Tide:
Historical context: The post-WWII consumer boom of the 1950s included the rapid development of new technologies for the home, designed to make domestic chores easier. Vacuum cleaners, fridge-freezers, microwave ovens and washing machines all become desirable products for the 1950s consumer. Products linked to these new technologies also developed during this time, for example, washing powder.
Cultural context: Print adverts from the 1950s conventionally used more copy than we’re used to seeing today. Consumer culture was in its early stages of development and, with so many ‘new’ brands and products entering markets, potential customers typically needed more information about them than a modern audience, more used to advertising marketing and branding, might need. Conventions of print-based advertising are still recognisable in this text however, as detailed below.
Audience- Social context:Despite women having seen their roles in society change during the War (where they were needed in medical, military support and other roles outside of the home) domestic products of the 1950s continued to be aimed at female audiences. The likely target audience of increasingly affluent lower-middle class women were, at this point in the 1950s, being appealed to because of their supposed need for innovative domestic technologies and products. The increasing popularity during the 1950s of supermarkets stocking a wider range of products led to an increased focus by corporations on brands and their unique selling points.
Consider how industries target audiences, and how audiences interpret and use the media: The likely audience demographic is constructed through the advert’s use of women with whom they might personally identify (Uses and Gratifications Theory). These young women are likely to be newly married and with young families (clothing belonging to men and children on the washing line creates these connotations). The endorsement from Good Housekeeping Magazine makes them an Opinion Leader for the target audience, reinforcing the repeated assertion that Tide is the market-leading product.
Consider theoretical perspectives:
Reception theory – Stuart Hall- The indirect mode of address made by the woman in the main image connotes that her relationship with the product is of prime importance (Tide has what she wants). This, according to Hall, is the dominant or hegemonic encoding of the advert’s primary message that should be received by “you women.” The direct mode of address of the images in the top right and bottom left-hand corner link to the imperative “Remember!” and the use of personal pronouns (“your wash”, “you can buy”).
Cultivation theory – George Gerbner- Advertising developed significantly during the 1950s and this theory, developed by Gerbner in the early 1970s, explains some of the ways in which audiences may be influenced by media texts such as adverts. The Tide advert aims to cultivate the ideas that: this is the brand leader; nothing else washes to the same standard as Tide; it’s a desirable product for its female audience; and its “miracle suds” are an innovation for the domestic washing market. Gerbner’s theory would argue that the repetition of these key messages causes audiences to increasingly align their own ideologies with them (in this case positively, creating a product that “goes into more American homes than any other washday product”).
Water Aid:
The charity Water Aid was established in 1981 as a response to a United Nations campaign for clean water, sanitation and water hygiene education. It now works with organisations in 37 African, Asian and Central American countries plus the Pacific region. Since 1991 its patron has been Prince Charles. Created by Atomic London in October 2016, this advert (titled Rain For Good) stars 16 year-old Zambian student Claudia and aims to show how communities benefit from clean water by depicting everyday chores such as farming and laundry.
Social/cultural context: In December 2016, this advert had been viewed about 47 000 times on Water Aid’s YouTube channel and this page also actively encourages the sharing of the advert through social networks. Further evidence that the likely target audience are literate with technology is that donations are encouraged through the imperative “Text SUNNY to 70555” and the use on the YouTube page of a twitter hashtag (#ShareSunshine). The advert’s cover of Zoe’s 1990 song Sunshine On A Rainy Day could indicate that the target audience are in their 30s–40s as they’re likely to remember the original and get pleasure from the nostalgic value of hearing a song with which they’re familiar.
Consider how industries target audiences, and how audiences interpret and use the media: The likely audience demographic is constructed through the advert’s use of a young woman with whom they might personally identify (Uses and Gratifications Theory). Parents might make similar readings, identifying empathetically with the ‘better life’ that Water Aid’s clean water provides for the
children represented in the advert. Water Aid acts as an Opinion Leader for the target audience who would assume the “650 million people...” statistic (01.14) is true and reliable. The unconventionally positive visual codes, audio codes and representations would, the producers hope, give the advert
unique selling points compared to other charity appeals and therefore make the audience more likely to donate.
Consider theoretical perspectives:
Reception theory – Stuart Hall- The use of handheld camera shots and indirect mode of address made by Claudia connote that the audience is following her story, but Water Aid rather than she herself
have constructed this narrative for us. This, according to Hall, is the dominant or hegemonic encoding created by Water Aid. The fact that she’s named creates the preferred reading that she is a real person and that the audience should invest in her narrative, sharing Water Aid’s ideologies.
