TV: Postmodernism and Deutschland 83

Postmodernism is one of the more challenging ideas in A Level Media but fortunately Deutschland 83 provides a brilliant case study as a postmodernist media text.

We need to be able to look for postmodern ideas in the media texts we study - and some of that we've done already in our work on advertising and marketing, intertextuality and genre.

Notes and definitions

Postmodernism: a late 20th-century style and concept in the arts, architecture, and criticism, which represents a departure from modernism and is characterized by the self-conscious use of earlier styles and conventions, a mixing of different artistic styles and media, and a general distrust of theories. (Source: Dictionary definition)

A brief history
Postmodernism is linked to the premodernism and modernism eras.

Pre-modernism: up to late 19th century.
Religion dominates society.

Modernism: late 19th century to mid-20th century
Science dominates; religion questioned; distinct difference between high culture (e.g. art) and low culture; industrialisation.

Postmodernism: mid- to late-20th century to present
Blurring of high and low culture/art and popular culture; media-driven hyper-reality; style over substance.

Postmodernism and the media
Postmodernism is often defined by scepticism, irony, self-referentiality or intertextuality.

What does that mean? The Simpsons provides an example. The structure is a classic family sitcom but the content ridicules authority (including its media conglomerate owner) and is full of intertextual references to other films, TV shows and popular culture.

Further examples of postmodernism
An example in architecture would be Las Vegas; in art, Andy Warhol's pop-art of the 1960s.

Award-winning 1998 German film Run Lola Run (‘Lola Rennt’) is credited with revitalising German cinema with a postmodern take on crime drama that features a repeating narrative and a blurring of genres.

Postmodernism: theory and terminology

Strinati

Dominic Strinati identified five ways to define postmodernism:

1. ‘Media-isation’ of culture – we make sense of reality using media texts
2. Emphasis of style over substance e.g. celebrity, reality TV
3. Breakdown of difference between art and popular culture
4. Confusion over time and space – modern society is built on the instantaneous
5. Decline of meta-narratives or grand narratives (e.g. religion or political theories such as communism)

Key terms
There are some key terms we need to learn when studying postmodernism in media texts:

Bricolage
The juxtaposing of old and new texts, images, ideas and narratives to create new meanings.

Hyper-reality
Jean Baudrillard argued that audiences view the ‘copy’ of reality in the media as more real than the original. Fredric Jameson discussed the idea of ‘historical deafness’ by suggesting the media-isation of history means we only understand historical events through their media representation.

There are some key terms we need to learn when studying postmodernism in media texts:

Pastiche

This refers to media products that imitate the style of another text, artist or time period. Pastiche is an example of intertextuality and takes a positive view of the original source.

In contrast parody is similar but ridicules the original source (e.g. Scary Movie parodies horror).

Fredric Jameson on parody and pastiche

“Pastiche is, like parody, the imitation of a peculiar or unique, idiosyncratic style, the wearing of a linguistic mask, speech in a dead language. But it is a neutral practice of such mimicry, without any of parody’s ulterior motives, amputated of the satiric impulse, devoid of laughter.”

Jameson suggested pastiche does not offer up comment on society or history – it is simply done because it is ‘stylish’. He marks this as an example of ‘historical deafness’.

Deutschland 83: a postmodernism text

The following scenes of Deutschland 83 provide excellent examples of bricolage, hyper-reality and pastiche:

• Opening scene: 0.00 – 3.00
• Title sequence followed by archive footage: 8.10 – 9.15
• Running/supermarket scene: 17.10 – 18.10 

Postmodernism & Deutschland 83: blog task

Go to our Media Factsheet archive on the Media Shared drive and open Factsheet #54: Introduction to Postmodernism. Our Media Factsheet archive is on the Media Shared drive: M:\Resources\A Level\Media Factsheets - you'll need to save the factsheet to USB or email it to yourself in order to complete this at home. Read the factsheet and answer the following questions:

1) Read the section on Strinati's five ways to define postmodernity. What examples are provided of the breakdown of the distinction between culture and society (media-isation)?

2) What is Fredric Jameson's idea of 'historical deafness'? How can the idea of 'historical deafness' be applied to Deutschland 83?

