Saturday 23 October 2010

Perfecting your production work

How to get the most out of your practical projects.

Lecturer: Pete Fraser

Research
  • Look at real examples of professional productions (magazines, articles, trailers)
  • Document evidence- log books, logging sheets, diaries
  • Research from every angle- film titles , production logos
  • Look at conventions, audiences, institutions- focus on a specific audience and what the conventions are for that audience's genre
  • Annotate examples from magazines, stills from trailers
Planning
  • Plan for all eventualities- things can go wrong (people don't turn up, equipment doesn't work) use initiative and plan for anything
  • Record planning via log sheets, visuals, blogs which document locations, characters, cinematography and show 'process of journey'

Blogging
  • Allows you to document findings- examples of research and information
  • Film blog- used for shooting logs, costumes, dialogue, locations, feedback from teachers
  • Create 25 word pitches summarising your ideas and possibilities

Ideas/Feedback
  • Do 25word pitches summarising your idea
  • Work at a specific concept- be realistic
  • Feedback from peers and teachers, record feedback in blog, record all stages of the process
Logistics
  • Check equipment, availability of characters, pros and costumes
  • Share contact details with actors/actresses
  • Get filming done early and have substantial amount of footage in preparation for editing

Useful links

Online Media, Cleggmania and the Cowell Factor

Professor Julien Mc Dougall

How do online media and convergence impact on the ways audiences and producers use and create media?

  • In the media, there is a significant link between online media, reality TV and democracy
  • Web 2.0 seemingly allows democracy to flow- interactivity with audiences around the world
  • Democracy- UGC allows audience to make their own content and be able to express their opinions
Tony Benn looks at how democratic is the media and looks at active democrcay in the media



The idea of democracy gives the people the right to free speech

  • " talking about converged interactive media industry. Interplay between gaming, online, TV and films- it's all coming together. Ian Kingsbury, NESTA , 2010
  • David Gauntlett talks about how the media is like "an allotment where we all share things". The idea of sharing and collaborating is an aspect of democracy
  • Politicians use Twitter to look at public opinion, as evident in the period in the Leadership Debate
  • Video games part of democracy where players can modify features of the games. Part of a transmedia environment
  • Michael Wesch looks at the impact of Youtube in society- "Youtube transporms culture in society, connecting more and is a new form of literacy
  • Grame Turner- "ordinary people in reality doesn't mean the have power". In the media, Susan Boyle in Britian's Got Talent is used as a pawn by the superior, hegemenous creators.
  • In many ways Susan Boyle was explotied by the media due to her success in the show


Chewing gum for the brain: Why do people talk such rubbish about Media Studies?

Professor David Buckingham:

Key articles references in this lecture

Angry parents accuse school of 'dumbing down' English by showing The Simpsons in class- Daily Mail

http://www.dailymail.co.uk/news/article-1295062/Angry-parents-accuse-school-dumbing-English-showing-The-Simpsons-class.html

  • Parents' reaction (Joseph Reynolds) at the dumbing down of subjects such as English, where the Simpsons is favoured instead of Shakespeare
  • Media studies seemingly made easier for stupid kids
  • Michael Gove (Education secretary) advocates media studies as it is more successful in state schools

Tories to tackle 'Media Studies menace'- The IndependentLink
http://www.independent.co.uk/news/education/education-news/tories-to-tackle-the-media-studies-menace-1772933.html

  • This article signifies the fact that students pick science and theoretical subjects instead of media due to the high level of pass marks. Media studies is referred to as a 'soft subject' and is shunned by state schools in favour of academic subjects.

'Worthless qualifications' give false hope to state pupils, says Harrow head- The Guardian

http://www.guardian.co.uk/education/2010/jan/22/deceive-children-worthless-qualifications

  • Students that attend high achieving state school students and do "soft" subjects are given false hope, as it is not an easy subject
  • Elite Universities such as Oxford and Cambridge blacklist media studies- Media Studies labelled as 'shit'
  • Media Studies in the US protects students from the media and what it condones, such as sex, alcohol, drugs. US media studies is saving kids from sex, alcohol and drugs

Criticisms and Advantages of Media Studies

  • Matthew Arnold ( Educational 19th century thinker) concerned with working class and the fact that they could get the vote was a threat to aristocracy, society and civilization
  • Queenie Leavis advocated media, as it could be used to criticise popular culture and better society- help them get better job, improve civilisation.
  • More competitive subject to get into, quite successful in top universities e.g LSE
  • Media helps us think critically and analytically
  • Skills learnt from Media could be transferred in the workplace; teamwork, problem solving
  • More than 2/3 of students have a job after 6 months after leaving university

Tuesday 19 October 2010

Analysis of the Male Gaze in Jennifer's Body



In this scene from Jennifer's Body (2009) the male gaze is constructed through the use of camera angles, as the use of the two shot allows a male audience to have scopophilic gratifications, as they are voyeurs who take an interest into the the two characters. Though the use of the inter deigetic gaze is signified in the scene, as Jennifer (Megan Fox) looks at
at Needy Lesnicky (Amanda Seyfried) more seductively in the over the shoulder shot. By using the over the shoulder shot, the audience can identify with Needy, as she is shocked to find a girl sleeping next to her in bed.

