These adverts reinforce the typical stereotypes that women are only valuable in regards to cooking and cleaning and taking care of the house as a housewife. In tide, women usually had hairstyles that were out of their faces yet still always had a full face of makeup, her red lipstick could signify love. The use of bright colours which attract attention to her and the product. Throughout this advert a variety of codes are used to express and symbolise different meanings.
CodeUsed
Connotations It Has
The gesture code of the woman hugging the Tide product.
This has connotations of relationships and love and the product is presented as having an important role in her life.
The use of superlatives, for example in ‘World’s cleanest wash’
This has connotations of dominance and shows a sense of excitement.
The use of happy expressions of the women displayed in the adverts.
This shows how women were supposed to be submissive and do as they were told especially with house work. The expressions also show how in love she is with the product.
The use of clothing that the women wore were seen as a trend and fashionable at that time.
This expresses how women were only allowed to wear dresses or skirts because trousers were seen as clothing for men and it was a typical fashion for women during the 1950s.
The use of colour used primarily in the advert is red, bright and bold colours.
This has connotations of how the women were deeply in love with the Tide product and that it was the only laundry detergent that they used.
The text ‘Tide’s got what women wants.’
This has connotations of how buying Tide is an essential need on becoming the perfect housewife.
The Tide advert is aimed towards a stereotypical 1950's mainstream female audience. The advert follows David Gauntletts theory of identity, as it gives a depiction of women to the target audience and would encourage them to be more like her.
To attract its audience it uses various different technical codes such as the use of strong primary colours, large font size so that it would stand out in a magazine. The use of hyperbole and exclamation marks make the product seem like a 'must have'. Furthermore, it would appeal to the typical housewife as it was the 1950's a clean and perfect home was ideal. The woman in the advert is happy and attractive which allows the audience to think that if they buy the product they'll be happy too. The language in this advert is colloquial, using an American informal tone to mimic the style that women in that era would've talked.
This advert links to the Cultivation theory, this theory surrounds the idea that the more an individual watches tv the more they start to believe it and see it as a depiction of reality. This could apply to the Tide print advert as it involves the repeating of images to allow it to stick in your mind. It also follows Tunstalls theory of femininity falling under the domestic category this is because women are strongly associated with 'home tasks' and the connotations that come with it.
Throughout the majority of the music video, there are various literal translations. For example, when the line discussing the riptide is sung, a visual representation of a riptide is presented on screen. This causes the video to appear with a more simplistic view; essentially helping the audience to further engage. With this image being repeated every time the chorus is played, the audience see this image a lot which fits in with Steve Neale's Genre Theory- when he discusses the repetition within a genre.
During the beginning of the music video, we see bright colours which help the audience feel happy and up - beat. The background being a beach can cause nostalgia and the audience could relate to their happy times at the beach. However as the video goes on, the colour palette darkens to match the lyrics and the images. There is also a sense of horror which links in with iconography.
Representation
Women in Riptide are seen to be mostly objectified and victimised in some way, we see this in various scenes for example, when the woman was tied to a tree an another scene which looked like she was being tortured. Throughout the video high camera angles are used to make women seem smaller and insignificant. Terrified facial expressions and dark lighting create an atmosphere of fear, as though women should be scared as well as victimised. Therefore, the representation of women in those shots are stereotypical as they are seen as weak and helpless. The representations in this video often make audiences feel uncomfortable, which encourages us to see the victimisation of women as undesirable. This could be suggested by the scene by the women with bruises and blood on her face. As the camera is very close up to her face and its quite a long take which could make it hard to look away from and could force us to question why it is happening. The sections of fast paced editing when the women are being tortured, dragged and abused create representations of women that seem scared and jumpy. In the scene when the woman is able to untie herself from the tree which could represent how some women act as their own 'hero' in the music video, creating more powerful and independent representations of women. Another example of positive representation is when there is a low camera angle which suggests that women are strong and dominant. In the media women are usually sexualised and certain shots throughout the video only show specific parts of women's bodies which dehumaises them and makes them appear like objects to be admired. The main focus in the video is on women and representing them, therefore there isn't any representations of men or many shots of them, as the main theme is violence against women.
