Advertising: Score case study

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?

Visuals took on a greater importance, with agencies relying less on market research and more toward creative instinct; attempting to win over consumers with humour, candour and, above all, irony.

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

Ironically, campagins reinforced the idea that a woman's place was in the home after the propoganda during the war encouraging them to work in farms and factories.

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

A man is held above women, which are scantily clad and grasping towards him, reinforcing the gender patriarchy and to appeal to the male target audience. He wields a gun, which can be seen as a phallic symbol that further reinforces male dominance. The Jungle setting gives empowering connotations of British colonisation.

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

The Score advert identifies the man as Propp’s ‘hero' archetype and that he is 'exulted’as the hunter-protector of his ‘tribe’.

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

Due to 1967 being the year to decriminalise homosexuality, the advert may be in response to the fear that society is changing and created to reinforce the heteronormative narrative. The fact sheet says that a male audience would read the narrative as ironic and humorous but the underlying ideology would remain implicit. Females of the time may take offence however regard it as normal in the patriarchal society.

Today, we are aware that this advert is an artefact of the 1960s and aware of the sexist and outdated narrative. However, teenage boys may find the ad appealing and not see the offence in it due to modern advertisements sometimes using similar iconography.

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?

The slogan "Get what you've always wanted" implies that men who use this will get scantily clad women, reinforcing a heteronormative and sexist narrative for modern audiences but appealing to a 1967 male audience familiar with this traditional representation of gender and masculinity.

The Anchorage text uses the persuasive technique of inadequacy marketing, reinforcing men about their sexuality and masculinity with phrases like "made by the men" and "masculine scent."

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

Butler's theory that gender is a performance - socially constructed - can be applied. The advertisement is an example of the media reinforcing stereotypical gender roles and heterosexuality and it helps reinforce male and female roles in society. Van Zoonen's belief that women are objectified in the media is also reinforced here.

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?

This links to Gauntlett's theory that representations of masculinity are changing in the modern era, as advertisements today aren't as overtly sexist and heteronormative as they were in the 1960s. However, it could be argued that this goes against Gauntlett's belief that masculinity is not in a crisis, as the advert may be in response to the fear that society is changing and created to reinforce the heteronormative narrative.

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)?

The anchorage text reassures men about their masculinity and sexuality, perhaps in fear of the decriminalisation of homosexuality and the gradual changing of masculine values.

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

The mise en scene of the jungle setting envokes this, as well as the costumes worn by the women and man.


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?

Advertising - Gauntlett and masculinity

Advertising - 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 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"?

Gender representation: "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." and "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."

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

He talks about how, in modern society, you are constantly at work constructing your identity and the media provides "tools" that can be used to create your lifestyle. Magazines give advice and information on sex, relationships and lifestyles with the overall promotion of self-confidence, and Television programmes, pop songs, adverts, movies and the internet subtly imply ways of living that guide us in forming our identities.

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

He suggests that, generally, the media is adopting more liberal views. Younger generations tend to have anti-traditional views and Gauntlett assumes these attitudes will carry on into later life; however maybe suggests that conservative attitudes, rather than literally 'dying out' with the older generations, develop throughout the population as it gets older.

I think it's good that the media is promoting modern liberal views, as it shows society is growing more tolerant and perhaps suggests that the younger generations are beginning to lead the media.

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

Gauntlett argued that men's magazines have an almost obsessive relationship with the socially constructed nature of manhood and so there was no sign of a 'crisis' in either the magazines or their readers.

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.

Gauntlett argues that the ideal symbol of manhood put forward by the media has changed to about men finding a place for themselves in the modern world. The masculinity put forward by the biggest-seller, FHM, we saw to be fundamentally caring, generous and good-humoured, even though the sarcastic humour sometimes threatened to smother this. Somewhat contrastingly, there has been an increase in the sexualisation of men in advertising - although it could be argued that presenting a shirtless muscular man as a spectacle could be empowering to a male audience rather than demeaning.

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?