In this way, a male audience can gain sexual gratifications, as the women are sharing a passionate kiss which could connote sexual innuendo. Therefore, the men can be signified as being dominant in the text. Though, the use of the female gaze allows women to be voyeurs, as they can identify with the women and have voyeuristic pleasures, as Jennifer and Needy are allowed to be more permissive and liberal. As Jennifer kisses Needy in a close up shot, a homosexual audience may gain sexual pleasures as they women's hidden desires are let loose. The use of the high key lighting connotes passion, as the women are alone together.

Though the taboo and apprehensions are quelled in this scene, as Needy succumbs to temptation and enjoys her homosexual moment, as she is signified in a close up shot, where she is on top of Jennifer, which connotes how she is able to be dominant and unleash her sexual urges. In addition, Jennifer's legs are fethishised as she wraps her legs around Needy in a medium shot which connotes how she is a predator who traps women and is more powerful in that respect.

Interestingly, Needy's hair is fetishized, as Jennifer caresses her hair, which connotes that Jennifer is more promiscuous and craves for danger and passion, as she seemingly 'pounces' on Needy, as she is fairly represented as the stereotypical geeky girl who hasn't experience sex and is seemingly being sexually liberated by Jennifer. The use of the extreme close up of Jennifer and Needy kissing allows the male audience to be in control, as they may have voyeuristic pleasures out of seeing women kissing and eventually locking in a passionate embrace. In reference to Mulvey's article, Jennifer has oral fixations, as she licks the inside of Needy's mouth in a close up shot which connotes passion and eroticism.

As well as this, the high angle shot of Needy and Jennifer relates to the male gaze, as the audience have scopohilic pleasure out of watching the women in a passionate moment. The use of lingerie connotes how the women are sexually provocative and promiscuous.

However, the male gaze is seemingly interrupted, as the close up shot of Jennifer lifting Needy's top raises the male gaze, as the women are about to have sex. Needy's slender back is dismembered and fetishized, as Jennifer caresses her back which connotes physical attraction and passion.

However the audience expectations are subverted, as Needy instantly is cathartic of her first 'lesbian' experience, as she is unwilling to have sex. The angry reaction of Needy connotes frustration and emotional guilt, as she believes she is being more immoral in having relationships with a woman and is aware of her self objectification, as she is not persuaded to have sex.

In many ways, Jennifer is more dominant in the scene, as signified in the medium shot where she says "I have the cops in my back pocket", this connotes how she is more confident and dominant due to her power over the police. What's more, Jennifer is represented as being supernatural and immortal, as the camera tilts down to the close up shot of Jennifer cutting her arm and it healing by itself signifies how Jennifer is more invincible and sinister, as she poses a threat to women and is represented as the Proppian villain. The over the shoulder shot signifies Needy's shock at seeming the wound heal, which is quite weird, as humans would not be able to heal that quickly. Alongside this, the non deigetic sound of the calm violin and sound effect of the skin healing signifies Needy's shock at Jennifer, as she does not seem to be who she says she is.

In regards to this scene, audiences such as postfeminists may have negotiated readings with the text , as Jennifer is represented as quite androgynous and dominant, as she has the power to heal and tempts women into her supposed trap. Though, other audiences may have oppositional readings to the text, as women are dominant and men are subordinated, which makes men seem more vulnerable.

788 words

Monday 18 October 2010

Post Feminism and Popular culture- Sex and The City



"The new young women are confident enough to declare their anxieties about possible failure in regard to finding a husband, they avoid any aggressive or overtly traditional men, and they brazenly enjoy their sexuality, without fear of the sexual double standard".

"...capable of earning their own living, and the degree of suffering or shame they anticipate in the absence of finding a husband is countered by sexual self-confidence. Being without a husband does not mean they will go without men".

"Individuals must now choose the kind of life they want to live. Girls must have a lifeplan. They must become more reflexive in regard to every aspect of their lives, from making the right choice in marriage, to taking responsibility for their own working lives,and not being dependent on a job for life or on the stable and reliable operations of a large-scale bureaucracy which in the past would have allocated its employees specific,and possibly unchanging, roles".

