Learner Response: OSP Assessment

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

Mark: 23/34 

Grade: C

A really good effort, Hannah, you should be proud of what you have achieved in this assessment. Q1: A really strong analysis of the unseen advert and a good abiliyu

2) Read the whole mark scheme for this assessment carefully. Identify three specific aspects from Figure 1 (the Google Home advert) that you could have mentioned in your answer (e.g. selection of image, framing and focus, colour, text etc.)

3) Now use the mark scheme to identify three potential points that you could have made in your essay for Question 2 (Hesmondhalgh - narrow range of values and ideologies).

4) Use your exam response, the mark scheme and any other resources you wish to use to write a detailed essay plan for Question 2. Make sure you are planning at least four well-developed paragraphs in addition to an introduction and conclusion.

5) Finally, identify three key areas you plan to revise from the OSP unit (CSP aspects or theories) having looked at your feedback from this assessment.

If you do not finish your learner response in the lesson your work is returned, this needs to be completed at home by your next exam lesson.

Video Games: Further Feminist Theory

 1) What definitions are offered by the factsheet for ‘feminism ‘and ‘patriarchy’?

Feminism is a movement which aims for women to be treated as equal to men socially, economically, and politically.

 patriarchy (male dominance in society). Feminists see the patriarchy as a limitation to women receiving the same treatment and benefits as their male counterparts.

2) Why did bell hooks publish her 1984 book ‘Feminist Theory: From Margin to Center’?

She had identified a lack of diversity within the feminist movement, and argued that these diverse voices had been marginalised, being put outside the main body of feminism. 

3) What aspects of feminism and oppression are the focus for a lot of bell hooks’s work?

Women in lower class and poor groups, particularly those that are non-white, would not have defined women’s liberation as women gaining social equality with men since they are continually reminded in their everyday lives that all women do not share a common social status.” 

Feminism’s goal to make all women equal to men is flawed; not all men are equal to men as a result of oppression, sexuality, ethnicity. 

She argues that male involvement within the equality movement was important, encouraging men to do their part. 

4) What is intersectionality and what does hooks argue regarding this?

5) What did Liesbet van Zoonen conclude regarding the relationship between gender roles and the mass media?

6) Liesbet van Zoonen sees gender as socially constructed. What does this mean and which other media theorist we have studied does this link to?

7) How do feminists view women’s lifestyle magazines in different ways? Which view do you agree with?

8) In looking at the history of the colours pink and blue, van Zoonen suggests ideas gender ideas can evolve over time. Which other media theorist we have studied argues this and do you agree that gender roles are in a process of constant change? Can you suggest examples to support your view?

9) What are the five aspects van Zoonen suggests are significant in determining the influence of the media?

10) What other media theorist can be linked to van Zoonen’s readings of the media?

11) Van Zoonen discusses ‘transmission models of communication’. She suggests women are oppressed by the dominant culture and therefore take in representations that do not reflect their view of the world. What other theory and idea (that we have studied recently) can this be linked to?

12) Finally, van Zoonen has built on the work of bell hooks by exploring power and feminism. She suggests that power is not a binary male/female issue but reflects the “multiplicity of relations of subordination”. How does this link to bell hooks views on feminism and intersectionality?

The Voice Case Study

 Language and textual analysis

Homepage

Go to the Voice homepage and answer the following:

1) What news website key conventions can you find on the Voice homepage?

Headlines, pictures, advertisements, subcategories, social media links.

2) How does the page design differ from Teen Vogue?

3) What are some of the items in the top menu bar and what does this tell you about the content, values and ideologies of the Voice?

4) Look at the news stories on the Voice homepage. Pick two stories and explain why they might appeal to the Voice's target audience. 

5) How is narrative used to encourage audience engagement with the Voice? Apply narrative theories (e.g. Todorov equilibrium or Barthes’ enigma codes) and make specific reference to stories on the homepage and how they encourage audiences to click through to them.

Lifestyle section

Now analyse the Lifestyle section of the Voice and answer the following:

1) What are the items in the sub-menu bar for the Lifestyle section and what does this suggest about the Voice audience?

2) What are the main stories in the Lifestyle section currently?

3) How does the Lifestyle section of the Voice differ from Teen Vogue?

4) Do the sections and stories in the Voice Lifestyle section challenge or reinforce black stereotypes in British media?

5) Choose two stories featured in the Lifestyle section – how do they reflect the values and ideologies of the Voice?

