereotypes and regressive representations of the Muslim community, that have been entrenched/ cultivated in society, by mainstream media. ROWLAND BARTHES DAVID GAUNTLETT STUART HALL (RECEPTION THEORY) GEORGE GERBNER GOOD SAM ARITAN: How I would attack a question like this… MEDIA LANGUAGEE: A VISUAL REPRESENTATION OF MY BRAIN WHEN I SEE THIS QUESTION CHECKLIST : No introduction needed. Topic sentence advisable. Main body= PETER Paragraph structure Conclusion not needed! SAMS NEEDS YOU ! 10 MARKER= 20 MINUTES IN THE EXAM! PAGE 2-3 9 THEORISTS I WOULD USE: Media Language 10. Explore how media language creates meaning in this advertisement. [10] CULTURAL CODES: The selection of the clothing (symbolic codes) indicate both protagonists roles as faith leaders whilst also highlighting their difference in faith. This combined with the close-ups of bad knees however, reinforces a commonality between them. The Medium-long shot and various close-up’s of physical contact throughout the advert further establish the bond between the Priest and Iman . The dominant reading of this advert from ‘Amazon’ is that, no matter what your faith or difference, we are all human/ there is more that unites than divides us. Which is important because… AMAZON CHRISTMAS ADVERT: This advert was released in 2016 to coincide with Christmas which is a Christian holiday. The act of exchanging gifts magnifies the equality and tolerance between the two most followed faiths in the UK; Christianity, then Islam. Socially/culturally, this is highly poignant also as events in the zeitgeist e.g. terrorist attacks and Islamophobia, are addressed and handled in a progressive way promoting unity rather than division. Which goes very well with… CULTURAL CODE: BRAND IDENTITY: No written codes are needed. The brand identity of the conglomerate is recognisable to audiences. By not heavily focusing on the brand, it allows the message of the advert to breathe. Gauntlett , who proposes that we draw upon representations in the media to help order our own lives and make sense of the world . “We use these narratives to frame our experiences and to bring order to the stream of ‘stuff’ that goes on in our lives”. Continuous two-shots reinforce togetherness/unity. Use of nonverbal communication – the vicar and imam are often shot in close proximity, smiling, laughing and embracing one another, signifying their interfaith friendship both men’s similarities and consideration of one another U se of editing – cross cuts are used frequently to represent…

7. Use of narrative conventions, possibly referencing Todorov , to engage the audience and encourage them to support the charity: elements of disruption in these young lives connoted by the use of media language and brief references to the characters’ narrative situations e.g. ‘17 foster homes’ implied new equilibrium through the use of media language and the final message ‘Incredible things happen when you believe in children’, anchored by the smiling close-up of the young girl ROWLAND BARTHES STEVE NEALE TODOROV DAVID GAUNTLETT STUART HALL (RECEPTION THEORY ) GOOD SAM ARITAN: How I would attack a question like this… MEDIA LANGUAGEE: A VISUAL REPRESENTATION OF MY BRAIN WHEN I SEE THIS QUESTION SAMS NEEDS YOU ! 10 MARKER= 20 MINUTES IN THE EXAM! PAGE 4-5 9 THEORISTS I WOULD USE: Media Language 10. How does media language communicate meaning in the advertisement? [ 10] MODE OF ADDRESS: Direct mode of address is used throughout via eye contact and the use of the word ‘me’, placing the onus upon the child. Moreover, the deliberate use of lower case letters create a childlike quality/ as if it is being said by the child. This is very important for personal address/ conventional of charity adverts. Use of visual codes in the construction of the mise - en -scène, such as the beer cans, the broken mirror, the peeling wallpaper etc. to connote the negative and abusive environments in which the young people have grown up. MIRROR MOTIF: Mirrors are often used, especially by post-modernists to challenge notions of reality. Moreover, could the mirror symbolise shattered dreams which juxtaposes the positive imagery (binary opposition) within the advert? REPETITION AND DIFFERENCE: Much like ‘ WaterAid ’, this advert uses visceral and at times, shocking imagery to create meaning at the start of the advert (REP). However, it constructs it’s narrative in a positive, uplifting manner, thus subverting many other charity adverts that we have become anesthetized to. RECEPTION THEORY: The audience is positioned by ‘Barnardo’s’ to take a dominant reading of the children’s worth. A GE O CCUPATION G ENDER R EGION E THNICITY Which is great for personal identity (Uses and Grats ) / Identity ( Gauntlett ) WRITTEN CODES/ ANCHORAGE: Use of emotive language in captions, e.g. ‘I am not worthless’ and later ‘I am strong/ loved/free’, to anchor the visual images and communicate a message that, if young people are valued and supported, they can realise their potential (dancer, gymnast, drummer etc.) Use of the audio track ‘Everybody Wants to Rule the World’ to connote young peoples’ aspirations Slow pace of the audio track at the start of the advertisement that runs parallel to the sombre action, then faster pace to connote the positivity in the second part of the advertisement COULD THE LYRICS CONNOTE, THE ROOM EACH INDIVIDUAL CHILD IS IN? There's a room where the light won't find you Holding hands while the walls come tumbling down When they do I'll be right behind you CHECKLIST : No introduction needed. Topic sentence advisable. Main body= PETER Paragraph structure Conclusion not needed!