3) What examples and theories are provided for the idea of 'style over substance'?

4) What examples from music are provided for the breakdown of the distinction between art and popular culture? Can this be applied to Deutschland 83?

5) What is bricolage? What examples of bricolage can be found in Deutschland 83?

6) How can the audience pleasures of Deutschland 83 be linked to postmodernism? Read 'The decline of meta-narratives' and 'Media texts and the postmodern' to help answer this.

7) Read the analysis of media concepts and postmodern approaches on page 3 of the factsheet. Choose three of the concepts and write an example from Deutschland 83. Clue: genre, representation, ideology and audience would all be good options for this task.

8) Now look at page 4 of the factsheet. How does Deutschland 83 demonstrate aspects of the postmodern in its construction and ideological positioning?

9) Which key scenes from Deutschland 83 best provide examples of postmodernism? Why?

10) Why might audiences enjoy the postmodern aspects of Deutschland 83? What audience pleasures might elements of bricolage or pastiche provide viewers?

There is a lot of challenging work here - you will have the Easter holidays to complete it but take your time, read around the subject and re-watch the scenes from the first episode on All4 to help develop impressive academic answers to these questions.

Advertising: End of unit index

We have completed some excellent work on our Advertising and Marketing CSPs. We now need to create an index to ensure we haven't missed any vital notes or tasks.  

As you know, keeping an index of all your work is extremely good practice from a revision perspective. This keeps the vital CSP information fresh in your mind and also highlights if you've missed anything through absence or trips. 

Advertising and Marketing index

Your Advertising and Marketing index should include the following:

1) Introduction: narrative in advertising
2) Advertising: persuasive techniques
3) Advertising: the representation of women in advertising
4) Advertising: Score case study and wider reading
5) Advertising: Maybelline case study and wider reading
6) Advertising: Gauntlett - Media, Gender and Identity reading and questions

For your index, it needs to link to YOUR corresponding blogpost so you can access your work and revision notes 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/exams due to gaps in your knowledge.


Assessment revision

You will have an assessment on your work on Advertising and Marketing on Monday 26 March. Make sure you revise all of your work from the current unit but also look over everything you've studied for the MIGRAIN Introduction to Media unit too.

Important: your index and revision needs to be completed by Monday.

TV: Deutschland 83 Close-textual analysis

We need to deconstruct Episode 1 of Deutschland 83, exploring how meanings are created in the key scenes using technical and audio codes.

We also need to consider the audience pleasures of Deutschland 83 alongside various representations created in the first episode.


Recap: Uses and Gratifications theory (Blumler & Katz 1974)

Researchers Blumler and Katz (1974) suggested that media audiences are active and make conscious choices about the way they consume media.

They suggested there are four main uses or gratifications (pleasures) that audiences get from the media:

Diversion: escape from everyday problems and routine - entertainment.
Personal Relationships: using the media for emotional and other interaction (e.g. developing affection for characters in TV drama).
Personal Identity: finding ourselves reflected in texts or learning behaviour and values from the media.
Surveillance: Information useful for living or learning

Deutschland 83: representations

We also need to consider a range of representations in episode 1 of Deutschland 83:

• East & West Germany
• Communism and Capitalism
• America and Americans
• Gender
• Family
• Reality / history

Are stereotypes used? Do the representations reinforce or subvert what we usually see in the media?

Blog task: Deutschland 83 Close-textual analysis

Type up your analysis from the lesson using the headings below. You may want to watch the key scenes again and develop your notes in further detail - the more specific and memorable your analysis, the better it will serve you when writing an essay on TV drama. Remember, you can watch the episode for free on the All 4 website.