Feature focus

1) Read this Voice opinion piece on black representation in the tech industry. How does this piece reflect the values and ideologies of The Voice?

2) Read this feature on Michaela Coel supporting Oxfam's Second Hand campaign. Why might this feature appeal to readers of The Voice?

3) Read this Voice news story on Grenfell tower and Doreen Lawrence. How might this story reflect the Voice’s values and ideologies? What do the comments below suggest about how readers responded to the article? Can you link this to Gilroy’s work on the ‘Black Atlantic’ identity?

Audience

1) Who do you think is the target audience for the Voice website? Consider demographics and psychographics.

2) What audience pleasures are provided by the Voice website? Apply media theory here such as Blumler and Katz (Uses & Gratifications).

3) Give examples of sections or content from the website that tells you this is aimed at a specialised or niche audience.

4) Studying the themes of politics, history and racism that feature in some of the Voice’s content, why might this resonate with the Voice’s British target audience?

5) Can you find any examples of content on the Voice website created or driven by the audience or citizen journalism? How does this reflect Clay Shirky’s work on the ‘end of audience’ and the era of ‘mass amateurisation’?

Representations

1) How is the audience positioned to respond to representations in the Voice website?

2) Are representations in the Voice an example of Gilroy’s concept of “double consciousness” NOT applying?

3) What kind of black British identity is promoted on the Voice website? Can you find any examples of Gilroy’s “liquidity of culture” or “unruly multiculturalism” here?

4) Applying Stuart Hall’s constructivist approach to representations, how might different audiences interpret the representations of black Britons in the Voice?

5) Do you notice any other interesting representations in the Voice website? For example, representations or people, places or groups (e.g. gender, age, Britishness, other countries etc.)

Industries

1) Read this Guardian report on the death of the original founder of the Voice. What does this tell you about the original values and ideologies behind the Voice brand? 

2) Read this history of the Voice’s rivals and the struggles the Voice faced back in 2001. What issues raised in the article are still relevant today? 

3) The Voice is now published by GV Media Group, a subsidiary of the Jamaican Gleaner company. What other media brands do the Gleaner company own and why might they be interested in owning the Voice? You'll need to research this using Google/Wikipedia or look at this Guardian article when Gleaner first acquired The Voice.

4) How does the Voice website make money?

5) What adverts or promotions can you find on the Voice website? Are the adverts based on the user’s ‘cookies’ or fixed adverts? What do these adverts tell you about the level of technology and sophistication of the Voice’s website?

6) Is there an element of public service to the Voice’s role in British media or is it simply a vehicle to make profit?

7) What examples of technological convergence can you find on the Voice website – e.g. video or audio content?

8) How has the growth of digital distribution through the internet changed the potential for niche products like the Voice?

9) Analyse The Voice’s Twitter feed. How does this contrast with other Twitter feeds you have studied (such as Teen Vogue)? Are there examples of ‘clickbait’ or does the Voice have a different feel?

10) Study a selection of videos from The Voice’s YouTubechannel. How does this content differ from Teen Vogue? What are the production values of their video content?

Videogames: Introduction - Women in videogames

 part 1: Medium article - Is Female Representation in Video Games Finally Changing?

1) How have women traditionally been represented in videogames?

Damsels in distress.

2) What percentage of the video game audience is female?

42%

3) What recent games have signalled a change in the industry and what qualities do the female protagonists offer?

Tomb Raider, Horizon: Zero Dawn, Uncharted: The Lost Legacy, The Walking Dead series. These women are strong, independent, wilful and compassionate.

4) Do you agree with the idea that audiences reject media products if they feel they are misrepresented within them?

I agree with this as the female audience of a game decreases significantly when females are misrepresented in them compared to the female audience of a game when females are properly represented.

5) What does the writer suggest has changed regarding recent versions of Lara Croft and who does she credit for this development?

Rhianna Pratchett: create a protagonist who players could identify with.  “the essence of the new Lara Croft became the struggle she felt within herself”

Part 2: Tropes vs Women in Video Games – further analysis

Title of video: Women are too hard to animate.

100 word summary: The video discusses the idea that some game producers say that creating female characters in video games is just too much work. This started the hashtag #womenaretoohardtooanimate and a discussion into how long it took for mainstream video games such as Fifa to introduce  women to the game. It also talks about how when women are featured in video games, they're often hyper-sexualised in their appearance and actions; they also rarely play an important role in the game and are side lined to being the sidekick. They are portrayed as a helper who has restricted movement and importance in the game.

