29th March: The Representation of Ethnicity in Advertising & Marketing

To negate any issues concerning access to devices in school, today's lesson is blogged only. However, if you have any questions, email me and I will respond immediately. I will be back in school after Easter.

SMART START

Let's keep on top of these media theories by revisiting the media theories quiz... again!

REVIEW

Review your feedback from last week's essay. Use the feedback to make improvements to future responses... starting with today's main task.

THE BIG PICTURE

In the last couple of lessons, we have looked at how gender is represented in advertising and marketing. The last part of representation that we need to consider is the representation of ethnicity. The relevant set product for this is the WaterAid advert. We have already revised the use of media language in charity adverts (1st March) but now we are going to focus specifically on the representation of ethnicity. As we know, in this part of the specification, the set products are used to establish knowledge that can be used for comparison with an unseen text; this is what we will practise today.

EXPLAIN & MODEL

Revision of Representation in the WaterAid Charity Advert

• The advert challenges typical representations of developing countries and their issues through the central character, Claudia.
• The construction also combines upbeat audio codes, a bright colour palette and codes of expression and clothing that create a positive representation.
• The advert avoids using the emotive and negative terms usually evident in similar compaigns, for example 'famine', 'drought' and 'disaster'. This was in response to research suggesting that such shock tactics were becoming less effective.
• The technical codes also contribute to the construction of representations, including camera shots and editing that establish the independence of Claudia and involve the audience in her journey. In this way, the creators of the product avoid constructing her as a victim, unlike similar campaigns.
• Other charity campaigns are more likely to create a representation of non-Western cultures as distanced from us and 'other'. The choice of Claudia, a young woman who is part of a wider community of women, is a more modern and culturally relevant representation.
• The purpose of the positive representation in this advert is to show an audience the positive effect their donation may have on communities.

Revision of Associated Representation Key Theories

Stuart Hall

• The idea that representation is the production of meaning through language, with language defined in its broadest sense as a  system of signs.
• The idea that stereotyping, as a form of representation, reduced people to a few simple characteristics of traits (often exaggerated).
• The idea that stereotyping tends to occur where there are inequalities of power, because subordinate or excluded groups are constructed as different of 'other'.

David Gauntlett

• The idea that the media provide us with 'tools' or resources that we use to construct our own identities.
• The idea that while in the past the media tended to convey singular, straightforward messages about idea types of male and female identities, the media today offers us a more diverse range of stars, icons and characters from whom we may pick and mix different ideas (to construct our own identities).

You should also consider;

• Feminist Theory (bell hooks): Suggests that the idea of feminism is a struggle to end patriarchal oppression and feminism is a political commitment rather than a lifestyle choice. Also suggests that pale-skinned women are represented as more desirable in Western media. Suggests that race and class, as well as sex, determine the extent to which individuals are exploited, discriminated against or oppressed.
• Feminist Theory (Liesbet van Zoonen): Suggests that media contributes to social change by representing women in non-traditional roles. Also suggests the idea that the display of women's bodies as objects to be looked at is a core element of a Western patriarchal society.

PRACTISE

Use your knowledge of the WaterAid advert to answer the comparison question below. Plan your response in the same way we did previously, identifying your point, evidence (described using media language) and linking to the theoretical framework or an ideology. It is really important that you go through this structured planning phase before attemptint to write your answer. Once you have planned your essay structure, write your essay, referring back to your planning as you go. Complete the planning and full response on the Google Assignment posted in our Google Classroom.

Question: Compare the representations of ethnicity in the WaterAid advertisement and the film poster for The Hate U Give (25 marks).

AFTER EASTER

In the first lesson after Easter, we will look at;

1. The need for some original photography in your NEA.
2. Revision of music video set product (Dizzee Rascal's Dream)

23rd March

To negate any issues regarding access to devices in school, today's lesson is blogged only. Email me if you have any questions.

SMART START

Complete the Media Theories Summary Quiz. It will prepare you for today's work.

REVIEW

Have a look at the feedback you received for the 'Burying The Ex' task. Everyone is improving and starting to signpost evidence using media language and linking to the theoretical framework. Good stuff! Use the feedback to improve your response to today's task.

PRACTISE 

In today's lesson, I would like you to use your planning from last week's gender comparison question to construct a full, essay style response (25 marks). You can write your full response below your planning on the same assignment (I've returned it to you).

Remember how to structure each paragraph:

• Make your point
• Signpost evidence from the text using Media Language
• Link to the Theoretical Framework or Ideologies.

This is significant piece of evidence that represents your journey in recent weeks, so write thoughtfully and carefully. Check each paragraph against our structure framework.

