Revision

1. Section A:Theoretical Evaluation of Production Section B: Contemporary Media Issues 1 G325: Critical Perspectives in Media

2.  The purpose of this unit is to assess candidates' knowledge and understanding of media concepts, contexts and critical debates, through their understanding of one contemporary media issue and their ability to evaluate their own practical work in reflective and theoretical ways.  The examination is two hours. Candidates are required to answer two compulsory questions, on their own production work, and one question from a choice of six topic areas. The unit is marked out of a total of 100, with the two questions on production work marked out of 25 each, and the media theory question marked out of 50. 2 There are two sections to this paper: Section A: Theoretical Evaluation of Production (50 marks) Section B: Contemporary Media Issues (50 marks)

3.  The topic areas require understanding of contemporary media texts, industries, audiences and debates.  This understanding must combine knowledge of at least two media and a range of texts, industries, audiences and debates.  Contemporary Media Issues: Media and Collective Identity  Each topic is accompanied by four prompt questions, and candidates must be prepared to answer an exam question that relates to one or more of these four prompts. There should be emphasis on the historical, the contemporary and the future in relation to the chosen topic, with most attention on the present. 3

4. “Discuss the contemporary representation of a nation, region or social group in the media, using specific textual examples from at least two media to support your answer.” “How far does the representation of a particular social group change over time ? Refer to at least two media in your answer.” [50] Explanation/ analysis/argument (20 marks) Use of examples (20 marks) Use of terminology (10 marks)

5. PRINTPRINT MUSICMUSIC PAST PRESENT AND FUTUREPAST PRESENT AND FUTURE

6. 1) How do the contemporary media represent nations, regions and ethnic/social/collective groups of people in different ways? 2) How does contemporary representation compare to previous time periods? 3) What are the social implications of different media representations of groups of people? 4) To what extent is human identity increasingly ‘mediated’?

7. Consider at a ‘macro’ level how ‘the media’ represent people and ideas. But more importantly discuss on a ‘micro’ level how people give meaning. To particular kinds of media in relation to their identity. MeaningMeaning AnalysisAnalysis

8.  In order to be fully prepared for the specific requirements of the question, the material studied by candidates must cover these three elements: 9 Future - candidates must demonstrate personal engagement with debates about the future of the media forms/issues that the topic relates to. Contemporary - current issues within the topic area. Historical - dependent on the requirements of the topic, candidates must summarise the development of the media forms in question in theoretical contexts.

9. What do you need for the exam? Social group as a case study- examples. At least two different media Understanding of and reference to theory/cultural critics. Your own voice! 10

10. David Buckingham (2008). He argues that identity is complicated and complex. 11 On the one hand, identity is something unique to each of us that we assume is more or less consistent (and hence the same) overtime.. our identity is something we uniquely possess: it is what distinguishes us from other people. Yet on the other hand, identity also implies a relationship with a broader collective or social group of some kind. When we talk about national identity, cultural identity, or gender identity, for example, we imply that our identity is partly a matter of Describe yourself in 3 words

11. “Identity emerges as a kind of unsettled space, or an unresolved question in that space, between a number of intersecting discourses. ... [Until recently, we have incorrectly thought that identity is] a kind of fixed point of thought and being, a ground of action ... the logic of something like a `true self.' ... [But] Identity is a process, identity is split. Identity is not a fixed point but an ambivalent point. Identity is also the relationship of the Other to oneself" (Hall 12 PERSONAL CULTURAL SOCIAL ACONSTRUCT “people's concepts of who they are, of what sort of people they are, and how they relate to others" (Hogg and Abrams 1988, 2). “the way individuals and groups define themselves and are defined by others on the basis of race, ethnicity, religion, language, and culture" (Deng 1995, 1). “refers to the ways in which individuals and collectivities are distinguished in their social relations with other individuals and collectivities" (Jenkins 1996, 4). “The term [identity] (by convention) references mutually constructed and evolving images of self and other" (Katzenstein 1996, 59). http://www.stanford.edu/~jfearon/papers/iden1v2.pdf

