filmandmediaportal.files.wordpress.com€¦ · Web viewof 1970s and successive waves of the movement have opened a pathway for challenging gender representations as seen in ‘Certain

AS MEDIA STUDIES COMPONENT 1 – FEBRUARY TEST Investigating The Media

EXAMPLE ANSWER – Grade this piece and identify key WWWs/EBIsSection A: Investigating Media Language and Representation

Question 1 is based on Resource A. It consists of a print advertisement which is part of the Givenchy Dance advertising campaign.

Media Language

1. How is media language used to present messages and values? [10]- The way media language incorporates viewpoints and ideologies- How audiences respond to and interpret media language- Make judgements and draw conclusions about how messages and values relate to media context- Make reference to Semiotics and Structuralism

The Givenchy advertisement features the anchoring image of a young svelte woman with long brown hair in the passé ballet posture composed centrally in the frame. She is wearing figure-hugging black clothing and black heels on a podium with a spotlight inside a bourgeois room with regal cupboards and wooden floors. The ‘GIVENCHY’ masthead is in uppercase white text at the top of the frame and the image is anchored by the tagline “Dance With Givenchy” and the sub-heading “The New Fragrance”. Givenchy is a French designer label which appeals the readership of Vogue and other high-brow fashion magazines. French culture has bohemian connotations but designer labels like Givenchy place value in high culture representations of beauty and fashion.

A superimposed secondary image of the ‘Dance With Givenchy’ perfume is positioned in the bottom right hand corner of the advertisement. The bottle is pink which has stereotypical connotations of femininity. In this contemporary media climate, such traditional representations could be considered ineffective in challenging pre-existing gender, race and class stereotypes.

Denotation #1 - Givenchy masthead (uppercase), anchoring image (ballet posture – passé - by svelte model with long brown hair wearing black top, skintight black trousers and black heels on podium, spotlight), tagline (Dance with Givenchy The New Fragrance), secondary image (superimposed in bottom right corner, Dance With Givenchy perfume bottle), indoor setting in a bourgeois apartment with wooden floors.Connotations #1 – Beauty, athleticism, finesse, balance, poise, class, confidence. Effect #1 (Viewpoints and Ideologies) – Normative representation of skinny, feminine brunette model, aspirational advertising campaign (capitalist perfume promotion from designer label), ballet dancer as representation of a role model and ideal woman.Semiotics (Enigma codes) and Structuralism (binary oppositions) – Enigma code (pose is symbolic of ballet dancing, binary oppositions (rich/poor, black/white, skinny/fat, successful/failure) – her hand is on the Givenchy masthead (leaning on brand reputation, composition of masthead at top of frame – elite status), French fashion brand (Vogue associations),


These visual codes intend to represent beauty and balletic athleticism. Her balance and poise highlights her finesse and confidence whilst her sartorial elegance illustrates how this advert caters mainly for the ABC1 demographic. Givenchy has emphasised a normative representation of the ideal woman (skinny, feminine, white, brunette) and the advert incorporates an aspirational ethos to encourage the audience to achieve the ideal. This perfume product is an example of capitalist promotion, where a designer label sells their interpretation of perfection which the consumer could acquire with the status upgrade that comes with this brand association.

An example of Barthes’ enigma code is established through the model’s posture. The audience must de-code this body language as an example of a position in ballet dancing. This symbolic code is iconic and distinctive enough for majority of the audience will be able to identify its meaning. In addition, Levi-Strauss’ binary oppositions have been established by this advertisement (rich/poor, fat/thin, male/female, white/black, athletic/unfit, designer/high street). The intrinsic aspiration of the audience is to be rich, thin, athletic and worthy enough to sport designer labels. Givenchy are not simply selling a product, they are selling a lifestyle. There is a sense that Givenchy creates an image based on exclusivity: not everyone is worthy enough to be associated with the brand.

