attitude uses a singular, stereotypical representation to create a standardised product

• talks about LGBT rights
• "first Asian place to legalise same-sex marriage" 
• presents Taiwan from an international perspective
• Paul Gilroy - presents a hierarchy, reinforces idea that Taiwan is the superior asian country
• image has very low production values - screenshot from Asian news channel, very basic website, assumes that the audience are mass market
• very little copy - rest of page is filled with other articles and adverts 

• put advert in attitude because their audience has the 'pink pound' 
• clearly depicts 2 gay men 
• advert reinforces gay stereotypes - both stereotypically attractive
• "everyone can take on the world" - inclusive, a place where you can be yourself

the website and magazine have different target audiences 
the online site only exists to make money and promote the magazine
the website was only recently launched, showing that it wasn't important to them

• word "attack" connotes war, meaning there is 2 sides - creates a binary opposition between right wing and left wing policies

the times is vertically and horizontally integrated

they are also multimedia integrated

TV

camille coming home

• character introduced by establishing montage of french alps 
• low-key natural lighting emphasises supernatural genre (not an explicit reference, making it subversive)
• MES of middle class home e.g. photos on walls and suburban exterior- easily comparable to hawkins 
• julie lives a stereotypically working class home
• diegetic knock on door, tracking shot follows mum out onto lowkey lit hallway, see hands gripping onto fridge - convention of horror genre
• reaction shot of mum looking at camille's hands 
• hear a low drone sound
• cuts to long shot of kitchen/living room - binary opposition as they are on different sides of the screen, life and death, reinforces middle class
• 2 simultaneous genres - reaction and soundtrack are horror, camille eating sandwich is teen drama, contrapuntal sound does not match up with what is being shown, unsettling 
• tracking shot walking down corridor positions audience with mum, camille asks to get her bathrobe, soundtrack speeds up (like heartbeat) and emphasises mother's stressful emotion, psychological horror as audience shares the same emotions as mum 
• scene reinforces hegemonic, middle class norms - whole cast is white

julie stalked by victor

• works as a carer - stereotypically female, MES of baggy clothes subverts this
• long shot of julie sitting at bus stop - isolation and lowkey lighting is horror, audience relates to situation, MES of rains connotes misery and isolation (understand her character) 
• victor slowly walks up to bus stop - he is abject (he doesn't below there), repeated soundtrack connotes coming back to life 
• cuts to simon at the pub - appeals to younger female audience
• frequently cuts from narrative to narrative - establishes a number of character arcs 
• cuts back to another binary opposition - opposite to camille, julie getting off bus
• producers make it clear she is working class - walks through rough areas
• lowkey lighting in her flat
• shot of victor standing in garden - her calm response is subversive, shows she is level-headed, lots of characters to identify with 
• clothes are stereotypically masculine and nerdy - subverts feminine stereotypes
• close up of holding hands positions audience with julie - preferred reading is that we find him creepy, maternal, proairetic code suggests that she will look after him, very unconventional 

the show is exotic for british audience - all stereotypically french and attractive, french alps

simon and lena walking 

• for younger, female target audience
• dead and alive - paranormal romance as lena fancies simon 
• window symbolises barrier between life and death - stereotypical symbolic code
• simon knocks on door - adele reacts by screaming and crying, she is middle aged which provides the audience which relates to her with gratification, as younger man wants to be with her

teenage sex scene

• both shows end on a closing montage which sums up the key scenes, characters and themes
• explains that is it 4 years later
• high-key lighting suggests this was when things were good
• deliberately uncomfortable - whispering 
• relatable for younger, teenage audience
• cross cutting between scenes - shows that the scenes are happening at the same time and makes it clear that they are different people 
• hot and cold lighting - sex scene is red, bus scene is blue
• cut to black is symbolic of death
• 'le petit mort' - link between sex and death, camille gets up and starts screaming because she also feels it, it causes her to die
• leaves the audience with lots of questions so they continue to watch 

high production values - funded by french alps tourism 

• establishing shot of warehouse
• diegetic guitar, soft sound, binary opposition with gun shot 
• mes ofpolice car and fire
• lots of young dancers in background - mes of school clithes

