stereotype's help producers target specific audiences.

helps people identify and gives purpose.

stops people from having to make their own opinion

makes life easier by giving people roles

brand identity is how a business presents itself and wants to be perceived by its consumers

creme puff advert- woman

four different types of question-
media language
representation
industries
audiences

extra theory- george gerbner
symbolic annihilation is where an entire group is not represented in a media product.

breeze advert-
-assumes women are concerned about feeling fresh, being treated 'kindly', feeling 'feminine'- concerned with making decisions about which soap to use but not necessarily more important issues.
-assumes men aren't concerned about these things
-suggests women have to have hair and makeup done at all times- even in the bath
-aspirational image
-example of patriarchal hegemony

to what extent is audience response to media representations, influenced by social, cultural and historical circumstances? make reference to woman magazine and adbusters.

the audience is positioned by the producer as someone watching this women put on makeup, which is confirmed by the use of a midshot, this encodes a sense of voyeurism which is reinforced by the man watching her as he walks up. This use of mise-en-scene and positioning demonstrates van zoonen's male gaze theory as her purpose in this ad is to be looked at as a spectacle for heterosexual men. A patriarchal hegemonic society is further exhibited by the anchorage, the copy creates the impression that women must wear makeup to be good enough, the lexis use of declarative sentence moods and hypophora tells the female audience what they need to look like and what they need to look like this- which assumes a lack of intelligence and that women's purpose and only goals are to be attractive. this is socially acceptable as it was (and still is) the dominant ideology that women should wear makeup. the anchorage encourages the audience to focus on the proairetic code of her applying makeup rather than the potentially hermeneutic code of him walking up to her. it is implied that without makeup she is ugly but with it she's 'perfectly lovely again.' This use of lexis demonstrates the final stage of todorov's theory, the re-equilibrium.

the man is voyeuristically creating a spectacle of the women it is reinforcing the idea that women are there to be looked at, the woman is being watched by him, the audience and herself. 

three-way intradigetic gaze reinforces the woman's status as a spectacle.

the mise-en-scene of the man's suit functions as a symbolic code for his wealth and class, the audience will decode this to the ideology that if you buy this product you can attract the ideal man like this.

the woman's costume connotes she wants to be seen and is out and about not just slumming it at home.

in order to be sexualised you have to be found sexually attractive.

aimed at middle aged women- target audience.

the layout looks like a film strip, representing the woman in the advert as a filmstar and offering that fantasy to the audience.

preferred reading is that this is a meet-cute, aligning with the film theme but an oppositional reading would be that he is creepy- this is prevented by the anchorage.

female is passive male is active

a stereotype is a commonly held belief of certain people.

woman initial analysis

verisimillitude- the respective reality, the rules of a films universe. lord of the ring's versimillutude would be broken if a character pulled out a machine gun.

-Follows the Z format
-Floral costume- conventional, stereotypical of women
-Makeup- hegemony
-Quoted a man to define women, patriarhcal- binary opposition between silent woman and Alfred Hitchcock is talking- Van Zoonen male gaze theory
-Alliterative lexis 'seven star' dumbs down, suggests immaturity
-Lack of copy suggests stupid
-Predominantly white copy- connotes innocence and purity
-Lexis are you an a-level beauty? reinforces hegemonical values of beauty, suggests women have to be attractive to succeed
-Elements of narrative; happy main character invites audience to also live a happy life.
-Clearly edited image- extremely white teeth, eyes and clear skin. Heavily air brushed to look more stereotypically attractive.
-Limited range of colour, but a pastel colour palette which looks slightly washed out- pastel popular in 1960's
-Improvements for your kitchen suggest contemporary women were required to stay at home and clean.
-secondary audience men who wish their wives were like this- hegemonically attractive
-short and practical hair- not for fashionable women, 'mum hairstyle'
-the masthead is highly informal as it looks like handwriting, looks childish but connotes a stereotypical representation of beauty women need
-worlds greatest weekly- highly hyperbolic
- face fills the frame and is framed by the layout, shows concentration on looks
-target audience can identify with how nervous she looks
-dress is conservative and lacks glamour
-face functions as a proairetic code suggesting she is going to laugh
-patriarchal hegemonic values suggest she should be constantly present herself in a certain way.

a big close up is when a face fills the frame

woman magazine was first published in 1937, which makes it an established magazine, so had been published for17 years at the release date of this cover and is still going today.

this edition was published in August 1994,  it is a weekly magazine. it cost 7p= 80p in today's money. women magazine became very popular after ww2.

in the 1960's women's lifestyle magazine reached a sale of around 12 million copies a week- 3 million a week of which were 'women' customers.

this magazine is an example of mass media, it appeals to a mass audience- the paper represents the dominant ideology of the time.

starting magazines

component one (paper one) is the lucky dip exam, there's six different industries that could come up, but some won't.

