TV: The rise of foreign-language television

The television industry has changed significantly in recent years - with subtitled foreign programming a perfect example.

Through globalisation and developments in technology, the way we watch television is completely different to even 15 years ago. We need to explore the rise in popularity of foreign-language television and work out why audiences like it and what is behind the recent surge in interest.

Foreign-language television

Foreign-language television is becoming increasingly mainstream with the rise of on-demand services such as Netflix and Amazon Prime alongside UK digital channels such as BBC4.

Audiences are now accustomed to 'binge-watching' TV drama and seem increasingly open to content from around the world. This perhaps reflects the global nature of the internet and the fact younger generations are more likely to see themselves as global citizens. It also reflects the global nature of the television industry with a small number of international media conglomerates owning the vast majority of TV production companies.

Walter Presents

‘Walter Presents’ is a video-on-demand (VOD) service from Channel 4, available through their online streaming site All4. The service presents international TV drama curated by Walter Iuzzolino.

The service aims to avoid so-called arthouse programming in favour of more mainstream productions, aimed at competing against Netflix and Amazon Prime. Walter Iuzzolino stated any selected show must be popular in its native country and it must be “award-winning or critically acclaimed”.

Watch the trailer for the ‘Walter Presents’ service and think about the following questions:

• Close-textual analysis: how does the trailer use film language to encourage the audience to watch?
• What conventions of TV drama are highlighted in the trailer?
• How many clips from Deutschland 83 can you spot?
• What audience pleasures are suggested by the trailer?

Meet Walter promo clip

Channel 4 created a short introductory video for ‘Walter Presents’. Watch the clip and think about the following:

• How is Walter introduced?
• What target audience is this aiming at? 
• What audience pleasures are suggested from the promo?
• What does Walter say about TV drama? 

The rise of foreign-language TV: Blog tasks

To continue our work on Deutschland 83, we need to read a range of articles on the foreign-language TV phenomenon. When answering the questions, consider the issues from both an audience and industry perspective.

Independent: British viewers can't get enough of foreign-language dramas

Read this Independent feature on foreign-language dramas. It features an in-depth interview with Walter Iuzzolino who curates Channel 4's Walter Presents programming. Answer the questions below:

1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?

2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?

3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?

4) What are the other audiences pleasures of foreign TV drama suggested by the article?

Now look at the bonus article - on Sherlock and how viewers are steering their favourite shows.

5) What examples are provided of how TV companies are increasingly using audiences to inform the production process?


Film School Rejects: The foreign TV dramas you're missing out on

Now read this Film School Rejects feature on the foreign TV dramas you're missing out on. This contains some particularly useful background on Deutschland 83's reception internationally. If the website is blocked, you can access the article text here. Answer the following questions:

1) What does the article tell us about Deutschland 83's release schedule?

2) The article contains important statistics on viewing figures in different countries. What were the German viewing figures for the first and last episode? What were Channel's 4's viewing figures for Deutschland 83?

3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October?

4) What does the article suggest was the driving force behind the series being renewed for a new season (and possibly two new seasons)?

5) How does Walter Iuzzolino use social media to engage audiences in new international TV dramas? How does he suggest this has changed the reception of foreign productions in the UK?


IndieWire: The rise of international television

Now look at this IndieWire feature on the rise of international television. If the website is blocked, you can access the text from the article here. Answer the questions below:

1) What does the article suggest regarding the difference between TV and film?

2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?

3) Why do you think Deutschland 83 was able to rise above these cultural differences to be successful in the US and UK? Did this inadvertently make the drama fail in Germany?

4) What does the article suggest about subtitling?

5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?


The Guardian: How tech is changing television

Finally, read this Guardian feature on how tech is changing television. This has some particularly useful aspects from an industry perspective - how TV is made, the different formats of TV drama and more. Answer the following questions:

1) What are the traditional lengths for TV drama and what dictated these programme formats?

2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?

3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?

4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?

5) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?

There is a fair amount of work here - the questions are not too challenging but there is plenty to read. However, this will prepare you brilliantly for the extended essay question in Media Paper 2 - particularly if the question focuses on industry or audience.

Complete for homework - due next week.

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.

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. 

Important: you will have your assessment on Advertising and Marketing on Monday 1 April - make sure you revise for it!

Advertising: Maybelline CSP case study

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 fair amount 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: 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 over a week to complete it so 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.

Deadline: confirmed by your coursework class teacher.

Media Awards 2019: The Nominations

The nominations are in for the Media Awards 2019!

It's one week until the Media Awards and we've had an incredibly difficult job narrowing down some amazing work to finalise the nominations for 2019. This year, we'll be awarding prizes for last year's GCSE music videos as well as this year's GCSE and A Level coursework. The quality level at both GCSE and A Level is just remarkable and there has been a lot of very good work that hasn't made the cut.

If you haven't been before, the Media Awards is our Oscars-style ceremony where we award trophies for the best Media coursework at GCSE and A Level. It's a major event in the Greenford calendar and tickets have completely sold out for each of the last FIVE years. The details for this year's awards:

Date: Tuesday 26 March
Time: 6pm - 8pm
Tickets: £5

Tickets will go on sale on Tuesday 19 March (with exclusive presale for Media students on Monday 18 March).

Remember - you need to be quick. The event sold out in just four days last year!