THIS IS AMERICA

• cinematography - tracking shot emphasises his celebrity status, but costume subverts this, as it is stereotypically working class
• editing - long pauses with no action allows audience to consider the extremity of the situation being discussed 
• use of black humour creates binary opposition, heightening the importance of the message
• conventions - dancing, loose narrative, establishing shot
• choreographed dancing troupes and gospel choir - reinforces positive stereotypes of black people
• sound, music, genre - gospel introduction uses highly stereotypical and positive representation 
• shallow depth of field shot with CG in background - looks scary, out of focus
• constructs a stereotypical representation of black on black gang violence - confidently swaggers towards camera before casually murdering man with bag on head, symbolic of gang violence
• reinforces both commonly held stereotypes of young, black people and draws attention towards this issue in america
• intertextual reference to gangster/crime film - MES of sack, gun, ropes and chair
• repetition police car is a symbolic code, referencial code of police brutality
• setting is empty and bare, aircraft hanger/warehouse - symbolic of black people's situation as "other", forced into rougher situations, confirms gilroy's theory that black people are represented lower in hierarchy
• hair is messy, overgrown, loose afro - stereotypically black and subversive of celeb status
• long take, only 5 or 6 cuts in the entire video - allows the video to flow from one issue to another, forces the audience to confront the violence so they become desensitised to it as the video goes on, 'life goes on'
• preferred reading - disgusted by violence, and newly aware of significant issue facing america 
• oppositional reading - might see video as racist and irresponsible, promoting black stereotypes
• MES of school uniform - issue of violence amongst black teenagers
• highly unconventional narrative that subverts/ignores todorov's theory 
• instrumentation - electronic subbase is symbolic of threat and agression - shift from gospel to rap/electronic synth, rap connotes violence and inequality 

gender performativity

gender performance - the notion of performing the characteristics commonly associated with a gender 

for butler, gender is not constructed from the moment of birth, but is something that is learnt and reinforced

sex and gender are different things; you are born a sex, but gender is constructed 

gender performativity - how the world reacts to your performance of gender

often disagreed with by religious groups and people with right-wing beliefs

• Hitchcock's name is presented in a much larger font, reinforcing patriarchal hegemony - cultivates ideological perspective that men are more important and powerful, John Berger (men act, women appear)
• images of hitchcock look stern and aggressive, which is a binary opposition with the kind and unthreatening facial expression of his wife - constructs a message of conformity and hegemonic roles within a relationship
• "like snow-capped volcanoes" - objectification of women, adds a patriarchal expectation that women should appear prim and proper, yet be sexually active, the 'Madonna and Whore' complex is cultivated and reinforced through media and religion
• a singular and restrictive representation of women is presented in order to construct a target audience (they are making the type of women that they are selling the magazine to); it is a deeply heteronormative representation, motivated by financial reasons 

intra-diegetic gaze - joe is looking at anita in a way that reinforces here sexuality (like the male gaze)

matty challenges gender stereotypes, as she is a tomboy and likes violence, this reflects the socio-historical context of the show 

revision questions

advertising

tide  wateraid  kiss of the vampire

how does media language create meanings/multiple meanings?