advertising
newspapers
the film industry
video games
radio

but it has an unseen section, where you compare an unseen text to a set product. we don't know what's going to come up in component one.

component two (paper two) has a higher standard of writing, you know exactly what's going to come up. there will definitely be questions on certain things.

magazines
online media
tv

Layout and design; barcode, serif font in caps and black and white, writing on borders- sides and top. minimal text

Mise-en-scene; eye contact, makeup- brings focus onto lips, jewellery- both high quality, clearly expensive. made to look as attractive as possible, hands on face- sensual? exposed shoulder, hair down with lots of focus, plain backdrop

anchorage- headline anchors photo + model's identity, thailand anchors edition's

Industry and Audience

Media studies are split into four sections-
-Media language
-Representations
-Audience
-Industry

Production is the process of how a media product is made
Distribution is how a media product is given out

News distribution-
Social media
News apps
Newspapers

We live in a digitally convergent world, you can use your phone to watch films, listen to music and play games.

An institution is something with a usp and it's own ideologies.

Vertical integration is where an organisation owns the different parts of production process.
Horizontal integration is where an organisation owns other organisations with the same function.

James Curran and Jean Seaton- Power and Media industries

Diversity is in the public interest- but modern societies suffer from from collective attentive deficit disorders, the public interest has to work harder to be noticed and we need agile but resourceful media to do this.

We do not have this.

Curran and Seaton believe that media industries are driven by power and profit, this leads to a lack of diversity, with only a small group of people in power. This limits the competition, creativity and quality and leads to a monopoly.

Diversity is a variety of different, beliefs, ideologies and representation.

A monopoly is a company which owns more than 25% of a sector.

The regulation of media industries in the uk is highly ineffective.

Sonia Livingston and Peter Hunt- Regulation

The increasing power of global media corporations together with the rise of convergent media and technologies and transformations in the production, distribution and marketing of digital media have placed traditional approaches to media regulation at risk.

Digital convergence

Newspapers in the uk are largely self regulated, they're allowed to print mainly whatever they please with certain restrictions.

IPSO is the company that regulates news and press standards. It was set up as a replacement for another organisation as a result of the phone hacking standard.

The IPSO guidelines are extremely vague and up for interpretation.

1. Accuracy

i) The Press must take care not to publish inaccurate, misleading or distorted information or images, including headlines not supported by the text.

ii) A significant inaccuracy, misleading statement or distortion must be corrected, promptly and with due prominence, and — where appropriate — an apology published. In cases involving IPSO, due prominence should be as required by the regulator. 

iii) A fair opportunity to reply to significant inaccuracies should be given, when reasonably called for.

iv) The Press, while free to editorialise and campaign, must distinguish clearly between comment, conjecture and fact.

v) A publication must report fairly and accurately the outcome of an action for defamation to which it has been a party, unless an agreed settlement states otherwise, or an agreed statement is published.

5. *Reporting Suicide

When reporting suicide, to prevent simulative acts care should be taken to avoid excessive detail of the method used, while taking into account the media's right to report legal proceedings

3. *Harassment

i) Journalists must not engage in intimidation, harassment or persistent pursuit.

ii) They must not persist in questioning, telephoning, pursuing or photographing individuals once asked to desist; nor remain on property when asked to leave and must not follow them. If requested, they must identify themselves and whom they represent.

iii)  Editors must ensure these principles are observed by those working for them and take care not to use non-compliant material from other sources.

The daily mirror- initial analysis

The ideology of the daily mirror is clearly encoded by the masthead of the paper, the colour palette used connotes boldness and clarity with it's use of red and white, it additionally has the cumulative affect of reflecting the colours of the English flag further suggesting this paper is patriarchal. The sans serif font establishes the working class demographic makes the paper feel less formal- allowing the audience to decode the product as a tabloid which makes soft news as well as hard news.

The headline anchoring the photo next to the masthead functions as an action code, the lexis 'glassed' and 'thug' is a demonstration of the colloquialism used in tabloids that gives them a lower reading age. The photo uses direct mode of address to dramatise the character, the tension this builds functions as a proairetic code.

Toolkit language: the codes you've GOT to refer to!

Point of view and ideology
Codes and conventions of news products/newspapers/type of newspaper
Layout and design
Composition – positioning of headlines, images, columns, combination of stories
Images/photographs - camera shot type, angle, focus
Font size, type of font (e.g. serif/sans serif)
Mise-en-scène – colour, lighting, location, costume/dress, hair/make-up
Graphics, logos
Language – headline, sub-headings, captions
Copy
Anchorage of images and text
Elements of narrative

Focus - Media language and Representation

Talking points

Front page

• Brexit - ideological implications?
• Eastenders - 'Hayley'?
• Puff box - pull out
• Cheltenham races
• Anchorage
• Strapline - 'fighting for you'
• Mode of address - racing?
• Glassed...thug...
• Representation of women
• Size of central; image
• Intertextuality: war!
• "looses key vote again"
• Powerful women? Or vulnerable? Mirror even gender split!
• Van Zoonen: men act women appear?
• Political bias and anchorage: disapproving of May...