8. ADDITIONAL THEORIES FOR THAT A: Selection and combination/ Shared Conceptual Roadmap (Hall) DIRECT INTERTEXTUALITY: Count Orlok (Nosferatu, 1922) ROWLAND BARTHES STEVE NEALE SAMS NEEDS YOU ! 10 MARKER= 20 MINUTES IN THE EXAM! PAGE 6-7 9 THEORISTS I WOULD USE: Media Language 20 . How are genre conventions used in this poster to attract audiences to the film? [ 10] ICONOGRAPHY: Vampire teeth, dress codes, dated setting conventional of the genre (Horror)/ sub-genre (Vampire) The film’s slogan ‘Some interviews with some vampires’ is a comic intertextual reference to ‘Interview with the Vampire’ and anchors the film’s documentary (mockumentary) style appealing to young contemporary audience. A2 THEORIST ALERT! CLAUDE LEVI-STRAUSS : We encode and decode the world around us by universally shared principles . The media uses simple binary oppositions to categorise the complexities of the world . For example… The humans are put at binary opposition to that of the vampires via dress codes, proxemics etc. This may allude to potential conflict and/or creates enigma codes (Barthes). Nosferatu (1922) is widely held by film historians/ critics to be the archetypal Horror movie (the first of it’s kind) and is also the first known Vampire movie. Therefore, codes and conventions are entrenched within popular culture. STEVE NEALE: Whilst a variety of Vampire tropes are used within the poster (repetition), the inclusion of humans side-by-side with the vampires (humans conventionally are prey to vampires) highlights difference. SHARED CONCEPTUAL ROADMAP: Therefore, this recognizable iconography helps audiences to navigate/ understand the shared concept. WRITTEN CODES: The typography connotes the past/ is dated in it’s choice of font. This is once again at binary opposition with the modern clothing of the humans. GESTURE CODES/ SYMBOLIC CODES: The facial expressions of the characters connotes comedic elements to the narrative. Moreover, the construction of comedic elements also highlights difference as Vampire movies are often dark in tone/ gory etc. CHECKLIST : No introduction needed. Topic sentence advisable. Main body= PETER Paragraph structure Conclusion not needed! GOOD SAM ARITAN: How I would attack a question like this… MEDIA LANGUAGEE: A VISUAL REPRESENTATION OF MY BRAIN WHEN I SEE THIS QUESTION

9. TODOROV GOOD SAM ARITAN: How I would attack a question like this… MEDIA LANGUAGEE: A VISUAL REPRESENTATION OF MY BRAIN WHEN I SEE THIS QUESTION SAMS NEEDS YOU ! 10 MARKER= 20 MINUTES IN THE EXAM! PAGE 8-9 9 THEORISTS I WOULD USE: Media Language 10 . Explore how editing is used in this music video extract. [ 10] Fade from black opens the music video and begins the narrative equilibrium where young girl (protagonist) plays with doll’s house and figures resembling family, connoting their importance to her. Straight cut to young girl playing with fire engine and wearing a fire costume signifies her pride in the service fire fighters provide Fast paced rhythm is parallel to upbeat non-diegetic music and, within equilibrium phase of video, adds to the sense of the girl’s happiness with her family and home. A straight cut to a close up of a match being lit along with low key lighting and a caption of ’10 years later’, connotes a different time and tone (binary opposition ). A straight cut to the point of view motif shot of the clock face with hand on ‘7’ connotes the family are waiting for father to return home. Montage and series of jump cut reaction shots are used as daughter runs to door confused, foreshadowing a disruption in the narrative as father is not home. A wipe transition is used of fireman rushing from right to left of frame transitioning to the girl’s father and his fire crew at fire station Cross-cutting between the daughter and mother at home and the fire crew on television signifies the events unfolding at the same time Muted non-diegetic track with piercing diegetic white noise during the explosion in interior of burning house connotes shell shock fire fighters are experiencing and furthers the disruption of narrative as father’s life is in danger Fire visual effects layered over reaction shots of fire fighters and the crying family at home, implying that both the father and the passed out female fire fighter cannot escape, furthering the conflict and positioning the audience emotionally. KEY TERMS I WANT TO USE: Cross-cutting- d escribes  the video editing technique of switching back and forth between scenes, often giving the impression that the action occurring in different locations is unfolding at the same moment . Straight cut- simply a transition from one shot to another, with no effects . Wipe-transition- transition technique used in post-production editing in which one shot replaces another by moving/ “wiping ” from one side of the frame to another. CHECKLIST : No introduction needed. Topic sentence advisable. Main body= PETER Paragraph structure Conclusion not needed! Montage editing develops relationship between father and daughter as they hug.