Scene 1: Garden/BBQ scenes (East & West Germany)

4.58 – 8.20 and 34.00 – 37.20

Make notes under the following headings:

Technical codes – particularly mise-en-scene

Representation of East & West Germany / Family / Gender

Scene 2: Martin/Moritz first sees the West German supermarket 

14.30 – 20.25

Make notes under the following headings:

Technical codes – particularly mise-en-scene

Audio codes – particularly music

Representation of East & West Germany / Communism & Capitalism / Historical accuracy

Audience pleasures

Scene 3: Training montage scene when Martin/Moritz learns how to be a spy

20.40 – 22.40

Make notes under the following headings:

Technical codes – particularly camerawork and editing

Audio codes

Audience pleasures

Intertextuality

Scene 4: Briefcase scene when Martin/Moritz is stealing the NATO nuclear plans

31.13 – 33.30

Make notes under the following headings:

Technical codes – particularly camerawork and editing


Audio codes – diegetic and non-diegetic sound

Audience pleasures

You will do the majority of this work in class - this blog work is simply a case of typing up your notes in an easy and memorable way (bullet points are fine).

Advertising: Gauntlett - Gender, identity and advertising

David Gauntlett has written extensively about gender, identity and the mass media and is a key theorist for A Level Media Studies. 

The Advertising and Marketing topic is a great opportunity to apply some of these ideas and give us some degree-level knowledge and theory.

David Gauntlett: Media, Gender and Identity

There is a huge amount we can take from Gauntlett's work across the mass media but these are three key ideas that we can apply to our Advertising and Marketing CSPs.

Idea 1: Identity is becoming more fluid 

David Gauntlett writes that there is a “decline of tradition”.

“The mass media is a force for change… The traditional view of a woman as a housewife or low-status worker has been kick-boxed out of the picture by the feisty, successful 'girl power' icons. Meanwhile the masculine ideals of absolute toughness, stubborn self-reliance and emotional silence have been shaken by a new emphasis on men's emotions, need for advice, and the problems of masculinity.”

Idea 2: There are generational differences

Gauntlett highlights the differences in views on identity between young and old – e.g. on homosexuality or masculinity.

“The mass media has become more liberal, and considerably more challenging to traditional standards… and this has been a reflection of changing attitudes, but also involves the media actively disseminating modern values.

Idea 3: Things change over time

Gauntlett talks positively about the media and audiences changing over time.

“Views of gender and sexuality, masculinity and femininity, identity and selfhood, are all in slow but steady processes of change and transformation.

“These things are not stationary. To discuss gender and media is to aim arguments at moving targets - which, again, is just as well.”

Gender, identity and advertising: blog task

Read this extract from Media, Gender and Identity by David Gauntlett. This is another university-level piece of academic writing so it will be challenging - but there are some fascinating ideas here regarding the changing representation of men and women in the media. If you can't access David Gauntlett's website, the text is also available here.

1) What examples does Gauntlett provide of the "decline of tradition"? How can we link our advertising CSPs (Score hair cream and Maybelline 'That Boss Life') to this idea?

2) How does Gauntlett suggest the media influences the way we construct our own identities?

3) How do the two CSPs reflect the generational differences that Gauntlett discusses? Is it a good thing that the media seems to promote modern liberal values?

4) Why might Manny and Shayla be a good example of the role models that Gauntlett discusses - and also demonstrate how those role models have changed in recent years?

5) Why does the Score hair cream advert provide such a good example of traditional masculinity? How can you link this to Gauntlett's discussion of whether masculinity is in crisis?

6) Gauntlett consistently argues that masculinity is not in crisis. Can the Maybelline 'That Boss Life' advert be used as evidence of this?

7) Does advertising still reinforce the "conventionally rugged, super-independent, extra-strong macho man" that Gauntlett discusses? Offer examples for both sides of the argument from the wider advertising industry.

8) Gauntlett discusses the idea of 'girl power' and offers examples from music and film. Does advertising provide evidence to support the idea of 'girl power' or is the industry still reinforcing traditional representations of men and women?

9) Do you agree with Gauntlett's argument under 'Popular feminism, women and men' where he suggests that younger generations are not threatened by traditional gender roles and are comfortable with social changes? Does advertising (and our CSPs in particular) provide examples either reinforcing or challenging this idea that younger generations are more comfortable with changing gender roles?

10) How do the two advertising CSPs show the changing 'diversity of sexualities' that Gauntlett suggests?

11) What examples from advertising does Gauntlett provide for the changing nature of gender in society (from the section on Judith Butler's Gender trouble)?

