Advertising: The representation of women in advertising

The representation of women in advertising is a vital area of study. We need to be able to discuss how representations have changed and apply these ideas to both unseen advertisements and our CSPs.

The notes from the lesson are below.

Jean Kilbourne: Killing us softly

Activist and cultural theorist Jean Kilbourne has been studying the image of women in advertising for over 40 years. Her series ‘Killing us softly’ highlighted the negative representation of women in advertising.

She went on to make further documentaries studying this issue and whether it was changing over time.



Liesbet van Zoonen: Feminist Media Studies

Liesbet van Zoonen was one of the first theorists to explicitly link gender, feminism and media studies. Writing since the 1990s, van Zoonen is a key figure in third wave feminism alongside theorists such as Butler and McRobbie.

Looking specifically at the representation of women in advertisements in the 1970s and 80s, van Zoonen questioned how much things had really changed. For example, women in adverts may be shown to have jobs but their appearance was usually still the vital element.

Liesbet van Zoonen: third wave feminist

Like McRobbie, van Zoonen was interested in the pleasures female audiences took from the women’s magazines that were heavily criticised by more radical 1970s-style feminists.

In a similarity with Butler, van Zoonen sees gender as negotiated and dependent on social and historical context. She wrote the meaning of gender is a “discursive struggle and negotiation, the outcome having far-reaching socio-cultural implications.” (van Zoonen, 1994) 

Liesbet van Zoonen: constructing meanings

van Zoonen also built on Stuart Hall’s reception theory with regards to how gender representations communicate their meanings to audiences. She suggested the media’s influence in constructing gender is dependent on:

• Whether the institution is commercial or public
• The platform (print/broadcast/digital)
• Genre (e.g. drama/news/advertisement)
• Target audience
• How significant the media text is to that audience

Blog tasks: Representation of women in advertising

The following tasks are challenging - some of the reading is university-level but this will be great preparation for the next stage in your education after leaving Greenford. Create a new blogpost called 'Representation of women in advertising' and work through the following tasks.

Academic reading: A Critical Analysis of Progressive Depictions of Gender in Advertising

Read these extracts from an academic essay on gender in advertising by Reena Mistry. This was originally published in full in David Gauntlett's book 'Media, Gender and Identity'. Then, answer the following questions:

1) How does Mistry suggest advertising has changed since the mid-1990s?

2) What kinds of female stereotypes were found in advertising in the 1940s and 1950s?

3) How did the increasing influence of clothes and make-up change representations of women in advertising?

4) Which theorist came up with the idea of the 'male gaze' and what does it refer to?

5) How did the representation of women change in the 1970s?

6) Why does van Zoonen suggest the 'new' representations of women in the 1970s and 1980s were only marginally different from the sexist representations of earlier years?

7) What does Barthel suggest regarding advertising and male power?

8) What does Richard Dyer suggest about the 'femme fatale' representation of women in adverts such as Christian Dior make-up?


Media Magazine: Beach Bodies v Real Women (MM54)

Now go to our Media Magazine archive and read the feature on Protein World's controversial 'Beach Bodies' marketing campaign in 2015. Read the feature and answer the questions below in the same blogpost as the questions above.

1) What was the Protein World 'Beach Bodies' campaign?

2) Why was it controversial?

3) What did the adverts suggest to audiences?

4) How did some audiences react?

5) What was the Dove Real Beauty campaign?

6) How has social media changed the way audiences can interact with advertising campaigns? 

7) How can we apply van Zoonen's feminist theory and Stuart Hall's reception theory to these case studies?

8) Through studying the social and historical context of women in advertising, do you think representations of women in advertising have changed in the last 60 years?


There is a lot of work here - you will be given lesson time to do it but will need to finish for homework. Due date set by your exam class teacher.

TV: Capital - Representation questions

How confidently could you answer an extended essay question exploring representations in Capital?

We know there will be one 25-mark, 35-minute question on our TV CSPs and therefore need to develop the skills required to plan and write thoughtful, in-depth responses to questions across all the key concepts.

For example, how would you answer the following question:

“Capital offers representations of people and places that accurately reflect the social and cultural context of London in 2015.”

To what extent does your analysis of Capital support this view?

