LEARN ALL OF THIS

ADVERTISING

TIDE'S GOT WHAT WOMEN WANT!

CREATED BY PROCTER AND GAMBLE

1946

• symbolic code that women should do the washing - only women in the advert, close-up shot of housewife, repeated iconography
• both the print and radio advertising campaigns featured 'housewife' character - cultivation theory, reinforces hegemonic patriarchal stereotypes
• red colour scheme in headline and product - connotes sexuality and love, symbolises the woman's love for the product or the way men saw women (polysemic)
• symbolic code of white background - connotes purity/innocence and cleanliness
• 'housewife' character wears makeup - washing with Tide is fun, as it is worth wearing makeup for, could also reinforce hegemonic norms that women should wear makeup for men (polysemic)
• hugging the product with red hearts above her head - proairetic code that the 'housewife' is about to do the washing and that she is in love with the product, product has replaced husband
• z-line creates a narrative - title of the product, more information about product, large image of 'housewife' showing off the product, image of hanging clothes on the line
• direct mode of address - "whiter yes, whiter" is very direct lexis
• "You women" - patronising lexis because brand wants authority/power over the audience, could feel like a sense of community for women (polysemic)
• brand superiority - "world's cleanest" and "world's whitest" shows that the brand is superior, so audience would be stupid not to buy their product
• targeted towards working class - "Tide's a sudsing whizz", informal phrase

WATERAID

https://www.youtube.com/watch?v=Uiy3dkTwPcQ

2016

'CLAUDIA SINGS SUNSHINE ON A RAINY DAY'

• subverts charity advertising conventions - shows positive outcomes as opposed to trying to guilt the audience, audience has become desensitised to melancholy ads
• binary opposition - rainy day in England at beginning opposed to dry ground in Africa, audience can see difference in lives
• statistics - "650 million", audience can see how big the problem is
• symbolic code - sun shines through water, symbolises hope
• establishing shot - long shot of Claudia walking through dry land, see the conditions they have to live in
• atmospheric/diegetic sounds - grasshoppers, feet on dry ground, audience starts to feel what it's like to be there
• slow motion editing of children having fun - brings joy to advert, shows impact of donation
• how to donate only shown at end, "£3", by the end of the advert audience should be interested
• extreme close up of Claudia, positions audience so that they feel like they know her, want to help
• slow motion editing of water, shows importance of it in their lives, symbolic code of hope and happiness
• song lyrics "sunshine on a rainy day" connotates how water is their 'sunshine' 
• women represented as strong, remaining positive in bad situation 

KISS OF THE VAMPIRE

1963
PRODUCED BY HAMMER FILMS

CODES AND CONVENTIONS

• moon and fog- hermeneutic code, creates mystery as both are commonly used to show that something evil is coming
• red colours - symbolic codes of romance, passion and blood, vampires known to be seductive but predators, anchored by title
• sharp and pointed font - danger, symbolic of vampire fangs

LAYOUT AND DESIGN

• z-line - title, then main characters, then cast list, informs audience of what they need to know
• majority of poster taken up by characters - shows importance of possible protagonists

REPRESENTATIONS 

• women wear pink, light dresses - reinforces femininity and weakness, as they are exposed on their upper chest and legs
• woman on left is weak and limp - has to be supported by male vampire, stereotypical representation of men and women
• also subversive - woman on right is still standing, angry gesture, holding up a man on the floor

MISE EN SCENE

• all characters are white - people of colour were not accepted in the 60's
• women in tight fitting dresses - uses their sexuality as a selling point for heterosexual males, 'male gaze' Van Zoonen
• nighttime, derelict place - they are vulnerable 
• vampire costume - highly conventional for vampire archetype, fangs, black fabrics, 

MUSIC VIDEOS

BEYONCE - FORMATION

2016
TRAP/BOUNCE
BACKDROP OF FLOODING IN NEW ORLEANS, FOLLOWING HURRICANE KATRINA

THEMES OF VIOLENCE AND CONFLICT

• repeated mise en scene of police car in flood - connotes crime and rebellion, anchored by carefree and powerful facial expressions
• intertextual conflict requires existing knowledge - police persecution of black people
• hanging out of car - conflicts with calm facial expressions
• contrast between poor, dilapidated neighbourhood and rich, antebellum house - connotation of antebellum house is slavery, as house was owned by white man
• Beyonce is mixed race (BME) but is wearing antebellum dress (owned - by slave master's wife) - binary opposition, cultural appropriation, demonstrates strength and power over the past

HOW DOES MOVEMENT ENCODE MEANING?