Genre and Audience
The indie genre often takes an unconventional approach to many things such as media language and representation. Independent music (often referred to as indie music or indie) is music that is produced independently from commercial record labels. It is self-published music that can be categorized into diverse genres. The term ‘indie’ or ‘independent music’ can be traced back to as early as the 1920s after it was first used to reference independent film companies but was later used as a term to classify an independent band or record producer. A few examples of well known indie artists are Arctic monkeys and Twenty one pilots. Vance Joy fits into the category of indie music because he produces his own songs and he fits into more than one genre.
Narrative and Iconography
Throughout the music video there isn't one main narrative, however its gets the narrative from its lyrics and iconography and has a linear structure. Most of the imagery is very literal to the lyrics but as we go on in the video sometimes the imagery is metaphorical. This is shown when there is a shot of a dollar note which connotes to the lyric 'all my friends are turning green'. This could symbolise greed or being green with envy. Throughout the music video, it frequently references thriller genres but mostly uses horror genre iconography for example, females being repeatedly dragged off the screen by unseen forces. This idea could link with Steve Neale’s Genre theory.
Postmodernism
Riptide is a postmodern text, we see certain aspects of this throughout the video especially intertextuality, for example the horror film style that the music video shows when the girl unites herself from the tree which makes us think she has been kidnapped or tortured. Also how we are positioned deliberately in a distressing and confusing situation. Reflexivity is also another postmodernism technique that is used to break the fourth wall an example of this is when they use a fake film that doesn't exist and we are aware of this. Also because they show a cassette tape being pushed into a recorder this is a reminder of olden times as technology has moved on as we are now using CD’s or mobile devices. Intertextuality is also used through the mise-en-scene which suggests the conventions of an Western film.
His music video begins with a camera shot of pastel coloured alphabet blocks which is a reference to childhood which subverts the stereotypical expectations of a hip-hop/rap and grime music video that would generally showcase money and sexualise women and their bodies. The second shot is of an old woman seated at the piano who could be interpreted as someone who is from the upper class.
Next, Dizzee is seen emerging from a music box as a miniature figure which could imply that the old woman views black people as inferior to her. Many binary oppositions are also present in this music video in regards to the woman and Dizzee Rascal which at times show the hierarchies of power in society. Despite his success she still manages to retain power as he gets back into the box at the end.
A stereotypical scene is shown when a camera shot is showing the puppets graffitiing the wall and causing trouble for the police which implies how reckless the younger generation is. When Dizzee raps, "Not knowing for reality that I'd have to prepare 'cause money don't grow on no stick," this emphasises how despite reaching a high status of fame, money never lasts forever but only for an amount of time. The music video has a grey undertone which creates an old-fashioned theme.
There are many props used throughout his music video with various hidden meanings such as when he begins to use the microphone at the point when he raps about discovering music. The microphone has connotations to power as his voice can now be heard (literally and metaphorically), this signifies a move away from rebellion and towards achieving his dreams and becoming a respected member in society.
The main narrative and message of the song is the constant battle of the hierarchy between black and white people and how the older woman is clearly seen as bigger and more respected. The woman is seen staring down at the puppets, who are representations of the youth.
In the music video it is emphasised that the older woman is someone from the upper class whilst Dizzie is portrayed as being from a lower class. This is shown through their contrast in outfits, for example Dizzie is wearing a red hoodie which connotes his rebellious and wild behaviour. The red could also represent danger or crime which many people associate with young people. The woman uses dainty gestures whereas Dizzee used flashy gestures representing their difference in culture. The neighbourhood also shows a stereotypical view of the youth and how people perceive young people to be also in the music video and Dizzzie is the only one seen without strings which could imply he is rebellious and defiant.