[25 marks]


Additional questions

Group 1: To what extent do the representations in Capital reflect the concerns of modern 21st century London life? [25 marks]

Group 2: Capital was produced by the BBC, a public service broadcaster. Do representations in Capital reflect the corporation’s mission to inform, educate and entertain? [25 marks]

Group 3: “Capital is not a crime drama but a family drama.” To what extent do representations of family in Capital support this view? [25 marks]

Representation questions - blog task

Create a blogpost called 'Capital: Representation question'. Choose one of the three questions above and plan and write an essay answering it.

Minimum word count: 750 words

Complete for homework: due next Wednesday.

Advertising: Persuasive techniques

Adverts - both print and moving image - use a range of persuasive techniques to try and positively influence their audience.

We need to learn a range of these techniques and later apply them to the two CSP adverts we need to study for the exam.

The notes from the lesson are below.

Persuasive techniques

Advertisements are generally trying to persuade their target audience to:

• Buy a product or service
• Believe something or act in a certain way
• Agree with a point of view

There are many persuasive techniques used in advertising. A selection include:

• Slogan – a catchy phrase or statement
• Repetition – constant reference to product name
• Bandwagon – everyone is buying it
• Testimonial/association – e.g. celebrity endorsement
• Emotional appeal – designed to create strong feelings
• Expert opinion – ‘4 out of 5 dentists…’

Examples:

• Slogan – Just Do It
• Repetition – Go Compare
• Bandwagon – Maybelline ‘America’s favourite mascara’
• Testimonial/association – FIFA18 ‘El Tornado’ / Ronaldo
• Emotional appeal – WaterAid ‘Dig toilets not graves’
• Expert opinion – Max Factor ‘The make-up of make-up artists’

Case study: Marmite

Marmite has a long history of unusual advertising based around the idea ‘You either love it or you hate it’. How many of the persuasive techniques can you spot in this advert?

Advertising: Persuasive techniques blog task

Create a new blog post called 'Advertising: Persuasive techniques'. Read ‘Marketing Marmite in the Postmodern age’ in MM54  (p62). You'll find our Media Magazine archive here.

Answer the following questions on your blog:

1) What does John Berger suggest about advertising in ‘Ways of Seeing’?

2) What is it psychologists refer to as referencing? Which persuasive techniques could you link this idea to?

3) How was Marmite discovered?

4) Who owns the Marmite brand now?

5) How has Marmite marketing used intertextuality? Which of the persuasive techniques we’ve learned can this be linked to?

6) What is the difference between popular culture and high culture? How does Marmite play on this?

7) Why does Marmite position the audience as ‘enlightened, superior, knowing insiders’?

8) What examples does the writer provide of why Marmite advertising is a good example of postmodernism?

Complete for homework - due date set by your exam teacher.

TV: Capital - representations

Capital offers a range of fascinating representations - from London and Islam to the issues of asylum seekers and inequality.

You need to be able to confidently discuss these issues in the context of 2015 London - with reference to key scenes from episode 1. Representations include: London, family, gender, ethnicity, religion, immigration, asylum, inequality, wealth, aging and more.

Capital episode 1: key scenes

Scene 1: opening sequence 00:30 – 4.49
Scene 2: work in the City 6.28 – 8.10
Scene 3: “Which of those isn’t absolutely essential?” 14.00 – 15.35
Scene 4: asylum 18.03 – 19.42 AND 31.10 – 32.40
Scene 5: “What use is 30 grand?” 36.40 – 39.00 
Scene 6: life at the corner shop 40.10 – 42.55


Capital: Representations blog task

1) Watch episodes two and three of Capital and write a 50-word summary of each. You can either do this in class after school using the Media department's DVD or buy the whole series on Amazon download for £3.99 (SD).

2) Write an analysis of the representation in each of the key scenes from episode 1 we studied in class:

Scene 1: opening sequence 00:30 – 4.49
Scene 2: work in the City 6.28 – 8.10
Scene 3: “Which of those isn’t absolutely essential?” 14.00 – 15.35
Scene 4: asylum 18.03 – 19.42 AND 31.10 – 32.40
Scene 5: “What use is 30 grand?” 36.40 – 39.00 
Scene 6: life at the corner shop 40.10 – 42.55

You can choose which aspects to focus on for each scene: London, family, gender, ethnicity, religion, immigration, asylum, inequality, wealth, aging etc.

3) How does Capital use stereotypes? Do the characters and issues represented in Capital reinforce or subvert the stereotypes we typically see in the media?