12. “Identity emerges as a kind of unsettled space, or an unresolved question in that space, between a number of intersecting discourses. ... [Until recently, we have incorrectly thought that identity is] a kind of fixed point of thought and being, a ground of action ... the logic of something like a `true self.' ... [But] Identity is a process, identity is split. Identity is not a fixed point but an ambivalent point. Identity is also the relationship of the Other to oneself" (Hall 13 PERSONAL CULTURAL SOCIAL ACONSTRUCT “people's concepts of who they are, of what sort of people they are, and how they relate to others" (Hogg and Abrams 1988, 2). “the way individuals and groups define themselves and are defined by others on the basis of race, ethnicity, religion, language, and culture" (Deng 1995, 1). “refers to the ways in which individuals and collectivities are distinguished in their social relations with other individuals and collectivities" (Jenkins 1996, 4). “The term [identity] (by convention) references mutually constructed and evolving images of self and other" (Katzenstein 1996, 59). http://www.stanford.edu/~jfearon/papers/iden1v2.pdf

13. 14 Think about how we form our identities and where the information comes from. The influence of mass media shapes our concepts of who we are, what is important to us and how we live our lives. Everything concerning our lives is seen to be ‘media saturated’. Identity is something that is constructed over a period of time and can be updated or changed completely.In today’s world the choosing of one’s identity is a multi layered experience, consciously and unconsciously influenced by countless factors How does the media aid identity formationidentity formation? IDENTITYIDENTITY ISN’TISN’T

14. Task 1: Describe yourself in 3 words. Place in the center of the table. Task 2: Choose any woman of your choice. What does she do? How would you describe her?

15. How is gender established? What is the role of the man? What is the role of the women? How is gender established? What is the role of the man? What is the role of the women? How has history shaped gender roles? How has society shaped gender roles? How has culture shaped gender roles? How has history shaped gender roles? How has society shaped gender roles? How has culture shaped gender roles? Gender is established through historical, social and cultural Gender is established through historical, social and cultural MatriarchyMatriarchy PatriarchyPatriarchy

16. Task: In 200 words sum up what it means to be ‘a woman’. Consider: Women you know (Family, Friends) Women in the public eye (Famous Women, Role Models, Public Figures etc.) You will be sharing these with the class! You will be sharing these with the class!

17. Task: INDIVIDUALLY or in PAIRS research into the historical events which determined women’s rights. Put this into a timeline and illustrate with a print and music text from that period.

18. Homework: Bring in a print media text which is representing women. This can be in any form: magazine cover, news article, advert etc. Be prepared to discuss how it represents women and why you chose it – make sure its interesting!!

19. 20 Antonio Gramsci David Gauntlett Stuart Hall David Buckingham

20.  How do the contemporary media represent nations, regions and ethnic / social / collective groups of people in different ways?  How does contemporary representation compare to previous time periods?  What are the social implications of different media representations of groups of people?  To what extent is human identity increasingly ‘mediated’?  Candidates may analyse the representation of and / or the collective identity of one or more group(s) of people. Candidates might explore combinations of any media representation across two media, or two different representations across two media.

21.  Choose a woman in the media  What is her role  How would you describe her?  Is she a celebrity or a public figure?

22.  Constructs the views of society  Defined historically  Patriarchy holds the position of power

23.  Ww2 meant working woman temporarily took women away from their homes – film noir  Womens liberation/female empowerment  Pay equality  feminism

24.  Male dominated society  Sexualsation = dehumanisation  Access hollywood and e! reinforce negative portrayals of women.  Does this inequality come from male sexism/misogyny?  How is the media responsible?  Demonizes feminists/liberal agendas  Learned habitts/views  Consumption of tabloid news encourages scrutiny and criticism  Western culture- reflection of society – establish cultural habits

25.  Who controls the media?  Why do we trust men to control the media?  Female stories written by men  Restricted genres, stock characters  Hollywood/western domination  Media is voyeuristic and salacious

26.  Horizontal integrtaion means conglomerates corner the market and therefore control media messages  Multiple television platforms dilute the news/television – infotainment dominates  Capatalism means products are sold through the explotation of women bodies.  Is media accountable for the misrepresentation of women through the irrisponisble distribution of content?

27.  Shock factor  Objectification – justifies violence against a person.  Public becoming desensitized to these images therefore justifying their existence  Lack of responsibility

28.  Competition  Domesticated  Unempowered  Ambition contradicts maternal roles  Subordinate to men

29.  Saturation of sexual images in the media  Value placed on physical appearance from men and women  Companies establish a problem and offer a solution to create legions of consumers.  The self-esteem of women is continually diminished but the market is increasingly popular.  Pornification of products as sex sells.  Celebrity culture

30.  Teenagers establishing their identity and therefore impressionable.  Images are aspirational  Contradictory messages sold in magazines.  Body image is distorted due to unattainable images in the media which are often manipulated in photoshop.  Corrupts consumers into perusing unrealistic expectations  Encourages the consumer to indulge in products and the media.