Cultivation theory – George Gerbner- This theory might suggest that audiences have become used to the conventions of this sub-genre of advertising and perhaps somewhat ‘immune’ to pleading, earnest non-diegetic voiceovers by well-known voices and black and white, slow-motion, emotive
representations of people suffering.
The target audience’s likely liberal political perspectives will have been shaped by exposure to previous, generically similar adverts, shaping their world view that the suffering of people less fortunate than themselves can be alleviated by charitable donations.
Film (Including film marketing)- I, Daniel Blake + Straight Outta Compton:
I, Daniel Blake:
Social/cultural context: I, Daniel Blake is an independent social realist film directed by renowned filmmaker Ken Loach. I, Daniel Blake was exhibited at many film festivals, won the Palme d’Or at Cannes, and was nominated for many awards including several BAFTAs. I, Daniel Blake addresses contemporary British social issues such as poverty, the welfare system and the Work Capability Assessment. The film portrays a group of traditionally underrepresented characters in Newcastle struggling in poverty to gain benefits and support. I, Daniel Blake conveys a clear left-wingpolitical message and criticises specific government policies. Consideration of the wider economic context and concept of “austerity” might be useful in exploring how changes to benefit policy had been justified.
Economic factors including funding are extremely significant to this independent British co-production. The funding bodies are the BFI (through National Lottery Funding) and the BBC.
Consider the ways in which this film is funded differently from many mainstream films, exploring Public Service Broadcasting and the respective remits of the BBC and the BFI. Discuss why vast financial profits might be less important for practitioners working in this genre of film.
Where and how are films and their marketing most likely to be consumed by audiences?
How has this consumption changed/been impacted by the ubiquity of online and social media?
Are audiences now more likely to seek out marketing (e.g. new trailers) online as active consumers?
How does this impact the relationship between audience and product?
The I, Daniel Blake website includes links to social media and the trailer offers a hashtag (#idanielblake) suggesting links with Twitter, but it is worth considering the ways in which the
marketing might be more likely to be consumed in more traditional ways. Might an assumed
older audience be more likely to see the trailer at the cinema and less likely to search for it
on the internet? Consider how the film was marketed more traditionally (poster campaign,
trailer in cinemas etc.) as well as online. The film was exhibited at various film festivals and received a theatrical release in Britain and various other countries (including France, Spain, Brazil and Japan – although not in the USA). It was later released on digital download and DVD/Blu-ray.
Consider the extent to which I, Daniel Blake can be described as a mainstream product. Loach is
a well- known and successful figure in the UK and Europe but is his work mainstream? Does the
fact he is challenging governmental policy mean he is also challenging mainstream opinions? It might also be interesting to consider whether there exists a pre-sold audience of Loach fans who are eager to watch his films and the extent to which this gives him license to make films that might not otherwise secure finance.
Consider how media organisations maintain, including through marketing, varietiesof audiences nationally and globally: The marketing materials establish the status and reputation of film – positive critical comments on the poster, reference to the Palme d’Or award in the trailer etc.
There are specific and distinct potential audiences that the film is attempting to target through its marketing: The trailer references the BBC, BFI and the Palme d’Or. Discuss the extent to which these
references suggest an assumed education and level of media literacy in the target audience. The trailer explores specific governmental policy which also may suggest audiences will have an awareness of political and social issues in the UK. The only specific “star” identified in the trailer using intertitles is the director Ken Loach. Loach’s work whilst having broad appeal sits firmly within the niche of
social realism and candidates may discuss the extent to which the fans of his work are pre-sold based on his name alone.
Consider theoretical perspectives:
Power and media industries – Curran and Seaton Consider the extent to which the trailer is a
challenge to ideas set out by Curran and Seaton. The trailer seems to offer an experience that sits outside the logic of profit and power and may arguably also demonstrate a level of variety and creativity that does not reflect Curran and Seaton’s ideas about the impact of media concentration.
Candidates might also consider whether the trailer is able to offer a more adventurous production due to socially diverse patterns of ownership or (as above) Loach’s own pre-sold audience.
Straight Outta Compton:
Straight Outta Compton is a biographical film directed by F. Gary Gray depicting the rap group N.W.As rise and fall in the troubled and dangerous society. The trailer was produced by Legendary Pictures and distributed by Universal Pictures. The film was both a commercial and critical success. It made over $200 million. It became the highest grossing music biopic of all time and was nominated for an Oscar for Best original Screenplay. The film made use of digital marketing opportunities. in August 2015 Beats by Dre launched a campaign to promote the film. People were encouraged to promote their own town as 'everyone is straight outta somewhere', by creating custom memes. The company also created a special edition of the wireless headphones. The #straightouttacompton campaign was the biggest social media campaign of 2015 across all platforms with 11 million website visits, 300 thousand Twitter posts, seven million unique visits and eight million downloads.