As a reminder, here are the two texts:

Next week's lesson will be the last to be blogged only. After that, I'll be back in school - horray! When I return, we need to make some final refinements to the NEA. The exam board would like at least one of the submissions to include original photography, so we will revise how to use a DSLR after Easter.

15th March: Gender Representation in Advertising & Marketing

To negate any issues regarding access to devices in school, today's lesson is blogged only. All the information you need to complete today's revision is here. Email me if you experience any difficulties and have any questions. I will repond immediately.

SMART START

Let's see if you can improve on last week's Newspaper Technical Codes score. Did you achieve a higher score? Where are you consistently getting the wrong anwer? Use the information on our lesson blogs to fill these gaps in your knowledge (or the wall if you are in P5). Please notice that there are now some quizzes in the sidebar that can be used for regular self-quizzing revision.

Film Poster Task

To finish off last week's work on the use of media language in advertising print products, open your 'Burying the Ex' Google Assignment on Google Classroom and use the prompt questions to construct a concise response. Use the feedback from your 'Surf' assignment to inform your approach. Don't forget to focus on the use of media language (visual codes) to construct meaning.

REVIEW

Examine the feedback from last week's task. There were definite signs of improvement with some good answers. Thanks for providing me with evidence of your knowledge and understanding; that'll really help when recommending grades at the end of the course. I must particularly congratulate Tyler for presenting a near-perfect response that was well-structured and accurate. Today we are going to focus on achieving that structure whilst revising representation in advertising.

THE BIG PICTURE

In today's lesson, you will revise the issue of representation in advertising and marketing. Again, the study of our set texts (Tide & KOTV) is designed to develop the ability to effectively analyse an unseen product. The exam, if you were taking it, always asks candidates to consider representation by comparing a set product with an unseen text (25 mark question!). This is the approach we will take today.

EXPLAIN & MODEL

Key Points (Representation in Advertising & Marketing)

• Stereotypes work as they are recognisable to audiences, but they also tend to reinforce rather than challenge common representations.
• Stereotypes can be positive or negative.
• New stereotypes appear to reflect changes in society. In the past, it was women who were pressurised by the 'beauty ideal'; this pressure is now extended to men. This is apparent in the changing representations of masculinity in adverts.
• Representations are constructions and, depending on the product, may convey values, attitudes and beliefs about the world (ideologies).
• Representations in media products do not give a true version of reality; they re-present the world and mediate messages and meanings.
• Beauty and fragrance advertisments, both historical and contemporary, construct aspirational representations of gender that are not a reflection of reality but can be persuasive.
• The attitudes and beliefs of the society of the time will influence the construction of representations in media products. Tide and KOTV both convey messages about gender and as such reflect historical contexts.
• The dominant, powerful groups in society largely control what is producted. As a result, minority groups are marginalised. Consider the under-presentation and misrepresentation of minority ethnic groups advertising.
• Some advertisements, particularly those for beauty products, continue to reinforce ideas about how women should look and behave.
• Historical context may affect the representations in terms of a specific period or event. For example, the changing role of women in the 1960s is evidence in the representations in the KOTV poster.

Before attempting today's main task, start by revisiting the KOTV factsheet, focusing particularly on the 'representations' section. Now revisit the Tide factsheet, focusing on Part 2, representation.

LEARNING CHECK

Key Questions to Revise (You should have prepared answers for these questions in your head)

Having revised the factsheets, and before attempting to answer today's 'practise' task, you should make sure that you can answer the following questions. You may need to conduct research to identify examples (ones you can instantly recall when answering a question on this stuff - find examples and remember them, using them time and time again).

1. How is media language used to construct representations of gender in the historic set products? Consider the process of selection and combination evidence in the products.
2. How do gender representations in these historical set products convey the attitudes, values and beliefs of the world at the time they were producted?
3. How do modern adverts illustrate the way the representation of gender has developed to reflect social and cultural changes? Can you think of specific examples? (find one & remember it)
4. Is there any evividence of the continued existence of historic stereotypical representations of gender in modern adverts & film posters? Can you think of a specific examples? (find one and remember it).
5. Do images in beauty product adverts reflect reality and real women? When analysing these products, always consider how media language is used to construct aspirational / unachievable representations.

PRACTISE (Structing a response)

Using the Kiss of the Vampire film poster and the Dior advertisment below, plan a response to the following question.