Another aspect of the music video is her facial expressions which are quite significant because in the music video she displays some uncomfortable facial expressions and body language. This could represent her lack of understanding or empathy for Dizzie’s circumstances and could possible reflect on some mainstream views and feelings on race. The multiple scenes of illegal activity throughout the music video shows typical representations of young black men as being involved in crime.
When this video was released there was many worries and concerns with anti social behaviour especially with young teenage boys. As a result of this the government tried to put a ban on people wearing hoodies. Therefore, this video reflects the context of the fears in the 2000’s of young people’s behaviour in society. Later on, the hoodie became associated with crime and was seen as a symbolic code for young people that weren’t going to follow the rules.
The Dream music video subverts some of the common stereotypes of youth, class and ethnicity in some places. We see this particulars towards the end of the music video when he’s seen a a positive role model when he’s dancing and singing and talking about his success. Dizzie is a character in this video who challenges the ideas and stereotypes of his ethnic group. As a young black man stereotypically people view black people especially men as always struggling and not having much to offer. Furthermore, when the woman is seen to be smiling and nodding at Dizzee this encourages the audience to see him as an approved role model.
A key scene is when he’s in the music studio and the radio station and the police are outside but they can’t get in and are banging on the windows. This could be suggesting that Dizzee Rascal’s relationship with the pop and grime genres has protected him from being the victim of racial violence. Later on, we see the policemen dancing with Dizzee and the puppets which could symbolise how music has kept him safe and brought everyone together. Also, this could signify that music can overcome barriers of race, class and age.
The women is a character that challenges the stereotypical views of gender in some ways. She is portrayed as being dominant and powerful, with control over Dizzee. However, she is also seen as as well behaved and nice in contrast to him which is seen as more of a conventional representation of women.
Lastly, the content of this music video could be linked to the ideology of Postcolonism created by Paul Gory. The idea of Postcolonism states that despite us not having colonies anymore representations of certain groups are still affected by that time. It is linked to Dizzee Rascal’s music video because he express the way young black people are still being portrayed and represented as a specific way which is in a negative stereotypical way despite what we are truly like. This has been affected from years ago of how certain group are perceived and still are seen to be.
In the water Aid "Rain for Good" advert the target audience is aimed at middle class and privileged people that are able to help them during their time of need and donate money. This is hinted to the audience from the beginning when the camera shot shows a middle class home.
Representation of the landscape of Africa in the advert
The landscape of Africa is represented quite stereotypically as a country that is lacking and one that is filled with poverty. It is shown to be a dry and a brittle landscape which is suggested through the the use of technical codes such as colour. In the beginning we see very dismal colours which could portray her internal sadness that the girl feels because her country is unable to provide for her and doesn't have the essentials that she needs. However, gradually as the advert goes on brighter colours are used when the girl comes into the frame and sees the water and can finally have access to it. We then see that she is smiling and filled with happiness which portrays how much having water means to her which subconsciously has an effect on the audience by making them realise how lucky they are to have water and evokes emotion towards the advert and characters. Despite the advert having a few stereotypical camera shots of Africa, it breaks the convention by showing the brighter side of of Africa at the end with the sun shining behind the villagers and vivid bright colours that normally wouldn't be shown in Africa.
The UK represented in the advert
Compared to Africa the UK is represented as a privileged country as its so easy to get a bottle of water from a local shop but in Africa you could have to walk miles and miles just for a bucket of water. UK people stay in their homes when it's raining and see it as a dismal time whilst people in Africa see it as a golden opportunity to gather water around the village.
People in Africa represented in the advert
People in Africa are represented as grateful and always appreciative of what they have and try to make the best of a hard situation which we see despite the girl having to walk miles for water she is staying strong and singing. Although it is a difficult time she is represented as hopeful and uplifting when we see her smiling this connotes a positive and optimistic perspective.