• red lexis, costume and details is a symbolic code (roland barthes) of love, which is used to sell the product, however, the red also connotes sexuality, which is highly hegemonic of the time period, therefore it also creates the meaning that women are there to be sexualised 
• z-line creates a narrative to sell the product - title of the product to more information to large image of housewife character to showing the audience how to use the product 
• hearts above housewife character anchor the audience to believe she is in love with the product - cultivates (gerbner) the idea that women love to do the washing
• "you women" is direct mode of address which creates a community, positive message to women who all had to stay at home, however, it could also be seen as patronising because they want to sell the product, reflects the patriarchal society 
• mes of makeup reflects ideology that women should wear makeup all the time, as the housewife is even wearing it whilst doing the washing, patriarchal hegemony 
• repeated iconography of housewife character - enforces the idea that it is a woman's job to do the housework, conforms to stereotypes
• white background connotes purity and innocence - polysemic because it refers to the purity of the washing and women
• symbolic code of water (roland barthes) suggests hope, which is anchored by the sun shining on to it - puts a positive outlook onto the advert
• binary opposition (levi strauss) between rainy day in england and hot african location - mes of rain and diegetic radio is relatable for the british audience, establishing shot of zambia positions the audience into the narrative
• sound effects of grasshoppers and feet stepping onto dry ground is used to help the audience understand their situation
• slow motion shot of children playing is an atypical genre convention as it bring joy to the advert, instead of trying to guilt trip the audience
• slow motion shot of water emphasises its importance to the audience, which may convince them to donate
• extreme close up of claudia positions the audience with her, this may make them feel sorry for her and want to help 
• on screen statistics show that 650 million people suffer from lack of water, shows that they need their help (genre paradigm), left to end of the advert so that it gives the audience time to get invested into the advert
• the MES of the moon and the fog are hermeneutic codes, as they create mystery and tell the audience that something bad is going to happen 
• red connotes love, passion, and blood, these are common traits of the vampire archetype, seductive predators, anchored by title
• sharp and pointed font symbolises danger 

genre conventions? how do they work? 

• repeated iconography creates a brand image, audience will refer the housewife character to the product 
• housewife wears makeup - inspirational to the target audience, convinces them that if they buy the product they can also look like that
• direct mode of address - "you women" creates a community, audience will continue buying the product in order to stay in community , especially important in socio-historical context as they often stayed at home
• uses lexis such as "world's whitest" and "world's cleanest" - makes the audience look stupid if they were to buy any other product, hyperboles 
• z-line creates a narrative to show the audience how to use the product and what makes it special - highly conventional as this is what will sell the product 
• statistics make it obvious to the audience how bad the problem is, very conventional paradigm
• audience is positioned into the world of the narrative through the use of diegetic sounds and establishing shots - allows them to understand the problem more, more likely to donate
• atypical genre convention is using positivity, as audiences have become desensitised to melancholy ads - slow motion shot of kids running, diegetic singing connotes positivity and happiness (opposed to the NSPCC 'open your eyes' 2000 advert that featured children using direct mode of address to beg the audience for donations)
• traditional character archetype of a vampire, fangs and costume - audience instantly knows what genre the film is, steve neal genre theory states that this makes it easier for producer to target a specific audience 
• 'damsel in distress' character archetype - on of the women is passed out in the vampire's arms, proairetic code as it suggests that she is in trouble, this code is used to sell the film
• MES contains a lot of classic genre paradigms - bats, storm, full moon, blood - instantly recognisable, producers know that this iconography works 
• z-line of title, main characters, cast list - informs the audience with what they need to know

intertextuality?

• the housewife character was well-known in households - cultivates the idea that women were to do the washing, reflects the ideology of the producer 

ideology of the producer?

• cultivation theory of female housewife character - conforms to patriarchal hegemony that women should stay at home, very traditional, doesn't inspire women
• housewife character wears makeup in every image - ideology that women should wear makeup wherever they are, usually to impress men, sexualises women, very stereotypical, however this could been seen as a positive aspirational message to women (gauntlet's theory of identity)
• the tide advert conforms to stereotypical patriachal hegemonic norms to sell their product
• red details in the MES connotes the idea of sexuality - tells the female audience that they are sexual objects for their husbands , not progressive
• women wearing light, pink dresses, with legs and chests on show - supports male gaze theory, ideology that women are sexual objects and are there for the straight male audience
• light clothes also symbolise weakness and femininity - reinforces stereotypical representations that women are the weaker sex
• passed out women is presented as the stereotypical 'damsel in distress', and she is supported by a male character - reflects ideology that women are dependant on men 
• all characters are white, which was very common in 1960's as people of colour were not accepted, this ensures that the film is successful and reflects the straightforward ideology of the producer 

how have issues/events/people been represented through media language? what does it tell you about the ideology of the producer?