Compare the choices that have been made in the representation of gender in the film poster and the advertisement [25 marks]

• Present your plan on the 'Gender Representation Comparison' assignment on our Google Classroom. Do not write a full answer (yet) but construct a 'comparison structure' for your response. What will be your approach? Review KOTV in its entirety then compare to the Dior advert? Or take an element of one and compare to the other, bouncing between the texts as you go through your points? What will your points be? What evidence can you signpost (using media language)? How do this reflect an ideology? How does this link to our theoretical framework?You must decide on the best structure for this response! You could use the Unseen Text Analysis document to help you too (see resources in sidebar). Whatever your overall structure, each paragraph should adopt the following structure:

• Make your point.
• Signpost evidence in the media text (reference codes, described using media language)
• Link to a society or cultural ideology or message / meaning.
• Reference the Theoretical Framework 

Provide me with your very best effort and check your work afterwards to eliminate small errors (spelling mistakes, etc). Good luck!

Update

I've added links to revision quizzes in the sidebar. Revisit them regularly to embed knowledge. 

9th March: Revision 5: Advertising & Marketing (2)

STARTER

Let's see how many of the Newspaper Technical Codes your can remember! Match the pairs and identify your score and time on your blog using the title 'Newspaper Technical Codes Revision Quiz Score'. Type your score and time in the chat.

REVIEW

Examine the feedback from your charity advert task (last week) and redraft your response, addressing all of the points I have made. This will probably take about 30 mins for most of you. Remember, I am looking for evidence of your ability to support the allocation of an A Level grade, so exploit the opportunity to redraft to represent yourself in the best possible light.

THE BIG PICTURE

Today you will be revising the print advertising products and the associated media language. Our print advertising products are the Tide advert (1950s) and the Kiss of the Vampire film poster (1963). In revising these set products, you will be preparing for the unseen text tasks (practise tasks); usually Section A in the exam. Remember, these practise tasks provide good evidence of your abilities and can be used to support final grade allocations, so complete the practise task to the very best of your ability.

EXPLAIN & MODEL

Print advertisements share common conventions with audio-visal texts but they also employ elements specific to the print advertising form (as they have less time and space to construct a narrative and persuade the audience), including;

Key Points:

• Layout & Design: Consider the construction of the advert and the paradigmatic choices that have been made to communicate meaning.
• Images: Consider the use of still images, some of which may have been manipulated to create a version of reality.
• Typography & Graphics: Consider font styles chosen to communicate messages.
• Visual Codes: These include colour, gesture, expressions and technique codes.
• Technical Codes: They include camera shots, lighting and post-production editing.
• Language and Mode of Address: How does the advert 'speak' to its audience?

KEY THEORIES

1. Semiotics, Roland Barthes.(denotation & connotation)
2. Structuralist Theory, Levi Strauss (binary oppositions)
3. Genre Theory, Steve Neale (repetition & difference)
4. Character Theory, Vladimir Propp (hero, false hero, etc)
5. Narratology, Todorov (disruptions, equilibriums, etc)

We have already revised some of these theories, but here is a reminder of Semiotics, Roland Barthes:

• The idea that texts communicate their meanings through a process of signification: As advertisements must communicate messages rapidly, they use signs and codes that signify messages to audiences. For example, the code of clothing, dressing someone in a particular way, will quickly resonate with an audience, who will have expectations of how that person relates to a product. A woman in evening wear in a perfume advert signifies a sophisticated fragrance.
• The idea that signs can function at the level of denotation, which involves the literal or common-sense meaning of the sign, and the level of connotation, which involves meaning associated with or suggested by the sign. For example, in advertisements and film posters, colours are used to communicate messages. The denotation of red is a primary colour but in an advert or film poster it may connote passion, power or danger, depending on the product, genre and context.
• The idea that constructed meanings can come to seem self-evident, achieving status of myth through a process of naturalisation (repeated use making it 'normal'): For example, the cultural myth encoded in filim posters and advertisements that wearing red has connotations of being sexually attractive or that red cars have more speed or power.
• Barthes identifies five different kings of semiotic codes that are common to all texts. These codes are Hermeneutic (enigma), Proairetic (action), Semantic, Symbolic and Cultural (referential). Enigma codes contain questions or mysteries that the reader needs answered. Action codes suggest sequential elements of action (things that implied to happen). Semantic codes refer to elements that carry additional meaning. Symbolic codes are elements that mean something else (they 'stand in for' something else). Referential codes refer to something outside of the text and presume that the audience has an outside knowledge of what is being referred to (similar to intertextuality).
• A text is like a tangled ball of threads that needs to be unravelled. Once unravelled, we encounter a wide range of potential meanings. A text many be 'closed' with just one obvious, single thread for the audience to pull on or 'open', unravelled in many different ways with many different starting and end points (no obvious beginning or end).