Interestingly, the names of the stars themselves, not the actors who played them, are billed. This would appeal to the older fans of N.W.A. However, younger iconic cultural significance of Ice Cube and Dr Dre within the Hip-hop story. The characters in the trailer are constructed in such a way as to encourage a young audience to identify with the way in which they are misunderstood by society, as is shown in the film. The selection of visual codes of clothing and expression in the trailer place the film within the sub-genre of music biopic. The selection of dramatic shots of action within the trailer, to highlight the narrative, appeal to the audience and suggest the production values of the film. Audio codes including a voice-over establishing aspects of the narrative. The voice-over also establishes continuity between the scenes chosen for the trailer and gives promises of pleasure to the audience. There are also sound effects, including police sirens, suggesting tensions with authority and the recognisable sound of hip-hop music.
The films potential target audience consists of fans of the gangster/rap genre, including the American and global audience. This music genre has a well-established fan base, which can be maintained through the well-managed marketing of the film. In addition to the fans of the music, the film aims to appeal to a broader audience. Some of the trailers have been constructed to include discussion of the band and the music, reinforcing the iconic nature of the artists and their star persona. Fans of N.W.A, these may be an older audience who relate to the period of time when the band were at their height. An audience who may be attracted by the hype surrounding the film and and want to see it out of curiosity. Fans or those interested in the star appeal of Ice cube and Dr Dre and how they have been represented in this film. And finally young people who may relate to the 'real characters' and situations in the film, including the misrepresentation or urban youth.
Historical context: as film is set in the 1980s it gives a view of life at the time and links to historical important events related to racial tension
Social and cultural context: the film deals with how a specific social group is represented and how this is indicative of the cultural mood of the time in this part of America. The N.W.A were significant in terms of cultural change in that they became successful artists who broke out of the social restrictions or their communities, offering a positive representation of ethnicity. However, thry have also been criticised for the misogynistic context of their lyrics and the controversial themes dealt with in the music
this film has a very low risk for the producers. The musicians from N.W.A. are successful in their own right and offer a pre-sold audience for the product and the genre of musical biopic is familiar to audiences.
Newspapers- Daily Mirror + The Times- To finish at a later date
Radio: Late night womans hour
Industry-
Late Night Woman’s Hour is broadcast once a month, late at night, is presented by Lauren Laverne and features a number of female panellists. Each episode focuses on a particular theme relevant to its female audience e.g. ‘home’ and ‘forgiveness’. Woman’s Hour was first broadcast in the 1940s, so
it worth considering the historical and social shifts that have occurred since the show’s inception. The
original show reflects possible tokenism (a show set aside for women might imply all other radio content was oriented towards men). Late Night Women’s Hour features frank and open discussion, and demonstrates societal shifts and increased gender equality although some of the issues raised reflect the fact that society is not yet completely equal.
Consider the specialised and institutionalised nature of media production and the significance of economic factors to media industries and their products: Explore issues relating to Public Service
Broadcasting and consider the extent to which Late Night Women’s Hour meets the BBC remit
to inform, educate and entertain. Consider whether the broadcast is typical of products created for the BBC and explore the hallmarks of productions made for this institution. Consider the significance of license fee funding and compare this to the financial considerations of commercial radio e.g. would this broadcast be too “niche” for commercial radio? The broadcast has only female contributors, is made up predominantly of unadorned dialogue (without music, sound effects etc.) and the topic is explored using intellectual and specialised vocabulary. Learners might discuss why purely commercial institutions would be less likely to produce similar products.
Consider recent technological change and media production, distribution and circulation and the
impact of digitally convergent media platforms: The broadcast offers a number of ways to explore recent changes to the radio industry in relation to digital technology such as the profound changes that have been brought about by switching from analogue FM radio to digital audio broadcasting (DAB). Late Night Woman’s Hour has an 11 p.m. broadcast timeslot. Consider how this slot might limit audience share prior to DAB. Audiences can now listen on devices other than radios and download podcasts to enjoy at their leisure which means the time a broadcast airs live might be less significant. It might also be argued that DAB technology affords broadcasters more freedom. The
late night slot (after the watershed) allows broadcasters freedom to make challenging or controversial content in the knowledge that it can still reach audiences.