In this shot taken from the advert, it allows the producer to emphasise to the audience the togetherness of the villagers and the close up of the village tap expresses how the people in Africa are represented as very unified and is one big community.
The central message of the advert and how it achieves this
The central message of this advert is to raise awareness of how some people in Africa are living and how they need some support from the world. Also, how we should realise how lucky we are to have access to water and should be thankful for what we have. This advert also gives a message to the audience that even if we are going through a hard time to never give up and be defeated but to have hope. This message of having hope was achieved by the gleam of sunshine we see towards the end of the Water Aid charity advert which could symbolise hope.
This charity advert subverts the stereotypical adverts of Africa because usually adverts of Africa show starving children and the negative side of Africa and how much they're struggling to find food or water, whilst in this advert it subverts the expectations of what a donation advert is usually like. This is achieved because it shows the brighter side of Africa and the community working together and staying hopeful. The music/singing represents how at peace she feels even with the current situation and how she doesn't let it get her down. The camera shots/angles are mostly of her, the other villagers, the buckets' bright colours and the sunshine, instead of focusing on the landscape. The girl singing and carrying the bucket to the water source takes up most of the frame throughout the duration of the advert.
Techniques, technical codes and visual codes used
- Elements of sound and music > Claudia initially sings alone with no accompaniment, this could emphasise the lack of resources and opportunities in her life. However, towards the end the other children join her song suggesting unity and togetherness. Claudia's song functions as a symbolic code, signifying her confidence in face of adversity.
- Clear binary opposition > Created with rainy, miserable England and colourful, cheerful Africa. This is an atypical representation of Africa.
-Low tracking shots > We see this type of shot of Claudia's shoes which suggests she has to walk far to collect water. The producer positions the audience literally in her shoes allowing the audience to empathise with her.
- Costume > Colourful clothes with particular emphasis on bright blues, yellows and pinks which have associations with happiness and positivity.
- Dialogue > Apart from the singing, there isn't any other dialogue in the advertisement which could symbolise how the girl singing is enough to portray the message that's been sent through the advert and doesn't need a voiceover.
" Most shocking second a day" Save the Children campaign advert
General conventions
The campaign name is called SAVESYRIASCHILDREN, the direct address is shown to us at the end of the advert when the little girl blows out her candles and the women who is most likely her mother tells her to make a wish and she stares at the audience to evoke sympathy and remorse for the way she is currently living. The little girl staring to the audience could be interpreted in many way, one of the ways could be that by her looking at the camera when she is asked to make a wish could symbolise how her only wish is to for the audience to donate money to help her and her family. Additionally, the small smile she gives at the end evokes guilt from the audience because she still is trying to be hopeful despite her situation.
Use of camera and editing
Throughout the advert only one camera shot is used which is the medium close-up of the main character, which is the little girl. The cuts throughout the video only last up to at least two seconds, they're short and very abrupt. The abrupt cuts from the happy moments in her life leading to the very worst and chaotic moments could be to show everything can change in a split second and we should cherish the good times we have and not take them for granted. The short cuts in between the various situations she goes through allows the audience to go through the journey of the girl's life almost from her point of view, evoking empathy and guilt from the audience.
Props , costume and mise-en-scene
At the beginning of the advert the lighting has a warm undertone to almost express how she's feeling which was happy and content and being with her family which also has connotations of unity and togetherness. As time goes on throughout the advert the mood starts to darken and turn dismal and the colours begin to get dimmer and have more shadowy effects which could have connotations that she is constantly living in fear and the darkness could symbolise that she's blinded from knowing what's going to happen next. In various clips throughout the advert we see the girl sitting in darkness which could represent how her life is becoming depressing and dark.