Part 3: Anita Sarkeesian Gamespot interview

1) What reaction did Anita Sarkeesian receive when she published her videos on women in videogames? You can find more information on this on Sarkeesian’s Kickstarter fundraising page.

 intimidation and harassment effort has included a torrent of misogyny and hate speech on my YouTube video, repeated vandalizing of the Wikipedia page about me, organized efforts to flag my YouTube videos as "terrorism", as well as many threatening messages sent through Twitter, Facebook, Kickstarter, email and my own website.  These messages and comments have included everything from the typical sandwich and kitchen "jokes" to threats of violence, death, sexual assault and rape. 

2) How does Sarkeesian summarise feminism?

Feminism is the radical notion that women are human beings."

3) Why do stories matter?

Narratives have always been a core way human beings learn about, make sense of, and understand the world we live in. movies, TV, music, books, and video games are helping to shape our collective cultural universe.

4) How does Sarkeesian view Samus Aran and Lara Croft (the two protagonists from our upcoming CSPs)?

Samus Aran's body is a reward for players. Lara Croft is still objectified and sexualized for a presumed straight-male audience. 

5) How has the videogame landscape changed with regards to the representation of women?

Female characters have evolved since the days of the original Metroid, Super Mario Bros., and Zelda games. a slightly larger number of female characters and more protagonists, but things have gotten worse in many ways. In the 1990s we saw the rise of the "Fighting F@#k Toy," the ubersexualized yet violent female character--and today this trope has basically become the default representation for women in much of the gaming industry. resurgence of the "Damsel in Distress" in recent years as developers rush to remake or reboot many of the classic 1980s games. This trend has also brought with it an upsurge in original retro-style games that pay homage to the classic gaming era but often borrow or reproduce the old sexist themes, plot devices, and humor. This kind of appeal to nostalgia can obviously be a lot of fun, but sadly it's often unnecessarily done at the expense of female representations.

6) Why are Mirror’s Edge and Portal held up as examples of more progressive representations of women?

both characters are women of color, and both serve as the protagonists of their own games without being overly sexualized or objectified. in addition to the female protagonists, both games worked to creatively expand the first-person/shooter genre--a genre overflowing with lackluster clones. Both employed interesting underdog plots, innovative gameplay mechanics, and emphasized less violent creative problem solving instead of brute force. 

7) What are the qualities that Sarkeesian lists for developers to work on creating more positive female characters?

Developers are going to have to take some risks and step outside of the expected or established conventions. some very basic things I look for in female characters are: protagonists with agency not tied directly to their sex appeal; transformative story arcs where characters are struggling with or overcoming personal flaws; and some emotional depth and expression.

8) What is the impact of the videogames industry being male-dominated?

Being male dominated does play a big role in the types of games, narratives, and characters produced. Including more women on development teams is critical for change,  it's important to keep in mind that the problem is not solved by simply having a few token women on staff, or even by just putting one woman in charge of a project. Game companies need to change their male-dominated spaces and internal cultures to shift away from the old boys' club mentality.

9) What did Sarkeesian hope to achieve through her ‘Tropes vs Women in Video Games’ series?

 I want to promote media literacy and give people some tools to look critically at the games we play. To clearly present the issues surrounding women's representations as a systemic problem by identifying reoccurring patterns. Sexist representations are part of a larger institutional problem across all entertainment industries. We can play and enjoy many games while simultaneously being critical of some of their harmful aspects. We can recognize and point out the more problematic representations without necessarily throwing the whole game out.

Teen Vogue

 Teen Vogue: background reading

Read this Guardian feature from 2017 on Teen Vogue and answer the following questions.

1) What was the article that announced Teen Vogue as a more serious, political website – with 1.3m hits and counting?

Donald Trump Is Gaslighting America

2) When was the original Teen Vogue magazine launched and what was its original content?

2004, Teen Vogue used to focus on the standard cocktail of fashion must-haves and celebrity worship. 

3) How did editor Elaine Welteroth change Teen Vogue’s approach in 2015?

That issue featured three unknown black models on the cover, breaking rules that you should have a famous person; and that having no Caucasian faces on the cover is a commercial risk.

4) How many stories are published on Teen Vogue a day? What topics do they cover?

5) What influence did digital director Phillip Picardi have over the editorial direction?