Feminist critique could identify issues including Mulvey’s male gaze theory, which would highlight how her pose objectifies her with suggestive representations of female beauty. Additionally, bell hooks intersectional critique would question whether this advert seeks to empower women, it may simply elevate the white elite woman with a subjugation of BME women by omission. Van Zoonen’s feminist critique may also identify how the advert conforms to stereotypical representations of women as ballet performance art is conventionally considered a female pursuit.

AO2 1 - Apply knowledge and understanding of the theoretical framework of media to analyse media products.

Band 5 (9-10) Band 4 (7-8) Band 3 (5-6) Band 2 (3-4) Band 1 (1-2)Excellent, consistent and accurate application of knowledge and understanding of the theoretical framework to analyse the unseen advertisement.

Good, accurate application of knowledge and understanding of the theoretical framework to analyse the unseen advertisement.

Satisfactory, generally accurate application of knowledge and understanding of the theoretical framework to analyse the unseen advertisement.

Basic application of knowledge and understanding of the theoretical framework to analyse the unseen advertisement, although this is likely to lack clarity, relevance and accuracy.

Minimal, if any application of knowledge and understanding of the theoretical framework to analyse the unseen advertisement, with significant inaccuracies, irrelevance and a lack of clarity.

Analysis of the advertisement is perceptive, detailed and may be informed by relevant theories.

Analysis of the advertisement is logical, reasonably detailed and may be informed by relevant theories.

Analysis of the advertisement is reasonable and straightforward.

Analysis of the advertisement is undeveloped and there may be a tendency to simply describe features of the advertisement.

Analysis of the advertisement is superficial and generalised.


Media Language

Question 2 is based on both of the following:- Resource B, the film poster for Certain Women (2016)- Tide set advertisement you have studiedStudy Resource B carefully and use this film poster and the Tide set advertisement you have studied when answering the question.

Context – Procter & Gamble launched Tide in 1946 - brand leader in US - The D’Arcy Masius Benton & Bowles (DMB&B) advertising agency handled P&G’s accounts throughout the 1950s – P&G had great brand reputation – Tide radio and print adverts used the “housewife” character (reinforcing patriarchal ideology) - post-WWII consumer boom of the 1950s (domestic products) - endorsement from Good Housekeeping Magazine makes them an Opinion Leader for the target audienceDenotations – 1950s conventionally used more copy than contemporary ads, Z-line and a rough rule of thirds can be applied to its composition, Headings, subheadings and slogans are written in sans-serif font, comic strip with informal lexis (“sudsing whizz”), technical details in serif font, Hyperbole and superlatives (“Miracle”, “World’s cleanest wash!”, “World’s whitest wash!”) as well as tripling (“No other…”), direct and indirect mode of address present, personal pronouns.Connotations - primary colours connote the positive associations promoting consumerism, sans-serif font for slogans = example of informal mode of address, serif font for technical details = formal mode of address, heart illustrations and the woman’s gesture codes have connotations of love and relationships, superlatives create binary opposition between Tide and competitors, preferred reading (Stuart Hall) of the advert’s reassuring lexical fields (“trust”, “truly safe”, “miracle”, “nothing like”).Gender representation - Suspense is created through the enigma of “what women want” (Barthes’ Hermeneutic Code) and emphasised by the tension building use of multiple exclamation marks (Barthes’ Proairetic Code), intertext (Land Army girls – feminist icons – Tide women submit to patriarchy through domestic stereotype), target audience of increasingly affluent lower-middle class women, Similarities and differences in the representation of gender - Stuart Hall’s theory of representation – the images of domesticity, David Gauntlett’s theory of identity – women represented in the advert act as role models of domestic perfection, advert perhaps contradicts Van Zoonen’s theory that the media contribute to social change by representing women in non-traditional roles and using non-sexist language, bell hooks’ feminist theory argues that lighter skinned women are considered more desirable and fit better into the western ideology of beauty, Uses and Gratifications Theory (young married women celebrating nuclear family, ad fulfilling personal integrative needs), Tide advert aims to cultivate the ideas on gender normativity.