• women are represented as domestic and uneducated - housewife character hugging the washing powder creates meaning that they enjoy to do the washing and wouldnt want to be doing anything else, anchored by the hearts, this reflects the ideology of the producer that is a woman's job to stay at home
• red connotes sexuality and represents women as sexual beings - red in prominent colour in the advert which enforces its importance and meaning, this ideology is anchored by makeup as that is another stereotypical element of sexuality
• no representations of men in the advert emphasises the difference between the roles of men and women, shows that men should have no part in doing the housework (producer's ideology)
• highly stereotypical representations that fully reflects the socio-historical context of the advert and conform to patriarchal hegemonic norms
• women are represented as strong and independent - claudia is the protagonist in the advert
• singing as a group suggests that they are a community and don't rely on anyone but themselves 
• however, the close up shots of claudia could represent vulnerability becuase the audience is so close to her
• women represented as the weaker sex through the MES of the costume and 'damsel in distress' character archetype - light, pink dresses connote weakness and vulnerability, her weak gesture anchors this representation 
• woman are also sexualised for the gratification of the straight, male audience - they are stereotypically attractive, wear makeup and reinforce hegemonic expectations of women 

how does this product attract/construct its target audience?

• housewife character is aspirational but still achievable - she still wears makeup but also looks familiar - this offers a hermenuetic code (RB) of how do i become her? which attracts the target audience
• "you women" direct address constructs a community for the audience of this advert, attracts the target audience as they often stayed at home and didnt have their own community
• first shot is of a stereotypical british household with radio and rain - very relatable for the target audience, positions them into the narrative
• binary opposition between opening shot and establishing shot of zambia emphasises that this advert is aimed for a british audience as they are made to compare their situatio
• positive themes make it an easier watch which is more appealing to the audience
• all white cast attracts the white target audience as this was seen as normal at the time, any other characters would've been seen as too subversive
• stereotypical genre paradigms attracts fans of the horror genre as it is instantly recognisable, steave neale genre theory - traditional iconography
• use of sexualised female characters attracts the heterosexual male audience - male gaze theory sells the film to this audience
• the use of proairetic and hermeneutic codes suggests the film is exciting 

how can the audience use this media product?

• community is a positive message amongst the patriarchal society
• aspirational purposes - wears makeup, slim, glamorises housework, may give negative reading as it cultivates the idea that women should always wear makeup in order to impress men
• z-line narrative shows the audience how they can use the product, gives structure to the advert
• "worlds whitest" tells the audience that they would be stupid not to buy the product
• end of the advert tells the exactly how to donate - on screen graphics tell you to text "sunny" , definitive interaction, lexis connotes a utopia, makes the audience feel good after donation
• extreme close up of claudia positions the audience like they know her and want to help her
• positive outlook on the situation can offer audience gratification if they have already donated or are planning to donate, as they can see the benefits they are providing 
• the sexualised female characters offers the straight, male audience gratification through the 'male gaze' theory 

music videos 

formation riptide

how does media language combine to create meaning/multiple meanings?

genre conventions? how do they work?

intertextuality?

ideology of the producer?

....

newspapers 

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film industry 

i,daniel blake    straight outta compton 

produced? distributed? circulated?

• produced by a number of independent companies, including sixteen films and BBC films - received grants (BFI) to help them produce, export and distribute the film
• distributed by eone films (UK) and Le Pacte (France)
• smaller circulation as it is an indie film - shown in cinemas and available to buy and download (thanks to recent digital technologies such as netflix)
• produced by legendary pictures -huge budget of $50 million - part of a major, vertically integrated conglomerate, 
• distributed by universal pictures - owned by NBC universal 
• made over $200 million 

who owns it?

• independent company, so not vertically or horizontally integrated - this means there is less pressure for it to be a huge financial success
• directed by ken loach - known for his social-realism films, focus on sending a message rather than making a vast profit 
• owned by a vertically integrated conglomerate - meaning its priority is power and profit (currant and seaton) - this leads to a lack of creativity in order to ensure financial success

economic factors?