6) What is Teen Vogue’s audience demographic and what does ‘woke’ refer to?

7) What issues are most important to Teen Vogue readers?

8) What does Tavi Gevinson suggest regarding the internet and ‘accountability culture’ with regards to modern audiences? Can you link this to our work on Clay Shirky?

9) What social and political issues have been covered successfully by Teen Vogue?

10) What do Teen Vogue readers think of the magazine and website?

Teen Vogue: Factsheet Part 1

Read Media Factsheet #200 Teen Vogue - Part 1. You can find the Factsheet in our Factsheet archive on the Media Shared drive in school or download it here using your Greenford Google login. Answer the following questions: 

1) The Factsheet suggests Teen Vogue has successfully made the transition to an online, social and participatory product. Why? What platforms is it now available on?

2) Look at the screenshots and details on pages 3-4 of the Factsheet. What does Teen Vogue offer its audience?

3) Who is the typical Teen Vogue reader?

4) Read the content analysis of the Teen Vogue website on page 5 of the Factsheet. Pick out three key examples of how meanings are created in Teen Vogue and what is communicated to the audience.

5) Finally, look at pages 6-7 focusing on representations. What range of representations can be found in Teen Vogue and what does this suggest regarding Teen Vogue's values and ideologies?

Teen Vogue textual analysis and example articles

Work through the following tasks to complete your textual analysis of the Teen Vogue website and read notable Teen Vogue articles to refer to in exam answers. 

Homepage analysis

Go to the Teen Vogue homepage and answer the following:

1) What website key conventions can you find on the Teen Vogue homepage?

2) How does the page design encourage audience engagement?

3) Where does advertising appear on the homepage?

4) What are the items in the top menu bar and what does this tell you about the content of Teen Vogue?

5) How far does the homepage scroll down? How many stories appear on the homepage in total?

Lifestyle section

Now analyse the Lifestyle section of Teen Vogue (in the Identity section) and answer the following:

1) What are the items in the top menu bar for the Lifestyle section?

2) How is the Lifestyle section designed to encouragement audience engagement? Think about page design, images, text and more.

3) What do you notice about the way headlines are written in Teen Vogue?

4) What does the focus on education, university and ‘campus life’ tell you about the Teen Vogue audience demographics and psychographics?

5) Choose one story featured in the Lifestyle section and explain how reflects the Teen Vogue brand.

Teen Vogue: Five key articles

Read the following five notable Teen Vogue features then answer the questions below.

Donald Trump Is Gaslighting America

The new face of teen activism 

Black Teens Have Been Fighting for Gun Reform for Years

Netflix and strong female leads 

How to Break Away From the Gender Binary

1) What do you notice about the content and style of these articles? What do they have in common? 

2) How do the articles use narrative to engage the reader? Try and apply narrative theory here if possible - what makes the reader want to click or read more?

3) Pick a quote from each article that illustrates the political, 'woke' ideology of Teen Vogue and paste it here.

4) What effect on the audience are these articles hoping to achieve?

5) How do these article reflect the values and ideologies of the modern Teen Vogue?

Assessment

David Gauntlett has argued against the idea that masculinity is 'in crisis’. To what extent do you believe masculinity is 'in crisis'?
In your response you should refer to your Advertising and Marketing Close Study Products: the Score hair cream advert (1967) and the Maybelline ‘That Boss Life’ YouTube advert (2017).

I disagree with Gauntlett, as representations of masculinity in the modern media are shifting towards something more traditionally seen and portrayed as feminine, masculinity has never had a static definition.

The Score hair cream advert is a strong example of traditional masculine ideals. The man is portrayed as dominant, He holds a gun in his hand, and is surrounded by women who are wearing revealing clothing and reaching out for him. The man is seated above the women, putting him on a raised pedestal, reinforcing traditional gender roles and stereotypes for both genders. This highlights that the representation of men in the 1960’s was for them to be dominant, controlling and sought after by women.