Context – Independent film made by female director Kelly Reichardt, won Best Film at London Film Festival 2016, the story of women’s intersecting lives across Montana, themes of perseverance in the drudgery of everyday life resound, features women mistreated by various men in their lives, considered an anti-Hollywood film requiring patience from the audience, intentionally unglamorous and slow-burning.Denotations – Anchoring image (collage of four female characters – three white, one with Native American descent - designed in four vertical strips), context of misty Montana landscape, credit block, festival awards (palm symbols), “It leaves you reeling” review from Sight and Sound, three famous actresses (Laura Dern, Michelle Williams, Kristen Stewart), one lesser known actress (Lily Gladstone) who plays character with Native American descent, “A film by Kelly Reichardt” anchors the film masthead “Certain Women”, white typography, jaunty composition of masthead.Connotations – vagueness of title, emphasis on gender, plain expressions of all four characters (sad? Pensive? Bored?), enigmas established in their expression suggesting Compare choices made in gender representation – omission of men in the poster, celebration of four ordinary female lives, subverts male hegemony in cinema, Similarities and differences in the representation of gender – subvert/conform…Relation to relevant media contexts – festival award laurels suggest respected ‘indie’ film (indies known for subversive representation)


1. Compare the choices that have been made in the representation of gender in the film poster and advertisement. [25]- how gender is represented through processes of selection and combination- reasons for the choices made in the representation of gender- the similarities and differences in the representation of gender- how far the representations relate to relevant media contexts

Gender representation in the 1950s Tide print and the 2016 Kelly Reichardt directed ‘indie’ film ‘Certain Women’ considerably diverge. Proctor & Gamble were brand leaders for household products like ‘Tide’ washing powder and had established themselves further with the ‘housewife’ character on ‘Tide’ adverts where a patriarchal ideology was reinforced during the post-WWII consumer boom which prioritised the domesticity of women. A bright print advertising aesthetic appealed to the audience creating desires that could be fulfilled through consumption. A convention of 1950s advertising was to use excessive copy in order to educate the audience about product usage (fulfilling cognitive needs according to Uses and Gratifications Theory). P&G were cultural architects shaping society with alliterative Enigma Codes such as “What Women Want” in order to establish gender normative roles through persuasive techniques. Advertisers would encourage a preferred reading of the text through reassuring lexical fields such as “trust”, “miracle”, “nothing like”.

Whilst societal media IQ has developed over time, passive audiences could be cultivated easily according to the producer’s agendas. According to Gauntlett’s theory of identity, women were represented in the advert as role models of domestic perfection. Arguably, women were manipulated by this branding method during the 1950s: to conform to the patriarchal ideal. Heart illustrations and the gesture codes of a women hugging a box of ‘Tide’ washing power emphasises connotations of love and relationships. This dominant image adheres to conformist notions of domesticity. However, feminist icons such as Land Army girls are an example of an intertextual reference from the same era. During WWII, women took male led working roles whilst the men went to war. On men’s return, women had established themselves within the working world and men attempted to reassert their dominant position through patriarchal propaganda. In the 1950s, this method was temporarily effective, particularly with affluent lower middle-class women.

As a counterpoint, ‘Certain Women’ represents a progressive development in contemporary cinema. Kelly Reichardt’s enigmatic film won Best Film at 2016’s London Film Festival. Whilst many industries have seen a bridging of the gender gap, the disparity ratio between male and female directors is severe. 90:10 would be an accurate estimate. Up-and-coming auteurs like Kelly Reichardt are championing the role of women in challenging and complex roles. The omission of men in the poster is a conscious subversion of masculine hegemony in the industry and there is no objectification of women in the poster either. The anchoring image is a collage of four women in the film. Three are famous white women (Laura Dern, Kristen Stewart and Michelle Williams) whilst Lily Gladstone is a relative unknown who has Native American descent. Based on this evidence, ‘Certain Women’ would pass Bell Hooks’ intersectional critique of feminist movements that ignore racial diversity. Each women is either frowning, pensive, withdrawn or fatigued. There is no suggestion of objectification; this poster has no intention of appealing to the male gaze (Mulvey). The dull aesthetic of the poster


is an intentional decision to subvert glamour when representing women: mundane social realism is emphasised as authentic.