10. The ‘Daily Mail’ has mediated it’s front cover in a partisan/ biased way. One may argue that as part of the 4 th Estate, our media should be objective but as DAVID GAUNTLETT states “We use these narratives to frame our experiences and to bring order to the stream of ‘stuff’ that goes on in our lives ” which is important because… ROWLAND BARTHES DAVID GAUNTLETT STUART HALL GEORGE GERBNER CURRAN AND SEATON GOOD SAM ARITAN: How I would attack a question like this… MEDIA LANGUAGEE: A VISUAL REPRESENTATION OF MY BRAIN WHEN I SEE THIS QUESTION SAMS NEEDS YOU ! 10 MARKER= 20 MINUTES IN THE EXAM! PAGE 10-11 9 THEORISTS I WOULD USE: Media Language 10 . How does media language incorporate viewpoints and ideologies in the front page of the ‘ Daily Mail ’? [10] CONECPT I WANT TO USE: IDEOLOGICAL STATE APPARATUS A term to describe industries or institutions such as education, organised religion, family and the media, which are outside of state control yet seek to entrench the values and ideologies of the state (government) to maintain order within society. DIRECT MODE OF ADDRESS: The use of the word ‘YOUR’ capitalised puts the onus on the readership. Also, one may argue, an intertextual link to the famous Lord Kitchener WWI poster= Patriotism/ nationalism. The ‘Daily Mail’ is historically a: -Right-wing publication -Partisan in it’s journalism CURRAN AND SEATON: Lord Rothmore (a billionaire) owns three newspapers in the UK. With regards to media plurality ( Gauntlett ), this is extremely concerning as a lack of diversity could lead to an over-concentration of power/ the control of hegemonic ideologies. The ‘Daily Mail’ is often seen as one of, if not the most, right-wing newspaper in the UK. STAURT HALL RECEPTION THEORY DOM NEG OPP LEAVE VOTER LIBERAL REMAINER PRESS GAZETTE (APRIL 2023) states that the ‘Daily Mail is the UK’s 2 nd most circulated newspaper. With such a large readership and it’s prominent position as part of the 4 th estate, one may argue that… GEORGE GERBNER : The ‘Daily Mail’ is cultivating pro- Brexit ideologies. It is not being objective/ centrist in it’s approach. The ‘splash’ exemplifies what a huge issue this is to the ‘Daily Mail’ and it’s readership. Nationalism : Identification with one's own nation and support for its interests, especially to the exclusion or detriment of the interests of other nations . CHECKLIST : No introduction needed. Topic sentence advisable. Main body= PETER Paragraph structure Conclusion not needed!

11. KEY TERMS I WANT TO USE : Post-Feminism: The belief that women have largely achieved equality with that of men but want more. It also believes that women should use their sexuality as a way of empowerment and that there is nothing wrong with traditional roles such as motherhood . Ideology: The morals/ beliefs of a person or institution e.g. Their mission statement. WRITTEN CODES: Both texts use anchorage text to specifically target a female demographic: “TIDE’S GOT WHAT WOMEN WANT” & ‘WONDER WOMAN ’ GOOD SAM ARITAN: How I would attack a question like this… REPRESENTATION: A VISUAL REPRESENTATION OF MY BRAIN WHEN I SEE THIS QUESTION CHECKLIST : Write an Introduction Main body= PETER Paragraph structure Conclusion! If I don’t write a conclusion at the end, I can’t get higher than a BAND 1! SAMS NEEDS YOU ! 25 MARKER= 40 MINUTES IN THE EXAM! PAGE 10-11 SIMILARITIES 20 . Compare how stereotypes are used in the film poster for Wonder Woman and the advertisement for Tide . In your answer, you must consider: • the similarities and differences in how stereotypes are used in the products • how the representations convey values and attitudes • how far the representations reflect historical and cultural contexts . [25] Both products aim to appeal to an audience in order to sell the product through the construction of recognisable stereotypes related to the time in which the product was made. Both feature a female key signifier. Unlike the difference (STEVE NEALE) of seeing a female protagonist as the title character in a Superhero movie, women I the zeitgeist of the 1950’s would have been saturated by such imagery present in ‘Tide’ (naturalisation/ cultivation). Both texts are from a varying zeitgeist e.g. 1950’s V 2017. This would not only have impacted upon how the text was constructed but also on how audiences consumed it at the time, which would link with… STAURT HALL RECEPTION THEORY: ‘TIDE’ DOMINANT: Women cultivated by patriarchal/ consumerist society. DIFFERENCES NEGOTIATED: Liberal women/men with regards to gender equality (likely in the maligned mass). OPPOSISTIONAL: Feminist movements at the time. STAURT HALL