The ways men and masculinity are portrayed in modern media strongly suggest that masculinity is in crisis, especially when you compare them to portrayals of men in the 60’s. In the Maybelline advert, men in the modern world are presented in a largely different light than in the 1960’s. Manny MUA, the male figurehead in the Maybelline advert, breaks traditional (perhaps even old-fashioned) stereotypes of what a man is supposed to be. Manny is a male vlogger and wears makeup in his day to day life and in this advert (something that would not have even been thought of before the rise of the punk/alternative rock in the 1980’s and 90’s... which later died out in the early 2000s) As a modern consumer, this has become normal as a representation, but if looked at by a consumer in the 1960s, they would think that the mindset of men and masculinity has become abstract and distorted from traditional values and representations. Gauntlett's ideas that "The mass media is a force for change... a reflection of changing attitudes" now becomes relevant when applied to modern advertising; the media simply reflects an altered definition of masculinity, instead of threatening the basic and traditional values of masculine ideals.

Whilst analysing Gauntlett's theory we can see that "Views of gender and sexuality, masculinity and femininity, identity and selfhood, are all in slow but steady processes of change and transformation".  Masculinity is created and defined by society's ever changing views and expectations; the media just reflects this. You can argue that men now have more freedom, men are no longer expected to be dominant, Instead they are now allowed to do what they want, even if it is traditionally feminine.  

In conclusion, masculinity is not and cannot be  'in crisis', as it has never had a static descriptor in the first place. Definitions of masculinity have always simply been based on the changing opinions of society. As a society changes, the media reflects it. Adverts are a vehicle to show how men really are and do not push a false narrative that some people may say is happening. 

Advertising - Gauntlett and masculinity

) What examples does Gauntlett provide of the "decline of tradition"? How can we link our advertising CSPs (Score hair cream and Maybelline 'That Boss Life') to this idea?
- The score hair cream advert reinforces the old tradition of the patriarchal society and how women were obedient, and men had to be perceived in a certain way. Gauntlett suggests the decline of tradition through the Maybelline advert as it subverts gender stereotypes in modern day society.   As the protagonist is a male beauty star, which in the 1960s, this would not be heard of. This shows the decline of the masculine ideals of 
they have to be a certain way, as society is more acceptance of what men do and how they portray themselves.

2) How does Gauntlett suggest the media influences the way we construct our own identities?
- Gauntlett suggests the media influences us and believes that the construction of identity has become a requirement in modern day society. He believes that mainstream media also provides guidance for individuals to discover their own identity in society. He believes that individuals are influenced and do not form their own identities by themselves. 

3) How do the two CSPs reflect the generational differences that Gauntlett discusses? Is it a good thing that the media seems to promote modern liberal values?

- Gauntlett believes that Surveys have found that people born in the first half of the twentieth century are less tolerant of homosexuality, and less sympathetic to unmarried couples living together. This is contrasted between the younger generation as it has been found that they tend to tolerate and accept homosexuality and their difference in societal expectations. 

4) Why might Manny and Shayla be a good example of the role models that Gauntlett discusses - and also demonstrate how those role models have changed in recent years?
- Gauntlett believes role model's are important as they serve as a guidance for generations and cause people to reconsider and think about what should be accepted in society such as homosexuality etc. Manny and Shayla are good role models as they are portrayed in a positive manor and using Manny, subverts stereotypes in society causing a change in peoples thinking. 

5) Why does the Score hair cream advert provide such a good example of traditional masculinity? How can you link this to Gauntlett's discussion of whether masculinity is in crisis?
- The Score hair cream advert is a good example of masculinity as it portrays the man in a dominant fashion. Both physically and in society, the man is held above the women as men are seen as the more important gender and women are depicted to be submissive and inferior. Women are also sexualised and used for the male gaze and be subject to men's sexual desires. 

6) Gauntlett consistently argues that masculinity is not in crisis. Can the Maybelline 'That Boss Life' advert be used as evidence of this?
- This is evident as in society, it is largely accepted if a man is homosexual and subverting social norms. As Manny is used, this allows the depiction of the modern world to come through as men are accepted as gay or wearing make up. This shows how masculinity has evolved and meant that men can be accepted and do as they please rather than having to fulfil typical masculine stereotypes and having to behave in a certain way etc. 

7) 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.
- One may believe that advertising continues to reinforce the masculine stereotype in society. Men are still shown to be dominant and strong within adverts and are shown to be heroes themselves. Through this, it shows how society still believes that men are the dominant gender and are superior to women as they can protect them. 

- On the other hand, people such as Manny Gutierrez being used in the Maybelline advert subverts the masculine stereotype. This is because a male character is wearing make up which shows how the idea of masculinity has evolved over the years. Furthermore, this is a landmark in the adaptation of the way men are described as they wouldn't typically be shown wearing make up.  