31.  http://www.dailymail.co.uk/news/article-2533715/Saucy-Australian-burger-bar-advert-shows-beef-patty-salad-m

32. Lesson 3 23/1/15

33. Task: In PAIRS create a detailed presentation investigating one of these magazines. You will show this to the class next week. You must include an in-depth analysis of a front cover.

34. Task: INDIVIDUALLY or in PAIRS research into the historical events which determined women’s rights. Put this into a timeline and illustrate with a print and music text from that period. What are they key dates in women's rights?

35. Aims: To continue to explore Women in Print. Focusing particularly on magazines. Objectives: -To decide why people consume magazines. -To define feminism. -To outline key events in women’s rights. -To explore genres of women’s magzines. -To produce a presentation on the case studies.

36. “Analyse the ways in which the media represent any one group of people that you have studied.” “With reference to any one group of people that you have studied, discuss how their identity has been ‘mediated’.” “Analyse the ways in which the media represent groups of people.” “The media do not construct collective identity; they merely reflect it”. Discuss. “Media representations are complex, not simple and straightforward”. How far do you agree with this statement in relation to any one group of people that you have studied? “What is collective identity and how is it mediated?”

37. Why do people read magazines? Why don’t you read magazines?!

38.  Almy et al. (1984) argue that media representations of gender are important because they enter the collective social conscience and reinforce culturally dominant (hegemonic) ideas about gender which represent males as dominant and females as subordinate. Sociologists argue that media representations not only stereotype masculinity and femininity into fairly limited forms of behaviour, but also provide gender role models that males and females are encouraged to aspire to.  Women’s magazines are ‘the social construction of womanhood today’ (David Gauntlett: 2002: 187).  Gauntlett (2008) points out that sociological analysis of media representations needs to be cautious, because of the sheer diversity of media in Britain.

39. “The rise of digitalisation and the ready availability of online content threatened the stability of print media in general” (Mintel, 2010) However! “In a report in 2010, it was estimated that 530 million copies of women’s magazines would be sold that year and in the same year The Guardian stated that ‘although some individual titles have suffered [in 2009], overall there was a huge year-on year growth of 14.6% in circulation: we buy – or rather consume nearly 7 million fashion and lifestyle magazines every month” (Saner, 2010).

40.  Mary Maynard argues that feminist research is distinctive in its ‘insistence on its political nature and potential to bring about change in women’s lives’ (1994: 16). Feminist studies have the capability to ‘make visible a social issue’, through which their research can be empowering, or even transformational.  Janice Winship felt a ‘simultaneous attraction and rejection’ towards women’s magazines; on the one hand finding pleasure their escapist quality and recognising their mass popularity, but on the other, feeling a strong sense that to be a feminist, one must reject the construction of womanhood put forward by most popular women’s magazines. Feminism is a collection of movements and ideologies aimed at defining, establishing, and defending equal political, economic, and social rights for women. This includes seeking to establish equal opportunities for women in education and employment. A feminist advocates or supports the rights and equality of women.

41. Indicate: Mast head Main Image Coverlines Selling/Skyli ne Barcode Issue Give an example of: Anchorage Text Tone of Address Use of font According to Kilbourne (1995), this media representation presents women as mannequins: tall and thin, often US size zero, with very long legs, perfect teeth and hair, and skin without a blemish in sight. Laura Mulvey- Media texts put the spectator in a masculine subject position, with the figure of the woman on screen as the object of desire Mulvey Suggests these images are "voyeuristic" (i.e. seeing woman as image "to be looked at") and "fetishistic" (i.e. seeing woman as a substitute for "the lack," the underlying psychoanalytic fear of castration).

42. “The title of the magazine or newspaper as it appears on the front cover”

43.  Short statements on the cover of the magazine that allude to or describe the articles inside.  Tend to directly address the reader using colloquial language.  Variety of Fonts.