Post Feminism and Popular culture- Lad's Mags

http://www.dailymail.co.uk/debate/article-1274095/JAN-MOIR-Lads-mags-toxic-culture-treats-women-like-meat.html

This is an article which discusses the role of women and how they are subordinated and degraded in lad's mags.

"...young women endorse (or else refuse to condemn) the ironic normalisation of pornography, where they indicate their approval of and desire to be pin up girls for the centrefolds of the soft porn “lad mags".

"...we are witness to a hyper-culture of commercial sexuality, one aspect of which is the repudiation of a feminism invoked only to be summarily dismissed (see also Rosalind Gill 2003)".

"As a mark of a post-feminist identity young women journalists refuse to condemn the enormous growth of lap dancing clubs despite the opportunities available for them to do so across the media".

Post Feminism and Popular culture- Citroen Car advert



"This advert appears to suggest that yes, this is a self-consciously “sexist ad,” feminist critiques of it are deliberately evoked".

"Feminism is “taken into account,” but only to be shown to be no longer necessary. Why? Because there is no exploitation here, there is nothing remotely naı¨ve about this striptease. She seems to be doing it out of choice, and for her own enjoyment..."

"the shadow of disapproval is introduced (the striptease as site of female exploitation),only instantly to be dismissed as belonging to the past, to a time when feminists used to object to such imagery. To make such an objection nowadays would run the risk of ridicule".

Post Feminism and Popular culture- Wonderbra advertisement


"The Wonderbra advert showing the model Eva Herzigova looking down admiringly at her substantial cleavage enhanced by the lacy pyrotechnics of the Wonderbra, was through the mid-1990s positioned in major high street locations in the UK on full size billboards".

"...composition of the image had such a textbook “sexist ad” dimension that one could be forgiven for supposing some familiarity with both cultural studies and with feminist critiques of advertising(Judith Williamson 1987)".

"...taking feminism into account by showing it to be a thing of the past, by provocatively “enacting sexism” while at the same time playing with those debates in film theory about women as the object of the gaze (Laura Mulvey 1975) and even with female desire (Rosalind Coward 1984; Teresa de Lauretis 1988)."

Post Feminism and Popular culture- Bridget Jones Diary

"..she has benefited from those institutions (education) which have loosened the ties of tradition and community for women, making it possible for them to be disembedded and re-located to the city to earn an independent living without shame or danger".

"post-feminism positively draws on and invokes feminism as that which can be taken into account, to suggest that equality is achieved,in order to install a whole repertoire of new meanings which emphasise that it is no longer needed, it is a spent force."

".. gentle denunciations of feminism (as in the film Bridget Jones’s Diary) co-exists however with the shrill championing of young women as a “metaphor for social change” on the pages of the right wing press in the UK, in particular the Daily Mail."

Four Key Concepts of Post Feminism

  • Post-feminism as backlash to feminism:

In the article, this concept signifies how women have made progress in the gender war. This point supposedly diminishes post feminism, as it makes women feel unfeminine, unhappy, as they are made to look more aggressive.

  • A more positive look at feminism:

In society, the idea of feminism was opposed, though post feminism seemingly instills a more attentive and positive look on feminism, women have managed to gain some ground in the gender war, with more opportunities open for women and greater equality in society, e.g employment.

  • Post-feminism as a colloquialism:

This particular concept relates to the fact that feminism is still present in society, but is more modern, event though it is controversial or despised as being evil. Feminism is doing the role of post feminism, in that it revisits topics and has different goals to achieve.

  • The ambiguity of the prefix “post”:

In many ways, the prefix of post is more ambiguous, as it may have been concluded or have already started. Though it could relate to the fact that feminism may have ended or becoming to be more influential.

Wednesday 13 October 2010

Bianca's Exemplar Essay

What are the different representations of women in adverts and how are they signified?

The representation of women can be positive: challenging the roles and expectations of women or negative: reinforcing a patriarchal society. This essay questions how and why these representations are constructed in an advert for Gucci Guilty Perfume and Stella Artois beer.

Firstly the Gucci advert is in widescreen which connotes a dramatic cinematic experience to engage its audience. More attention is gained by the female character first seen in the text and her protagonist is signified through this. The protagonist has female dominance which is signified through the use of colour- everything is in black and white while her hair is gold/blonde. This colour connotes gold, power and divinity signifying her importance in the text.