8) 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?
-  Gauntlett believes that women's magazines have an emphasis on raising awareness and bringing down social expectations of women. Female pop stars sing about financial and emotional independence, inner strength, and how they don't need a man which also reinforces ho females are becoming more independent and are escaping from social boundaries. From this, it shows how women are much more independent, and less reliant on men, which in contrast years ago, women were seen to be heavily reliant on men, however the idea of 'girl power' highlights the fact that women are less dependent on men and are more equal in society.

9) 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 (and our CSPs in particular) provide examples either reinforcing or challenging this idea that younger generations are more comfortable with changing gender roles? 
- McRobbie believes that there is a generation of younger men who have adapted to the modern world and are completely accepting and defy social expectations that typical masculinity has set. This shows how the younger generation are probably more naive and disregard gender roles, whereas in the 1960s, there was shown to be a fixed set of gender roles, that women had to stay at home, and submissive towards men, while men were the breadwinner and provided for the family etc. 

10) How do the two advertising CSPs show the changing 'diversity of sexualities' that Gauntlett suggests?
- Gauntlett states that homosexual, transgender people etc are still under represented in modern society and that old societal values are still being reinforced in the modern day. However, this is slowly changing in the media, In particular, television is offering prime-time audiences the chance to 'get to know' nice lesbian and gay characters in soap operas, drama series and sitcoms which shows how society is changing. In the Maybelline advert, Manny is used to subvert gender roles and showing the change in gender representation. 

11) What examples from advertising does Gauntlett provide for the changing nature of gender in society (from the section on Judith Butler's Gender trouble)?
- Fragrance brands are used by Gauntlett such as Calvin Klein. This was shown as one fragrance used imagery to represent how the fragrance was gender neutral and catered to everyone. 

12) How can the Maybelline 'That Boss Life' advert be applied to Judith Butler's work on 'gender trouble'? ("The binary division of 'male' and 'female' identities should be shattered, Butler suggested, and replaced with multiple forms of identity...")
- A male character was used to promote make up showing the growing tolerance and differentiating ideology of masculinity in the modern world. Furthermore, by using both men and women, it allows the product to be advertised to a wider range of audiences rather than a particular gender. 

13) How can our two advertising CSPs be used to argue that power has shifted from media institutions to audiences? (Clue: how did Manny and Shayler from the Maybelline advert first become famous?)
- Maybelline have deliberately chosen to use these two digital influences, due to their large social media following. Furthermore, as Manny is a homosexual, this allows the representation of men to be shown in a different manor and allows a modern perception of masculinity to be seen. This also allows people to be influenced by them due to their high status in society. 

14) 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?

- Advertising is a good example of the contradictory elements because the multiple messages contribute to the perception of a new amount of possibilities within society. In advertising, there is no longer a set gender stereotype and products are being advertised to both genders rather than a particular gender. 

15) Finally, Gauntlett makes a clear case that things change and modern identities are increasingly fluid. How do our advertising CSPs demonstrate the changing attitudes towards gender and sexuality in society?
- The Score advert reflects the old, traditional values and ideologies that are currently being deconstructed by advertisements such as the Boss Life beauty campaign, which indicates how society has evolved over the years.
David Gauntlett, believes that, Views of gender and sexuality, masculinity and femininity, identity and self hood, are all in slow but steady processes of change and transformation.

score

1) How did advertising techniques change in the 1960s and how does the Score advert reflect this change?
- Advertising techniques changed in the 1960s due to advertising agencies relying less on market research and leaning toward creative instinct in planning their campaigns. The Score advert changed this as the advert focuses on an image rather than the product itself. The product being demonstrated is a small image at the bottom of the text whereas the poster primarily relies on the image of a man and several women to try and sell the product. 

2) What representations of women were found in post-war British advertising campaigns?
- Negative representations of women were found as women were seen as sexual objects. The objectification of women was used by advertising agencies to try and sell the product to a male audience. Female bodies were used as part of the 'male gaze' (Laura Mulvey) and was clearly done by advertisers to attract the audiences attention to the product. There forth, women were heavily objectified by men ultimately to sell the product they are promoting. 

3) Conduct your own semiotic analysis of the Score hair cream advert: What are the connotations of the mise-en-scene in the image?
- The setting of the advert suggests a safari and jungle vibe. The clothing worn by the male within the advert suggests this with a hunters type of style top along with shorts. The phallic symbol of the gun is used as a sexual innuendo. Furthermore, females are used and sexually objectified within the advert to attract a male audience which is ultimately the audience the product is being sold too. The women wear less clothes and skin is shown which instantly attracts a males attention.  