• females are united - strength 
• 70's afros bouncing as they dance - embracing their culture 
• foot stomp - aggression, making a stand 
• quick and blunt movements 

• high energy - confident 
• zooming in and direct address - leading character, recognised as a powerful figure within black lives movement 
• females dancing in front and behind - females supporting each other 

• importance of hair emphasized throughout - embracing your roots
• mid shot and direct address - focus on her movement and appreciate deeper meaning
• calm and blank facial expression - carefree or resignation (polysemic)

BRICOLAGE - a media product which combines lots of different elements from different time periods and styles

Formation's ideology may be that not much has changed, in over 100 years there is still discrimination of black people

VANCE JOY - RIPTIDE

2013
ATLANTIC RECORDS (SUBSIDIARY OF MAJOR LABEL, WARNER)
INDIE-FOLK POP

• general theme and narrative - montage of shots suggests themes of drowning and death ("sank", makeup coming off, "lump in my throat")
• alternative theme and narrative - unpredictable and deliberately misleading montage of shots, deliberately invites polysemic interpretations
• montage consistently matches the themes of the lyrics - "cowboy running" in a long, cantered shot, symbolic of dual personality, afraid of what he has become
• intertextuality of old western film - mise en scene of costume, referential code to create audience appeal
• intertextuality of horror film - mid shot of ouija board, "dark side", referential of 70's horror cinema
• date on letter is "August 1974" - mid shot, anchors audience into a particular time period, picked 70's because it was considered cool 
• mid shot of feet being dragged under a bed, low angle shot, low-key purple lighting- purple lighting connotes evil and darkness, specific reference to 1970's Italian horror films
• denies the audience of a definite meaning
• voyeuristic, high angle long shot of young, blonde woman removing swimsuit, zooms in - high angle shot is demeaning towards woman because we look down on her, makes reference to lyrics "pretty girls", voyeuristic aspect is creepy, positions audience to a perverted perspective, Van Zoonen's 'Female Gaze' theory
• "techniques of photographing girls" - female, manicured hand pushes book into the centre of the frame, seems rehearsed and non-consensual

REPRESENTATION OF WOMEN

• high angle shot and zoom lens- voyeuristic intent (positioning)
• looking out into the ocean, symbolic of adventure 
• mise en scene of costume and hair - exotic and stereotypically attractive
• framed in centre of shot - emphasizes her importance to heterosexual male audience (male gaze)
• shallow depth of field shot - she is in focus, background is blurred, importance
• mid shot of her back - implies she isn't aware that the audience is watching, voyeuristic 
• mise en scene of beach - adventure, luxury 

• women are vulnerable - stereotypical in films/ intertextuality, damsels in distress, voyeuristic angles 
• powerful and independent - smoking, stereotypical of men
• often close to men or being comforted by men - dependant 
• various shots of feet and hands - objectify women, audience can't see their emotions 
• low angle mid shot of woman holding arms in air - gesture connotes power
• mid shot of blonde woman bound in tightrope - connotes the restrictions that females face in society, critical of the notion of woman as a 'weaker sex', women are being 'tied down' with maternal responsibilities etc
• no explicit anchorage of ideology in music video

"Riptide" and "Un Chien Andalou" (French surrealist film) both lack continuity (subversive of regular films and music videos that use eye-line matches and a match on action)

Surrealism allows a larger audience, gratification of intertextuality and social interaction (will go away and talk about it)

The iconography in Riptide heavily references the Italian horror genre ('dentist' looks like a torture device, dull and unsaturated colour, vibrant use of reds on lips and nails) - 'Suspiria' (1979)

https://www.youtube.com/watch?v=gJuWx_RpGTo

NEWSPAPERS

THE DAILY MIRROR

THURSDAY, NOVEMBER 10TH, 2016
TABLOID
LEFT-WING
80p
DAILY NEWSPAPER
OWNED BY REACH PLC (CONGLOMERATE)
WORKING CLASS AUDIENCE
DAILY CIRCULATION OF 587,803 (AS OF 2017)
REGULATED BY IPSO

WHAT MAKES IT A WORKING CLASS NEWSPAPER?

• 80p - affordable
• sans-serif font - more informal, easier to read on way to work
• "tram crash" - about public transport, doesn't effect higher class so they won't care as much 
• "What have they done?" - anti-trump is left wing, typically working class
• lack of serious information - only requires GCSE level of knowledge
• "what is means for you" - direct address comforts audience, involves them with politics, may have been excluded before

The Daily Mirror uses restrictive lexis, which is a form of hegemony and anchorage, because people will believe that is as much as they can understand

BIAS AND CONSTRUCTING REPRESENTATIONS

• Statue of Liberty - gesture shows that she is ashamed, bias against trump
• mise en scene of storm in the sky - proairetic code, something bad is going to happen
• colour is desaturated - America ("they") represented negatively, suggests the ideology that the people who voted for Trump were wrong
• image in article constructs a representation of the type of people who voted for Trump - look uneducated and rowdy 
• Hilary Clinton's gesture makes her look powerful - head held high, low angle shot to emphasise her dominance 
• binary opposition between Clinton and Trump - different sides of the spread, shows left and right wing beliefs

THE TIMES

THURSDAY, NOVEMBER 10TH, 2016
BROADSHEET
RIGHT-WING
£1.80
ESTABLISHED 1785
MIDDLE CLASS, OLDER AUDIENCE
VERTICALLY INTEGRATED INDUSTRY
DAILY NEWSPAPER
OWNED BY NEWS UK (A SUBSIDIARY OF NEWS CORP, AN ENORMOUSmedia conglomerate)
DAILY CIRCULATION OF 417,298 (AS OF 2019)