Advertisements targeted at younger children still conform to gender roles, with girls typically playing with pink dolls and make up kits. Although these representations aren't necessarily harmful, toys that are more playful or 'gross' rarely ever have girls in the ads, which creates an unnecessary divide between the genders as children grow up. The idea of 'girl power' is present, as many of these toy advertisements similarly empower young girls, however it also seems to be refusing to demolish the divide between the genders (which may be equally as harmful in society.)

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?

MIGRAIN Assessment 3 - Learner response

Your learner response is as follows:

Create a new blog post called 'MIGRAIN 3 Assessment - Learner response' and complete the following tasks:

1) Type up your feedback in full (you don't need to write the mark and grade if you want to keep this confidential).

TOTAL = 18/20 = A

WWW: Superb... a real understanding shown of media debates and theory.

EBI: For full marks, more specific textual analysis of your examples using media terminology could push you up - CSPs will help with this.

2) Read the mark scheme for this assessment carefully. Write down the number of marks you achieved for the two questions: _/8; _/12. If you didn't achieve full marks in a question, write a bullet point on what you may have missed.

7/8:
>I could have talked more about Gauntlett's theory that representations of masculinity are changing.

11/12:
> Different media presents masculinity differently; the gillette advert provides evidence for his theory whereas the Carolina Herrara adverts provide evidence against it.

3) For Question 2 on the social and cultural contexts of gender representations, identify three potential points in the mark scheme that you didn't include in your answer.

> The Carolina Herrara advertising campaign reflects a more traditional approach to
representation than found in many modern campaigns. This perhaps reflects the recent
cultural backlash against ‘woke’ or ‘PC’ (politically correct) causes as evidenced by right-wing
political campaigns such as Trump or Brexit.

> The campaign reinforces Judith Butler’s work in Gender Trouble – particularly the idea that

gender is culturally and socially constructed – not ‘natural’. The construction of the adverts

supports Butler’s idea that we are conditioned to adhere to social norms – both in terms of

gender roles and heterosexuality.

> The Carolina Herrara advertising campaign may be seen as an attempt to reclaim traditional
gender roles in response to an increasing tolerance of gender fluidity and non-binary gender
identity.

4) Having read the whole mark scheme, pick out one media theory that you didn't include in this assessment and summarise it briefly here so you can use it confidently in future.

Van Zoonen’s theory regarding the representation of women; she believes strongly in the patriarchy and suggests women in media they objectified, passive and presented to reinforce gender ideals.

5) Based on your experience in this assessment, identify three aspects of Media (e.g. skills/particular theories/examples) that you need to work on for your next assessment.

In general: Using more direct media terminology to a broader and more in-depth extent when talking about media texts. 

I think I should work on memorising Gauntelett's various theories and viewpoints, as well as some quotes in order to grasp a better understanding on his viewpoints of the media. 

Advertising: The representation of women in advertising

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

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

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

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

Since the mid-1990s, advertising has increasingly employed images in which the gender and sexual orientation of subjects are markedly (and purposefully) ambiguous. There are also a growing number of homosexual images.

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

The creation of the 'Feminist Mystique' led to the belief that the sole goal of women were to full fill their femininity. As a result, the stereotypes that arose were about the importance of women having a domestic role in the house hold.
3) How did the increasing influence of clothes and make-up change representations of women in advertising?

Women were being increasingly portrayed as decorative/empty objects, and used as tools to sell products.

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

Laura Mulvey. She claimed that Male power means that any social representation of women is constructed as a spectacle for the purpose of male voyeuristic pleasure.

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

The representation of women changed with the 'new women' label. Women were supposed to be independent, confident and assertive while finding satisfaction in the world of work.

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?

Deconstructing an advertisement promoting the 'Jenni Barnes Working Style' range of clothing, van Zoonen points to its claim that: 'A woman should look forward to dressing for the office.' Having a job is seen merely to provide 'another happy occasion for women to dress up and present themselves.'

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

There is no real threat to male power as today young women can successfully storm the bastions of male power without threatening them... 'no serious gender defection has occurred'

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

He claims that a woman is still displayed as a spectacle. There is a misrepresentation of woman's liberation: advertising agencies miss the point when attempting to employ feminist messages and instead equate feminism to 'aggressive sexuality and a very unliberated coy sexiness'.
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?

Are You Beach Body Ready - Launched Spring 2015 on the London Underground.