12) How can the Maybelline 'That Boss Life' advert be applied to Judith Butler's work on 'gender trouble'? ("The binary division of 'male' and 'female' identities should be shattered, Butler suggested, and replaced with multiple forms of identity...")

13) How can our two advertising CSPs be used to argue that power has shifted from media institutions to audiences? (Clue: how did Manny and Shayler from the Maybelline advert first become famous?)

14) Why is advertising such a good example of the 'contradictory elements' that Gauntlett discusses with regards to the mass media? In other words, how does advertising continue to both reinforce and challenge gender stereotypes?

15) Finally, Gauntlett makes a clear case that things change and modern identities are increasingly fluid. How do our advertising CSPs demonstrate the changing attitudes towards gender and sexuality in society?


This is a significant amount of work but you'll have plenty of lesson time to do this. Complete this for homework, due next Monday. Reminder: you will have your assessment on Advertising and Marketing on Monday 26 March - make sure you revise for it!

TV: Deutschland 83 case study

Our second television close-study product is critically acclaimed German cold war spy drama Deutschland 83.

Just like our work on Capital, we need to know everything about Deutschland 83 - from textual analysis of key scenes to how it was funded, distributed and promoted. The notes from the lesson are here:

Historical context: The Cold War

The Cold War was a political dispute between the Eastern Bloc (the Soviet Union – Russia and 14 other states) and the Western Bloc (USA and NATO allies including the UK). It took place from 1947 to 1989.

There was never large-scale fighting between the two sides but on at least two occasions the world came close to a fully-nuclear World War 3.

The Berlin Wall

The Berlin Wall was a symbol of the Cold War, constructed after the Berlin crisis of 1961.

It divided Communist-controlled East Berlin and NATO-supporting West Berlin. East Germans were not allowed to cross the border for a better life in the West – many were shot trying to climb over the wall.

The East German government eventually allowed people to freely cross the border on 9 November 1989.

1983: a critical year in the Cold War

The Cold War almost boiled over into nuclear war in 1983 when a NATO exercise called Able Archer caused some politicians in East Germany and the Soviet Union to believe the USA was planning a nuclear first-strike.

Deutschland 83 screening

We will watch the CSP episode - Season 1, Episode 1 - in class. It is also available here on the All4 website for streaming Channel 4 programmes.




Deutschland 83: case study blog tasks

Work through the following tasks to build a detailed case study for Deutschland 83. 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 reviews and features on Deutschland 83:

The Guardian - Your next box set: Deutschland 83
Daily Telegraph review
The Guardian - Deutschland 83 Pity the Germans don't like it

1) What positive aspects of Deutschland 83 are highlighted in the reviews?

2) What criticisms are made of the show?

3) Why did the Telegraph suggest that Deutschland 83 did the 'period' aspect of 'period drama' so well?

4) Find three 'below the line' comments from either of the Guardian articles. What did the audience think of Deutschland 83? Do you agree with the comments?


Interviews and behind-the-scenes video features

Channel 4 News: Matt Frei interviews Jonas Nay



1) What does Jonas Nay say about growing up in a united Germany? 

2) The Channel 4 News interview is conducted in German with English subtitles. How does this reflect Channel 4's remit as a public service broadcaster and their target audience? (Clue: revise your work on Channel 4 and Public Service Broadcasting here!)

3) Interviewer Matt Frei asks about the current political situation in Germany. Why might this interest the Channel 4 News audience?



Behind the scenes clips

The All4 website has a range of clips from behind the scenes of Deutschland 83. Watch the following:

Making Of: Why Should You Watch Deutschland 83
Watch this short promotional clip for Deutschland 83.

1) Why should audiences watch Deutschland 83 - what does the clip offer viewers?

2) Why is history an important aspect of the appeal of the show?

3) What technical aspects are highlighted in the video?


Making Of: Set Design
Watch this interview with Production designer Lars Lange.

1) Why were the set design, costume and props so important for Deutschland 83?

2) How historically accurate was the setting, costume and props?

3) Why were the props, costumes and music such a key audience pleasure for Deutschland 83?