44. Masthe ad Left Main Image Cover lines Price Barcode Selling/Sky line Font Colour Anchorage TextConnotations Tone of Address Date/ Issue

45. TABLOIDTABLOID GLOSSYGLOSSY WEEKLY GLOSSY WEEKLY GLOSSY Who are the target audience? (demographics) Who are the target audience? (demographics) What content does the magazine usually have? What content does the magazine usually have? Consider: Ideology, semiotics, preferred/secondary meanings, representation, micro/macro. Consider: Ideology, semiotics, preferred/secondary meanings, representation, micro/macro. HYBRIDI SED

46. VS Paparazzi Photoshop Do women's magazines have a moral code? Task: Read though Stuart Hall’s reception theory. Are there consequences of women reading magazines? GlossyTabloid

47. Rupert Murdoch Media Mogul CEO/Founder NewsCorporation, Fox Broadcasting, Sky etc. Eleanor Mills, the editorial director of the Sunday Times, has underlined her opposition to The Sun's Page 3. " I think Page 3 feels quite regressive. I think it feels very kind of 70s. It is not good when you're raising girls and they see women being objectified in that way. And we're going to be doing a lot in Women in Journalism to stop a

48. Discuss: Is banning ‘Page 3’ anti-feminist?

49. Task: DEBATE! Write 5 points arguing why you are either for or against PAGE 3. Two groups: PAGE 3

50. 1) It’s 2014! Page 3 was first introduced in the sexist 1970s. A lot has changed over the last 30+ years in our society, we think it’s time The Sun caught up… 2) It’s soft porn in the UK’s no.1 selling family newspaper that children are exposed to. Until 2003 the models were only 16 (and made to dress up in school ties and hats – seriously!) It’s never been OK. One day we’ll look back on this and think “oh my goodness, we did what?!” 3) What does it teach children? They see page after page of pictures of men in clothes doing stuff (running the country, having opinions, achieving in sport!) and what are the women doing in this society they’re learning about? Not much really, other than standing topless in their pants showing their bare breasts for men. It’s not really fair, is it? 4) Women say, do and think so many interesting and incredible things and should be celebrated for their many achievements. They are people, not things! Not ‘that’. The fact that we hear ‘look at the tits on that’ or ‘I’d do that’ is disgusting, disrespectful and objectifying. Page 3 of The Sun is the icon that perpetuates and normalises this horrible sexist ‘banter’. 5) Every single weekday for the last 44 years in The Sun newspaper the largest female image has been of a young woman (usually of a very particular age, race, physicality) showing her breasts for men, sending out a powerful message that whatever else a woman achieves, her primary role is to serve men sexually. Pretty rubbish that really. 6) The Sun newspaper could be so much stronger without Page 3. Because currently, any story they run about women’s issues such as rape, sexual abuse, harassment, domestic violence or the dangers of online porn is drowned out and contradicted by the neon flashing sign of Page 3 that says ‘shut up, girls, and get your tits out.’ We love breasts! And have nothing against the women who choose to show them, we simply feel that a family newspaper is the wrong context for these images. *EQUAL REPRESENTATION* all we are really asking is that women be represented with respect in the newspaper, rather like men are.

51.  https://www.thesun.co.uk/topic/page-3/

52. Sexism in Journalism? http://nomorepage3.org/ http://www.change.org/en-GB/petitions/keep-page-3-keep-page-3-in-the-sun-newspaper http://www.everydaymediasexism.org.uk/index.php?start=408David Cameron announced most households in the UK will have pornography blocked by their internet provider unless they choose to receive it. He said service providers were "not doing enough to take responsibilit y" despite having a "moral duty" to do so. BUT! David Cameron insists he is right to oppose a ban on Page 3 pin-ups despite his efforts to tackle online pornography. He says there is a difference between newspapers, which parents could keep away from children, and the internet, where youngsters could "stumble across" legal but hardcore pornography Do newspapers not have a responsibility and moral

53. http://www.theguardian.com/lifeandstyle/womens-blog/2013/dec/12/media-fail-women-2013-stella-creasy http://

54. “Analyse the ways in which print media represent women.”

55. Task: Create either a GLOSSY or TABLOID magazine which illustrates representations of women in print media today.

56.  Human agency (micro level activity) and social structure(macro level forces) continuously feed into each other.  The social structure is reproduced through repetition of acts by individual people and can therefore change.  Giddens notes that this theory suggests that social life is more random than individual acts but is not merely depicted by social forces. – it is not merely a mass of micro acts but you cant understand it by just looking at the macro. Instead micro(human) and macro (social structure) are in a relationship with each other which reproduces the structure.  This means there is a social structure- traditions, institutions, moral codes and established ways of doing things, but it also means that these can be changed when people start to ignore them, replace them or reproduce

57. Lesson 3 24/02/14

58. What is the future for women’s magazines?

59. Aims: To begin to explore Women in Music Videos. Objectives: -To produce/present a case study on a music video.

60. LYRICS COSTU ME MAKE UP CHOREOGRAP HY NARRATI VE SETTIN G OBJECTIFICA TION MALE GAZE I’m only 16!

61. Task: INDIVIDUALLY select a music video of your choice which represents women. Produce a presentation which analyses the portrayal of women. Use your knowledge from your own music videos as well as what we have studied so far. You will present this to the class.