2) Why was it controversial?

It was a weight loss ad campaign and featured a tanned, skinny blonde woman in a bikini and in a full frontal pose.

3) What did the adverts suggest to audiences?

It shamed women who weren't skinny into buying the slimming supplement in order to feel confident wearing swimwear in public.

4) How did some audiences react?

Audiences were protesting the advert by posing next to the ad in their bikinis to offer a more realistic depiction of woman's bodies.When people began to campaign against the poster’s sexist portrayal, a change.org petition signed by 71,000 urged the ASA to take the adverts down.

5) What was the Dove Real Beauty campaign?

The campaign features real women with real bodies of all races and ages. Dove created an interactive Ad Makeover campaign that put women in charge of the advertisements, where they themselves would choose what they saw as beautiful, not the advertisers. The campaign’s mission is to "create a world where beauty is a source of confidence and not anxiety."

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

It has given audiences a large platform to voice their anger at ad campaigns, and also spread their support for them.
7) How can we apply van Zoonen's feminist theory and Stuart Hall's reception theory to these case studies?

We can apply van Zoonen's feminist theory to the beach body campaign as the woman is sexualised for the male gaze, despite being targeted an ad at women, and depicts unrealistic western beauty standards. Stuart Hall's reception theory also applies as there was a wide backlash from audiences who had an opposition reading from the advertisers.

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

I definitely think that representations of woman have changed in the last 60 years. Although there are still many advertisements that sexualise women, there is a broader and more fluid representation of gender and a greater acceptance of women's bodies and appearance. As highlighted by the backlash from women about the beach body campaign, advertisers find it harder to get away with sexist portrayals of women without backlash.

Advertising: Persuasive techniques blog task

Advertising: Persuasive techniques blog task

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

Answer the following questions on your blog:

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

All publicity works on anxiety; Advertising seeks to make us dissatisfied with our present selves and promotes the idea that we can buy our way to a better life... The magazine specifically quotes him saying "Publicity is always about the future buyer. It offers him an image of himself made glamorous by the product or opportunity it is trying to sell. The image then makes him envious of himself as he might be.

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

We refer, either knowingly or subconsciously, to lifestyles represented to us (through the media or in real life) that we find attractive.

3) How was Marmite discovered?

German scientist Justus von Liebig discovered that brewer’s yeast could be concentrated, bottled and eaten.

4) Who owns the Marmite brand now?

the Sanitarium Health Food Company.

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

> Marmite’s 2003 ad featuring Zippy from the children’s television programme Rainbow
> Paddington Bear advert in 2007
These characters would invoke nostalgia and emotional appeal

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

High culture is the consumption patterns of the 'elite' in society vs pop culture targeting the masses. Marmite plays on this by juxtaposing the Royal Warrant of Appointment with common, popular culture.

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

Not only does it stroke the audience's ego, but a post modern audience may be fully aware of the technique of basically being groomed by brands and play into it.

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

The use hyper-reality in its #marmiteneglect campaign which communicates how the brand is self aware by using recognisable scenes and documentary/police show style editing in its advert.

Narrative in advertising: blog task

Narrative in advertising: blog task

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

 


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

The advert uses Barthes action codes to create a fast pace entertaining experience for the viewer, with the use of movement and sport being indicative of success. Levi-strauss's Binary opposition also drives the pace of the advert through conflict: The different sides of London and it's multiculturalism are represented. Todorov's theory of equilibrium can be applied as the characters overcome conflict - creating a new equilibrium - with the nike product.

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

Fans of celebrities featured in the advert would be more inclined to buy nike products as their favourite celebrities are supporters of it, as well as broadening the appeal of the advert. A wider audience would see themselves in the non-celeb characters and relate to their struggles.

3) Read this AdWeek feature and interview on the Nike London advert. [Note: this may now be behind a paywall - you can find the text from the article here]. How did the advert use technical codes (camerawork, mise-en-scene, editing etc.) to help create narratives that could connect with the audience?

In order to create narrative, the scenes are edited together by having one character slip from one scene seamlessly into another, over and over. The characters talk directly into the camera and the camera shots and pans are extremely dynamic as it finds ways to follow them. This all connects the different narratives of each person together and creates a wider and grander narrative that the audience can easily follow.