BIAS AND CONSTRUCTING REPRESENTATIONS

• fist is a symbol of unity
• flag is a symbol of patriotism
• "You will be so proud of your president" - right wing newspaper but sound unsure of view on Trump, try to reassure audience, direct address makes it sound like a command

FILM INDUSTRY

STRAIGHT OUTTA COMPTON


2015
PRODUCED BY LEGENDARY PICTURES
DISTRIBUTED BY UNIVERSAL PICTURES
DRAMA/CRIME
REGULATED BY BBFC

FUNDING

• Universal is owned by NBC Universal
• produced by a major, vertically integrated film studio, which is part of a conglomerate
• significant for funding and reaching a global audience
• budget of $50 million, made over $200 million

TRAILER

• familiar conventions - rating card
• absence of conventions - no release date or voice-over
• use of production logos - establishes status and reputation of film
• star appeal - no names of actors/directors, replaced with real names of some members of N.W.A

ECONOMIC FACTORS

• pre-sold to existing fans of N.W.A
• previous success of existing hip-hop films, e.g. Notorious (2009), more guarantee of success
• synergy - soundtrack from the film (featuring N.W.A music) and Dr Dre album inspired by the film, released with the film

I, DANIEL BLAKE

2016
DRAMA FILM
DIRECTED BY KEN LOACH
RATED 15
REGULATED BY BBFC


PRODUCTION, DISTRIBUTION AND MARKETING

• distributed by eONE Films (UK) and Le Pacte (France)
• co-produced by companies including Sixteen Films and BBC Films, these companies received grants which helped to produce, export, and distribute
• won Palme d'Or at 2016 Cannes Film Festival
• appeal for Ken Loach, as he is well known for making social realism films
• main actor, Dave Johns, is a well known comedian 
• animated projection of the movie poster on political landmarks with #WeAreAllDanielBlake', this hashtag trended on twitter (social marketing)
• political themes meant that the film made it onto the front of newspapers
• tickets selling for £3.50, as targeted towards 16-25 year olds

TRAILER 

• logos of companies involved with production, may draw attention if they are established
• title of film not revealed until the end, audience must keep watching
• quotes throughout the trailer, including "an immediate classic" , audience can see its already popular
• introduces character's backstories, audience become invested, want to watch film to find out more
• doesn't include age rating, release date, or website
• fast paced editing shows the audience many aspects of the film, appeals to more demographics
• shows the Palme d'Or award at beginning, grabs attention
• reaches its target audience by focusing on the benefit system, older people getting used to new technologies, and unemployed struggling to get jobs

FUNDING

• Main source of funding was from the British Film Institute (BFI), which sources its grants from the National Lottery
• no large budget, made $15.8 million
• "Social realism film" (draws attention to the everyday conditions of the working class and the poor), so Ken Loach primarily made the film to show his ideologies, not to make a vast profit

FILM POSTER

• empowering pose, fist in the air, trying to make a change
• backstory means the audience can get to know the character and empathise, will want to watch the film
• tells audience the main actor is a "stand-up comedian", know the serious issues will be approached in a more lighthearted way, more entertaining and broadens target audience
• mise en scene of casual clothing, target audience of working and lower class can relate to him
• shows Palme d'Or award
• title is shown in graffiti and concrete wall background, connotes crime and rebellion, gives the audience a clue of what the film is about

RADIO

LATE NIGHT WOMAN'S HOUR

BBC RADIO 4
LAST THURSDAY OF MONTH
11PM (graveyard slot)
ONE HOUR
PRESENTED BY LAUREN LAVERNE

HOW DOES IT MEET THE NEEDS OF ITS AUDIENCE? (middle aged, middle class, female)

• sophisticated lexis - "democratisation", requires knowledge
• gentle snobbery - "I knew my marriage was over when i bought an Ikea wardrobe"
• magazine show - deals with a range of different topics, professional "round table" discussion
• relatable for middle class - "my favourite winter mug", they will have their own favourite mug
• middle class mode of address - lots of guitars, "square scarves", "only 20 books"
• keeps it positive - moving to brother's attic after being evicted was made to sound like an adventure, doesn't acknowledge homelessness
• paints a utopia - lots of mention of WW2, suggests that those problems are over, glosses over problems
• slow paced and repetitive - audience doesn't miss anything
• relaxed voices and conversation - don't have to think too hard
• 'comfy radio' - similar to Scandinavian 'slow TV movement', have on whilst doing something else, relaxing

REGULATION

• regulated by OFCOM
• no regulatory issues as there is no material that could offend
• occasionally swears but it doesn't break rules, as after watershed
• ineffective - can lie about age online

The BBC has a remit to show a diverse range of media output, as it is a Public Service Broadcaster (PSB), where people pay a license fee. This means it has plurality, which is when a media product/organisation gives a voice to a wide range of ideological perspectives.

VIDEO GAMES

ASSASSINS CREED 3: LIBERATION

2012
PUBLISHED BY UBISOFT
ORIGINALLY ON PLAYSTATION VITA
RE-RELEASED ON PS3 AND XBOX 360
REGULATED BY PEGI (not effective as it is legal for anyone to buy an 18 rated game)
MOST SPECIALISED INDUSTRY

HOW DOES THE TRAILER TARGET A SPECIALISED AND GENERALISED AUDIENCE?