Textual analysis: trailer



1) The opening of the trailer uses sound and editing to draw the audience in. Explain why this is effective.

2) What audience pleasures are suggested by the trailer? Think about Uses & Gratifications theory (Blumler and Katz).

3) How does the trailer use action and enigma codes (Barthes) to encourage the audience to watch the show?

4) Pick three shots/scenes from the trailer that capture the spy thriller sub-genre. Why might this appeal to an audience? Try and apply Neale's genre theory 'repetition and difference' (the original notes on genre theory are here).

5) Pick three examples of mise-en-scene from the trailer that capture the 1983 setting the confirm the sub-genre of period drama. Why might this appeal to an audience? 

6) The trailer uses the song 'Two Tribes' by Frankie Goes To Hollywood. Why did the producers select this soundtrack for the trailer?

7) The only words heard in the trailer are in English. Why do you think the UK trailer avoided subtitles or German dialogue?


Production and industry context

Deutschland 83 was produced by German production company UFA Fiction and distributed internationally by FremantleMedia International. It was broadcast on RTL (Germany), SundanceTV (US) and Channel 4 (UK) as well as many other broadcasters around teh world.

1) Read this Freemantle Media press release on the worldwide success of Deutschland 83. How is the drama described by the distributor? Why was it considered such an international success?

2) Read this Freemantle Media press release on Deutschland 83 becoming Channel 4's highest rated foreign drama. What was the consolidated viewing figure for Episode 1 of Deutschland 83? What praise for Deutschland 83 is included in the press release?

3) How does the press release promote the Channel 4 'Walter Presents' collection of international TV drama?


Walter Presents

Watch this Channel 4 trailer for their Walter Presents international drama.

1) How does Channel 4 introduce 'Walter'?

2) What audience are Channel 4 trying to appeal to with the 'Walter Presents' series?

3) How does the 'Walter Presents' series reflect the changing nature of television in the digital age?



Marketing and promotion

Look at the online Channel 4 press pack for Deutschland 83.

1) Read the programme information from the press pack. How does the programme information seek to interest a reader from the first paragraph?

2) What does the programme information suggest the main strengths of the programme are?

3) Read the press pack interview with writer Anna Winger. How did she use the historical context and real-life events to create a successful drama?

4) Anna Winger discusses the use of music. Why might the soundtrack attract an audience?


International marketing

Look at these two different marketing campaigns - the UK DVD release (left) and the American Sundance TV advert (right).




1) How does the UK DVD cover communicate the sub-genre of the drama?

2) Analyse the mise-en-scene in the UK DVD cover. What does it communicate to the audience?

3) How does the American branding use font, colour and graphics to appeal to an audience?

4) Why might the distributors Freemantle Media International have used different marketing campaigns in different countries? 


There is a lot of work here - allow at least three hours to get through everything. Remember: this is an in-depth CSP so you need to know every aspect in real detail. You'll get a chance to work on this in lessons but will need to finish for homework - due date confirmed by your coursework teacher.

Advertising: Maybelline case study and wider reading

Our second Advertising and Marketing CSP is the 2017 Maybelline 'That Boss Life Pt 1' mascara video advert.

This gives us an opportunity to explore the idea of gender fluidity in society and the media - plus compare the changing representation of masculinity in advertising. Notes from the lesson are here:

Gender fluidity

Gender fluidity is when gender expression shifts between masculine and feminine. Indeed, gender identity has become a major media and social issue in the last 10 years. 

Young (and some older) people are increasingly identifying as gender fluid – and some have credited the internet for this change. They suggest that millennials grew up with the internet so can easily find information on topics like gender expression.

You can read more on this view and gender fluidity in this CNN article here.

Maybelline 'That Boss Life Pt 1'

The Maybelline ‘That Boss Life’ advert is part of a digital campaign for their ‘Big Shot Mascara’ product.

The campaign is significant as it is the first time Maybelline has used a male brand ambassador and digital influencers. The use of YouTube stars Manny Gutierrez and Shayla Mitchell means the brand can reach their combined 5.1 million Instagram followers and 2.5 million YouTube subscribers. 