63. Lesson 3 13/04/16

64. Aims: To begin to explore Women in Music Videos. Objectives: -To present case studies on a music video.

66.  Task: Discuss the women in these images. What does it say about the music industry and society in general?

67.  The artist is shown performing.  The lyrics of the song influence what is shown in the video (Mise en Scene)  The pace of editing fits the pace of the music (beat matching)  The codes of dress reflect the mood of the song.  Lip Syncing. What are the conventions of a music video?

68.  Modern music videos are primarily made and used as a marketing device intended to promote the sale of music recordings. Although the origins of music videos go back much further, they came into their own in the 1980s, when MTV (Music Television's) format was based around them.  Music videos are often called promo videos or simply promos, due to the fact that they are usually promotional devices.

69.  The defining work in the development of the modern music video was The Beatles' first major motion picture, A Hard Day's Night in 1964, directed by Richard Lester. The musical segments in this film arguably set out the basic visual vocabulary of today's music videos, influencing a vast number of contemporary musicians, and countless subsequent pop and rock group music videos.  Other pioneering music videos made during this time include the promotional films made by The Doors. The group had a strong interest in film, since both lead singer Jim Morrison and keyboard player Ray Manzarek had met while studying film at UCLA. The clip for their debut single "Break On Through" is essentially structured as a filmed performance, but it is notable for. One of the clip's most innovative features is its use of external visuals sources, with extensive intercutting of archival footage and shocking contemporary TV footage of the carnage of the Vietnam War.  By the mid-1980s releasing a music video to accompany a new single had become standard, and acts like The Jacksons sought to gain a commercial edge by creating lavish music videos with million dollar budgets; most notable with the video for "Can You Feel It".  Queen's "Bohemian Rhapsody" also started a whole new era for using music videos as promos.  The first music videos were produced by ex-Monkee Michael Nesmith who started making short musical films for Saturday Night Live in 1979. • Top of the Pops was censorus in its approach to video content, so another method was for an act to produce a promo that would be banned or edited. It would then use the resulting public controversy to promote the release. Early examples of this tactic were Duran Duran's "Girls on Film" and Frankie Goes to Hollywood with "Relax", directed by Bernard Rose. • In the early to mid 1980s, artists started to use more sophisticated effects in their videos, and added a storyline or plot to the music video. Michael Jackson was the first artist to create the concept of the short film. A short film is a music video that has a beginning, middle and end. He did this in a small way with Billie Jean, directed by Steve Barron, then in a West Side Story way with director Bob Giraldi's Beat It, but it wasn't until the 1984 release of the Thriller short film that he took the music video format to another level. Thriller was a 14-minute-long music video with a clear beginning, middle and ending. Along with the plot, it also had ahead-of-its-time special effects and a memorable dance sequence which has been mimicked

70. Music videos display a certain ideology. Mainstream genres will often reinforce dominant values (they are hegemonic) and display stereotypes in order to have mass appeal. While more alternative artists may feature shocking or transgressive imagery and messages in their videos in order to appear anti-establishment. MTV-style editing (80s/90s) Music videos use computer effects, digital manipulation and transitions much more than narrative film. Consider how this adds to the sense of spectacle and stardom and how it adds to the symbolism of the video.

71. Does it REINFORCE or SUBVERT gender roles? Performance Narrat ive Setting Concept Representation ‘No matter what your gender or sexuality, everyone reads media texts from a males perspective.’ Laura Mulvey

72. Brand Identity

73. A star is an image not a real person that is constructed out of a range of materials. Richard Dyer suggests that we can study stars in three ways : oEconomically oThrough audience reception oAs a text in themselves He suggested that the economics of stars as a text can be broken down in three ways: 1)Capital- Stars represent the capital possessed by the studios 2)Investment - Stars as an investment – against loss on it and also creating a investment 3)Outlay- Stars are a major portion of a film’s budget so it must be careful and correct.