• black, female protagonist/ avatar - subverts the expectation that the target for video games in young heterosexual males
• "new missions" - appealing to audience that have already played the game, spend more money, 'double-dipping'
• re-released on more popular consoles - gives more people access to it, originally didn't sell very well on PS Vita, multi-platform release, mass audience
• tackles big ideological issues about race, slavery and colonialism - pushes boundaries, increases word of mouth sales
• intertextual reference to Django Unchained (2012) - cult film, slavery in antebellum America
• high quality animation, graphics, soundtrack, locations - has high production values
• shares conventions of high budget Hollywood film - non-diegetic voiceover/narration, lots of action and proairetic codes, orchestral soundtrack connotes high quality
• all games have similar iconography and themes - creates recognisable brand image, know it will make money

PROMOTION

• very specific iconography presented within all of the promotional materials
• hard to differentiate between the different games of the franchise - over saturated, knows that the games will sell, easy way to make money
• there are certain items of merch that will only appeal to a niche audience (e.g. assassins creed backpack)

600,000 copies were sold on the PS Vita - under performed

Cultivation Theory - video games are universally violent, and violence is presented as the only way of solving things, audience becomes desensitised to it, negative theory

End of Audience Theory - audience interacts with the product, e.g. 'Pony's Creed Sisterhood', recreation of an Assassins Creed trailer

COMPONENT 2

MAGAZINES

WOMAN

23rd-29th AUGUST 1964
PUBLISHED WEEKLY BY IPC
7 OLD PENNIES (about 80p)
CIRCULATION OF 12 MILLION (in 1960's)
REGULATED BY IPSO

FRONT COVER

• sans-serif, feminine font - attracts women to the magazine, handwritten looks personal and friendly 
• model looks about 35 - mature readership 
• 7p in 1964, font is larger than other writing = about 80p now - cheap magazine, doesn't exclude any women, stands out so people know it's affordable 
• floral dress - feminine and traditional, not inspiring them to branch out, reinforces hegemonic rules about how women should dress 
• Alfred Hitchcock was one of the most influential filmmakers - readers will believe him, audience may feel proud of themselves
• "FOR YOUR KITCHEN" - ideology that the kitchen is a woman's priority, audience assumes she is a stay at home wife
• lilac background - feminine, appealing to women
• "Every Wednesday" - maintains their readership
• "LINGERIE GOES LIVELY" and "British women have a special magic" - sexualised
• white airbrushed teeth, eyes and font - connotes purity, teeth stand out, aspirational 
• short hair - practical, sensible, mature 
• model is plain and uninteresting - audience can identify as her
• delicate key lighting - women should be bright and optimistic 
• "ARE YOU AN A-LEVEL BEAUTY?" - ideology that women should wear makeup and read the magazine to become an "a-level beauty", hermeneutic code
• "YOUR KITCHEN" - direct address
• through male audiences seeing model and finding her attractive, women may aspire to look like her
• "SEVEN STAR" - even a 5 star kitchen isn't good enough, inadequate   
• not every woman will buy this - plain and boring model, uninteresting plugs, not targeted to upper and middle class 
• masthead large and bright - audience may feel empowered, "woman" includes every female (unlike "girl" or "lady")
• model looking at us - direct address, affectionate, not sexual

INSIDE

• "making the most out of bacon" - housewife role 
• everything is feminine-related - stereotypical 
• image of Jacky Kennedy - inspirational woman
• "makeup to work miracles" - assumption that women aren't attractive without it, hegemony 
• "Beauty" as a heading - rather than "health", more important what a woman looks like 
• "back to school clothes" - targeted towards mothers, reinforces the fact that children are their priority 

• "any girl can do it" - "girl" refers to a children and symbolises weakness
• "get the man in your life to do it" - reliant on men, assumption that the audience is straight
• encourages women to be creative - positive approach, stereotypically masculine 
• mode of address is formal, dry and boring - doesn't appeal to all of the audience
• "wise money-saving guide" - need to be smart with your money, women don't have a lot of money to begin with
• "your kitchen" - ownership, positive 
• image of woman teaching their son to cook - encourages men to cook, steering away from stereotypes. However, the image of a woman cooking could cultivate view that women belong in the kitchen 

• "because you're a woman" repeated - emphasizes that they are expected to do something because they're women, demanding
• (alternative reading) - women are a community, builds a target audience
• women are sexy - not in a bath or shower, can be even sexier if she uses this soap
• naked and feminine pose - sexualised, ideology that men will find them attractive if they use the product
• she is positioned above the text - model is the first thing you see, audience may aspire to be like her and go to find out what she's using
• hair up and makeup on - not what women usually look like when washing
• small font - woman is the main focus 
• "darling" - lexis could be men speaking, want to impress their husbands 
• "gentlest lather" - women are delicate 
• closed body language - not nudity for men, empowering women
• binary opposition between cleanliness and destruction