The use of intertextuality in this text will appeal to a particular audience. The film references a great deal to the neo film noir Sin City, with the use of colour and the female dominant femme fatale character. Sin City appeals to a male audience due to the action genre, this trailer could also appeal to the same audience due to the intertextuality. In terms of the Uses and Gratifications theory, a female audience might realise and accept the protagonist in the text is a form of escapism and also a male gaze, by theorist Mulvey, and therefore might aspire, from Young and Rubicam's 4Cs, to be the object of male gaze too.

Though the protagonist is an object of male gaze, it could be suggested that she sexually objectifies herself to tease the audience. The protagonist puts her leg into the frame of the shot. As she puts into the frame, it signifies self objectification, allowing the audience to fetishise her body. Another shot, a high angle, of their sexual activities signifies CCTV and spying which is voyeuristic. The fact she is on top signifies her control of the situation for both the male character and the audience.

Not only does the protagonist exert her feminity through self objectification she also presents herself as an anarchic character signified by adopting male stereotypes. The advert begins with a long shot of an unknown character speeding down the motorway, which stereotypically would be expected to be a male character. However, the audience's expectations are challenged when a medium shot of the driver shows to be a female.

In contrast, women are negatively represented in the Stella Artois text. The most obvious editing technique used in the advert is the split screen: one side shows the female getting dressed and the other side is of the beer getting "prepared". This use of split screen signifies that neither the beer nor the woman know they have been placed side by side. This puts the audience in position of control as they can voyeur the woman, in a socially acceptable way. Audiences may identify this control as patriarchy, and also identify with the unknown male character whose presence is felt within the text. This text then reinforces the idea of a patriarchal society and that women are subordinated by men.

Not only does the female share the screen with the beer, but the screen is split equally between the two "objects" which connotes the woman is equally objectified to the status of beer. It is suggested the audience is male due to the female and beer subject. Though the advert is targeted at men, it also negatively stereotypes men as people who have little respect for women which however is a dominant representation.

A range of close up shots of the female are used to fetishise her body. There is a close up shot of the female's leg slowly and elegantly rising from the bath tub. On one hand this could signify femininity and her control over it which is the oppositional reading. However, the more dominant reading is that her legs are an important part of the female body and connotes a male audience who can voyeur her body.

The text near the beginning of the trailer says "the preparation" which is an enigma code as the audience question "what event is the preparation for?". It is signified through the shots that the woman and beer preparation is for the male through the use of action codes. Action codes of both the preparation of the woman and the glass of beer are the same.

Women are represented as people who prioritise their looks and appearance, and this ad reinforces this ideology. Action codes including close ups of her: brushing her hair, doing her make up and putting on heels strongly represent women as image conscious. It could be said that the advert reinforces this representation, which is always seen in the media. Funnily enough, it could also be said that the media itself is the cause of this representation as this ideal, perfect woman is always represented in the media, and women feel they have to aspire to it.

In conclusion, both texts females are the protagonists and are sexually objectified for male audiences to fetishise and vouyer their bodies. However, while Gucci’s advert’s protagonist controls her sexuality through self objectification, the Stella Artois’ protagonist is objectified by an unknown but present male character.

In the Gucci’s ad, there are many examples in the text that signify the protagonist’s female dominance, but it is arguable whether this could be seen as a positive representation. The dominant reading is that the protagonist exerts her female dominance over the male challenging the historical patriarchal society and even subordinating males as easily manipulated and easily tempted by women and sex and this would favour feminism. However the oppositional reading which would favour the ideologies of the Stella Artois advert, might be that females can control their sexuality, but it is still for the male gaze and male dominant society.

Gucci Guilty- Positive Representation



Stella Artois- Negative Representation

Sunday 10 October 2010

Research into gender advertising

Research

Positive representation of women: Persil Laundry Detergent 1964



In this advertisement for Persil detergent in 1964, women are fairly represented, as the women in the advert is a mother who looks after her children. The use of the long shot connotes how she is the stereotypical carer, as she drops her son to school. The use of the non diegitic sound of the voice over signifies how she is more considerate, as her tone of voice connotes how she is more passive and calm. By using the tracking shot of the mother with her child, women are positively represented as being more attentive and protective of their children. In many ways, the female audience are voyeurs, as they see the linear narrative progressing and are able to identify with the mother on the way to school. As referred to by Gunter (1995) women are stereotyped as housewives who mostly appear in adverts around bathroom or kitchen products.

This advertisement for Persil laundry detergent maintains the status quo and gives women an accurate representation of housewives who are more concerned about cleanliness beauty, family and pleasing others. In the advert, the competitiveness of housewives to please is shown, as she shows her son's glistening white shirt to another women in an over the shoulder shot. The narrative seems to repeat, as the mother recommends the product to another housewife, as signified by the voiceover.