The dominant image also features a fractured landscape spliced by the composition of the poster design. The narrative revolves around the intersecting lives of these women in Montana where they encounter mistreatment from men, the drudgery of rural life and the resilience to persevere in a harsh environment. The poster illustrates the film’s critical acclaim with festival award laurels anchoring the credit block. ‘Certain Women’ is a slow-burning slice of anti-Hollywood cinema which conveys a dreary atmosphere that would send Mainstreamers (psychographics) exiting the cinema but appealing to the cognitive needs of art-house spectators. This poster is the antithesis of the cheerful and charismatic representation of a domesticated woman in ‘Tide’ but the fallacy of this idealised patriarchal representation has alienated modern and post-modern audiences.

Both media texts are products of their time. 1950s gender roles were defined vigorously by gender stereotype, whilst the revolutionary feminism of 1970s and successive waves of the movement have opened a pathway for challenging gender representations as seen in ‘Certain Women’. 2017 heralded the #metoo movement which could see a marked shift in the masculine hegemony in Hollywood. Kelly Reichardt has established herself as a leading feminist figure in directing, finding a niche demographic willing to be challenged rather than simply entertained. It is clear that this provocative approach to filmmaking would create a negotiated reading from spectators who want to grapple with complex representations and decode the enigmas of the text. The messages and values of ‘Tide’ would outrage contemporary audiences but effectively targeted audience’s needs. Even Tide’s poster omits men, but only in the domestic sphere, in the aim to marginalise a gender into one specific lifestyle. The overt stereotypes of the Tide poster are profoundly subverted by the messages and values communicated by the ‘Certain Women’ poster (and film).

AO2 1 and 2 - Apply knowledge and understanding of the theoretical framework of media to analyse media products; make judgements and draw conclusions.

Band 5 (21-25) Band 4 (16-20) Band 3 (11-15) Band 2 (6-10) Band 1 (1-5)Excellent, detailed and accurate application of knowledge and understanding of the theoretical framework to analyse the unseen film poster and set print advert.

Good, accurate application of knowledge and understanding of the theoretical framework to analyse the unseen film poster and set print advert.

Satisfactory, generally accurate application of knowledge and understanding of the theoretical framework to analyse the unseen film poster and print advert.

Basic application of knowledge and understanding of the theoretical framework to analyse the unseen and set film poster and print advert, although this is likely to lack clarity, relevance and accuracy.

Minimal, if any, application of knowledge and understanding of the theoretical framework to analyse the set film poster and print advert, with significant inaccuracies, irrelevance and a lack of clarity.

Analysis of how values, attitudes and beliefs are conveyed in the film poster and print advert is perceptive, detailed and

Analysis of how values, attitudes and beliefs are conveyed in the film poster and print advert is logical, reasonably detailed and

Analysis of how values, attitudes and beliefs are conveyed in the film poster and print advert is reasonable and straightforward.

Analysis of how values, attitudes and beliefs are conveyed in the film poster and print advert is undeveloped and there may be a

Analysis of the film poster and print advert is superficial and generalised.


engages with complex aspects of representation.

engages in places with complex aspects of representation.

tendency to simply describe features of the film poster and print advert.

Detailed and appropriate comparisons between the film poster and print advert.

Reasonably detailed, appropriate comparisons between the film poster and print advert.

Satisfactory comparisons between the film poster and print advert, although there may be more focus on one of the products.

Basic comparisons may be made, although the response to likely to focus mainly on either the film poster or print advert.

Minimal, if any, comparisons are made and the response is likely to focus only on one product.

Judgements and conclusions regarding how the film poster and print advert relate to relevant media contexts are perceptive, and fully supported with detailed reference to specific aspects of the film poster and print advert.