4) What representation of London does the advert offer?

It's extremely diverse, with people from all sorts of ethnic backgrounds being prevalent. It also depicts London as having many flaws and being unpleasant due to aspects like the weather. Despite this, it shows that anyone can do sport no matter what their background is.

5) Why might this advert appeal to an audience?

The advert depicts creates an accurate and diverse representation of London that a London audience would easily relate to, as they could see themselves represented in the advert through the people in the advert. Sports fans would find the different types of sports represented appealing, and the celebrities would appeal to fans of them.

MIGRAIN Ideology

MIGRAIN: Ideology

Blog tasks: ideology

Part 1: BBC Question Time analysis

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

Russell Brand and Nigel Farage have heavily opposing views on immigration. Brand represents a left wing ideology and Farage represents the right-wing ideology. They are passionately debating with eachother, with Brand holding sympathetic and liberal views towards immigrants and immigration and Farage trying to present a more factual and negative side of the argument. 

2) What ideologies are on display in this clip?

Left wing vs Right wing.

At the time, Farage was the UKIP leader and so he reflects the heavily right-wing ideologies on immigration during the debate.

Part 2: Media Magazine reading

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

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

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

Series like the hunger games are used as metaphorical representations of ideologies to communicate ideas with the audience.

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

President Snow is in a position of power and wealth and holds dictatorial control over the rest of the country, especially the poor who are suffering.

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

It portrays how powerful the media is in manipulating people and broadcasting ideologies to maintain control over them through fear.

Page 48: They Live - Understanding Ideology

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

Ideologies are constantly changing as they are communicated through people and the media.

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

> People should put their families first.
> People should work hard for their money.
> Women should behave in feminine ways, and look after their appearance.

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

He argued that the power of ideology derives primarily from ideas and structures which support, and thus serve the purpose of, an elite social group which is able to dominate through ideas, rather than militaristic strength or fear.

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

His view was that ideology is the greatest material power and dominates our day to day lives through two key forms of control:
1: Repressive state controls social behaviour through the major institutions
of society – the Government, Army, Police, Courts, etc. –which are dominated by the ruling elite.
2: ‘Ideological State Apparatuses’ that control using common sense rather than fear.

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

I believe that the absolute abundance of media in our society means that that there is no way we aren't controlled by it.

The pressure to not be left out of large products with strong brand presence in society is one of the many ways that we are somewhat subconsciously pressured to give-in to "common sense". The presence of opinion leaders - those you trust and follow - can easily shape your personal desires and shows that, fundamentally, we are controlled by those who have more power and presence than us.

Although we do have free will, it's very much reliant on our desires being constructed and presented by the media. For example, the ways in which television present certain life styles as desirable or even just in abundance can furthermore imply that society is controlled by the desire to do not as they please but to do as is presented as desirable by the media.

MIGRAIN FINAL INDEX

1) Introduction to Media: 10 questions
2) Media consumption audit
3) Semiotics blog tasks - English analysis and Icon, Index, Symbol
4) Language: Reading an image - advert analyses
5) Reception theory - advert analyses part 2
6) Genre: Factsheets and genre study questions
7) Blog feedback and learner response
8) Narrative: Factsheet questions
9) Audience: classification - psychographics presentation notes
10) October assessment learner response
11) Audience theory 1 - Hypodermic needle/Two-step flow/U&G
12) Audience theory 2 - The effects debate - Bandura, Cohen
13) Industries: Ownership and Control
14) Industries: Hesmondhalgh - The Cultural Industries
15) Industries: Public Service Broadcasting
16) Industries: Regulation
17) Representation: an introroduction and MM article

18) Representation: Feminism - Everyday Sexism & Fourth Wave MM article 

19) January assessment learner response

20) Representation: Feminist theory

21) Representing ourselves: Identity in the online age - MM article & Factsheet

22) Ideology: BBC Question Time analysis and MM articles

MIGRAIN: Representing ourselves - identity in the online age

Task 1: Media Magazine article

Read the Media Magazine article on collective identity: Self-image and the Media (MM41 - page 6). Our Media Magazine archive is here.