Negative Representation of women

1955 Joy Dish washing Liquid advert



Within this advert for Joy dish washing liquid, women are negatively represented, as they are stereotyped as being housewives. In the opening of the advert, the narrator in a medium shot signifies a binary opposition, as the man is at first signified in a medium shot, washing the dishes, though this challenging representation is removed, as the accurate representation of women as housewives is instilled. The advert seems to subordinate women as one dimensional, as the narrator says, 'Let your husband do the dishes... who am I kidding', the advert fades to give an accurate representation medium shot of the women in the kitchen. In many ways, the abnormality is removed, as women are in the home which reassures men, as they would not be expected to clean dishes.

Therefore, men are seemingly sexist, as they refuse to challenge stereotypes of men being carers at home. As evident in Gauntlett's article, content analysis signified how all adverts featuring women, three quarters were for kitchen and bathroom products. Women were twice as likely as men to be seen in the home. According to Schiebe (1979) most women in ads were more concerned about beauty, cleanliness , family and pleasing others. In this particular advert, women are negatively represented as the housewife, who has to perform crucial roles in the house such as cleaning and cooking. The constructed image of the smiling housewife is signified in this advert, as the medium shot of the housewife endorsing the product connotes that housewives are more passive and are under represented in the patriarchal society, due to thier lack of opportunities. The advert is seemingly self objectifying women, as they are constructed as being the doting housewife who is passive and has responsibilities in the home.

Interesting advert giving a positive representation of women

1960s Antler Luggage advert



In this early 1960s advert for Antler Luggage, women are positively represented, as they are signified as being more hard working and spontaneous. Interesetingly, women are represented as workers in factories, working alonside men which conntotes how women's emancipation in the 1960s paved way for women to be more decisive and able to find career opportunities, in contrast to being a houswife.

In contrast to previous advertisements, women were involved in production of products and were regarded as important members of the team, as signified with the non deigitic sound of the voice over, which praises women for thier detail, as they can be identified as being strong, diligent and precise. In many ways, the women in this advert for luggage are represented as being androgynous, as thier strength and intiative enables them to do the jobs which a man would normally do and can be indentifiable to many women in the 1960s. As well as this, the advert many have negotiated readings with feminism, as women seem to have equality to men and are signified as being powerful and strong, which could demean men in some ways.

According to Gunter, when women were seen in a paid environment, they were more often than not subservient to men. Therefore the audience could have oppositional readings to the advert, as they perform stereotypical tasks such as sewing and working with textiles, which seems to subordiante them, as seen in close up shot of the women sewing. In general, the advert reinforces the representation of women as being successful, optimistic and diligent in advertising.

Men in Advertising

Postive representation of men: 1963 Piels Beer Advert



In this 1963 advert for Piels Beer, men are positively represented as hard working, caring and family orientated, as the use of the montage allows the audience, consisting of males, to identify with the different types of men in the advert, as they themself are hard working. The use of the close up shot of the blacksmith working connotes how men are more dedicated and passionate in industry. By using continual fades, the audience are able to get a more accurate representation of men in different areas of work. The use of the voiceover in accordance to the advert is more sphisticated, as the narrator praises men in thier work. The use of a close up shot of the chief executve and builder shows the binary opposition of classes, with the chief executive and builder being more equal, as advertising promoted the idea of class. Though, the advert gives an accurate representation of men in the workplace.

The Piels beer relies on the positive values of hard work, as all of the men are stereotyped as being diligent and strong, which is fairly represented in this advert. The audience would have negotiated readings with the text, as they can be injected with a belief that hard work will result in rewards, therefore the beer promotes diligence as well as being pleasurable.

Advertisment depicting men as sex objects:

Diet Coke Lift Advert 2007



This advertisement for Diet Coke revolves around three women who take the lift for their Diet Coke break before pressing the alarm button to gain the attention of the constructed stereotype of men as being more muscular and attentive. Generally, this advertisement gives a negative representation of men as sex objects, as the women seem to cringe thier sexual desires, as signified with close up shot of the women stroking the top of the can, in this way the Diet Coke can acts as a phallic symbol, as the seductive movement of the fingers connotes sexual liberation and pleasures . As the women presses the button, the non deigtic sound of ' I just wanna make love to you', connotes sexual pleasures, as the close up shots of the women's faces connote seduction and provocativeness.

As the women look upwards, the use of the slow tilt signifies how the man is more heroic and masculine, as the close up shot of his belt and shoes connote how the man is adventurous and heroic, as he parasails down the lift at the call of a button, thus signifying women as the dominant sex. Interestingly, the women looks at the man's lower region which connotes sexual pleasures, as his toned body is fetishized by the women, which makes him the sex object, as the men is made the prey by the 3 women. In some ways, the Diet Coke advert could have negotiated readings with the women, as the men are subordianted, giving them a negative representation.