In addition, Gutierrez (‘MannyMua’) is Mexican-Spanish-American and openly gay, offering a very different representation of masculinity and sexuality to the 1967 Score hair cream advert.

Blog task: Maybelline 'That Boss Life' case study and wider reading

Work through the following tasks to make sure you're an expert on the Maybelline CSP and particularly the wider social and cultural context.

'That Boss Life' close textual analysis

Use your notes from class to write about the connotations and representations created by the following technical and audio codes. Write at least a paragraph on each:

1) Narrative & genre: narrative theory and sub-genre

2) Cinematography: camera shots and movement

3) Mise-en-scene: costume & props

4) Mise-en-scene: actors, setting, lighting and colour

5) Editing: pace, transitions and visual effects

6) Graphics: text/graphics on screen

7) Sound: dialogue, music and sound effects

Maybelline 'That Boss Life': wider reading

Read the following articles on this campaign:

Glamour: Manny Gutierrez Is the First Man to Star in a Maybelline Campaign, and It’s a Huge Deal
Your Story: Cosmetics giant breaks gender stereotypes by choosing male model as a face of the brand
Adweek: Maybelline Recruits Manny Gutierrez as Its First Male Beauty Star

Complete the following questions/tasks:

1) Why was this campaign such a landmark for beauty product advertising?

2) What do the articles suggest regarding the changing representation of sexuality and masculinity?

3) Read this WWD article: Maybelline Taps Digital Makeup Influencers for New Mascara Campaign. Why might 'digital influencers' be so attractive to companies?

4) Why do you think Maybelline chose to use MannyMua and MakeUpShayla in particular?

5) What does the WWD article suggest is the crucial factor for brands regardless of whether they use influencers or more traditional celebrities?


Media Magazine: The Changing Face of Masculinity

Now go to our Media Magazine archive and read the feature 'The Changing Face of Masculinity' in MM63 (page 15). This will allow us to compare our two advertising CSPs - the Score hair cream advert and the Maybelline digital campaign. Answer the following questions:

1) What message does the article suggest the Score hair cream advert is trying to communicate to the 1967 audience?

2) How does the article suggest the Score hair cream advert uses narrative to sell the product?

3) What 1967 stereotypes does the article suggest the Score hair cream advert reinforces?

4) Applying Stuart Hall's reception theory, what does the article suggest the preferred and oppositional readings could be for the Score hair cream advert?

5) Moving on to the Maybelline advert, why is the background of Manny Gutierrez and Shayla Mitchell significant?

6) What is the narrative of the Maybelline advert?

7) What does the article suggest the Maybelline advert's message is?

8) The final section of the article focuses on masculinity. What do the Score advert and the Maybelline advert suggest regarding the changes in society and media between 1967 and 2017?


There is a lot of work here - you will have lesson time to start this but will need to complete for homework. Due date: confirmed by your exam teacher.

TV: Applying Marxism

Our TV drama texts give us a great opportunity to apply Marxist theories such as Gramsci's hegemony.

However, Marxist theory goes much further than we've covered in lessons - and it's important that we learn the background to Marxism and explore the different ways we can apply it to a range of media texts.

Applying Marxism: blog task

Go to our Media Factsheet archive on the Media Shared drive and open Factsheet #66: Applying Marxism. Our Media Factsheet archive is on the Media Shared drive: M:\Resources\A Level\Media Factsheets - you'll need to save the factsheet to USB or email it to yourself in order to complete this at home. Read the factsheet and answer the following questions:

1) What does Marxism suggest regarding power in society?

2) Why is The Apprentice a good example of the media reinforcing capitalist values and ideologies?

3) Come up with three examples of media texts (e.g. TV programmes, newspapers etc.) that either fetishise working class life (e.g. EastEnders presents quite a harmonious East End community which probably doesn't accurately reflect East London life) or demonise working class life or poor people (e.g. The Daily Mail and The Sun newspapers regularly demonise people living on benefits with headlines referring to 'scroungers'.)

