Advertising: Introduction to Postcolonialism

Postcolonial theory is a key aspect of our work on representations in media and British culture.

Postcolonialism describes a range of theories and ideas that have come from the legacy of colonialism and slavery. It attempts to define attitudes and values that can often still persist in society today – such as an assumption of the superiority of white Western values and ideals in relation to other cultures.

Postcolonial terminology

‘Othering’ or racial otherness

Paul Gilroy suggests non-white representations are constructed as a ‘racial other’ in contrast to white Western ideals.

Dating back to 1950s Windrush immigration, Black representations were constructed as a threat to British society with Black culture presented as a corrupting or dangerous influence ‘swamping’ white Britain. This can still be seen today in media discourse on immigration.

Racial essentialism

This refers to the linking of a person’s cultural and racial heritage to a place of national origin. It is also used to suggest that people from a certain heritage are ‘all the same’ and therefore to make value judgements about people from certain backgrounds.

This links to the idea of social and ethnic hierarchies – the belief that certain groups or races are superior to others. Does the media reinforce these ideas? 

Postcolonial melancholia and Albionic Englishness

Paul Gilroy uses the term postcolonial melancholia (sadness) to reflect Britain failure to come to terms with losing its empire.

Is Britain obsessed with the past? Do representations of Britain emphasise an ‘Albionic Englishness’ – a white, rural, nostalgic version of Britain untouched by the demise of Empire? 

Civilisationism

Civilisationism is the representation of western democracies as the binary opposition of ‘uncivilised’ or extremist others. 

Edward Said’s book Orientalism is a key text on this topic. Said argued that the west – particularly colonising Europe – constructed a meaning of the east that suggested it was different, dangerous and uncivilised.

Double consciousness

Paul Gilroy used the term double consciousness to reflect the Black experience in the UK and USA. One aspect is living in a predominantly white culture and having an aspect of identity rooted somewhere else. He describes this as a “liquidity of culture”.

He also uses it to highlight the disconnect between black representations in the media and the actual lived experience of Black Britons. Often, these representations are created by white producers.

Cultural conviviality

This refers to the real-world multiculturalism and racial harmony that most people experience on a day-to-day basis. It is in stark contrast to the racial disharmony and binary view often presented by the media. 

Example: Rye Lane trailer

Introduction to Postcolonialism: blog tasks

Create a new blog post called 'Advertising: Postcolonialism blog tasks'. Read ‘The Theory Drop: Postcolonialism and Paul Gilroy’ in MM75  (p28). You'll find our Media Magazine archive here - remember you'll need your Greenford Google login to access.

Answer the following questions on your blog:

1) Look at the first page. What is colonialism - also known as cultural imperialism? 

2) Now look at the second page. What is postcolonialism? 

3) How does Paul Gilroy suggest postcolonialism influences British culture?

4) What is 'othering'?

5) What examples of 'othering' are provided by the article?

6) What is 'double consciousness'? 

7) What are 'racial hierarchies'?

8) What examples from recent media products challenge the idea of racial hierarchies? 

Complete for homework - due date on Google Classroom.

TV: Postmodernism and Deutschland 83

Postmodernism is one of the more challenging concepts 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.

Hyperreality
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 tasks

Media Magazine - A Postmodern Reimagining of the Past

Media Magazine 73 has a feature exploring Deutschland 83 as a postmodern media product. Read ‘Deutschland 83 - A Postmodern Reimagining of the Past’ in MM73  (p18). You'll find our Media Magazine archive here - remember you'll need your Greenford Google login to access. Answer the following questions:

1) What were the classic media representations of the Cold War?

2) Why does Deutschland 83 provide a particularly good example for postmodern analysis? 

3) Pick out some of the aspects of the opening of episode 1 and explain why they are significant.

4) How does the party scene at Martin's mum's house subvert stereotypes of East Germany in the Cold War?

5) What aspects of the episode set in West Germany offer postmodern elements?

6) Finally, how does the article apply postmodern theory to Deutschland 83 and link it to the potential target audience?

Postmodernism Factsheet

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. If you need to access this from home you can find our factsheet archive here (you'll need to use your Greenford login).

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

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

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

Due date on Google Classroom.

Guardian workshop: The Future of News - Wednesday 29 March

We are incredibly lucky to have a virtual workshop with the Guardian newspaper on the Future of News.

This is from the Guardian's Behind the Headlines team who work with young people to help understand, critically analyse, engage with and participate in the media. In other words: perfect for Media students! 