RECEPTION THEORY: ‘WW’ DOMINANT: Progressive/liberal women and men. Feminists/ post-feminists. NEGOTIATED: Those possibly conditioned/ cultivated by a male-dominated sub-genre. OPPOSISTIONAL: Masculinists/ toxic masculinity. Cultural Capital: Both texts rely (via iconography/ shared conceptual roadmap) on knowledge of the characters of Diana Prince/ Wonder Woman and the protagonist on the ‘Tide’ poster, who one may argue, channels ‘Rosie the Riveter’ from WW2 wartime propaganda. ROWLAND BARTHES DAVID GAUNTLETT STUART HALL GEORGE GERBNER 9 THEORISTS I WOULD USE: 4 th ESTATE: 1950’s post-war advertising was very influential as a idealised consumerist lifestyle was sold to families after the horrors of WW2. In it’s role as the 4 th Estate in the ‘Ideological State Apparatus’, the media spreads ideologies on mass/ to hegemonic consumers. Consider how the representations convey values and attitudes o the Wonder Woman film poster suggests that : -Women are as powerful as men - Diana is the first female lead in a superhero film, showing that the genre is changing to reflect the values of society -It is acceptable for women to be constructed as strong and able to fight as well as being attractive -Female leads in films of this genre may herald a change in audience perceptions and expectations The Tide advert suggests that:  women should be happy in the domestic sphere and should want their wash to be the 'cleanest' and 'whitest'. The woman's code of expression reinforces this idea

12. To begin, a stereotype is a fixed, often commonly held oversimplification of some imagined trait or negative characteristic associated with a group within society. Stereotypes surrounding gender, sexuality and race are but a few examples of ways in which groups within society can be demonised and misrepresented. It is this construction of flawed representations and one may argue, the Media’s historical perpetuation of such regressive representations, that has led to an entrenchment of ideologies and socio/cultural norms. Throughout the course of this essay, I will explore this debate using critical analysis and key contextual debates in the hope of arriving at a justified conclusion. Firstly, from a socio/cultural and historical perspective, the 1950’s (the era in which the ‘Tide’ advert was created and distributed) was a period of time that saw much in the way of technological and economic advancement after the horrors and financial hardships of WW2. Whilst the consumerist society urged the populous to do their civic and patriotic duty by purchasing products such as hoovers, washing machines and fridges in an effort to boost the economy and challenge the rise of communism in the East, women of the time largely did not leave the domestic sphere. Instead, in the patriarchal structure of 1950’s America for example, men were the hegemonic mass when it came to employment, often serving as the sole wage earner within a household. Paradoxically, propaganda during WW2 such as Rosie the Riveter’s “WE CAN DO IT!” poster, urged women throughout the war to take up jobs held by men prior to the outbreak of war such as in munitions factories or agriculture, in an effort to help with the Allied effort. Upon America’s entry into WW2 in 1941 until the end of the war in 1945, many women carried out vital roles and jobs, thus subverting regressive stereotypes and societal norms of the time surrounding women only being able to carry out administrative jobs and/or only operate within the domestic sphere. Consequently, at the time the ‘Tide’ advert ran, women found themselves largely banished back to the domestic sphere, the men having returned from war and in the process, returning to their careers. Instead, women were now expected to fulfil another primary function in a new Cold War era, that of consumption and the maintaining of capitalist ideologies such a profit and expansion, in the face of the growth of Communism. In addition, an interesting juxtaposition between the ‘Tide’ advert and the theatrical poster for ‘Wonder Woman’ (2017), is the mise - en -scene used and the construction of the female protagonist. The ‘Tide’ poster through a process of selection and combination includes iconography conventionally associated with domesticity such as the washing machine, the pinny , bandana and the washing line whilst the ‘Wonder Woman’ poster positions the audience to view Wonder Woman differently. The image selected on the ‘Wonder Woman’ poster is taken form a sequence within the film where Wonder Woman crosses ‘No Man’s Land’ on her own, to take out German trenches on the other side, during