• mid shots of women looking at her makeup, whilst ignoring the man - emphasises her interest in the makeup and looking good
• putting on makeup to look good for the man - man won't stop looking at her when she has it on 
• first image she already has makeup on - patriarchal hegemony that women should always be wearing makeup
• primary goal of women is to attract a man 
• he is looking at her the same way she looks at the makeup - he likes that she's making the effort to look attractive
• "beauty at a moments notice" - shows how easy it is to put on, no excuse for women not to be wearing it 
• could argue that is empowering - she's not looking at the man, subverting stereotypical hegemonic representations of women 
• set at a train station or working environment - women is out of the house, progressive
• female is object of his gaze - Lizbet Van Zoonen

ADBUSTERS

NON PROFIT
2016
CULTURE-JAMMING
BI-MONTHLY
£10.99
PUBLISHED BY ADBUSTERS MEDIA FOUNDATION (INDEPENDENT)
120,000 READERSHIP (APRIL 2017)

FRONT COVER

• confusion is a good reaction
• "post-west" - war of the west, America 
• angry gesture and army jacket - anarchy, going against social norms of society
• could look excited - we enjoy war, criticizing our culture
• masthead covered in dirt and sand - destroying identity of magazine, focus on "post-west", vandalism, don't care what the audience thinks about them
• subverts a lot of conventions of magazines - stands out as its own identity
• front cover image isn't anchored with a caption - hermeneutic code, read it to find out
• black background - subverts conventions of consumer/lifestyle magazines
• male in camouflage jacket - not a model, not there for audience to aspire to be him, hermeneutic code 
• front cover in not fully anchored - assumes a level of understanding from the audience
• cover lacks conventions of magazines - what's inside?, genre?, designed to challenge you

INSIDE

• red logo against white draws attention
• "red soles are always in season" - lexis refers to the high-end brand but also sore feet on the child ("red soles"), dark humour
• binary opposition - brand against image, conventions of a charity advert
• makes readers feel guilty because they're spending money on expensive shoes, whilst some children don't have any, dominant reading
• lexis targeted towards middle class - more likely to own the shoes, even more guilt
• pure white background is a binary opposite to the image of poverty
• anti-consumerism ideology
• wearing the shoes gives people cultural capital 

• no language, no lexis, no anchorage
• binary opposition of image of refugees trying to escape from somewhere (colour of skin, clothes, location, facial expressions) against catwalk (clothing, location)
• we all live in the same world but everyone lives so differently, complete poverty vs absolute luxury 
• sense of helplessness and confusion
• monochrome and coloured image - emphasizes the difference 
• consumerism fills a void that people feel when they see negative images of 3rd world suffering 
• mid shot shows they're in a really small space together 

• dutch tilt - mystery, drama and romance
• "him" - personification, 
• white backgrounds - purity, cleanliness, elegance
• model has tattoos - unconventional for women
• tap has a lot of cultural capital - commodity fetishism
• "poor people" - identified as poor, stating facts to reader
• nothing to anchor the image - confusing, 2 readings, high angle shot with nothing in her hands shows weakness and vulnerability, hands wrinkly because she's had a bath, she's got enough water to have a bath
• we should appreciate water 
• binary opposition of the zucchetti tap - tap is the focus (fetish) 
• water is being glamourised and turned into a product (commodified) 
• you can almost see through the water - crystal clear compared to "pollution"

COMMODITY FETISHISM - giving significant value to an object

Adbusters has a marxist ideology (working class is exploited by ruling class, if working class is kept poor they are kept in their place)

WEBSITE 

• 'Buy Nothing Day' 
• opens up a potential audience - teenagers commonly use Twitter and Instagram, increases brand awareness
• option for readers to submit their art - interactive
• sell merchandise - something they don't offer in the magazine, expands the brand

TV

HUMANS

SCI-FI DRAMA
2015
CHANNEL 4
8 EPISODES
OFCOM
9PM

MARKETING CAMPAIGN

• viral marketing - distributed on Youtube, rather than traditional methods
• audience-led distribution - audience may share it using the hashtag
• rich in hermeneutic codes - she is a 'slave', but also a friend, invited discussion
• extremely American - cheesy, american voiceover, happy and confident
• conventions of American-style medical adverts - extremely clean MES, threatening synth gestures
• "faster than before" - suggests something went wrong with them before, hermeneutic code
• on screen graphic announces Regent Street store coming soon - real world event and marketing stunt
• returns slip on website - suggestion that something will go wrong, audience is already asking questions

REGULATION

it is getting harder to regulate tv as you can now find the programmes online - Livingstone and Lunt

kidnapping, may trigger memories, unconscious woman being dragged away, connotations of sexual assault

potentially traumatic scene, depicts prostitution, objectification of women, taboo subject man having sex with robot

bullying, rebellion against social norms, sadism

depiction of lifelessness/death, may be particularly upsetting to parents, seen as a son figure to George

aggressive scene, potentially racist undetones

black synth has been branded, connotations of slavery, alludes to holocaust 

AUTONOMY  having control over your life

HOW DOES THE BREAKFAST SCENE TARGET AND MAINTAIN ITS AUDIENCE?

