c
c

    c 

You will be expected to demonstrate:

ͻ Your ability to examine a media text in detail, employing appropriate analytical tools and language
ͻ Your understanding that texts are constructed
ͻ Your understanding of how social/cultural groups, event s and issues are represented in media texts.
ͻ Your understanding of how audiences respond to and interpret texts.

In order to do this, you will also be expected to have stud ied a range of different representations within
texts, including:

ͻ Gender (for example the different ways in which m en and women are represented bythe media)
ͻ Ethnicity (for example through a study of the positive and negative representations of people from
different ethnic backgrounds in news coverage and film texts)
ͻ Age (for example the representations of teenagers/youth and older people)
ͻ Issues (for example issues raised by magazine articles such as size zero)
ͻ Events (for example the news coverage of events)
ͻ Local, regional and national representations (definitions and comparisons)

You are expected to cover three key areas of emphasis: textual analysis, representation and audience.

1. TEXTUAL ANALYSIS
You are required to analyse texts showing an under standing of why elements of the text are selected and
how the text is constructed. It is essential that you can transfer these skills across a range of different
examples so that you can analyse any text under examination conditions.
You must know about each of the following:

GENRE
Generic conventions ʹ repetition, typicality, themes and key signifiers
ͻ Mise-en-Scene
ͻ Settings and Locations
ͻ Characteristic plots
In particular you should consider how conven tions are used AND how they are challenged, adapted and
combined.

NARRATIVE
ͻ Construction
ͻ Structure
ͻ Key codes such as action and enigma
ͻ The role of characters within the narrative

SIGNS AND CODES

You will be expected to have an understanding of ^ and how meanings are created
through them.

  
    
  ! "## $$#  %%
 $ &

Where appropriate, you should be aware of the following technical codes  
 :
ͻ Camera shots/angles
ͻ Photographic techniques
ͻ Framing
ͻ Editing
ͻ Lighting
ͻ Special effects

You should also be aware of  , in particular the use of diegetic and non diegetic sound
through:
ͻ Dialogue
ͻ Music
ͻ Sound effects

In the study of print based texts you should also consider the following through the use of ' and
(^^codes:
ͻ Design / layout e.g. graphics, use of colour etc.
ͻ Typography
ͻ Language
ͻ Persuasive techniques
ͻ Register and mode of address

·. REPRESENTATIONS
You should, in preparation for the exam, look at a range of positive and negative representations across
media forms. In examining the nature of representations (how they have been selected, constructed,
mediated and anchored) and exploring how they are interpreted and responded to by a udiences, you͛ll
develop an understanding of ideologies, for example:
ͻ Ways of seeing the world ʹ ideologies as values, attitudes and beliefs
ͻ How ideologies are conveyed through texts
ͻ How ideologies have affected the production of the texts
ͻ How dominant ideologies are reinforced and/or challenged by texts.

Key Questions:
( )*%
#$+onstruted $ , -
You might consider the following points:
ͻ That the ͞reality͟ of the world presented by texts is constructed
ͻ That audiences respond to texts according to their expe rience and knowledge ofthe world presented to
them

%
stereotypes 
 

 
+
 *  #- 
You might consider the following point:
ͻ That makers of media texts use audience recognition of types to transmit messages rapidly. Most media
texts (e.g. films, magazine articles, television programmes and advertising) only have a short time to
establish characters and as a result offer limited representations.

(
#*   , -(.# 
,
 
 + 

  -
You might consider the following points:
ͻ Texts are 
 and often  # by the producers (and organisations behind them). For
example: newspaper articles, films, television programmes
ͻ A process of mediation occurs in the constructio n of media texts, for example a news report.

%%##  

  

  %   , -(
  ,  -
You might consider the following points:
ͻ That an understanding of representation is linked to the cultural experiences and the backgrounds of the
audience.
ͻ It is also affected by the audience relationship with, for example, the individual star/ event /environment
etc.

( #+/++ $ %  

  /- 
You might:
ͻ Be aware of the view being presented through the text.
ͻ Question whether the particular interests / views of the world are being challenged, reinforced or
promoted.
ͻ Consider whether the texts are promoting, challenging or judging the roles of gender / ethnicity/ age etc.

3. AUDIENCE RESPONSES
The focus for this question will be on the relationship between the text and the audience.
You might explore:
ͻ ^**
 %% $
$ e.g.
social / cultural background (demographics)
active and passive
interactive users
industry categories ( such as those used by advertisers e.g. aspirers,
achievers etc.)

ͻ % ,     
 +  *:
Modes of address
Representation/s
Narrative/s

ͻ %**
  
  0  

  , 0 
 +  
*
#.  
% 
 *##%+ :
Preferred ; Negotiated; Oppositional Readings
Active and Passive responses
Reception Analysis

r
t will I be required to do in t e ex
in
tion?