WW1. Whilst historically inaccurate of the period as women could not enlist in the armed forces and serve on the front line, it is interesting to note the progressive shift away from patriarchal stereotypes of women as domesticated and maternal, Wonder Woman metaphorically entering a space that men cannot cross, ‘No Man’s Land’. One may argue that this highlights female empowerment whilst in comparison with the ‘Tide’ advert, further highlights the socio/cultural differences in perspective between the 1950’s and 2017, as women like those within the ‘Tide’ advert would not have been able to enlist based upon their gender and were at the time, largely viewed regressively by those in a patriarchal society as being physically and mentally inferior to men. Moreover, it may be argued that it was this repeated exposure to advertising such as the “TIDES GOT WHAT WOMEN WANT!” advert that encoded consumerist and patriotic ideologies within women at the time and thus in the process, entrenched values and attitudes around domesticity and feminine societal roles such as the stereotypical housewife doting on her husband as well as her children. An application of David Gauntlett’s theories on identity may further evidence this point as he argues that we use media narratives to both order and make sense of our lives whilst also using representations to ascertain what kind of person we would like to be within society. For example, the advertising firm Darcy Masius Benton and Bowles has mediated the ‘Tide’ poster in a way that symbolically reinforces American ideologies of the 1950’s zeitgeist such as patriotism and domesticity via the palette used. Aside from the ‘Tide’ brand colours (yellow, red and blue) the dominant palette is that of red, white and blue; the colours of the United States flag. A structualist perspective would further establish that these colours are recognisable across the world as being associated with America and would have been decoded by American consumers at the time. Twinned with the uncanny similarity of the female protagonist in the ‘Tide’ poster with that of Rosie the Riveter and the overreliance on personal pronouns such as ‘you’ and ‘women’, the advert is not too dissimilar from wartime propaganda. In continuation, it is interesting to note that ‘Wonder Woman’ is a movie that belongs to the action genre/ superhero sub-genre, an area of film dominated by male protagonists, Directors and often the underrepresentation of strong, independent women who are usually only represented on screen as secondary characters, love interests or as the archetypal damsel in distress. In continuation of this point, in his analysis of over 100 fairy tales, Vladimir Propp established that all fairy tales consisted of eight reoccurring characters that he referred to as spheres of action. One of these was the role of the Princess who was often rescued by another sphere, the hero. The hero was exclusively male in classic fairy tales and often as a reward for recusing the Princess was rewarded with her hand in marriage. An interesting point to note here is that fairy tales are often allegorical and much like Gauntlett’s aforementioned perspective on using narratives to order our lives, are encoded with morals and values that we are exposed to from a very young age, when arguably we are at our most subjective. Ironically, the character of Diana Prince as our protagonist in ‘Wonder Woman’ is that of a Princess, who lives on an island only inhabited by women. She does not require a man to rescue her within the movie and serves as rare example to date, of a commercially successful female-led superhero movie that promotes progressive gender equality and the deconstruction of stereotypes of women as being passive and secondary to that of men. Furthermore, the use of written codes such as “TIDES GOT WHAT WOMEN WANT!” and the protagonist hugging the box affectionately with love hearts limit the role of women to that of the domestic sphere and construct the idealised aspiration of women as existing only within the household. With regards to values and ideologies, this arguably would have been very influential at the time. An application of Stuart Hall’s conceptual roadmap would conclude that by using the stereotypical white, suburban housewife, this would have socio/culturally rang true with many in the hegemonic masses of America at the time. By using cultural and economic signifiers associated with American consumerism such as washing machines, women of the time would not only have been able to identify with the female protagonist but would also have likely wanted to emulate