Key Language (General Advertising)

• Visual codes
• Central image
• Slogan
• Language of Persuasion (E.g. hyperbole)
• Soft sell (selling a lifestyle)
• Hard sell ('in your face', aggressive advertising)
• Demonstrative Action (where the product is seen to be used in the advert)
• Logos
• Mode of Address
• Intertextuality
• Product Endorsement (use of celebrities to recommend a product)
• Unique Selling Points: USP (What makes it different from competitors)
• Z-line layout
• Image to text ratio

Key Language (Film Poster Specific)

• Visual codes (clothing, colour, gestures, etc)
• Iconography (Objects and settings widely associated with subjects, places, etc)
• Promise of Pleasure: Words or phrases telling the audience what they will experience (fear, laughter, etc).
• Star Billing: Suggesting a hierarchy of actor importance (positioning of names, etc)
• Tag Line: Memorable phrase that becomes associated with the film and used in marketing.
• Expert Criticism: Quotes from newspapers, film reviews, etc.
• Mark of Quality: The use of a director's name or logo that is associated with another product, used to persuade the audience of the quality.

PRACTISE

Print Advertising Task

Open your 'Surf' Google Assignment on Google Classroom and use the prompt questions to construct a response.

NEXT LESSON

Next week, we will start with a film poster task before moving on to the revision of representation.

1st March: Revision 4: Advertising & Marketing (1)

STARTER

You studied video games with Mr Allsopp, so how about this quick Video Games Industry Quiz. 

REVIEW

You now have a few minutes to review the feedback from last lesson's assignment. Use the feedback to improve future responses. Now I'd like you to colour code your response from last lesson, using a yellow highlighter to signpost any references to the theoretical framework (theories) and a green highligher to signpost terminology associated with media language (camera shots, angles, dress codes, audio codes, editing). How much media language did you use? How often did you reference the theoretical framework?

EXPLAIN & MODEL

Key Points:

• Component 1, Section A (Media Language & Representation).
• Set products are Tide (print advert), WaterAid (charity campaign) & Kiss of the the Vampire (film poster).
• Advertisements use media language and construct representations in order to communicate meanings about their products and services.
• Visual codes are used to communicate messages rapidly. Advertisements use non-verbal communications that are recognisable to audiences.
• Persuasive language, including hyperbole and alliteration, is used to engage the attention of the audience.
• Many adverts are similar in style to short films; they have a narrative that aims to involve the audience in the story.
• Adverts, depending on the genre, use soft and hard sell techniques.
• Adverts exploit the established codes and conventions of the genre.
• A brand identity is established through the name, the logo, the slogan and, often, a celebrity endorsement.

Key Language:

• Brand identity
• Demonstrative action (using product in advert to demonstrate effectiveness)
• Hard sell (direct 'in your face' advertising using insistent language)
• Hyperbole (exaggerated statements)
• Intertextuality (exploits a relationship with another media text)
• Mode of address (direct, indirect, formal, hostile, humorous, etc)
• Product endorsement (recommendation)
• Soft sell (subtle, non-aggressive persuasion. Maybe 'selling' a lifestyle not a product directly.)
• Typography and graphics (fonts, images, etc)
• Unique selling point (USP)
• Repertoire of elements (predictable elements of a specific genre)

ADVERTISING & MARKETING: KEY MEDIA LANGUAGE THEORISTS

• Semiotics (Roland Barthes)
• Structuralism (Levi-Strauss)
• Narratology (Tzvetan Todorov)
• Genre Theory (Steve Neale)

ADVERTISING & MARKETING: KEY REPRESENTATION THEORISTS

• Representation (Stuart Hall)
• Identity Theory (David Gauntlett)
• Feminist Theory (Liesbet van Zoonen)
• Feminist Theory (bell hooks)

PRACTISE (CHARITY CAMPAIGNS: MEDIA LANGUAGE)

Complete the assignment on our Google Classroom. Section 1 refers to the WaterAid advert and asks you to identify and analyse key media language. Section 2 requires you to apply your understanding to an unseen charity text.

SECTION 1

Complete the table in the assignment.

SECTION 2

Watch the charity advert below and answer the following questions:

1. How do technical codes construct meaning? Consider camera shots & editing.
2. How do language and mode of address establish meanings? Consider the use of on-screen graphics and the use of language devices.
3. How do visual codes influence meaning? Consider expression, clothing, colour palette & gesture.
4. How do setting and iconography convey meaning? Consider settings seen in other forms (e.g. news) and binary opposites.
5. How do audio codes establish meaning? Consider diegetic and non-diegetic sound (voice-over, ambient sounds, sound effects).
6. What are the recognisable codes and conventions of the charity campaign sub-genre? Consider purpose, characters, setting, narrative, etc).

NEXT LESSON:

Revising print advertising products (Tide) and film posters (Kiss of the Vampire)