Sound
In the advert apart from the family singing happy birthday, there is no music only background sounds such as cars, laughter and conversations. However, as the advert gets dismal the sounds begin to get explosive and loud. There are some harsh sounds of bombs, planes, and occasional screams of people in the background. There are a few words exchanged in the advert but they're mostly shouts for her family or the news playing in the background on the television at her family house talking about the bombing. These are used to express to the audience how her life gradually went from a normal middle-class life to a chaotic, depressing life filled with the bombing and wars. At one point in the advert, there is a moment of silence which could emphasise the loneliness and isolation that she feels after being separated from the rest of her family. It's used to portray a message that you shouldn't take things for granted because in a moment that could all be taken away and to treat moment like its precious, because in reality it is.
Language
There is only a small amount of dialogue in the advert. The only significant dialogue is when the girl is screaming for her family when she is getting separated from them and is very scared, we also hear the phrase 'make a wish' and 'happy birthday.' The first time 'Happy birthday and make a wish,' was said was during a happy moment in her life which she was enjoying and her cake is full of the correct number of candles for her age. This highly contrasts the last time that 'make a wish' was said in a more dark and depressing time which symbolises that instead of wishing for what an average child her age would wish for, for example dolls or toys, she wishes for her situation to get better or to see the rest of her family again.
Gender in the media is represented as being stereotypical especially in magazines and in the print based media. The use of stereotypes play a key role in representation and creating propaganda for society. On the front page of magazines women are portrayed to be unrealistic, having to have a certain type of body and to look a certain way, and this impacts society in making them believe they have to look like this unattainable image. Women are often portrayed as being sexualised objects and sometimes insignificant in society. We usually see this in magazines by what they are wearing or how the magazine is constructed.
However, as time goes on in the media, especially in magazines the media has adapted to construct a wider realistic view of women. For example, now we are starting to see a variety of women on magazines and on tv and not just one ideal image which shows the progression of media and less misrepresentation of gender.
In most TV adverts society is shown that women are typically the ones in the kitchen and are stereo typically expressed as being a housewife, cooking and cleaning. For example, in advertisements when promoting cleaning products, the likelihood of it being promoted by a women is almost always. In this Febreze advert we see the woman looking after the house and making sure her son's room smells nice.
However, in some video games such as 'Tomb Raider', the portrayal of women challenges the negative stereotypes as the woman is seen to be strong and powerful which is usually how men are expressed to be, not only in games but in society as a whole. The portrayal of women in this game connects with the purpose which is to entertain and sell, therefore the media has specifically constructed this with positive stereotypes to attract more people. The media has spent so long building up an image of gender over the years, women are often associated with beauty and can sometimes be seen as insignificant, but as time has gone on the print media has started to show that women are strong too and have bigger roles to take on. Many representations of women focus on their sexuality and emotions whilst also concentrating on their relationships with their children or romantic partners.
In some areas of the media women have been represented in a positive way and shown to be active rather than passive, as heroes and not victims. For example in the film ‘The Hunger Games’ through the character of Katniss Everdeen who subverts the stereotypical representations of women we see in mainstream media as she is a survivor and a scavenger who is fearless and independent.
The representation of men in the media is to be powerful, masculine and strong, similarly to women men have the stereotype of having to have a specific type of body and physique. They are expected to show power and be independent through their actions and not reply on others. This kind of stereotypical representation is shown in movies through characters such as James Bond or Indiana Jones. Most TV shows or films will usually have men as the dominant characters and have women as having minor roles. In most cases, especially in films men end up victorious in their leading roles and women usually being rescued by the male characters. David Beckham is a good example of someone who combines the aspects of the instinctual view of men as being strong and having sporting skills whilst also being someone who is interested in fashion and is an active father to his children.
An example of a technical code used in media is the use of colour, this is very important especially in magazines. Most magazines featuring women are constructed to grab your attention and keep you interested in what they are trying to promote or inform you with. Moreover, we frequently see women being objectified and often in a vulnerable light. In print media such as magazines or film posters they use visual codes to convey the genre through the use of colour, fonts and photos.