her lifestyle. In conclusion, I believe that both posters heavily juxtapose one another in their depictions of gender and stereotypes. Whilst the zeitgeist both texts were created in needs to be taken into account from a social, cultural, political and historical perspective, the ‘Wonder Woman’ poster highlights a clear progression as to how gender equality has advanced and with it, representations of women outside that of the domestic sphere. Whilst a feminist perspective may argue that Wonder Woman is still being objectified and positioned with the intention of perpetuating the male gaze via her minimal clothing and impractical battle armour, I take both an oppositional reading to this and adopt a post-feminist perspective. Instead, I view Wonder Woman not as a by-product of patriarchy and objectification but as a countertype instead. Unlike that of the protagonist in ‘Tide’, women should now have the right to showcase their bodies and fulfil roles within the home or external to it based upon their own decision and not based upon the societal norms imposed upon them. This is indicative in real life with the actress who plays Wonder Woman, Gal Gadot , having done something that the protagonist in the 1950’s ‘Tide’ advert never could, she has served in the military. Ultimately, advancements such as the 1975 Sex Discrimination acts and the 2010 Equality Act protect this right and it should be upheld, with contemporary viewings of historical texts like the ‘Tide’ advert an example to those within society that no woman should be defined by their gender. BAND 5 EXEMPLAR RESPONSE TO THIS QUESTION

13. GOOD SAM ARITAN: How I would attack a question like this… REPRESENTATION: A VISUAL REPRESENTATION OF MY BRAIN WHEN I SEE THIS QUESTION CHECKLIST : Write an Introduction Main body= PETER Paragraph structure Conclusion! If I don’t write a conclusion at the end, I can’t get higher than a BAND 1! SAMS NEEDS YOU ! PAGE 14-15   20. Compare how audiences may interpret the representations of gender in the film posters for Evil Dead Rise and Kiss of the Vampire . [25] In your answer you must: • consider the similarities and differences in how audiences may interpret gender representations • make judgements and draw conclusions about how far audience interpretations of gender representations reflect historical contexts . 9 THEORISTS I WOULD USE: 25 MARKER= 40 MINUTES IN THE EXAM! SIMILARITIES DIFFERENCES Both feature a female antagonist . Contextually, this was a difference (STEVE NEALE) in 1963/ subverted established conventions of ‘woman as victim’, when ‘KOTV’ was released. Dark colour pallete / Horror iconography e.g. the bats/ castle in ‘KOTV’ and the darkened edges of the frame/injury detail in ‘Evil Dead Rise’. Both use written codes to anchor meaning e.g. ‘VAMPIRE’ and ‘EVIL DEAD’. Where as women are constructed in a sexualised ( scopophillia / male gaze ) manner within the ‘KOTV’ poster, the mother figure in ‘Evil Dead Rise’ is not. This may show a potential progressive shift in Horror movies, to not oversexualise female bodies e.g. the final girl trope . ‘Evil Dead Rise’ explores themes of the domestic sphere / maternity where as ‘KOTV’ deploys a more conventional narrative associated with the Vampire sub-genre . ROWLAND BARTHES S TEVE NEALE DAVID GAUNTLETT STUART HALL GEORGE GERBNER The proxemics of the children with that of the antagonist, present a binary opposition (Levi-Strauss, A2 theorist) and possibly a alternative representation of motherhood/ feminine ideologies. Anchorage text Two versions of masculinity/ femininity are represented: Man as dominant/ aggressor over that of the woman/ prey VS Man overcome physically by a female. HAMMER HORROR: Hammer Horror was known for it’s overt sexualisation of female characters and was pre- 1975 Sex Discrimination Act/ 2010 Equality Act, 1960’S- PROMISCUOUS SOCIETY VS POST- ME-TOO MOVEMENT “We use these narratives to frame our experiences and to bring order to the stream of ‘stuff’ that goes on in our lives”. David Gauntlett . Disintegration of the Nuclear family/ traditional family. Could this be linked to the promiscuous society? RECEPTION THEORY: People’s perception of media texts and how they are constructed is heavily influenced by the period in which they were made (zeitgeist). A modern audience may take an oppositional reading to ‘KOTV’ for example where as in 1963, ‘EDR’ wouldn’t have made it past the Hayes Code. Traditional notions of femininity, motherhood , sexual liberation, equality etc. have been challenged with much of the patriarchy evident in ‘KOTV’, a post-feminist may argue, largely diluted.