Negative Representation of Men

Lynx Chocolate Advert



Again, this 2007 advert for Lynx Chocolate self objectifies and under represents men as sex objects, as the protagonist sprays Lynx over his body and is transformed into a sexy man that is made out of chocolate. In many ways, the brand raises ideologies on chocolate , as it is one of women's main indulgences, therefore they would find it hard to resist a man made out of chocolate.

Therefore, the man is transformed into chocolate and is constantly dismembered by women, as signified in a medium close up shot in the cinema, where the women seem to lick the man's ears, this shows how his ears are fetishized as he is vulnerable to their temptation. Throughout the advert, the chocolate man's body is fetishized, with women waiting to grab some of him. Funnily enough, the facial expression of the man connotes how he is being pleased sexually and is relishing his dominant status, as women are seemingly subservient to his temptatious chocolate skin texture. Though, the man could be identified as being emasculated, as he is subordinated, with women overpowering him, by dismembering his body parts, as seen in a medium shot where his arm is snapped off. As well as this, the advert signifies women's sexual urges, as the medium shot of the women biting the man's ass connotes sexual pleasure ,where the man is irresistible, as signified in the tag line.

Post Feminism Advert

Littlewoods- Nice Boots Campaign



In this advertisement for Littlewoods, women are positively represented as being dominant and confident, as their boots seem to be fetishized, in order to signify their dominance over men. The close up shot of Coleen Rooney in the manor connotes how she is the Proppian helper who orchestrates women on style and beauty. Though, the advert could represent Coleen as being a leader of women who dispatches women wearing glamorous clothing in order to compete with other women. By using a long shot, the audience can identify with the women, as they are given clothes and shoes in order to look confident and attractive. In contrast to this, the fade signifies women as subservient to Coleen , who may be represented as the dominatrix with a whip who commands the women under her control.

Consistently, the advert is accompanied by the non deigitic music which revolves around the boots and is more sassy. By using this parallel sound, the women are more concerned with finding a man and are seemingly ready for a war, as they are signified polishing their heels in a medium close up shot. Therefore, the audience can have negotiated readings with the advert, as it raises post feminist issues and constructs the image of women being more dominant. However, the women are seemingly more active, as the long shot of women running connotes how they are willing to be healthy in order to look appealing to men and have some right to be confident.

At one point, the audience are voyeurs, as they see women undressing, as signified with a close up of the women's lingerie . Therefore, a male audience may gain sexual gratifications out of watching the women reveal themselves. However, a femal audience may be injected with a belief that being attractive and healthy is crucial in life, therefore the Littlewoods brand raises more positive ideologies . As well as this , many women can gain gratifications out of watching this advert.Though they could also gain self belonging needs,as they gain fashion tips and techniques from wacthing this advert.

As a result, the advert gives an alternative representation of women as being androgynous, as they are being commanded by women in army uniforms and are seen running and marching, thus signifying women as passive, yet more dominant .

Saturday 9 October 2010

Gender and Advertising

Gender in Advertising

1. What sort of images of women and men dominated advertising pre-1970s? Why was this the case?

Before, the 1970s, images of women in stereotypical roles, such as the 'smiling secretary' or hairdresser were more occurent. Referring to the theories of Gunter (1995), the number of 'housewife' images began to decline after the 1950s, possibly due to the war and the fact that women emancipation gave them more rights. Women were more than twice as likely as men to be seen inside the home, and when they were seen in paid work environment, they were signified as being subservient to men. However, men were most likely to be seen in more authoritative roles, and were ten times more likely than women to provide a dependable voice over. Men could be constructed in this way, as they were stereotyped as the breadwinners of the family and were more responsible. Therefore men were stereotyped as being more dominant due to their behaviour and strength.

2. How did the advertising of the 1970’s continue to perpetuate the stereotype of women, despite depicting women in a greater range of roles?

Despite depicting women in greater roles, advertising in the 1970s still perpetuated the stereotype of women, as they still were stereotyped as housewives and mothers. Though, the opportunity and freedom for women to work, seemed to give women a more alternative representation, though advertising seemed to abide by the traditional stereotypes of women, as they were still expected to look after the family and be expected to cook. However, the range of opportunities for women in work seemed to raise fears for men, as the patriarchal values were deteriorating, therefore, advertising in the 1970s would try to perpetuate the stereotype of women, in order to maintain the status quo and affirm women's status as the housewife or provider.