Complete for homework - due next Wednesday.

Advertising: Narrative in advertising

Narrative is a hugely important element in advertising and marketing.

You need to be able to apply the four narrative theories we have studied previously. Crucially, AQA also make it clear you need to be able to apply narrative theory to both print and moving image texts.

Narrative theories: a reminder

You can find our original lesson notes on narrative here. To summarise each theory in a word or phrase:

• Todorov – Equilibrium
• Propp – Familiar character types
• Barthes – Enigma and action codes
• Levi-Strauss – Binary opposition

Narrative in advertising: Jonah Sachs

American writer Jonah Sachs has highlighted the importance of storytelling in advertising and marketing:

“The story wars are all around us. They are the struggle to be heard in a world of media noise and clamour. Today, most brand messages and mass appeals for causes are drowned out before they even reach us. But a few consistently break through the din, using the only tool that has ever moved minds and changed behaviour – great stories.”

Narrative in advertising: examples

There are a huge number of examples of adverts that use narrative. This marketing blogpost highlights 12 examples (including some we looked at in the lesson).

Sainsbury's World War 1 truce



Airbnb: Breaking Down Walls




Narrative in advertising: blog task




Nike has received critical acclaim for its February 2018 advert ‘Nothing beats a Londoner’. Embed the advert in your blog and answer the following questions:

1) How does the advert use narrative? Apply at least three narrative theories to the text, making specific reference to specific shots or key scenes in the advert.

2) Read this BBC feature on some of the people in the advert. How does the advert use celebrities and less well-known people to create stories in the advert?

3) Read this AdWeek feature and interview on the Nike London advert. How did the advert use technical codes (camerawork, mise-en-scene, editing etc.) to help create narratives that could connect with the audience?

4) What representation of London does the advert offer?

5) Why might this advert appeal to an audience?

Complete this for homework - due on Friday.

MIGRAIN: Final index and folder check

We have now completed our mammoth MIGRAIN Introduction to Media unit. You've covered a huge amount of work since September and now have a grounding in all the key concepts of A Level Media - well done! 

We now need to update our MIGRAIN blog index (we last updated this in December) with all the work we've done recently. As you know, it is important we are revising terminology and theory on an ongoing basis and making sure there are no gaps as the course continues. The vast majority of the course will be tested in an exam situation and there could easily be a question on a specific theory that we've covered in the last three half-terms. If you have missed any lessons or blog tasks this will significantly disadvantage you.

MIGRAIN Final index

Keeping an index of all your work is extremely good practice from a revision perspective. Not only does this keep the concepts and media terminology fresh in your mind but it will also highlight if you've missed anything through absence or trips. Your index should now include the following:

1) Media consumption audit
2) Language: Reading an image - advert analyses
3) Reception theory
4) Semiotics: icons, indexes and symbols
5) Genre: Factsheets and genre study questions
6) Narrative: Factsheet questions
7) Audience: classification - psychographics presentation
8) October assessment learner response
9) Audience theory 1 - Hypodermic needle/Two-step flow/U&G
10) Audience theory 2 - Bandura and Cohen moral panic
11) Audience theory: Media Effects factsheet
12) Industries: Ownership and Control
13) Industries: Regulation
14) Industries: Hesmondhalgh - The Cultural Industries
15) Industries: Public Service Broadcasting
16) Industries: Brand Values and Lines of Appeal
17) Representation: Introduction - Taken trailer analysis
18) Representation: Theory - MM article and application of theory
19) Representation: Feminism - Everyday Sexism & Fourth Wave MM article 
20) Representation: Feminist theory
21) January assessment learner response
22) Representation: Identity in the online age - MM article
23) Representation: Gauntlett / Collective Identity Factsheet
24) Ideology: BBC Question Time analysis and binary opposition
25) Ideology: MM reading on ideology and the wider media

You'll have done half of this index already - a quick time-saving tip is to copy the HTML from your original index blogpost and paste it in your new index blogpost. This will give you the first few links and you can add to it from there.

Remember, this is your index, so the text should link to your corresponding blogpost so you can access your work on each key concept quickly and easily. This also means you if you have missed anything you can now catch up with the work/notes and won't underperform in future assessments due to gaps in your knowledge. 

Important: your updated index needs to be completed by the first lesson back after half-term.