14. SAMS NEEDS YOU ! PAGE 16-17 2. Compare the representation of issues in these two advertisements. In your answer, you must consider: • the similarities in the representations of issues • the differences in the representations of issues • how far the representations relate to relevant media contexts [25] 25 MARKER= 40 MINUTES IN THE EXAM! SIMILARITIES DIFFERENCES Selection of subject - selection of young vulnerable/innocent child positioned in the top of frame standing on top of debris, conventional for campaign adverts to reinforce their issue. ‘WATERAID’ S election of various Paralympian's at their highs and lows adds a sense of verisimilitude to the campaign. ‘FEED OUR FUTURE’ The declarative language device stating ‘Every year 3 million children die of hunger’ relays factual information and is conventional in the campaign advert sub-genre in persuading audiences to support, tackling the issue. T he imperative language device ‘help keep their voices alive’ in bold capitals within a blue banner stands out on the poster, connoting urgency to the audience, persuading them to tackle the issue. The United Nations World Food Programme campaign logo embedded in the poster anchors the institutions’ unique selling point to tackle the global issue of famine and provide food to those in need. A2 FRAMEWORK ALERT: Written codes are used within the ‘ Super.Human ’ advert in a reflexive way that indicates knowingness (postmodernism). The word ‘ Super.Human ’ and the myth (Barthes) / Godlike powers that these athletes are imbued with, serves as a binary opposition (Levi-Strauss) to their everyday struggles, thus creating personal companionship. Direct mode of address is also used via the inter-title “TO BE A PARALYMPIAN THERE’S GOT TO BE SOMETHING WRONG WITH YOU”. Channel 4 logo in the bottom right of the corner builds brand awareness and is known for being integrally linked to the Paralympics coverage. GOOD SAM ARITAN: How I would attack a question like this… REPRESENTATION: A VISUAL REPRESENTATION OF MY BRAIN WHEN I SEE THIS QUESTION CHECKLIST : Write an Introduction Main body= PETER Paragraph structure Conclusion! If I don’t write a conclusion at the end, I can’t get higher than a BAND 1! 9 THEORISTS I WOULD USE: ROWLAND BARTHES STEVE NEALE BARTHES DAVID GAUNTLETT STUART HALL GEORGE GERBNER Use of visceral imagery/ shock tactics in the ‘Feed the Our Future’ VS the uplifting, subversion of representations of the disabled. ‘FEED OUR FUTURE’- The advert’s interrogative language device, ‘Can you hear me?’, communicates directly and inclusively to the audience, signifying how young children suffering famine are going unheard, persuading audiences, via guilt, to support keeping them ‘alive ’ VS the less pressurized marketing technique in ‘ Super.Human ’ ‘ Super.Human ’ largely has a warm colour palette when compared to that the sepia, desaturated ‘Feed Our Future’ advert. Both examples, by the very nature of their form and sub-genre, reflect the society that produces them. Both products document the social concerns and the global issues inherent in the 21st century society. The adverts reflect contemporary society whereby the expectation is that the construction of the representations will target wealthier people from elite nations who will donate money out a sense of moral duty.

15. SAMS NEEDS YOU ! PAGE 18-19 Representation Use this music video extract and the set music video you have studied when answering the question . 10. Compare how representations of ethnicity convey values and attitudes . In your answer, you must consider : • the similarities and differences in the representations of ethnicity • how far the representations relate to social and cultural contexts . [25] 25 MARKER= 40 MINUTES IN THE EXAM! GOOD SAM ARITAN: How I would attack a question like this… REPRESENTATION: A VISUAL REPRESENTATION OF MY BRAIN WHEN I SEE THIS QUESTION CHECKLIST : Write an Introduction Main body= PETER Paragraph structure Conclusion! If I don’t write a conclusion at the end, I can’t get higher than a BAND 1! 9 THEORISTS I WOULD USE: ROWLAND BARTHES STEVE NEALE DAVID GAUNTLETT STUART HALL STUART HALL GEORGE GERBNER Adds a level of verisimilitude to the music video, revealing the production budget/ construction of the video. Direct mode of address/ imperative. Also, the written codes place the audience in a privileged spectator position. Real locations/ people= High levels of verisimilitude. Wide shots of superstores and apartments with upturned trolleys and littered floors represents lack of wealth for African Americans who reside there. Very reminiscent of the setting in the ‘Underdog’ video GOD’S PLAN RELATES TO SOCIAL AND CULTURAL CONTEXTS BY: • Focusing on deprived African Americans, representing the extremity of the issue and the endangerment of American values after the election of Donald Trump • Exploring the universal need of money for happiness, a motif throughout, with Drake offering cheques or handfuls of dollar notes to those deprived • the need for solidarity and unification in times of hardship, seemingly representing the contemporary divide in the world, notably America, since President Trump’s election in 2016 The selection of real-life settings/ locations also increases the verisimilitude. Shared conceptual roadmap is also used via iconography and the locations in which both music videos are shot. These help the viewer navigate both narratives as well as tropes/ stereotypes to do with race. Subversive representations e.g. the image to the right may connote neglect/ absentee father stereotype/ blended family. However, we see the progressive strength of the mother.

16. OFFICIAL 2019 A2 COMPONENT 1, 30 MARKER (ADAPTED) STEP 1: REMEMBER, IN THE EXAM TO FOLLOW THESE STEPS. LET’S DO THIS LIVE NOW… Highlight your command word. What is it asking of you? STEP 2: Highlight other key words in the question. What CHEPS (Cultural, Historical, Economic, Political and Social contexts can you use/ how? STEP 4: What terms/ 19 theorists can you use on this question? Can you use any non-rep theorists? P rint resource: the front page of The Sun, published on 9 th December 2021, the day after the Conservatives were accused of holding a 2 nd party in Downing street. • the front page and article from the The Times you have studied, published 1 st February 2022. Compare how these pages from The Sun and The Times construct versions of reality. In your answer you must: • consider the choices media producers make when constructing versions of reality • consider the similarities and differences in the representations • make judgements and draw conclusions about how far the representations relate to relevant media contexts. STEP 3: I have 6 representational theorists I can use; Hall, Gauntlett , Gilroy, Butler, Van Zoonen and hooks.