3. Can Gaye Tuchman’s quote regarding under-representation and the ‘symbolic annihilation of women’ still be applied in 21st Century advertising? If so, how?

In many ways, Gaye Tuchman's quote regarding the 'symbolic annihilation of women' could still be applied in 21st Century advertising, as more advertising is targeted at a male audience, with alcohol advertisements subordinating women and giving degrading representations of women. Alongside this, an analysis by Coltrane and Messineo (2000) found that characters in ads 'enjoy more prominence and exercise more authority if they are white, or men," this therefore shows how hegemony and patriarchal values are still instilled in adverts and signal the symbolic annihilation of women. As well as this, women are seemingly represented as being incompetent, with the Fiat ad's tag line stating, ' When I'm not lying on cars I'm a brain surgeon,' this connotes that women seem attractive, but are dumb, giving men a more dominant representation. In many cases, the myth of the dumb blonde is true in adverts targeted at men.

As well as this, Tuchmann argues that the symbolic annihilation of women is signified in all forms of media, as magazines seem to under represent women immensely. With the use of technology, magazine companies such as Cosmopolitan, Grazia and Vogue seem to construct the image of a perfect woman, by enhancing their appearance and making models seem aesthetically perfect. As a result, young girls and women are injected with an idea of being beautiful, in order to follow the dominant representation of famous female models such as Naomi Campbell. Also, the numerous amount of thin models on the catwalk led to women being inject with the belief that beautiful women are thin, which leads many girls and women wanting to be thin.

4. Do you agree that adverts, such as those for the 1990’s Boots No. 7, ‘It’s not make-up. It’s ammunition.’ campaign, are post-feminist (thereby representing women as better than men?). Explain your answer.

The Boots No 7 advert ' It's not make up. It's ammunition', is seemingly post feminist and seemingly empowers women over men, as it reacts against the subordination of women in advertising. The use of the word ammunition, connotes warfare and conflict, as the mascara is a sign of attraction and seduction . Though the audience could have oppositional readings of the advert, as it signifies how women are more predatory and competitive when attracting men. In accordance to this, women seem to be fetishized, as they use beauty products, such as the mascara to cause a 'lusty gaze' on men. In many ways, the Boots advert challenges rival beauty products, as Boots No 7 represents women as being more dominant, who make men the prey and since in contemporary advertising, men use their looks to get women, there is less to complain about, as there is no competition.

Though, the advertisement seems to still represent women as more passive, as the mascara connotes beauty and is mediated in the advert, as being a weapon which women use to attract men. The adverts denotations attract the audience to buy the product as it will guarantee confidence and power.

5. Is the representation of women by the media accountable for the results of a survey in which ‘women were up to ten times more likely than men to be unhappy with their body image’?

It can be argued that the representation of women by the media does affect women's body image, as the constant exposure of beautiful, idealistic women in the media, seems to inject women with a need to be thin. Therefore, women are self objectified and are constructed in advertising in order to be physically perfect. By using thin models, the media constructs a stereotype of the thin women, which results in many women turning to radical diets and exercise programmes, in order to be physically attractive. Women in numerous fashion magazines are air brushed in order to look younger and admirable, therefore women could be indoctrinated and more conscious about their appearance. This exposure of the perfect image of beauty in society and the vast range of beauty products in covert advertising such as (billboards, posters, television adverts) could raise unhappiness and make women feel abnormal

On the contrary, the media may not be to blame, as women could be pressurised by peers or friends to become thin, which could result in unhappiness and anxiety. As well as this, the obession with beauty and vanity seems to cause women to alter thier bodies; for example breast enlargement, lip suction and other medical adjustments seem to be an alternative to being unhappy, which most women turn to.

6. Is the contemporary representation of men in advertising perhaps also a negative one where they too are treated as sex objects?

The contemporary representation of men in advertising is more negative, as they are mediated and subjected to be more physical and strong. However, adverts such as Dolce and Gabbana seem to fetishize the male body, as the men are more thin, which results in men being forced to conform to the media's image of the perfect man. The modern representation could also subordinate men, as they are often mobbed my women and are only adored for being stereotypically strong and attractive.

Similar to women, men are constructed in magazines and other forms of advertising as being self objectified and are altered to look more young and suave, yet are also in the gaze, as their appearance in magazines would result in them being sex objects, as women crave men that are strong, have a toned physique and are seemingly Proppian heroes. By being beautiful, men will be the basis of much competition from women, who adore men for their looks

Monday 4 October 2010

Representation of women in TV advertising

Nivea Firming Body Lotion



In this particular advertisement for Nivea Body Lotion, which was broadcast on ITV during the prime time slot, as women would ideally watch TV during the afternoon and late at night. Moreover, the narrative revolves around a teenage girl who applies Nivea lotion and believes the lotion actually softens the skin. Though, women in this advertisement are represented as the dominant sex who are self objectified in a positive way to attract men.