• establishing shot of the nuclear family. 'Normal;, two parents, two kids. Creates an aspirational audience for the 30 something male middle class audience.
• slow pan to the mise en scene of the breakfast table, an easily identifiable scene for the middle class audience
• polysemic reading - simultaneously funny and and creepy, hinting at situations to come
• "we should throw a party for the dishwasher, it's been working for years" - confirms Anita's status as a slave and commodity - a challenging concept to be decoded by the middle class audience
• C/U of Laura's face establishes her dislike of Anita. A relatable situation for the target audience, who may debate oer weather or not to get a maid or cleaner
• high key lighting - connotations of wealth and comfort - presents a relatable situation for the middle class audience
• mise en scene of the breakfast table: "this is what breakfast is meant to be like - a chaotic family setting relatable and aspirational for the middle class audience. A hyperreal representation of middle class lifestyle
• "this is what breakfast is supposed to be like" - a low key dig at laura, and that she is failing to provide and to play the role of mother.
• mise en scene of the cups of tea, stereotypically British, specifically targeting a British audience. RELATABLE.Provides a hyperreal fantasy aspiration for the middle class audience. 
• costume - pyjamas and loungewear, apart from Anita - intertextual reference to British sitcoms, stereotypical 'waking up' scene, for example Outnumbered. Anita removes all of the negative stress

HOW IS LEO CONSTRUCTED IN CONFRONTATION SCENE?

• close up shot when threatening the man - aggressive, isn't scared of him
• dark and scruffy clothing - shows he is a 'rough and ready' protangonist
• Leo is unshaven - doesn't care what he looks like, he is on the run
• stern and blunt when he speaks
• approaches man when he is turned around and vulnerable - smart and tactical 
• doesn't stay there any longer than he needs to - always active, active protagonist

FRED'S CAPTURE

• Fred has been branded - separates him from humans, like an animal
• reference to real-life historical issues - slavery and holocaust
• gene theory repetition and difference - clearly sci-fi, but also something new
• C/U shot of fred - audience identifies with him and when his emotion changes
• fred running - action code, signifies danger
• non-diegetic music pickd up at certain points - reflects the emotions of the audience

ODI'S MALFUNCTION

• high angle mid shot of his body on ground - establishing shot of him amongst the broken glass, connotes his fragility and broken state
• shot/reverse shot of George and detective's dialogue - binary opposition shows their difference in power
• harsh, high key lighting in supermarket - binary opposition with his vulnerability

SYNTH FACTORY/OPENING CREDITS/MEETING THE HAWKINS

• low angle shot of moon from warehouse - demonstrates the importance of the moon to the iconography of the episode
• long shot of Hawkins family living room, showing various family members sprawled out on their phones - stereotypes of children/teenagers
• high angled, long shot of synths in warehouse - emphasises loneliness of their existence 
• artificial LED lighting in warehouse - connotes being unnatural, creepy
• binary opposition of lighting - artificial vs natural, themes of conflict between synths and 'real' people
• close up shots of nude male and female synths, tracking shot slows down on female bodies - assumes a heterosexual male audience, voyeurism
• when we first see Anita move, it plays techno music - as if she's been turned on, non diegetic, shows she is the protagonist and unique 
• in the opening credits, sounds are made with digital technology/synthetics - establishes key theme, intertextual reference to electronic music produced by bands like 'Daft Punk', shows some context
• montage of assorted news footage and articles in opening credits/stock footage, overlaid with digital distortion - makes it look digital, further confirming the key message of the show, what is real?
• extreme close up of eye - 'eyes are the windows to the soul' - shows that the synths have emotions, referential to 'Blade Runner' (1982)

LES REVENANTS

FRENCH SUPERNATURAL DRAMA (hybrid genre reaches wider audience)
CANAL+(2012)
CHANNEL 4 (2013)
FABRICE GOBERT

CULT TV - a tv show that has a passionate audience, invites the audience to do things with it, cult tv shows need to create their own world

MOGWAI

• glasgow megasnake
• instrumental rock band
• widens audience to pre-existing mogwai fans
• both media products have synergy
• both moody and creepy - share the same ideologes
• allows mogwai to target international audience

INITIAL ANALYSIS

• initial shot of alps - exoticism for international audiences, and popular holiday destination for french audience
• montage of coach interior - both younger and older audiences will be able to relate
• butterfly breaking free from glass - symbolic of life and death, hermenuetic code
• post-production colour grading - moody MES
• slow and understated performance
• julie watches 'the texas chainsaw massacre' - subtle reference to conventional horror film
• range of demographics of characters - targets wider audience