• smaller budget of £15.8 million, as it is just an indie film, and received grants from BFI - this means there is a lot less pressure to make a huge profit...
• ....themes of the film are a lot more controversial, which demonstrates how the film was not shaped by financial success
• made as a not-for-profit - purpose was to spread a political message - hard-hitting and a hard watch 
• huge budget of $50 million gives it huge pressure to be financially successful - these major films are not made to send a message, purely made for profit
• story about N.W.A ensures a pre-existing audience and the genre of hip-hop (e.g. notorious 2009) helps to ensure financial success
• star appeal through use of members names, rather than actors

regulation? digital technologies?

• films regulated by BBFC (british board of film classification) - rated a 15
• livingstone and lunt argue that regulation is becoming less and less effective due to advances in digital technology - this is true within the film industry due to advances in digital technologies...
• ...sites such as netflix are easily accessible and are not regulated
• ...it is easy to lie about age online  
• also regulated by BBFC and also ineffective

local and global audience?

• winner of palme d'or is shown at the beginning of the trailer, on the poster and throughout other advertising campaigns - this is a prestigious award to win, therefore, attracts a global audience
• main actor is a well-known british comedian which appeals to local, british audience - may be a fan of the actor 
• distributed by a variety of companies (eone and le pacte) means it can reach a wider audience in different countries  
• global audience through basing it on N.W.A - using their global success to ensure global success of the film - their names are used on the poster and trailer to emphasise this
• by distributing it from universal pictures, it helps to reach a global audience - the fact they are part of a conglomerate makes this much easier
• less of a pressure to appeal to local audience as they are trying to make as much money as possible 

radio

produced? distributed? circulated?

• produced by BBC radio 4, presented by Lauren Laverne 
• distributed on BBC radio 4/BBC sounds, 11pm thursday (graveyard slot)
• circulation of ??

how have technological changes in this industry effected production/distribution/circulation?

• distributed on bbc sounds - an app which allows audience to listen to the podcast wherever they are, increases accessibility 
• app offers better UX - can skip to certain parts, thumbnails make it look more appealing, can listen to it anywhere (even without wifi), suitable for audience with busy lifestyle
• social media - use of #LNWH makes it easy to talk about the show, options to share the podcast, increases circulation and awareness

has it been effected by economic factors?

• owned by BBC, which is a public service broadcaster, meaning they have a remit to appeal to all audiences, it has plurality 
• public pays a license fee, allowing the BBC to run entirely on this without ads
• LNWH was not made for profit, instead it was made to appeal to a middle-class/ middle-aged audience, in order to fulfil its duties as a PSB
• targets this audience through sophisticated lexis, relatable topics such as "favourite winter mug", paints a utopia e.g. makes being evicted sound like an adventure, looks down on working/lower class, " i knew my marriage was over when we bought an ikea wardrobe"

How does it attract/target its audience?

• sophisticated lexis such as "democratisation" requires existing knowledge excludes working/lower class audiences and targets middle class
• hosted by lauren laverne, who is a well known figure for mature audience - she is 41 years old, so relatable, and is known for a variety of things, such as acting, singing and modelling, this is highlighted in the thumbnail
• relatable for middle class - "favourite winter mug", "20 books", "square scarves" 

how is technology used to maximise audience consumption?

• available to listen to on BBC sounds, either online or using the app - makes it portable and easy to access anywhere 
• the ability to play it back whenever, and not having to listen to it live makes it possible for people with busy lifestyles - very appealing feature
• app offers a better UX e.g. thumbnails, downlaods - more likely they will come back to listen again 

how can audience interact with this product?

• #LNWH on twitter makes it easy for audience to interact whilst listening - however, as the target audience are older and middle class, this feature is not used very often 
• offers audience social gratification - podcast offers discussions and debates, gives audience something to talk about with others who listened
• may offer cultural capital by listening to it 

video games