The use of the voiceover signifies how the lotion is effective , as it makes skin softer which offers women a chance to look attractive and confident . The use of an over the shoulder shot connotes how the lotion actually soothes delicate areas such as the back and areas which usually are tense such as the shoulders. In many ways, the women are encouraged to buy the product as it will guarantee beauty and men. However, if they do not buy the product they will not be able to have smoother skin and may not be confident.

As well as this, the advertisement signifies naturalisation,
as the lotion is a beauty product which intends to be focused at the female audience, as it is a mosituriser which focuses predominately on women, as they are conscious of their appearance and tend to take care of their body . In this way, the use of non deigitic music of the guitar is faded, in order to signify a more subtle mood. Though, the use of continual close ups and fades connote how the lotion can be applied to all areas of the body and is a way of rejuvenating the skin. Though the use of a close up shot of the female derriere seems to offer sexual gratifications to a male audience , as the bum is fetishized as being soft
which connotes sex.

As the camera focuses on two hands in a close up
shot, it zooms to signify how the women has a man, due to using the lotion. What's more, the body language of the hand on the back connotes pleasure and seduction, as the women feels more confident. Evidently, the confident, seductive facial expression of the teenage girl and the aroused facial expression of the man connotes pleasure, as she gestures her willingness to have a romance.

The Nivea advert uses positive values, as the use of the fact ' 73% of women believe firmer feeling skin gives them the confidence to reveal a bit more'. In this way, the advert connotes how the product serves its purpose and is also polysemic, as it suggests that it will result in confidence in the bedroom. Also, the use of the slogan ' feel closer' signifies how the product is meant to traget at women, as they can use the product in order to get men and have relationships.

Barnado's 'Break the Cycle'



Barnado's ' Break the Cycle' is a socially realistic advert which was broadcast on November 2008 on Channel 4 and was part of an emotive campaign , which intended to highlight the abuse of children and its mission to help vulnerable children. The multi stranded narrative focuses on a teenage girl who is represented as an illiterate, a drug addict and a criminal . The advert seemingly raises awareness of abuse and shows how children are deprived of their normality and are forced to leave a life of fear.

The advert opens with a medium shot of a women in jail, which gives an alternative representation of women as criminals, in comparison to other adverts, where they are sex objects for men. Though the tearful facial expression connotes how her life and environment has lead to her being in jail. In many ways, the advert adds a sense of voyeurism, as the audience can have negotiated and oppositional readings toward the teenage girl, as they get to see her in all aspects of her life,, from school to drugs and domestic abuse.

The use of the diegitic sound of the kettle gradually boiling connotes tension and violence , as the audience something unexpected is about to happen. Through the use of a fade, the audience get a more introspective view of how the women is treated at home, with the use of diegitic sound of the man saying ' You worthless little cow' connotes how the women is negatively represented as being the Proppian villian and a victim.

The kettle sound connotes anger and hatred, as the angry facial expression of the teenage girl signifies how she is willing to do something irrational. In many ways, the teenage girl in the advert is subordinated, as her father slaps her on the head, which connotes how he is more dominant in the household and signifies an element of patriachy.

What's more, the women is given an alternative representation as being stupid, as the medium shot of the teenage girl signifies how she is distressed and seemingly illiterate, as the diegitic sound of 'she can't read' by a classmate connotes how the girl is pressured by her classmates and is unable to read from a book, which relates to the fact that her upbringing was very poor. The use of a fade seems to progress the narrative , as the audience get to see the girl, as she reverts to drugs, as signified in a high angle shot, where she is addicted and aroused by the effect of heroin. The use of the needle is similar to a phallic symbol, as it penetrates the girl, resulting in her arousal.

Though, the negative representation of women are shown, as the teenage girl is more violent, as signified in a , where she is threatening a civilian for money. Though, there is a sense of androgyny, as the close up shot signifies how women are more violent and aggessive, giving an alternative representation, as men would stereotypically be represented as more violent and abusive, yet the girl tends to be more physically dominant in this advert.

Interestingly, the advert speeds up, with the medium shot of the girl in jail. By doing this, Barnado's, as an institution intends to inform the audience of how this cycle is repetitive and evident in everyday life. The use of emotive and serious tone through the narrative, raises ideologies of child abuse and the fact that support is needed in order to stop this type of abuse, as lives are ruined.