CAMILLE COMES HOME

• non-diegetic soundtrack - establishes creepy atmosphere 
• A range of CU shots presented in standard shot reverse shot conveys to the audience and  establishes that Camille and her mother are talking at cross purposes. This further establishes a binary opposition between the mother and daughter, creating conflicted responses for the confused audience.
• The mother climbs the stairs in a series of close up shots before knocking on the bathroom door. Her confusion and horror is immediately anchored by the sudden use of Mogwai's non-diegetic soundtrack anchors the interpretation that mother is potentially mad. This presents a confusing and potentially polysemic narrative to the intended cult audience.
• The family home setting is familiar to Camille and to the target middle class audience. However, a binary opposition is established between Camille's comfortable familiarity and her mother's absolute terror.
• Low key lighting emphasises the disconnectedness of the Seurat family. Also highly paradigmatic of the horror genre.
• OSS from Camille to the mother demonstrates Camille lit in high key lighting and her mother in low key lighting, further demonstrating the disconnect between the two previously close family members. Non of this is however made explicit to the audience, forcing them instead to form their own detailed and negotiated response
• Post production colour grading favours muted colours, which symbolically encodes the depressing and panic inducing nature of the scene for Camille's mother. Key theme is mortality and the inevitability of death. Existentialist philosophy, almost stereotypically french. The mother is horrified by her daughter's reappearance

OPENING

• use of music - reaches a crescendo at the point here the butterfly emerges from the display, demonstrating to the audience a key symbolic code, helping them to understand the complicated narrative
• Low key lighting and desaturated colour grading in the scene where Camille returns home emphasises to the audience a potential hermeneutic code, and forces the audience to negotiate their own perspective on the narrative. This enforces a polysemic reading of the text.
• Camille has more screen time on the bus, and is consistently framed in a montage of close up shots which positions the audience with the young Camille. Camille's age allows teenage audiences to invest in the complicated narrative. 
• The sudden and mysterious dip to black following the long shot of the traumatic bus accident is symbolic of not only the audience's own confusion and the show's primary theme of death and finality
• Establishing shot and the subsequent long shots of the bus establish an isolated and exotic setting for the secondary British and international audience. This emphasises the importance of Les Revenants adopting a polysemic narrative. It must mean different things to audiences of different nationalities. 
• Generically highly unconventional of the supernatural/horror genre. Lacks generic paradigms such as corpses, blood, monsters etc. It is not until much later in the narrative Camille is established to be a very unconventional 'zombie'.
• Long shot static shot of bus flying off highway is accompanied by diegetic screaming, yet no other camera movement demonstrates to the audience that the show will take an unconventional perspective on death and other grand themes.

ONLINE MEDIA

ZOELLA


RE-BRANDED TO ZOE SUGG
11MILLION SUBS
ALMOST 5MILLION SUBS ON 2ND CHANNEL
STARTED 2009
OVER 1 BILLION VIEWS
TARGET AUDIENCE IS YOUNGER TEENAGE GIRLS




YOUTUBE

• one of the biggest and most influential forms of media
• 42% of internet users have watched a vlog in the last month 
• 50% for 16-24 year olds
• ability to reach and influence a vast range of audiences, young people have more expendable income, really desirable to advertisers
• producers sell audiences

'JUNE FAVES' - JUNE 2016

• "Nala" - intertextual knowledge of Disney film, young audience, referential code
• exaggerated and expressive facial expressions - practise, like a children's TV presenter, like a character from a Disney film
• neutral, British accent - not particularly posh, no slang
• vocal delivery is undulating - up and down, appeals to younger audience, keeps the audience listening
• no swearing - stops her from being demonetised (Youtube is self-regulated) 
• frequent jump cuts - a cut from one thing to the same thing, regarded to be a mistake, increases level of authenticity 
• conforms to hegemonic standards of beauty - makeup, nice clothes 

preferred reading is to not find her sexually attractive ;

• very child-like,
• younger female target audience
• big eyes and smile makes her 'cute' instead of attractive 
• high pitched voice
• good teeth but not perfect - more relatable 

MULTIMODALITY - many forms of communication (text, images, sound, etc)

HYPERLINK -  something you click to go somewhere else

HYPERMODALITY - leads us from place to place

HYPERREALITY? (MORE REAL THAN REAL)

• she is an ideal to her target audience
• no hint of sexuality to her
• no hobbies aside from collecting clothes and market

EXPLORING IDENTITY

(Zoella vs Tanya Burr blogs)

ZOELLA

• font is sans-serif - informal, basic, young target audience
• basic lexis - "dreamy bar cart", appeals to younger audience
• no images of her drinking the alcohol - alcohol has an aesthetic function, hyperreal representation of drink, implies she does't get drunk
• "i want to live in my very own 'pinterest-goals' house" - cares about appearance
• hyperlink to Oliver Bonas website - rabbit-hole, want you to buy something
• easy to navigate - menu bar, user experience (UX)
• targets a mass audience - range of posts that could appeal to lots of people, makeup, skincare, food, fashion
• animated fairy lights at the top - cute and cosy, girly
• stereotypes of femininity - pink, fairy lights, white background
• not sexualised - no nudity, full pyjamas, childish, by herself, virginal
• high production values - harder for her target audience to relate

TANYA BURR

• serif font and less capitals - more sophisticated
• elements of sexuality - bikini photos, can see down her top, demonstrates that she is an adult and mature
• looks like a normal person - candid photos, not all staged, heterosexual women are able to identify with her, lower production values of her images
• hyperreal - chooses and constructs her photos to make her look real