Article

• Polysemic nature of main image
• Language of copy - nuanced? Confused??
• Horse racing symbolic codes?"tottering Theresa"
• "Dwindling authority"
• "dashing to Brussels..."?
• "you shall not pass!"
• Binary oppositions
• Narrative codes
• Powerful women? Or vulnerable? Van Zoonen?

Detailed notes

Thanks Will for the following notes

• Mise-en-scene of the setting of parliament connotes formalness.
• The use CU and high angle of her face suggests that she is vulnerable. Reinforcing the ideologies of the newspaper, going against conservatives.
• This article is dealing about the complex issue of Brexit, while the newspaper represents the issue as a joke.
• The strap-line "Fighting for you", is a very aggressive mode of address, suggestive of a war.
• The use of lexis, is an example of hyperbole. It is being made more exciting that it really is to appeal to the audience.
• Featured at the top right of the front cover, is a article about the Eastenders, which is an example of soft news. "Eastenders Hayley glassed by thug" is interesting because the noun "Hayley" isn't even the actresses name. This is almost a spoiler for the Eastenders series, which is a soap-opra, which generally watched by working class audience.
• The term "glassed" is an example of very specific use of language, as it has been used to appeal to the working class audience.
• According to Vans Zoonen, women who are featured in media, are there for men to look at. However in the newspaper, Theresa May isn't being sexualised in any way. This subverts her idea that we live in a patriotic society ruled by men. This appeals to both male and female audiences.
• Theresa May is referred as "Tottering Theresa", which applies that she is clumsy and childish. This is also an example of alliteration, which is highly informal. This represents Theresa as informal, which means she is not suitable for prim-minister.
• Horse facing is extremely formal and informal at the same time. The people who attend these horse races are normally middle classed however the people in the betting shop tend to be people of the working class. It has polysemic connotations, the featured article of horse racing appeals to both middle class and working class people.
• There is a binary opposition created when Theresa is placed against Corbin and Johnson. The caption "Attack" under the image of Jeremy Corbin shows that he is aggressive against Theresa. This is further emphasised when Theresa's gesture of surrendering, suggesting that she is submissive. However this gesture could be taken in a different way, Theresa could be pushing Corbin back and standing her ground.
• The headline "A Faller at 2nd" is has polysemic meanings, it could mean that she has failed at leaving the EU. However it could also be a hint to horse racing, The Mirror is almost dumbing down politics and are comparing it to horse racing.
• There is a political sketch featured to the left of the newspaper. The Mirror refers to Theresa as "Gandalf", which is a pop-culture reference to the film "The Lord of the rings". The quote "You shall not pass" is a quote taken from the film and is almost seen as a meme on the Internet, which suggests that no one is taking her seriously. By referring May as "Tory Gandalf" makes her sound informal, however it could also suggest that she is heroic. This all appeals to the older generation

Thanks Harriet for the following notes. Please note FP=front page, while DP=double page

• FP. The use of a pun "Mayhem" informal language targeting the working class.
• DP. Proairetic code of hands held up suggesting that she is about to surrender because she is weak.
• DP. The images of Corbyn and Johnson are anchored by the copy suggesting that they are victorious in this situation which causes confusion since there are binary oppositions. 
• DP. The copy takes a polysemic mode of address by using formal language which contradicts the nature of the tabloid.
• DP. The use of hyperbole throughout the headline of a horse racing joke calling May a joke suggesting that the audience are old, working class gamblers.
• DP. The daily mirror narrativises the story of Brexit which connotes that politics is boring, "40-1 odds" causes excitement.
• FP. Puff of "Enders Hayley" targets middle aged females, this is colloquial. The reader ship of the mirror is almost 50/50 because of sports and Eastenders. Van Zoonen, stereotypically have been positioned as hegomonically sexually attractive. However this puff subverts Van Zoonen's suggestion that women are sexually objectified for a heterosexual male. Also women are nor represented as being powerless, representation is a construction of reality.
• FP. "Chaos" indicates war by using intertextuality. This is revolutionary which suggest we are overthrowing our useless government.
• DP. Sati is used to insult May suggesting she is Gandalf, this is a pop culture reference meaning only younger audiences will understand this. "shall not pass". This is a true intertextuality reference because it is referencing memes making a joke of May. Appealing to the audience of The Lord of The Rings.
• DP. tottering May by uses derogatory language, her gesture her could anchor this because she is trying to control a situation poorly. Reinforcing how completely useless she is. The binary opposition is formed between May, Corbyn and Johnson which shown when Corbyn is pointing at May and she has her hands up like he is attacking her.
• DP. "Shambles" is an old reference to a slaughter house reinforcing the metaphor of war that May has created.
• DP. "Kamikaze" referring to extremely patriotic soldiers saying that May is a dangerous ruler.