74. Argyle’s ten body codes are particularly useful to consider here: Direct bodily contact The proximity of one character to another (or proxemics) The orientation of one to another (i.e. the extent to which characters stand with their bodies turned towards or away from each other) General appearance of individuals (e.g. Tall and thin, or short and fat) Head movements (e.g. nodding or shaking of the head) Facial expressions Gestures (or Kinesics) Body posture Eye movement or contact Aspects of speech, such as pitch, tone, stress, accent, volume, speech errors (all of which are termed paralinguistic codes)

76.  Scopophilia = pleasure in looking (Sigmund Freud 1905, in ‘Three Essays’)  Examples of the private and curious gaze: children’s voyeurism, cinematic looking  The most pleasurable looking = looking at the human form and the human face, figural looking (corresponds to psychic patterns)

77.  Is a form of society ruled by men.  The father figure (the patriarch) is the leader to whom all others were subordinate.  Within the media, a patriarchal society suggests that the media is constructed for men. Queen Bee Mrs Carter

78.  Bands and artists encode a variety of messages to reflect their ideologies (thoughts/beliefs).  By doing this they encourage their fans to follow their beliefs and share them with others.  What is the relationship between the music/lyrics and the visuals? How do lyrics amplify meaning?

79.  In the 1980’s views changed even more  Feminists don’t aim for equality. They assume men are the best and so strive to surpass male achievements  The female gaze discussed. Where men are activity desired by females  Women began to assert their right to dress and be sexually attractive. LO: What do the lyrics of the song tell us about the messages encoded in the song? BLP: Making Links Britney - Womaniser

80. LO: What do the lyrics of the song tell us about the messages encoded in the song? BLP: Making Links

81. Q. Do you think these images below are appropriate for young audiences? WHY?

82.  Broadcasters must ensure that material which may cause offence is justified by the context. Broadcasters must be careful when representing: offensive language, violence, sex, sexual violence, humiliation, distress, violation of human dignity, discriminatory treatment or language ( for example on the grounds of age, disability, gender, race, religion, beliefs and sexual orientation).  To ensure that material likely to encourage or incite the commission of crime or to lead to disorder must not be included in TV or Radio services.

83. Dominant reading Negotiated reading Oppositional reading Who might take this reading? Who might take this reading? Who might take this reading? What meaning might they take from the text? What meaning might they take from the text? What meaning might they take from the text?

85. The purpose of a music video is to allow the artist to promote themselves and advertise and market their music in a visual style. Disjuncture: The video and the lyrics have no correlation to each other. Contradict: The visuals of the video contradict with the song lyrics. Illustrate: The visuals have some literal representation of the songs lyrics. Amplify: Repetition of the key meaning to manipulate an audience. The visuals may be exaggerated. y Sound and Vision Notions of looking Genre

86. Lesson 3 24/02/14

89.  Modern music videos are primarily made and used as a marketing device intended to promote the sale of music recordings. Although the origins of music videos go back much further, they came into their own in the 1980s, when MTV (Music Television's) format was based around them.  Music videos are often called promo videos or simply promos, due to the fact that they are usually promotional devices.

90.  The defining work in the development of the modern music video was The Beatles' first major motion picture, A Hard Day's Night in 1964, directed by Richard Lester. The musical segments in this film arguably set out the basic visual vocabulary of today's music videos, influencing a vast number of contemporary musicians, and countless subsequent pop and rock group music videos.  Other pioneering music videos made during this time include the promotional films made by The Doors. The group had a strong interest in film, since both lead singer Jim Morrison and keyboard player Ray Manzarek had met while studying film at UCLA. The clip for their debut single "Break On Through" is essentially structured as a filmed performance, but it is notable for. One of the clip's most innovative features is its use of external visuals sources, with extensive intercutting of archival footage and shocking contemporary TV footage of the carnage of the Vietnam War.  By the mid-1980s releasing a music video to accompany a new single had become standard, and acts like The Jacksons sought to gain a commercial edge by creating lavish music videos with million dollar budgets; most notable with the video for "Can You Feel It".  Queen's "Bohemian Rhapsody" also started a whole new era for using music videos as promos.  The first music videos were produced by ex-Monkee Michael Nesmith who started making short musical films for Saturday Night Live in 1979. • Top of the Pops was censorus in its approach to video content, so another method was for an act to produce a promo that would be banned or edited. It would then use the resulting public controversy to promote the release. Early examples of this tactic were Duran Duran's "Girls on Film" and Frankie Goes to Hollywood with "Relax", directed by Bernard Rose. • In the early to mid 1980s, artists started to use more sophisticated effects in their videos, and added a storyline or plot to the music video. Michael Jackson was the first artist to create the concept of the short film. A short film is a music video that has a beginning, middle and end. He did this in a small way with Billie Jean, directed by Steve Barron, then in a West Side Story way with director Bob Giraldi's Beat It, but it wasn't until the 1984 release of the Thriller short film that he took the music video format to another level. Thriller was a 14-minute-long music video with a clear beginning, middle and ending. Along with the plot, it also had ahead-of-its-time special effects and a memorable dance sequence which has been mimicked

91. Music videos display a certain ideology. Mainstream genres will often reinforce dominant values (they are hegemonic) and display stereotypes in order to have mass appeal. While more alternative artists may feature shocking or transgressive imagery and messages in their videos in order to appear anti-establishment. MTV-style editing (80s/90s) Music videos use computer effects, digital manipulation and transitions much more than narrative film. Consider how this adds to the sense of spectacle and stardom and how it adds to the symbolism of the video.