'THE ZOELLA APARTMENT'
PRECISE target audience

• commodity fetishism - purpose of video is to sell the products, she is selling her brand, not the product
• wears long skirt, t-shirt and jewellery - feminine but not sexualised
• uses hyper-referentiality - beyond intertextuality, 'Poppy', her boyfriend's sister, can't understand unless you've watched lots of her videos before
• chaste - to abstain from sex, never talks about it, not part of her brand, could argue that this is a subversive representation of women, not appealing to heterosexual men
• high pitched voice - symbolises being a woman, stereotypical 
• always playing with her hair 
• direct mode of address - positions audience as her friend

REPRESENTATIONS OF FEMININITY?

high angle shot of the candle box and zoella's vocal excitement of it, is a clear example of commodity fetishism, this represents a stereotypical view that women are dumb, shallow, and easily pleased.

poppy clings to nala in a closeup shot, connoting love, affection, and maternal stereotypes.
alfie in the background functions as an appeal to the young, heterosexual, female audience

closeup, wearing makeup, reinforces hegemonic notions of female beauty.
reinforced by mise en scene of white flowers, which symbolises femininity and purity, and makes reference to the housewife archetype 

a range of different closeup shots, provides target audience with an intimate and inviting personal mode of address.
out of focus nature infers to the target demographic that Zoella is 'real' and relatable.
represents a performative element of women, in that Zoella is constructed as clumsy and unprofessional

INDUSTRY AND AUDIENCE

• we do not understand algorithms
• videos are created by artificial intelligence/computers
• algorithms calculate which videos will get the most views
• the only reason these videos are made is because they work

To what extent does Zoella use Youtube algorithms in order to manipulate her audience?

• using brands in her titles - "asos", established brand, people who are fans of asos will find her videos
• identical facial expressions in all her thumbnails - smiling to show dimples, to make herself look pretty and approachable, gets views
• uses same font - handwritten, serif, cursive, connotes being laid back and childlike, gets views
• white outline - similar to lots of other bloggers, it works
• "reacting" - very popular online videos
• uses her name in the title - associates her name with beauty, establishes brand

Zoella us not targeting an audience, but is using algorithmic practise to target a theoretical, machine fabricated audience

ATTITUDE MAGAZINE

• GAY, LIFESTYLE MAGAZINE
• OWNED BY STREAM PUBLISHING (HORIZONTALLY INTEGRATED)
• DIGITAL CIRCULATION OF 11,000, PRINT CIRCULATION 50,000
• FIRST ISSUE RELEASED 1994
• WEBSITE LAUNCH 2014

HOW ARE GAY MEN REPRESENTED?

• conforms to stereotype that they are vain - lots of articles about self-care and appearance, article about "muscle definition" instead of inner strength, focus on aesthetics  
• vulnerability - references to the 'coming out' narrative
• hyper-sexualised - beyond sexualisation, models posed in a way to anchor the image to be about sex, big focus on openness and 'out there' sexualisation...
• ...however, the magazine and website have a clear target audience, and may be hidden from a general audience
• article on gay rugby team focuses on team's body image as opposed to their sporting abilities 
• extravagant and exotic lifestyles - advertises luxury holidays, "Thailand's best spots"
• proud of their sexuality - important as it gives the audience confidence, used to be illegal
• models all stereotypically attractive - singular representation, all have the same aesthetic, cultivates the idea that all gay men should look like that

Attitude represents a singular, stereotypical and reductive representation of masculinity. It adopts feminine stereotypes that we should always look good and aspire to look like the people in these magazines.

• binary opposition between masculine clothing and painted nails - confusing
• unzipped jumpsuit - symbolic code of sex, proairetic code, what is going on underneath?
• 70's gay stereotype moustache 
• makeup is messy - subverts stereotypes of what makeup should look like, challenges both male and female hegemonic norms
• hot pink headers - connotes femininity, sexuality and boldness
• hand on hip with shocked expression - camp and over exaggerated, polysemic as he also looks angry 
• black background - subverts conventions of magazines, symbolic code of aggression 
• "masculinity" - bold, san serif
• "is butch better?" - audience may question if they should be more butch
• magazine and online have a synergistic relationship - one does something that the other can't
• deliberately confusing - conforms to and subverts masculine stereotypes simultaneously, army jumpsuit and nail varnish, thick arm hair and well groomed hair, makeup and moustache
• sell lines reinforce a sense of acceptance - "kicked our ass", reference to being gay, "our" gives a sense of community

Stuart Hall 

• media and the power of media representations play an important role in defining the ideological thinking of audiences regarding specific social groups
• stereotypes affect the way people see the world and treat different people.
• stereotypes occur when there are inequalities of power, as subordinate groups are constructed as 'other'.

Stream also publish customer magazines. They recently bought a luxury gay lifestyle magazine, Winq, which is a form of horizontal integration, which reduces their competition.

WEBSITE LAUNCH - JAN 2014

• started very recently because it was not certain it would be successful
• another way to make money, more space for advertising
• ideology of the website differs from the magazine as the magazine is quite classy, it is targeted more towards the "professional" gay audience 
• the website targets the working class, which allows them to reach a secondary target audience
• they are not in competition, they have synergy, they do things that the other one cant do