A Level nominations

BEST A LEVEL SOUND DESIGN
Aranjit Panesar: Above and Beyond
Ricardo McCalla: No Civilians
Mariam Ahmadyar: Lola

BEST A LEVEL CINEMATOGRAPHY
Shivam Sorathia: Fear
Nickholi Drummond: Truth Be Told
Jagraj Sanghera: Impulsive

BEST A LEVEL PRODUCTION DESIGN
Gurpreet Hakim: High School Teen
Saira Abubacker: Emily
Shareen Rauf: Bookworm

BEST A LEVEL EDITING
Riki Verma: Rock and a Hard Place
Krissah Rolle: The Section
Areej Mehdi: A Sight For Sore Eyes

BEST A LEVEL COMING-OF-AGE DRAMA CONCEPT
Harkiran Dhaliwal
Riki Verma: Rock and a Hard Place
Natasha Bantleman: Deceit

BEST A LEVEL HORROR CONCEPT
Shivam Sorathia: Fear
Krissah Rolle: The Section
Areej Mehdi: A Sight For Sore Eyes


GCSE nominations

BEST GCSE MUSIC VIDEO CONCEPT
Anosha Usman: Scars To Your Beautiful
Tayvon St Louis: My Story
Rio Davis: Play That Funky Music
Kamarl McIntosh-Gordon: Changes 
Mandeep Gruvar: Sing Me To Sleep

BEST GCSE MUSIC VIDEO EDITING
Kyle McLeod: 1-800-277-8255
Daniel Dakoli: Revenge
Lakshana Susinthiran: BB
Hassan Barreh: Silence
Tharshana Manivannan: New Person, Same Old Mistakes

BEST GCSE MUSIC VIDEO PRODUCTION DESIGN
Dalia Kerim: Finders Keepers
Kian Upfold: Can’t Hold Us
Lud Daniel-Abrha: Where Is The Love?
Sajin Miah: Location
Sufyan Aziz: Sun Comes Up

BEST GCSE TV DRAMA CINEMATOGRAPHY
Ayham Shawish: Man on the Run
Silver Bholar-Harford: It’s Time
Taranpreet Dhaliwal: Hybrid
Cerys McNeil: Flashback
Barbara Chrzanowska: Blue Castle

BEST GCSE TV DRAMA ORIGINAL SCREENPLAY
Meer Rahim: Institutionalised
William Wagon-Horrix: The Strange Case of Professor Noble
Lola Heath: Girl of the Sun
Rhea Vargawal: Lifeless
Savannah Charles: Break the System

BEST GCSE TV DRAMA EDITING
Aishwarya Odedra: A5H
Jenny Ramos Silva:  Machina
Karan Juneja: Control
Mathusan Thevathasan: New Life
Aidan Kapasiawala: Experiment 101

BEST ACTOR 2019
Meer Rahim
Riki Verma
Karan Juneja
Cameron Nanco

BEST ACTRESS 2019
Lola Heath
Aishwarya Odedra
Areej Mehdi
Annya Ranshi

Congratulations to all our nominees and we look forward to seeing you at the Media Awards on Tuesday 26 March!

TV: Deutschland 83 - Close-textual analysis

In class, we have deconstructed Episode 1 of Deutschland 83, exploring how meanings are created in the key scenes using technical and audio codes.

We 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 and the main reading and research tasks for Deutschland 83 are on this case study blogpost here.

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). Due: Wednesday 20 March.

Advertising: Score case study

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.

Media Factsheet - Score hair cream

Go to our Media Factsheet archive on the Media Shared drive and open Factsheet #188: Close Study Product - Advertising - Score. 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) How did advertising techniques change in the 1960s and how does the Score advert reflect this change?

2) What representations of women were found in post-war British advertising campaigns?

3) Conduct your own semiotic analysis of the Score hair cream advert: What are the connotations of the mise-en-scene in the image?

4) What does the factsheet suggest in terms of a narrative analysis of the Score hair cream advert?

5) How might an audience have responded to the advert in 1967? What about in 2019?

6) How does the Score hair cream advert use persuasive techniques (e.g. anchorage text, slogan, product information) to sell the product to an audience?

7) How might you apply feminist theory to the Score hair cream advert - such as van Zoonen, bell hooks or Judith Butler?

8) How could Stuart Hall's theory of representation and David Gauntlett's theory regarding gender identity be applied to the Score hair cream advert?

9) What representation of sexuality can be found in the advert and why might this link to the 1967 decriminalisation of homosexuality (historical and cultural context)?

10) How does the advert reflect Britain's colonial past - another important historical and cultural context?


Wider reading

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 Joseph Gelfer and 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 and why does the writer Joseph Gelfer suggest this needs to change?

2) What are the five stages of masculinity?

3) What stage of masculinity do you feel you are at in terms of your views of gender and identity? You can read more about the five stages of masculinity here.

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

5) 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 Friday.

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) What kind of company is UFA Fiction and what shows have they produced? 

2) What kind of company is Freemantle Media International and what do they produce?

3) How does Deutschland 83 reflect the international nature of television production?


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

Read the Channel 4 press pack interview with writer Anna Winger. (If the link doesn't work, you can find the text from the interview here). 

1) How did she use the historical context and real-life events to create a successful drama?

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

Read this Channel 4 press release on the success of Deutschland 83. (If the link doesn't work you can find find the text from the article here).

3) List the key statistics concerning audience figures. Why is considered the most successful foreign language drama?

4) How does the news release describe the drama?


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.