92. Does it REINFORCE or SUBVERT gender roles? Performance Narrat ive Setting Concept Representation ‘No matter what your gender or sexuality, everyone reads media texts from a males perspective.’ Laura Mulvey

94. A star is an image not a real person that is constructed out of a range of materials. Richard Dyer suggests that we can study stars in three ways : oEconomically oThrough audience reception oAs a text in themselves He suggested that the economics of stars as a text can be broken down in three ways: 1)Capital- Stars represent the capital possessed by the studios 2)Investment - Stars as an investment – against loss on it and also creating a investment 3)Outlay- Stars are a major portion of a film’s budget so

95. Brand Identity

100. Q. Do you think these images below are appropriate for young audiences? WHY?

104. Lesson 3 24/02/14

108. Music videos were a new outlet for material, by the mid-1980s they played a central role in popular music marketing. Inexpensive and easy-to-use video recording and editing equipment, and the development of visual effects created with techniques such as image compositing. The advent of high- quality colour videotape recorders and portable video cameras enabled many pop acts to produce promotional videos quickly and cheaply, in comparison to the Madonna is known for continuously reinventing both her music and image, and for retaining a standard of autonomy within the recording industry. The reaction towards her most- discussed songs such as "Papa Don't Preach” and "Like a Prayer“ were of How have Madonnas videos changed over time? What is her brand identity?

109. Q. Do you think these images below are encourgaing positive represen? WHY?

116. What do you think music videos will be like in the future?

117. This is a media theory developed in the 1920s and 1930s after researchers observed the effect of propaganda during World War I. Suggests the media injects its opinions, images and perspectives directly into the minds of the audience who Media messages are injected straight into a passive audience which is immediately influenced by the message. The receiver or audience is powerless to resist the

120. Lesson 3 24/02/14

125. Michael Argyle’s ten body codes are particularly useful to consider with the representation of women: Direct bodily contact The proximity of one character to another (or proxemics) The orientation of one to another (i.e. the extent to which characters stand with their bodies turned towards or away from each other) General appearance of individuals (e.g. Tall and thin, or short and fat) Head movements (e.g. nodding or shaking of the head) Facial expressions Gestures (or Kinesics) Body posture Eye movement or contact Aspects of speech, such as pitch, tone, stress, accent, volume, speech errors (all of which are termed paralinguistic codes)

128. This is a media theory developed in the 1920s and 1930s after researchers observed the effect of propaganda during World War I. Suggests the media injects its opinions, images and perspectives directly into the minds of the audience who Media messages are injected straight into a passive audience which is immediately influenced by the message. The receiver or audience is powerless to resist the

129.  Diversion / entertainment; the need to escape from everyday life and relax.  Personal relationships / integration & social interaction; to fulfil their needs of companionship by using media to form relationships with others possibly becoming part of a social group.  Personal identity; using media to find out about yourself by relating to models of behaviour e.g. a featured individual who in some ways relate to you.  Surveillance / information; using the media to find out what is happening in different parts of the world in countries, towns or cities or specifically to an individual. What people do with media. Members of the audience are not passive but take an active role in interpreting and What people do with media. Members of the audience are not passive but take an active role in interpreting and Appl y B&K to Mags Appl y B&K to Mags

130. What do you think music videos will be like in the future?

131. Year 13 Media

132. Task: Read back through your essay and my comments. Swap with someone and read theirs.

133.  Some of your are forgetting this topic is called ‘Collective Identity’. You need to outline what this (using a key theorist) and expalin the social implications of women's identity.  Make sure you are contextualising your answer with key moments in the women's rights movement.  Use a range of examples from the past and present.  Make sure you are using appropriate terminology. Key Words: Patriarchy, Hegemonic, Objectification, Ideology, Stereotype, Connotations, Denotation, Representation, Misogyny, Overt Sexualisation, (Reversed) Gender Roles, Phallic, Tabloid/Glossy, Masculinity/Femininity, Spectacle, Stardom, Symbolism, Reinforce, Brand Identity, Digitlisation, Hybrid