17. Print resource: the front page of The Sun , published on 9 th December 2021, the day after the Conservatives were accused of holding a 2 nd party in Downing street. • the front page and article from the The Times you have studied, published 1 st February 2022. Compare how these pages from The Sun and The Times construct versions of reality . In your answer you must: • consider the choices media producers make when constructing versions of reality • consider the similarities and differences in the representations • make judgements and draw conclusions about how far the representations relate to relevant media contexts . WHAT I WROTE DOWN IN MY ONE MINUTE WITH THIS QUESTION Verisimilitude/ Ideologies (Maligned/ Hegemonic) Mediate Selection and commination/ omission (Hall) Write a conclusion at the end or I cannot get higher than a BAND 2! Editors/ 4 th Estate holding 3 rd Estate to account Political bias (partisan V objective) Mention socio/cultural (British values), political and economic (adverts for Christmas) Texts one year apart. 2022 has the benefit of hindsight with regards to the parties etc. Codes and conventions Steve Neale repetition and difference Tabloid V broadsheets

18. KEY DIFFERENCES WITH ‘THE TIMES’ ‘The Sun’ sees itself as an opinion leader (Two-Step flow) with it’s use of slogan / mode of address. MODE OF ADDRESS GOOD SAM ARITAN: How I would attack a question like this… REPRESENTATION: A VISUAL REPRESENTATION OF MY BRAIN WHEN I SAW THIS QUESTION I have colour coded this slide to highlight my synoptic analysis: R epresentation A udience I ndustry L anguage (Media) C ontexts KEY SIMILARITIES WITH ‘THE TIMES’ The Times’ is a right-of-centrist broadsheet where as ‘The Sun’ is right-wing/ pro-Conservative tabloid. ‘The Times’ is more objective in it’s journalism when compared to the sensationalised, partisan construction of ‘The Sun’ front cover. ‘The Sun’ front cover is designed to appeal to advertisers (Political economist) via the paid for advertising as opposed to ‘The Times’ which focuses on content. “THE PEOPLE’S PAPER’ POSISTIONS AUDIENCES TO AGREE WITH THE SPLASH (RECEPTION THEORY/ CULTIVATION). ‘The Sun’ is anti-elitist in it’s mediation. Mode of address is used in ‘The Sun’ in an informal manner as opposed to the formal written codes of ‘The Sun’. This may indicate the C2DE readership of ‘The Sun’. 25 MARKER = 40 MINUTES IN THE EXAM! HEADLINE STRAPLINE STAND FIRST WITH JUMP LINE PLUG/ PUFF PAID FOR ADVERTISING SENSATIONALIST SPLASH/ STANDALONE SUB-HEADINGS SLOGAN/ MISSION STATEMENT SOFT NEWS Both publications are owned by News UK, a subsidiary of News Corp. Both newspapers have decided to lead with the story/ have it as a standalone. Both newspapers have represented Johnson via a process of selection and combination (Hall), as not taking the situation seriously e.g. the smirk on ‘The Times’/ as the Grinch on ‘The Sun’. Both newspapers exist in a market hegemonically dominated by right-wing publications. RED-TOP MASTHEAD Both newspapers use cultural references through iconography e.g. the direct intertextual link to ‘The Grinch’ which is synonymous with Christmas being ruined (cultural capital). Link to Structualism (Levi-Strauss). KEY AUDIENCE CONTEXT! The Daily Mirror’s target audience, according to ABC data, is predominantly C2DE, over 35 and are working class Labour supporters . VS The Times’ target audience, according to ABC data, is predominantly ABC1, over 35 and has a liberal/ right-wing political stance. This well-educated and middle-class audience take an interest in national and global affairs and can understand and engage with detailed political reporting. Whilst it is conventional for broadsheets to have much more writing/ more sophisticated language, the construction of the cover reflects a newspaper not putting all it’s eggs into one basket with regards to it’s splash feature unlike ‘The Sun’. ‘ People’ is also a homogenous applicable to no one in particular. Good to discuss with regards to U+G, personal identity. Hyperbolic and emotive language (Barthes codes). Use of naturalisation. Could it be argued that the use of Photoshop/ editing software to alter Johnson’s appearance, diminishes the verisimilitude of the text? Gauntlett : The readership may gravitate to an opinion leader in whch to formulate/align with their beliefs. PAGE 20-21