Judgements and conclusions regarding the film poster and print advert relate to relevant media contexts are logical and are well supported with appropriate reference to relevant aspects of the film poster and print advert.

Judgements and conclusions regarding how the film poster and music video relate to relevant media contets are reasonable and supported with some reference to relevant aspects of the film poster and print advert.

Basic judgements are made regarding how the film poster and music video relate to relevant media contexts and some conclusions are drawn, but these are undeveloped and only partially supported by relevant examples from the film poster or print advert.

Lacks judgments and conclusions regarding how the film poster and print advert relate to relevant media contexts.

Section B: Investigating Media Industries and AudiencesMedia Industries

2. (a) Give one example of a film production company. [1]

Legendary Pictures.

AO1 1a – Demonstrate knowledge of the theoretical framework of media.

1 mark for a correct example.

(b) Briefly explain how a film company will distribute and exhibit a film? [4]

Straight Outta Compton is produced by Legendary Pictures (a subsidiary of a vast conglomerate including Universal Studios, NBC Universal, Comcast and General Electric - horizontally integrated). When production, distribution and exhibition are all owned by one company (like the Big Five in the Studio System Era), it is known as vertical integration.

Every film has a distribution plan in order to reach the right audiences. This includes advertising (TV, radio, magazines, online media, billboards, press), film prints and copies, promotions, poster designs, publicity events, film classification and research screenings. These plans are triangulated in


order to maximise box office intake. Distributors identify the marketability and Unique Selling Points (USP). They need to identify and promote to the core demographic for their film. They will create a marketing strategy.

Whilst exhibition is traditionally on 35mm celluloid film, many cinemas now exhibit films digitally. Film reels often need a professional projectionist, digitally exhibited films do not. Exhibitions hold the opportunity to generate profit. Cinema types include multiplexes, IMAX and arthouse/ independents. Exhibition goes beyond cinema to DVD, Blu-Ray, Subscription TV sites like Netflix and Amazon Prime, and free-to-air Television.

AO1 1a – Demonstrate knowledge of the theoretical framework of media.

2 marks for each valid explanation of a feature up to a maximum of 4 marks.1 mark for each valid feature that is stated only up to a maximum of 2 marks.

In Question 3(c), you will be rewarded for drawing together knowledge and understanding from across your full course of study, including different areas of the theoretical framework and media contexts.

(c) Explain how patterns of ownership influence newspaper production. Refer to the Daily Mirror to support your points. [10]

Ownership is a crucial variable in relation to newspaper production. Rupert Murdoch is the owner of News Corporation, a conglomerate which includes newspapers such as The Sun. Murdoch has a right-wing patriarchal Conservative capitalist ideology catering for a C2DE demographic and his media outlets will convey the messages and values identified by himself and his most influential

The Daily Mirror was first published in 1903 as a newspaper for women ‘to act as a mirror on feminine life’. However the newspaper was quickly redesigned to appeal to a broader audience. Owned by the Trinity mirror group, the Daily Mirror was once the most popular tabloid in the UK. However, it has had the largest year on year fall in sales of any national print newspaper in recent years with a current average daily sales of just 716 000 copies.Online media has largely been responsible for the downturn in print sales and the Daily Mirror has responded to this by launching ‘Mirror Online’ and having a presence on social media sites. The website offers interactive opportunities for its readers with competitions, polls and a ‘Got a story?’ feature which invites readers to submit their own stories. After the Trump victory online users were able to express their views on an online forum.The Daily Mirror is part of Independent Press Standards Organisation (Ipso) - an independent body which is not backed by the Government and is fully funded by the industry itself. This is a regulatory body that maintains press standards but is anti-Leveson in its approach.Industry context: The striking image of the weeping Statue of Liberty was created in 1989 by British Artist Gee Vaucher and was chosen by the newspaper to represent their viewpoint on the election outcome. The newspaper had found the image amongst hundreds of social media memes and contacted the artist for permission to use it. Her painting had originally been used as homage to punk art of the 1970s, known for its anti-establishment messages. The image is an incredibly powerful tool for the newspaper as it takes an iconographic symbol of American idealism and opportunity and subverts it, challenging established beliefs to suit their political agenda.Power and media industries – Curran and Seaton The Trinity Group have maintained their position in the UK market despite falling sales of the Daily Mirror and other mainstream titles by diversifying into regional news. This diverse pattern of ownership has allowed them to create the conditions for more varied and adventurous media productsCultural Industries – David Hesmondhalgh Trinity Mirror group has become a horizontally integrated company with a wide range of titles in order to maximise audiences and minimise risks. Rather than seeing digital media as a threat the company has embraced its digital expansion and now offers digital marketing as well as digital classifieds to generate additional income.