Folder check

An organised folder is absolutely vital when it comes to keeping notes for revision in future. At the beginning of the year you started an A4 ringbinder folder with dividers - now we need to do our latest folder check to make sure we still have all our notes in chronological order and a section for our marked assessments so far.

Use the folder check self-assessment sheet to check you have everything in order then simply sign it yourself and ask your teacher to countersign it to confirm you are up-to-date. If you don't have your folder with you today, make sure you bring it in on the first Monday after half-term and get it signed off by your exam class teacher.


Media Magazine

We have set you several pieces of work this term using articles in Media Magazine. However, if you're aiming for an A or A* grade in A Level Media we strongly recommend you read the rest of the magazine in your own time - focusing on texts or topics you are particularly interested in.

The latest edition, MM62, contains some excellent articles on Moonlight (which you'll remember from our trip), Michael Jackson classic Billie Jean, Tarantino's Pulp Fiction and why big budget games rarely become films. You'll find it in our Media Magazine archive - just click on MM62! 


Homework

Complete the last task on Ideology - Media Magazine reading from MM52.

If you don't have your folder with you, make sure you bring it in next lesson to get it signed off.

If the index task has revealed any gaps in your blog, make sure you complete the missing work over half-term along with the rest of the index.

All due: Monday after half-term

MIGRAIN: Ideology - final tasks

Our final key concept of this introductory unit to A Level Media is Ideology.

This is one of the trickiest concepts to get our head around as it encompasses politics and cultural studies as well as media theory. We've obviously applied our work on binary opposition to an episode of BBC Question Time in class but it's important to be able to apply ideology and media theory to a cross-section of media texts.

Media Magazine issue 52 has two good articles on Ideology. Today you need to read those articles (our Media Magazine archive is here) and complete a few tasks linked to them. Follow the instructions below...

MM52

Page 34: The World Of Mockingjay: Ideology, Dystopia And Propaganda

1) Read the article and summarise it in one sentence.

2) What view of capitalist ideology is presented in the Hunger Games films?

3) What do the Hunger Games films suggest about the power of the media to shape and influence ideological beliefs?


Page 48: They Live - Understanding Ideology

1) Read the article and summarise it in one sentence.

2) What are the four accepted ideological beliefs in western societies highlighted by the article?

3) What does Gramsci's theory of hegemony suggest about power and ideology in society?

4) What does French theorist Louis Althusser suggest about ideology and consumerism?

5) Do YOU agree with the idea behind They Live - that we are unthinkingly controlled by the media which is run in the interests of the economic elite? These are the big questions of A Level Media!

You'll need to finish this for homework - due for the first lesson after half-term.

TV: Capital case study

Our first television close-study product is BBC state-of-the-nation drama Capital. We need to know everything about the programme - from textual analysis of key scenes to how it was funded, distributed and promoted.

The key notes from the lesson are here: 

Novel adaptation

• Capital is a BBC TV drama series adapted from 2012 book by John Lanchester.
• The book was set in 2007-8 either side of the financial crisis but the TV drama updates it to 2015 and changes the location slightly (Clapham to Balham). 

Capital: a state-of-the-nation drama

• Capital is a ‘state-of-the-nation’ drama – designed to capture the issues facing the country at the time it is written and produced.
• In Capital, it focuses on the economy and the financial crash, immigration, London’s housing market and the incredible mix of people in a city of 8.5 million.

Reviews
Reviews of the Capital TV series drew attention to the state-of-the-nation aspect of the drama:

• Ben Lawrence in the Telegraph wrote: Capital shows “an eternal London, riven by inequality and quickened by diversity”.
• Ben Dowell in the Radio Times: “It shows Londoners trying to work out very real problems… there is a fierce intelligence at work here, a script which asks some very interesting and important questions but doesn’t force the answers down your throat.”

London 2009-15 

• Following the global financial crash in 2007-8, London was not expected to quickly recover economically. 
• However, house prices soared with some properties almost doubling in price in five years. By September 2015, the average London house price was £531,000.
• Traditionally working-class neighbourhoods in London suddenly had houses worth £1m+.

London: immigration

The Oxford University Migration Observatory published a report in 2011 regarding migration to London. Key quotes:

• “One in three London residents was born abroad, and a quarter of these migrants arrived since 2006. Nearly a half of the UK’s migrants live in London.”
• “London’s population is characterised by rapid flux. Area stability – the proportion of a neighbourhood’s population remaining in place over time – is far lower in London than the rest of the UK.”
• “Some of the most deprived migrants in the country reside in London, and some of the most privileged too… vulnerable migrants in London include asylum-seekers with subsistence-only support.”