4) Look at the bullet points on page 4 of the factsheet:

When making a Marxist reading of a text, look out for representations that:

• show the values of the power elite as beneficial to the mass
• show queries or challenges to the base as meaningless, foolish or anti-social via ‘failed revolt’
• show the subdominant position of the masses as a naturalised idea
• show the values of the power elite as ‘natural’ or ‘right’
• show that being a member of the mass is a good thing
• show the masses accepting the values of the power elite
• show the values of the power elite as being ‘for the good of the masses’ (even when unpleasant)

Now apply those bullet points to Capital. Think about the setting, characters and narrative strands - how many of the bullet points apply to Capital? Does Capital reinforce or challenge the values of capitalism? Give examples from episode 1 to support your points.

Complete this for homework - due next Wednesday.

TV: Capital, Marxism and Hegemony

Capital is a state-of-the-nation drama. Applying theories such as Marxism and hegemony to Capital allows us to explore the political context of the text.

The notes from the lesson are here:

Marxism

In Britain and Europe, Marxist approaches were common amongst media theorists from the late 1960s until around the early 1980s, and Marxist influences, though less dominant, remain widespread.

Marxist theorists tend to emphasize the role of the mass media in maintaining the status quo, suggesting power is concentrated in the hands of a narrow elite.

Marxism v pluralism

The main non-Marxist tradition is that of liberal pluralism. Pluralists see society as consisting of competing groups and interests, none of them predominant all of the time.

In contrast, Marxists view capitalist society as being one of class domination; the media are seen to promote hegemonic ideology and ensure the dominance of certain classes; ultimate control is increasingly concentrated in wealthy corporations/media conglomerates; media professionals, while enjoying the illusion of autonomy, are socialized into and internalize the norms of the dominant culture.

Gramsci: hegemony

Gramsci used the term hegemony to describe the dominance of one social class over others – i.e. how the ruling class or elite maintain control. 

This represents not only political and economic control, but also the ability of the dominant class to project its own way of seeing the world so that those who are controlled by it accept it as 'common sense' and 'natural'. Commentators stress that this involves willing and active consent.


Marxism & hegemony: blog tasks

Mail Online review of Capital

1) Re-read the Mail Online review of Capital. Why does it suggest that Capital features a left-wing ideology?

2) Choose three quotes from the review that are particularly critical of Capital and paste them into your blogpost. Do you agree with the criticisms? Why?

3) What scenes or characters from Capital could be read as promoting left-wing ideology?

4) What about the other side of the argument - are there any aspects of Capital that reinforce the status quo in capitalist London?


Media Magazine feature on BBC drama The Casual Vacancy and ideology

Now go to our Media Magazine archive and read the feature 'The Beeb, The Mail and JKR' in MM53 (page 20). This focuses on the politics of The Casual Vacancy, another BBC three-part drama based on a book by JK Rowling.




Answer the questions below:

1) Why did the Daily Mail suggest The Casual Vacancy promoted a left-wing ideology?

2) How does the article suggest characters, narrative and setting are used to promote a left-wing ideology?

3) What research is quoted regarding BBC bias and what did it find? Do you think the BBC is biased?

4) Gramsci's theory of hegemony suggests people are kept under control through active consent - the control of 'common sense'. How could you apply the Daily Mail or the BBC to the idea of hegemony and dominant ideologies in the UK media?


Complete for homework - due next Wednesday.

Advertising: Score case study and wider reading

We have already studied the changing representation of women in advertising but there is no doubt that the portrayal of men and masculinity has also changed significantly too.

Our first advertising CSP, the 1967 Score hair cream advert, provides a compelling case study for the representation of both men and women.

Notes from the lesson and the blog task are below.

Hypermasculinity in advertising
Hypermasculinity is defined as: a psychological term for the exaggeration of male stereotypical behaviour, such as an emphasis on physical strength, aggression, and sexuality.

Advertising in the 1950s-1980s often featured a hypermasculine representation of men – and some representations in the media today still continue this.

Gelfer: Changing masculinity in advertising

Joseph Gelfer, a director of masculinity research, suggests that the way masculinity is represented in advertising is changing. Looking at advertising over the last 20 years:

“Previously, masculinity was mostly presented in one of two ways: either a glamorous James Bond-style masculinity that attracted ‘the ladies’, or a buffoon-style masculinity that was firmly under the wifely thumb. 