donors and business partners. However, the Daily Mirror is owned by Trinity Mirror group, whose agenda setting contrasts that of the News Corp CEO. The Mirror was first published in 1903 as a newspaper for women ‘to act as a mirror on feminine life’. Despite gaining a broader demographic since, this heritage has had an impact on the newspaper’s agenda setting. CEO Simon Fox resides over a centre-left newspaper which aims to counter the MSM (Mainstream Media) establishment narrative. Representations such as the striking dominant image of a weeping Statue of Liberty (created by Gee Vaucher as a protest piece against US dictatorship in 1989 and now re-appropriated on Trump winning the presidency) would not be accepted in any of Rupert Murdoch’s papers. Trinity Mirror’s patterns of ownership have created the conditions where subversive representations of buzz topics have a compelling platform. The iconography is a sign of the post-modern protest, where a visual imperative creates a viral marketing impact.

Also, the Daily Mirror is part of the Independent Press Standards Organisation (Ipso) which is an independent regulatory body which holds the paper accountable and structures what press standards should be maintained. The Leveson Inquiry revealed cases of phone hacking which breached protocol often dubbed ‘in the public interest’ and under the defence of ‘freedom of the press’. The Mirror was sued £1.2 million in total from various celebrities and figures who have become victims of an intrusive approach to investigative journalism. The industry context has been a catalyst for change within the ethos of newspaper production.

According to Curran and Seaton’s theories on power and media industries, the Trinity Group have maintained their position in the UK newspaper industry despite falling sales. One reason for falling sales is the rise of news websites and news apps, which changes how newspaper production may operate in the long-term. Trinity Group have diversified into online media production and regional news in order to create conditions for more varied and adventurous products.

Additionally, Hesmondhalgh’s theories on cultural industries indicate how Trinity Mirror has become a horizontally integrated company in order to diversify their demographic and minimise risks. The company has embraced digital expansion, with digital classifieds and marketing as a method to generate additional income.

Band 5 (9-10) Band 4 (7-8) Band 3 (5-6) Band 2 (3-4) Band 1 (1-2)Excellent, detailed and accurate knowledge and understanding of social and cultural contexts and their influence on radio production.

Good, accurate knowledge and understanding of social and cultural contexts and their influence on newspaper production.

Satisfactory, generally accurate knowledge and understanding of social and cultural contexts and their influence on newspaper production, although this may lack development.

Basic knowledge and understanding of social and cultural contexts and their influence on newspaper production, although this will be limited.

Minimal knowledge and minimal, if any, understanding of social and cultural contexts and their influence on newspaper production.

Detailed reference to the set newspaper front page to support points.

Reasonably detailed reference to the set newspaper front page to support

Appropriate reference to set newspaper front page to support points.

Limited reference to the set newspaper front page to support points.

Minimal, if any, reference to set radio programme to support points.


points.

Audiences

3. (a) Identify two ways in which media producers can target an audience? [2]

Demographics – age, gender, social class, ethnicity/race, income/socio-economic group, ABC1C2DEPsychographics – lifestyle, taste, values, attitudes, Four Consumers Theory

AO1 1a and b – Demonstrate knowledge of the theoretical framework of media.

1 mark per correct example.