Consider how media producers maintain varieties of audiences: Lauren Laverne is an interesting host for a Radio 4 broadcast. She is more readily associated with alternative music (both from her career as a musician and her links with Radio 6 and BBC music festival coverage) than with Radio 4.consider the ways in which she might appeal to a wider range of listeners. Laverne’s relative youth and reputation for being outspoken and irreverent might be seen as a deliberate attempt to court the relative controversy (at least in comparison to other Radio 4 content) surrounding some use of bad language and the content in some episodes of this show. Laverne’s credentials also extend to being a published author. Consider the extent to which Late Night Woman’s Hour has been designed specifically to suit Laverne’s persona rather than being a broadcast she has been asked to present. Some other radio presenters (often white males) have carried a status that means their personalities dominate broadcasts (Chris Evans.); might Laverne be considered in the same way?
Consider theoretical approaches: Power and media industries - Curran and Seaton
It could be argued that Late Night Woman’s Hour challenges the idea that media is controlled by a small number of companies driven by the logic of profit and power.Whilst the BBC is inarguably a large, significant company, the nature of PSB (discussed above)and the content of the broadcast seem to be at odds with the “logic of profit and power”. Consider the funding of the BBC in comparison
with commercial organisations. Candidates might explore the extent to which the license fee frees BBC producers from the pressure to generate profit and the way in which thisimpacts the content of their broadcasts. Late Night Woman’s Hour (or at least the fact that it is available on podcast) might also be used to support Curran and Seaton’s idea that socially diverse patterns of ownership help create conditions for varied and adventurous productions.
Audiences -
Social and Cultural Contexts: A gendered discussion of the broadcast is likely to benefit from some context regarding the changing roles of women in the UK over the past 70 years. Woman’s Hour was originally broadcast in the 1940s and candidates might consider how different life in the UK is for women now (possibly focusing on shifts from the 1950s housewife towards the independence of young women in the 1960s and comparing this with present day). Candidates may use this information to consider theway that audience responses to, and interpretations of, media products reflect social and cultural circumstances. Is there now an audience for a late night talk shown aimed at women specifically because of their social status? How might original 1940s women have responded to the broadcast?
Consider how audiences are grouped and categorised by media industries, including by age, gender and social class, as well as by lifestyle and taste: The audience for Radio 4 can be categorised
in terms of age, social class and expected levels of education. Candidates might consider if there is any institution more likely to target a highly educated, elderly, upper class audience than Radio 4. Then consider the extent to which Late Night Woman’s Hour challenges the established audience of this channel. Some examples of these challenges to the Radio 4 audience might include the obvious gender bias, the presence of Lauren Laverne and the nature of the content. The gender bias of the show could be explored by considering the traditional male audience of Radio 4 and the likelihood that these men would listen to the show. Similarly the presence of Lauren Laverne (with her indie music background) and the “edgy” content of the show could be explored against the traditional demographic of Radio 4.
Consider how audiences interpret the media, including how and why audiences may interpret the same media in different ways: Candidates might consider a male response to the content of the show. They might consider how many other media texts are composed of only female members (even
Loose Women for instance has male guests) and how this might be unsettling or alienating for male listeners. They might compare this to a female audience and question whether or not this same gender composition might be appealing to some female audiences.
Consider theoretical approaches: Reception theory - Stuart Hall
Discuss possible different readings of the broadcast. There may be some particularly interesting oppositional readings (largely in relation to a perceived masculine response). A gendered approach may consider the lack of male representation. Candidates might compare this to preferred readings along similar gender lines. They could be encouraged to consider how often this female dominance
is reversed and the ways in which it is often likely that males will dominate a media text. In 2014 the BBC famously introduced a ban on all male TV and radio panels to offset this dominance. Candidates might use this as a discussion point to consider preferred readings of Late Night Woman’s Hour and why it might be particularly welcome to some audiences.
Video Games: Assassins Creed III Liberations-
Industry:
Assassin’s Creed III: Liberation, part of the very successful games franchise, was developed by Ubisoft and released on October 30 2012, along with Assassin’s Creed III. The game was originally exclusive to the PS Vita but was later (2014) released in a modified HD version across a large range
of consoles and platforms (including PS3, Xbox 360 and Microsoft Windows). Video games are a relatively new media form. Consider the exponential growth of this form since the 1970s, the rapid technological development, the construction of “the gamer” and the difficulty of regulating or monitoring the impact of such a fast paced industry.