Complete the following tasks on your blog:

1) Read the article and summarise each section in one sentence, starting with the section 'Who are you?'

Who are you?
We construct an image to communicate our identities to people, and the way media informs us about our personal lifestyle influences who we want to be, who we want to be seen as and, who we actually are.

I think, therefore I am

Our identity used to be seen as pre-determined, constructed by class, religion, gender and aspects of our lives that were constructed outside of our selves.

From citizen to consumer

The post-industrial consumer boom of the early 20th century was based on convincing

people that it was no longer enough simply to buy what you needed to survive, and so advertisers identified how people felt about themselves, and offered products in ways that helped reinforce and support a positive self-image.

The rise of the individual

The idea that the individual should have the right to express their own identity became a widespread belief in the 2nd half of the 20th century as people wanted to express their uniqueness, and so advertisers presented products in a way that made it seem as if through their purchase they could help audience members select and define an identity.

Branding and lifestyle
Advertisers sell the personality rather than the product, so that people will choose products that match their own self-image.

Who will we be?
Talks about Chandler's observation in 1998 that constructing a homepage is like shaping your own identity, before the rise of social media.

2) List three brands you are happy to be associated with and explain how they reflect your sense of identity.

Nintendo: I've been a fan of Nintendo since I was young and I'm glad to be apart of the broad community that it's created.
Spike Chunsoft: Developer of lots of games that I enjoy.
Maltesers: Good chocolate

3) Do you agree with the view that modern media is all about 'style over substance'? What does this expression mean?

I do believe that modern media, especially social media, has a lot of focus on being materialistic and somewhat shallow. I think it's true that high cultural value is placed on external factors such as physical beauty and fashion, however not every aspect of the media is like this. Many on social media still share their creative endeavours that are created out of passion and drive.

4) Explain Baudrillard's theory of 'media saturation' in one paragraph. You may need to research it online to find out more.

Baudrillard believes that the over-saturation of media makes people fascinated with image and spectacle, so much so that the concept of meaning itself dissolves.

5) Is your presence on social media an accurate reflection of who you are? Have you ever added or removed a picture from a social media site purely because of what it says about the type of person you are?

On social media, you have the power to create your own persona as you can choose what and what not to share. I would say it's not an accurate reflection because of this.

6) What is your opinion on 'data mining'? Are you happy for companies to sell you products based on your social media presence and online search terms? Is this an invasion of privacy?

Data mining allows companies to gain information from audiences by observing their social media presence and interests. Although people may find it convenient to have products recommended to them that align with their interests, I think it's a creepy invasion of a user's independence to find products for themselves should they choose to. Data mining is something users should only

Task 2: Media Magazine cartoon

Now read the cartoon in MM62 (p36) that summarises David Gauntlett’s theories of identity. Write five simple bullet points summarising what you have learned from the cartoon.

> Audiences use media to construct their own identities
> Audiences are conscious of the messages the media promotes
> He believes that identity today is more fluid than ever before
> Gauntlett disagrees that masculinity is in a crisis
> We use narrative to frame our experiences

Task 3: Representation & Identity: Factsheet blog task

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

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

A collective identity is a collective identity that focuses around a group of people that come together and share similar views of the world, values, traditions and understanding of issues around them.

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

The Queen
Wonky teeth
Double decker buses
Brexit
Phone Boxes

The colour red
Big Ben
Fish and Chips

Accents

What they have in common is that they're the very stereotypical visual images of what first comes to mind when hearing the word Britain. Obviously these aren't very accurate to the entirety of British society.

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

The programme attracts an older demographic of people, which is reflected in the choice of toys which James May examines: Airfix, Meccano, Plasticine, Lego, Scalextric and Hornby are all toys of his youth and that of the targeted demographic of 30+ males. It explores the sense of nostalgia and Britishness that the target audience would relate to.

4) How has new technology changed collective identity?

Technology has enabled people to actively engage with the content of the culture around them and then use that culture in their own productions.

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

He calls this new collective identity an interpretive community and the ‘Make and Connect Agenda’.

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

Fans from around the world can then share their experience of watching the film and supporting the identity created within it.