(b) Explain how newspaper audiences interpret and interact with the media. Refer to Daily Mirror to support your points. [8]

The role of the prosumer has developed with contemporary audiences thanks to social media and interactive websites. Shirky’s End of Consumer theory suggests that audiences are no longer passive thanks to this interactive social media news culture.

Previously, letters were the main form of communication with a journalist’s headquarters, now below-the-line forum threads on newspaper websites, Twitter/ Facebook/ YouTube/ Instagram/ Snapchat/ Phone Apps have created platforms for readers to engage with the content actively. This challenges the conventional Two-Step-Flow theory where opinion leaders disseminate the information. In the social media era, the process has become much less hierarchical and much more democratic. The Daily Mirror’s target audience are pre-dominantly C2DE 35+ working class

How are audiences grouped and categorised? The Daily Mirror’s target audience, according to NRS and ABC data are predominantly C2DE, over 35 and are working class Labour supportersHow audiences interpret the media product? - The Trump election win edition will target this group as it highlights his right wing conservatism and attempts to instil fear in the reader through the use of rhetoric and the emotive use of the front page headline.How do different audience interpretations reflect social, cultural and historical circumstances?Highlighting Trump’s intentions for America (building a wall to prevent Mexicans entering the US, scrapping Obamacare etc.) will potentially enrage readers with a left wing political stance. This is furthered by the use of pronouns such as ‘we’ to suggest the impact that Trump’s victory will have on the collective global audience.Cultivation Theory – Gerbner Audience exposure to repeated patterns of representation (of Trump and his election campaign) by newspapers may shape and influence their views and opinions. Reception Theory - Stuart Hall The Daily Mirror is able to promote a hegemonicdominant reading of its viewpoint on Trump’s victory through the use of encoding and decoding, which is fully accepted by the reader. End of Audience – Clay Shirky The conceptualisation of audience members as passive consumers is no longer tenable in the age of the internet with the rise of the prosumer who can create their own content such as submitting stories and being part of forums.


Labour supporting readers. Working class Conservative supporters tend to read The Sun. Both are successful red-top tabloids with an ideological rivalry.

According to Gerbner’s cultivation theory, repeated patterns of negative representation against Trump could shape and influence the reader’s views and opinions. The same could be said for The Sun’s negative representation of Labour’s Jeremy Corbyn. Each pupil attempts to peddle propaganda and bias, and these patterns of representation have a distinctive effect on the readership. Additionally, the Hall’s Reception theory identifies the role of encoding and decoding. The signs and symbols found in the re-appropriation of the Statue Liberty creates an Enigma Code about the message. It is easy to decode its meaning in this media savvy era (mourning Trump’s victory as a sign of the death of liberty). The Mirror’s demographic are likely to have a preferred reading of this provocative front page.

AO1 1a and b – Demonstrate knowledge and understanding of the theoretical framework of media.

Band 4 (7-8) Band 3 (5-6) Band 2 (3-4) Band 1 (1-2)Excellent, detailed and accurate knowledge and understanding of how producers of newspapers target audiences.

Good, accurate knowledge and understanding of how producers of newspapers target audiences.

Satisfactory knowledge and understanding of how producers of newspapers target audiences, although this may lack development.

Basic knowledge and understanding of how producers of newspapers target audiences, with significant inaccuracies, irrelevance and a lack of clarity.

Detailed reference to set newspapers to support points.

Reasonably detailed reference to set newspapers to support points.

Appropriate reference to the set newspapers to support points.

Limited reference to the set newspapers to support points.

ESTIMATED GRADES (UNOFFICIAL)

9 8 7 6 5 4 3 2 190% 80% 70% 60% 50% 40% 30% 20% 10%A* A B C D E F G U

Band 5 Band 4 Band 3 Band 2 Band 1

WWW

EBI

Documents

filmandmediaportal.files.wordpress.com€¦ · Web viewof 1970s and successive waves of the movement have opened a pathway for challenging gender representations as seen in ‘Certain