134. “Identity emerges as a kind of unsettled space, or an unresolved question in that space, between a number of intersecting discourses. ... [Until recently, we have incorrectly thought that identity is] a kind of fixed point of thought and being, a ground of action ... the logic of something like a `true self.' ... [But] Identity is a process, identity is split. Identity is not a fixed point but an ambivalent point. Identity is also the relationship of the Other to oneself" (Hall143 PERSONAL CULTURAL SOCIAL ACONSTRUCT “people's concepts of who they are, of what sort of people they are, and how they relate to others" (Hogg and Abrams 1988, 2). “the way individuals and groups define themselves and are defined by others on the basis of race, ethnicity, religion, language, and culture" (Deng 1995, 1). “refers to the ways in which individuals and collectivities are distinguished in their social relations with other individuals and collectivities" (Jenkins 1996, 4). “The term [identity] (by convention) references mutually constructed and evolving images of self and other" (Katzenstein 1996, 59). http://www.stanford.edu/~jfearon/papers/iden1v2.pdf

135.  Andrew Goodwin: The purpose of a music video is to allow the artist to promote themselves and advertise and market their music in a visual style.Intertextuality, Sound and Vision, Notions of looking, Genre.  Richard Dyers Star Theory: A star is an image not a real person that is constructed out of a range of materials.  Argyle’s ten body codes  Uses and Gratification theory: Bulmer & Katz  Hypodermic Needle Theory  Janice Winship: felt a ‘simultaneous attraction and rejection’ towards women’s magazines; on the one hand finding pleasure their escapist quality and recognising their mass popularity, but on the other, feeling a strong sense that to be a feminist, one must reject the construction of womanhood put forward by most popular women’s magazines.

136.  Eleanor Mills: the editorial director of the Sunday Times, has underlined her opposition to The Sun's Page 3. " I think Page 3 feels quite regressive. I think it feels very kind of 70s. It is not good when you're raising girls and they see women being objectified in that way. And we're going to be doing a lot in Women in Journalism to stop a bit of that..”

137. Print Womens Rights i.e. sexual revolution. Page 3 in newspapers Music Video Alternative artists may feature shocking or transgressive imagery and messages in their videos in order to appear anti-establishment. Eg. Lady Gaga is almost unsexualised.

138. PRINT  The Lady  Cosmopolitan  Vogue  Heat  Stylist  Marie Claire  New  Lena Dunham  Polly Toynbee MUSIC VIDEO  Madonna  Lady Gaga  Robin Thicke  Eminem  Rhianna

139. “Media representations are complex, not simple and straightforward”. How far do you agree with this statement in relation to any one group of people that you have studied? You have 1 hour

140. Laura Mulvey

141.  Film fascinates us (engages our emotions), through images and spectacle  Mulvey uses psychoanalysis ‘to discover where and how the fascination of film is reinforced by pre- existing patterns of fascination already at work within the individual subject’ (= spectator)  She says she is using psychoanalytic theory ‘as a political weapon’

142.  Hollywood/mainstream/narrative cinema manipulates visual pleasure.  It ‘codes the erotic into the language of the dominant patriarchal order’.

143.  Scopophilia = pleasure in looking (Sigmund Freud 1905, in ‘Three Essays’)  examples of the private and curious gaze: children’s voyeurism, cinematic looking  the most pleasurable looking = looking at the human form and the human face, figural looking (corresponds to psychic patterns)

144.  pleasure in looking split between active/male and passive/female  women connote ‘to-be-looked-at-ness’  the visual presence of women ‘works against the development of a story-line, freezes the flow of action in moments of erotic contemplation’

145.  The woman functions as both erotic object for the characters within the screen story and erotic object for the spectator within the auditorium (object of fantasy)  The spectator is led to identify with the main male protagonist  ‘the power of the male protagonist as he controls events coincides with the active power of the erotic look’

146.  The image of the woman also carries a threat  There are two avenues of escape from fear of femininity for the male spectator:  investigate the woman, demystify her mystery  disavow (deny) castration by turning the woman into a reassuring fetish. The image of the woman > overvalued: this is the cult of the (beautiful) female star, e.g. Jeanne Moreau for nouvelle vague

147.  Scopophilia is the force driving the movements and positioning of the camera  the gaze is male, and the spectator is led to identify with this male gaze  the cinematic apparatus is not gender- neutral (in later readings, camera can also register differences of sexuality)

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