You will be given stimulus material taken from a range of examples.
For Question 1 you will focus on an analysis of the stimulus material.
For Questions 2 and 3 you will respond to questions on rep resentation and audience. These questions will
explicitly require you to incorporate references (from your classwork and research) to the detailed
examples in your responses.  %
###   #  
# 
%
%##
$. #
 # 
 .








 c1^112 ^3  4^ 
1 ^^ 4c^c
Clearly there are several different ways for Centres to approach the teaching of this unit. For example, it
could be approached through a study of text s which clearly incorporates an exploration of representation;
or it could be approached through a study of one of the specified representation areas (for example gender
or ethnicity). The best approach in practice may be to combine these two approaches wherever possible.
This sample teaching approach will encourage students to consider how different media representations
are encoded in media texts and inter preted differently by different audiences.
As a starting point students could consider stereotypes and ͚categories͛ of male
representation, for example:
_ The action hero
_ Macho man
_ The liberal, sensitive ͚new man͛
_ The ͚lad͛
_ The professional
_ The inept ͚bungler͛

Various adaptations of these categories are found in a range of media texts ʹ and this is a
good basis from which to start a discussion of stereotypes.
Possible areas to cover in detail may include:

cen in c

ines
ͻ c
  ʹ the ͚ideal͛ man, male narcissism and notions of superiority,
references to women in a ͚seemingly͛ sensitive way, quick ʹ fix problem solving
(getting a six pack), concerns about body image etc., the ͚new man͛ and his
concerns. Interesting because it always has a man on the front cover.
ͻ
 cʹ earlier examples of the magazines attempted to portray the ͚new man͛
but less sensitive towards women, good humoured advice on relationships etc. GQ is
aimed at the (supposedly) smartly dressed, sophisticated man but still lot of ima ges
of women
ͻ ʹ ideas of laddishness, references to women, use of language and mode
of address, reinforcement of stereotypes
ͻ ʹ girls͛ view of boys, how boys are represented to a younger
audience in a girl͛s magazine
Audiene issues:
How are men represented to the reader?
How are men represented to women readers?
How are women represented in the magazines?
What are the underlying values and attitudes contained within the magazine?
Addition
l resoures
Send for press packs from the magazines ʹ they contain lots of useful information about
readership etc.
Look at the websites ʹ c
  and give an interesting reader profile
 c   by Julian McDougall has a good chapter on men͛s magazines
c 

 

 by David Gauntlett has a very relevant chapter on gender in
magazines. There is also a related website with up to date information. This has two good
interviews between David Gauntlett, Amy Jankowicz and Derrick Cameron on men in
magazines. ! !!
Laura Barton͛s Guardian article It͛s all gone tits up͛ also offers an interesting perspective!
 

, Saturday January 17th, 2004
cen on Television
ͻ Situation comedies featuring well-intentioned but inept men in terms of
relationships and parenting e.g. Nicholas Lyndhurst in O  "# 

, Hugh
Dennis in $
%  , Robert Lindsay in c 
ͻ News/documentary programmes. Men as experts, in power, opinion leaders.
Featuring men defined by their professional status and their economic standing.
Seen to be important and valuable by society.
ͻ Television dramas e.g. crime ʹ strong, silent types who are in charge, emotional,
often in touch with their feminine side ( e.g. CSI), attractive to women but who are
also often flawed in some way e.g. drink problem, shady past etc.
cen in Advertisin
ͻ Fragrance ads ʹ the ͚beautiful man͛, notions of body image, attractive to both
sexes. Explicit nature of some campaigns e.g. aspirational appeal for both
genders. Lynx campaign is interesting in looking at man as the ͚object͛ for the
woman.
ͻ DIY, Homemaker ads ʹ ͚it does what it says on the tin͛. ͚Basic͛ man. Often
featuring inept, challenged representation of a man e.g. Flash who needs an
easy solution to domestic problems.
ͻ Car adverts ʹ man in control of machine, ideas of power, often seen to be
overcoming adverse environment e.g. fire, desert etc.
ͻ Family man ʹ cereal ads etc. still usually good looking.
ͻ Consider adverts that play upon and also challenge conventional ste reotypes
ͻ   : How do the persuasive techniques used by advertisers work
upon a range of audiences?
ͻ
Addition
l resoures:
Websites for specific products ʹ they often discuss strategies, aims and target audiences
c 
c 



 
, Stewart et al;  c 
, Branston
and Stafford. Good chapter on advertising and audience categories
cen in Fil
ͻ The ͚action hero͛ ʹ lots of examples here from superheroes to Bruce Willis and
͚thinking women͛s͛ heroes like Harrison Ford and George Clooney. An interesting
example is á á #- taken from a comic book character where the superhero is
blind. Bond films are interesting to study ʹ how has he and the women around him
changed?
ͻ Macho man ʹ categorized through his belief in himself and his relationship with
women. Can be a comedy character.&'c
 c(ʹ men dealing with
powerful female counterparts. Russell Crowe in
ʹ macho hero with
emotional side.
ͻ The romantic hero who battles through adversity to ͚get the girl͛ e.g. Hugh Grant.
Also notions here of what it is to be ͚English͛.
ͻ The loser ʹ men in ͚mid life crisis͛ who inspire empathy but also achieve an element
of success, usually in a relationship, within the narrative of the film. E.g.  



O 
  
ͻ The ͚bad guy͛ ʹ villains and their roles
Audiene issues:
How is the representation of the character constructed visually?
How is the audience positioned in terms of responding to the character ʹ does this position
change during the film?
How are audience responses manipulated during the film?
Different audience responses to aspects of the film e.g. violence
Addition
l Resoures
c

 , BFI
Useful section in c 

 

 , David Gauntlett
2ener
l resoures:
V ) 

*O


, Roy Stafford, BFI
c 

 

 , David Gauntlett. Interesting section ʹ ͚Ten things wrong with the
media effects model͛
Imelda Whelan$#  +,)- 
     
 
 c   by Julian McDougall
.
 

V ) 

ed. Wendy Helsby
c 
c 




, Stewart et al
 c 
.Branston and Stafford
Websites:
www.