Revision - Component1b - Advertising

In component 1b Kiss of the Vampire poster will not come up in Component 2 Section B. Additionally, only AUDIENCE style questions, not INDUSTRY questions will come up if advertising appears in Component 2 section B

Question: Explore how audiences can use or interact with the advertisements you have studied?

Underline

• Explore how audiences can use or interact with the advertisements you have studied?

Knee-Jerk

• The adverts I have studied offer their target audiences several uses and interactions, though primarily this is motivated by power and profit by selling a lifestyle to the audience.

Plan

• Selling Lifestyle
• Target Audience
• Ideology
• Anchorage
• Cultivation Theory - George Gerbner
• Reception Theory - Stuart Hall
• Soundtrack (Wateraid)
• Stereotypes
• Binary Oppositions - Claude Levi Strauss (Structuralism)
• Lexis
• Close-Ups
• Mise-en-Scene
• Setting
• Guilt Tripping
• Pick'n'mix Theory - David Gauntlet
• Identity
• Positivity
• Intertextuality

Introduction

• The adverts I have studied offer their target audiences several uses and interactions, though primarily this is motivated by power and profit, and by selling a lifestyle to the audience.

Content

• Wateraid Advert - 2016

• On screen graphics at end of adverts states: "text SUNNY to XXXX to give £3". SUNNY has positive and utopian connotation, providing the audience a definitive way to interact in a positive manner.

• Representation of Zambian woman: audience (target working class and white) form a binary opposition between themselves and Claudia. Emphasises the preferred reading to be sympathetic, and once more encourages donation.

• The audience is positioned with Claudia with a low angled tracking shot following her feet as she walks, forcing the audience to empathise to Claudia's situation.

• Convention of charity advert: close up of black persons feet, wearing flimsy shoes.

• Symbolic code of bucket, symbolises poverty, and is connotative of central african identity.

• Setting: quintessentially 'African', MES of girls with buckets on heads, the hazy sunlight drifting through scrubby trees and the laughing children playing next to a water fountain provides the audience with the pleasure of escapism.

• Diegetic singing, togetherness, and borderline worship of water presents a positive stereotype of black people, yet also reinforces the ideological perspective that poor, black african people should be thankful for the intervention and charity of white people, or at the very least, British people.

• The capital of Zambia is Lusaka, a well developed city. The reason why the advert isn't set in Lusaka is because it isn't the real 'Africa'. The representation of Zambia is misleading focusing on a small, rural village rather than the semi-affluent city of Lusaka.

• Tide - 1950's

• The producer has taken this approach to using a stereotypical housewife as the main selling point in the advert this is so it is identifiable with the target audience which is a working class housewife and advertising the product as something new and exciting to entice the consumer into buying.

• 'You women' direct mode of address, positioning target white working class audience in a community, which can be achieved through purchasing Tide.

• The Housewife, repeated across many Tide adverts is an aspirational figure. Slim, attractive and amorous, she provides the audience with the use and potential interaction of living an ideal lifestyle.

• Promotes cleaning and ashing clothes as positive and optimistic lifestyle. Reinforces the stereotype that women play a limited role in society.

• Reinforces patriarchal hegemony.

• Sociohistorical context of the 1950s limited roles and opportunities for women.

• Z line rule provides the audience with a simple and easily followed set of instructions, allowing them to feel confident to use the product.

• Cultivates the ideology that women are housewives and live in a patriarchal society. Provides male secondary audience the advantage of a subservient wife.

• The colour red is highly connotative of love and passions, a paradigmatic of the romance genre (intertextuality) allowing women to identify themselves as the hero of the story.

• Red signifies and emphasises the quality of the product, and royal significance of the brand.