Capital: case study blog tasks

Work through the following tasks to build a detailed case study for Capital. This will give you plenty of background information to use in an exam question. Remember, for this CSP the question could be on any of the key concepts: language, industries, audiences or representations.


Reviews and features

Read the following interviews, reviews and features on Capital:

Guardian review by Sam Wollaston
Telegraph review by Ben Lawrence
London Evening Standard: five things you need to know about Capital
Behind the scenes filming Capital from the Daily Telegraph

1) What positive points do the reviews pick out about Capital?

2) What criticisms are made - either of the TV drama or the original novel?

3) How does the TV drama change the time period and location for the story in comparison to the original novel?

4) In the Telegraph 'behind the scenes' article, what does the writer say about the London housing market?

5) What references can you find in these reviews and features to the idea Capital is a 'state-of-the-nation' drama? How does it capture modern-day London?


Textual analysis
Watch the trailer for Capital:




1) How does the drama use camerawork to capture London life?

2) What does the camera movement when characters are initially introduced suggest about the drama and its London setting? Pick out one or two shots in particular.

3) How does the trailer use mise-en-scene to capture the family element of the drama?

4) Bastille's 'These Streets' is used as the soundtrack for the trailer. What does this communicate to the audience and why is it effective?

5) How does the trailer introduce narrative strands suggesting tension or enigma in the 40-second running time?


Watch the Episode 1 preview for Capital:



1) What does this preview clip suggest about the potential sub-genres for Capital?

2) What elements of the clip might suggest this is a 'state-of-the-nation' drama?

3) Analyse the mise-en-scene in this clip. How does this provide realism and familiarity for audiences?

4) What audience pleasures are provided by this scene?

5) How is the audience positioned to respond to the different characters in this particular sequence?


Watch the Episode 2 preview for Capital:




1) How does this clip represent upper-middle-class family life?

2) What narrative strands are suggested in this sequence?

3) How is the audience positioned to respond to Roger Yount, the main character (banker and father to the two boys)?



Production and industry context
Capital was produced by independent production company Kudos for the BBC. Look at the Kudos website and also read the Kudos Wikipedia page.

1) Who is the parent company for Kudos?

2) What was the breakthrough show for Kudos in 2002?

3) Watch the showreel on the Kudos website. What other TV dramas have Kudos produced? What awards have they won?

4) What audience pleasures does the showreel suggest Kudos productions offer? 



Marketing and promotion

Read the BBC Press Pack for Capital.

1) How does the programme information on page 3 make Capital sound interesting to audiences?

2) Why does the programme information mention the other shows that the director and producer have worked on?

3) Who commissioned Capital for BBC?

4) Read the interview with Toby Jones. What does he say about the character of Roger?

5) Read the interview with Adeel Akhtar (page 10). What does he suggest Capital says about the fictional Pepys Road and the sense of community (or lack of it) in London?

6) Read the interview with Shabana Azmi (page 12). What does she say about Asian representations in Britain? 

7) Read the interview with Peter Bowker (who adapted Capital - page 14). What are his favourite scenes in the drama and why?

8) Read the interview with Derek Wax, the Executive Producer for Kudos (page 16). Why did he produce Capital and what does it say about the way we live now?




DVD packaging

Look at the DVD packaging for Capital. There are many marketing techniques employed here.

1) How does the packaging use other critically acclaimed TV dramas to promote Capital?

2) What does the use of design and images suggest to the audience about the drama?

3) How are review quotes used on the cover and what do they suggest to the audience about sub-genre, narrative and audience pleasures?

4) What representation of London does the DVD packaging offer?




Complete for homework - due Wednesday after half-term.

MIGRAIN: Ideology and binary opposition

The media's role in setting and reinforcing the dominant values and ideologies within society is a vital aspect of A Level Media Studies. 

The key notes from today's lesson on ideology and binary opposition:

Ideology

What is an ideology?
An ideology is a world view, a system of values, attitudes and beliefs which an individual, group or society holds to be true or important; these are shared by a culture or society about how that society should function.