Thankfully, and somewhat belatedly, things are beginning to change.” (Gelfer, 2017)

Gelfer: Five stages of Masculinity

Gelfer suggests there are five stages of masculinity – how people perceive and understand what it means to be a man.

Stage 1: “unconscious masculinity” – traditional view of men

Stage 2: “conscious masculinity” – as above but deliberate

Stage 3: “critical masculinities” – feminist; socially constructed

Stage 4: “multiple masculinities” – anyone can be anything

Stage 5: “beyond masculinities” – it doesn’t exist 

Gelfer says advertisers need to think about how their target audience views men and masculinity when creating campaigns.

Masculinity in crisis? David Gauntlett

Media theorist David Gauntlett has written extensively on gender and identity. He disagrees with the popular view that masculinity is ‘in crisis’:

“Contemporary masculinity is often said to be 'in crisis'; as women become increasingly assertive and successful… men are said to be anxious and confused about what their role is today.”

Instead, Gauntlett suggests that many modern representations of masculinity are “about men finding a place for themselves in the modern world.” He sees this as a positive thing. (Gauntlett, 2002)

Score hair cream advert: CSP context

The Score hair cream advert is an historical artefact from 1967. It should be examined by considering its historical, social and cultural contexts, particularly as it relates to gender roles, sexuality and the historical context of advertising techniques. 

Context: 1967 can be seen as a period of change in the UK with legislation on (and changing attitudes to) the role of women – and men – in society. Produced in the year of decriminalisation of homosexuality and three years before the 1970 Equal Pay Act, the representation of gender could be read as signalling more anxiety than might first appear. The reference to colonialist values can also be linked to social and cultural contexts of the ending of Empire.

Blog task: Score advert and wider reading

Complete the following tasks and wider reading on the Score hair cream advert and masculinity in advertising.

Score hair cream advert

Answer the following questions to ensure you have a comprehensive textual analysis of the Score hair cream advert:

1) What year was the advert produced and why is the historical context important?

2) Analyse the mise-en-scene in the advert (CLAMPS): how is costume, make-up and placement of models constructed to show male dominance?

3) The main slogan is: 'Get what you've always wanted'. What does this suggest to the audience and how does it reflect the social and cultural context of 1967?

4) Why is it significant that the advert text says it is "made by men" and that it also contains "Score's famous masculine scent"?

5) What representation of sexuality can be found in the advert?

6) How does the advert reflect representations of masculinity in advertising 50 years ago?

7) How much do you think things have changed with regards to representations of masculinity in advertising?


The Drum: This Boy Can article

Read this article from The Drum magazine on gender and the new masculinity. If the Drum website is blocked, you can find the text of the article here. Think about how the issues raised in this article link to our Score hair cream advert CSP and then answer the following questions:

1) Why does the writer suggest that we may face a "growing 'boy crisis'"?

2) How has the Axe/Lynx brand changed its marketing to present a different representation of masculinity?

3) How does campaigner David Brockway, quoted in the article, suggest advertisers "totally reinvent gender constructs"?

4) How have changes in family and society altered how brands are targeting their products?

5) Why does Fernando Desouches, Axe/Lynx global brand development director, say you've got to "set the platform" before you explode the myth of masculinity?


Campaign: Why brands need to change

Read this Campaign article on Why brands need to change their approach to marketing masculinity. If the Campaign website is blocked, you can find the text of the article here. Think about how the article relates to our work on gender and advertising then answer the following questions:

1) What are two ways advertising traditionally presented masculinity?

2) What are the two reasons the writer Joseph Gelfer suggests for why this needs to change?

3) What are the five stages of masculinity?

4) Take the Five Stages of Masculinity Personality Inventory test to see what stage of masculinity you are at. Where did it suggest your views are currently? Do you agree with its assessment? You can read more about the five stages of masculinity here.

5) What stage of masculinity was the Score advert aiming at in 1967?

6) Why are the stages of masculinity important for companies and advertisers when targeting an audience?


You will have lesson time to start this work but you will need to complete for homework - due next week.