The workshop will be on Zoom and the details are as follows:

• Wednesday 29 March
• Room: DF01
• Time: 3pm - 4.15pm

We've asked all our A Level Media students to attend - Year 13s have just studied newspapers (including a week of lessons on the future of news) and Year 12 students actually have the Guardian as a newspaper CSP to study next year. There's no need to miss any lessons - just come along to DF01 at 3pm on Wednesday and we'll see you there! 

Advertising: Score hair cream CSP

We have studied the changing representation of women and men in advertising and now we need to apply those ideas to our first advertising CSP.

The 1967 Score hair cream advert provides a compelling case study for the representation of both men and women and allows us to explore how historical contexts inform representations in the media.

A reminder of some of the notes from recent lessons:

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.

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)

Gauntlett: three key ideas
Idea 1: Identity is becoming more fluid 
Idea 2: There are generational differences
Idea 3: Things change over time

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. If you need to access this from home you can download it here if you use your Greenford login details to access Google Drive.

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? You may wish to link this to relevant contexts too.

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 the 2020s?

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 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?


Due date: on Google Classroom.

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 in class - Season 1, Episode 1. If you'd like to watch it again or miss the screening for any reason it is available here on the All4 website for streaming Channel 4 programmes and also we've made the series available on Google Drive here (use your Greenford Google login).


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.

Introduction: Reviews and features

Read the following reviews and features on Deutschland 83:

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

1) Find one positive aspect and one criticism of Deutschland 83 in the reviews.

2) Why does the second Guardian article suggest the Germans didn't like the show?

3) 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?


Promotional interview

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?

Textual analysis: Audience pleasures and representations

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

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. Here's a Google doc we have worked on in past Media lessons on this topic - feel free to use these notes alongside your own. You'll need to use your Greenford Google login to access this.

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 textual analysis work in class - this section of your case study simply requires typing up your notes in an easy and memorable way (bullet points are fine).

Production and industry contexts

Deutschland 83 was produced by German production company UFA Fiction and distributed internationally by Fremantle 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 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

Trailer



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

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

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


Press pack

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?



Press release

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).

1) List the key statistics concerning audience figures. Why was it considered the most successful foreign language drama?

2) How does the press release describe Deutschland 83?


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) How do these use font, colour and graphics to appeal to an audience?

3) Why might the distributors Freemantle 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.

Due date: on Google Classroom.

Advertising: David Gauntlett and masculinity

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 tasks

David Gauntlett: academic reading

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"?

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

3) What does Gauntlett suggest regarding generational differences? Is it a good thing that the media seems to promote modern liberal values?

4) Why does Gauntlett suggest that masculinity is NOT in crisis?

5) 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.

6) 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?

7) 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 provide examples either reinforcing or challenging this idea that younger generations are more comfortable with changing gender roles?

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

9) 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?

10) Finally, Gauntlett makes a clear case that things change and modern identities are increasingly fluid. What is your opinion on this debate - do you agree that the media reinforces the changing attitudes towards gender and sexuality in society?


Media Magazine: Andrew Tate - Masculinity in crisis?

Now read 'Tate Crime' - Media Magazine's analysis of the rise of online influencer Andrew Tate. You can find this in MM83 (p6) in our Media Magazine archive. Answer the following questions:

1) What is misogyny and how does it link to Andrew Tate?

2) How does the article suggest Andrew Tate used social media to build up his reputation and following?

3) Does Andrew Tate's popularity suggest there is in fact a 'crisis in masculinity' - disagreeing with David Gauntlett's view?

This is a significant amount of work but you'll have an extended deadline to give you time to complete this. Due date on Google Classroom.

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 contexts 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

Hegemony derives from the Greek term hēgemonia (“dominance over”). Italian philosopher and Marxist theorist Antonio 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

Task 1: 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 right-wing or capitalist viewpoints?


Task 2: Media Factsheet - Applying Marxism 

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 or online here (you'll need your Greenford Google login to access). 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 two 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'.) Explain what meanings these texts communicate to their audiences.

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 try applying 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 for homework: due date on Google Classroom.

Optional extension: Media Magazine feature on BBC drama The Casual Vacancy and ideology

If you'd like to further understand Marxism, Hegemony and the media, 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.



After you've read the article, think about or write answers to 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?

Advertising: The representations of women in advertising

The representations 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 Judith Butler and she also develops Mulvey’s work on the ‘male gaze’.

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

In the 90s, 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 suggested that 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: Representations 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 'Representations 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 and why was it controversial?

2) What was the Dove Real Beauty campaign?

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

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

5) 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 fair amount of work here - you will be given some lesson time to do it but will need to finish for homework. Due date on Google Classroom.