Dominant ideologies

Ideologies that are told to us repeatedly by important social institutions such as the government or media are called dominant ideologies.

Dominant ideologies are ideologies or beliefs that we live by in our day-to-day lives and often do not question – they have become 'natural, common sense' things to do. This effectively dissuades people from rebelling against these beliefs, and keeps a sense of stability in society.

Why is ideology important in Media Studies?

Media texts always reflect certain values or ideologies though sometimes we may not be aware of this. When studying a media text you may look for the dominant ideology present and question whose world view is represented and perhaps which groups have not been represented.

Levi-Strauss: Binary opposition

Claude Levi-Strauss (1908-2009) was a French philosopher and one of the most important cultural theorists of the 20th century. 

His theory of binary opposition is important for media students.

Levi-Strauss suggested everyone thinks of the world around them in terms of binary opposites such as up and down, life and death etc. and therefore every culture can be understood in these terms. 

Binary opposition in media

Binary opposition is used to create narrative and conflict in media. It is also used to simplify complex situations for easy consumption (e.g. TV news).

Along similar lines, if something is not easily reduced to binary opposites, it is far less likely to receive widespread media coverage.

Binary oppositions can be used to create stereotypes and promote certain ideologies or beliefs.

Blog task: binary oppositions and ideology

Watch this clip from BBC Question Time with Russell Brand and Nigel Farage. The BBC deliberately placed the two against each other and the episode resulted in far more people watching and tweeting than usual.

1) What examples of binary opposition can you suggest from watching this clip?

2) What ideologies are on display in this clip?

Embed the video into your blog (as above) and answer these two questions in full paragraphs.

Ideology and your own choice of clip

Now do the same activity for a clip of your choice. Embed the YouTube video in your blog and answer the questions in detail:

1) What examples of binary opposition can you suggest from watching your clip?

2) What ideologies are on display in your clip?


Complete for homework if you don't finish it in the lesson - due next week.

MIGRAIN: Representation theory - David Gauntlett & collective identity

One of the crucial named theorists we need to cover is David Gauntlett - a media academic who has written on representation and identity for the last two decades.

Gauntlett has covered a huge range of media topics to do with representation over the last 20+ years. Much of his early work explored gender representations, building on work by theorists such as Butler or McRobbie. In recent years, he has focused on how new technology and creativity is changing how identities are created and the sense of belonging people can find in online communities (collective identity).  

David Gauntlett: key notes

David Gauntlett wrote extensively on gender representation and the importance of role models in the media in the late 1990s – early 2000s.

He looked particularly at theorists such as Butler and McRobbie: “Although the popular remix of feminism is accepted by young women, it remains the case that most women and men remain somewhat constricted within particular gender roles.”

Men's magazines and masculinity

Gauntlett looked at men’s lifestyle magazines in the same way McRobbie looked at women’s magazines. He found a new, quite different representation of masculinity – reflecting the changes seen in women’s magazines.

Recent work: Making is Connecting

Gauntlett’s recent work has focused on how new technology is changing how identities are constructed: “Making is Connecting is all about how people build a stronger sense of self-identity through creative practices – in other words, through creating their own representations.”

“Media [made by all of us] … can be places of conversation, exchange, and transformation… a fantastically messy set of networks filled with millions of sparks – some igniting new meanings, ideas, and passions, and some just fading away.”

Representation & Identity: Factsheet blog task

Use our brilliant Media Factsheet archive on the M: drive Media Shared (M:\Resources\A Level\Media Factsheets) to find Media Factsheet #72 on Collective Identity. Save it to USB or email it to yourself so you have access to the reading for homework. Read the whole of Factsheet and answer the following questions to complete our introductory work on collective identity and David Gauntlett:

1) What is collective identity? Write your own definition in as close to 50 words as possible.

2) Complete the task on the factsheet (page 1) - write a list of as many things as you can that represent Britain. What do they have in common? Have you represented the whole of Britain or just one aspect/viewpoint?

3) How does James May's Top Toys offer a nostalgic representation of Britain?

4) How has new technology changed collective identity?

5) What phrase does David Gauntlett (2008) use to describe this new focus on identity?

6) What does Gauntlett suggest about creativity and identity?

7) How does the Shaun of the Dead Facebook group provide an example of Henry Jenkins' theory of interpretive communities online?

Complete for homework to finish our initial work on representation - due date set by your exam teacher.