Consider processes of production, distribution and circulation: The game was released on the Sony hand held device PlayStation Vita. It was developed by Ubisoft and released alongside Assassin’s Creed III on the PlayStation 3. This simultaneous release might be discussed in terms of an attempt to have maximum impact on the three major markets for console and video game release (Japan, North America and Europe). In terms of production the game was a multinational development which is typical of game production in larger studios such as Ubisoft.
Consider the relationship of recent technological change and media production, distribution and circulation: The ways in which the PS Vita was attempting to tap into the increasing success of mobile gaming (smart phones, tablets etc.). The PS Vita was designed with many features usually
associated with smart phones (touchscreen as well as Wi-Fi, 3G and Bluetooth capability). The game itself as part of a well-known and popular franchise may be seen as an attempt to bring high game production values to the burgeoning new mobile gaming arena. It is significant that the game was originally exclusive to the PS Vita but was later (2014) released in a modified HD version across a large range of consoles and platforms (including PS3, Xbox 360 and Microsoft Windows). In terms of distribution these versions of the game could be purchased over the internet using such outlets as Steam, the Playstation Network or Xbox Live Arcade.
(age ratings as well as visual descriptors of content) and also its attempt to harmonise the protection of children across Europe.
Consider the impact of digitally convergent media platforms on global production, distribution and circulation: It is significant that the Assassin’s Creed III: Liberation hand held game could be linked to the full PS3 console version of the game (owning both versions would unlock additional game
content). This use of convergence is relevant in terms of promotion/marketing and circulation. The internet/Wi-Fi functionality of the PS Vita allows users opportunities to download additional content (DLC) such as weapons, characters and “skins” or outfits.It also affords users the chance to engage
in multiplayer versions of the game. These features promote gamer engagement and identification with the game.
Consider theoretical perspectives:
Regulation – Sonia Livingstone and Peter Lunt- Consider the impact of convergence and diversification in media on regulatory practices. New technology (in this case the convergent PS Vita with access to internet etc.) opens up new opportunities and arguably new risks that complicate regulation.
Cultural Industries – David Hesmondhalgh: Use Hesmondhalgh to explore the way in which
cultural industry companies might attempt to minimise risk and maximise audiences. The game is part of an established franchise with a large fan-base. Producers are clearly attempting to harness the popularity of this franchise to encourage sales both of the game itself and the hand-held device the PS Vita. The video game industry offers many comparable examples of attempts to use software (games) to sell hardware (games systems and platforms).
Audiences:
Social and Cultural Contexts: Considering video games in relation to gender issues may be a useful way to explore them in terms of social and cultural significance. The representation of female characters, under-representation of women in video game development and an assumed minority
of female video games players are areas that could be explored. This game has a female protagonist and it may be useful to consider whether she subverts or reinforces expectations of female characters in games and how audiences may respond to this.
Consider how producers target, attract, reach, address and potentially construct audiences:
There are many aspects of the game that are significant in relation to audience targeting and construction: The game is for a hand held device. This may imply it is aimed at a more casual or mobile gamer (a discussion here about “on the go” gamers playing mobile games versus traditional console and PC gamers may be useful). The game features a female protagonist. This is unusual in the franchise and may be considered in terms of appealing to a different demographic (possibly linked to the “on the go” gamers discussion above). The existence of a female protagonist may also be discussed in terms of constructing audiences by asking whether this game might offer a platform for female gamer identification.
Consider theoretical perspectives: Media effects – Albert Bandura
The game received an 18 rating from PEGI due largely to violent content. Consider audience response to violent videogames in terms of Bandura’s arguments about observation and imitation and vicarious consequences. Explore the “Bobo Doll Experiment” and discuss how relevant this
is to the audiences targeted by the game. Are audiences likely to imitate the behaviours portrayed in the game? What might be imitated?
A useful discussion might be had in relation to the active role adopted by a player of video games. Question whether Bandura’s conclusions are invalidated or made more relevant if audiences are choosing to commit acts of violence in a video game rather than watching/imitating violent acts.
Fandom – Henry Jenkins
Discuss the significance of fan culture (and in particular online fan communities) when exploring the success of video games. This discussion may focus on the way video games have evolved closely alongside the internet. Video games offer social experiences (online multiplayer options) as well as communities outside of the core game experience. Fans may be passionate exponents of a game or
the harshest critics and can often impact the development of games directly. The Assassin’s Creed franchise has a strong, well developed fan-base that could be researched and discussed in relation to Jenkins’ ideas.