4) What does the factsheet suggest in terms of a narrative analysis of the Score hair cream advert?
- The factsheet suggests the analysis is presented as  aesthetically pleasing. Furthermore, the man in the advert is identified to the audience as a 'hero' (Propp) within the narrative. The advert suggests that the male is the worker such as being a 'hunter' within his 'tribe' which the advert suggests. Due to the male being revealed to be a 'hero', it would encourage a male audience to want to be the 'hero' in their own life. The women are shown to be the mans prize for doing his job. 

5) How might an audience have responded to the advert in 1967? What about in 2019?
-  In 1967, and audience would of had no issue with the advert as women were identified to be the 'more submissive' gender whereas males were 'dominant.' However, in 2019, women's rights have become increasingly equal to that of men. If the advert were to be shown in the modern age, there would be an outrage due to the way women's rights have progressed. 

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 Score advert uses persuasive techniques to sell the product towards the audience mainly through the use of female objectification. Women were subjected to wearing limited clothes and this would appeal to men. The product is displayed at the bottom of the scream which ultimately demonstrates how the product is not the main focus of the advert. The main focus consists of male power compared to women. The text is in a small box and this also shows how the image is more important than the text itself. 

7) How might you apply feminist theory to the Score hair cream advert - such as van Zoonen, bell hooks or Judith Butler?
- Van Zoonen can clearly be applied to this advert as women are clearly being objectified and subject to the heroes masculine power. Women within the advert are demonstrated to be the males award for being masculine. Judith Butler's feminist theory, can be applied as they reveal the difference between male and female equality. Men are the heroes whereas women have no sense of power. Women also are used as somewhat 'slaves' and clearly men are superior. 

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?
- These theories can be applied to the advert as they suggest the gender differences that were evident within the 1960's. Where men were seen as powerful and fighters, women were seen as rewards to men after their hard work. The imbalance of power between genders would not be accepted in the modern day due to how women's rights have drastically come since the 1960's. 

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)?
- Masculinity in the advert is represented through power and dominance. The male protagonist in the advert is revealed as a hero and shows how women are reliant on the protection of men. Ultimately, men are perceived as powerful and women are shown to be the prize of the man's hard work. This allows men to revealed to be the dominant gender and reinforce societal standards. 

10) How does the advert reflect Britain's colonial past - another important historical and cultural context?
- The advert conveys to the audience Britain's colonial past due to the mise-en-scene of the advert. The costumes both men and women are wearing suggest a jungle style in which foreign countries may habit. Furthermore, the weapon the man carries suggests his power which demonstrates to the audience how Britain had power over colonies in the past.  


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'"?
- The writer suggests this as boys growing up in modern day society may question what society states is the way to behave and act as a 'man' which means boys will not know how to act in society. Furthermore, as more people are comfortable and being identified as homosexual or transgender etc, boys will question their own sexuality which means boys will defy what is associated as a man's behaviour. The writer believes due to homosexuality being increasingly accepted in society, more boys will question their sexuality. 

2) How has the Axe/Lynx brand changed its marketing to present a different representation of masculinity?
- Axe/Lynx has changed its marketing to portray masculinity in a different way to allow all boys and men to feel comfortable with themselves. Some boys may not be as strong and act the same as someone within the advert so the company changed the marketing to allow those too feel accepted.

3) How does campaigner David Brockway, quoted in the article, suggest advertisers "totally reinvent gender constructs"?
- Advertisers reinvent gender constructs by advertisers ''dare to paint a world where boys like pink, don’t like going out and getting dirty, or aren’t career ambitious, for example.'' This clearly reveals that advertisers are trying to change the way male and female stereotypes are perceived. 

4) How have changes in family and society altered how brands are targeting their products?
- Changes in both family and society have caused brands to change who they target their brand towards due to the way male and females are being shown in modern society and being perceived in this day and age. Due to boys and girls allowing genders to be reconstructed means that brands have to target audiences who are classed in a certain way and to appeal to both genders. 

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?
- Desouches states this as masculinity is clearly changing and that the being yourself is what the brand supports meaning they do not care about a persons sexuality etc. “What being a man means, and what ‘success’ means, is changing and this change is for the good. The message hasn’t exploded yet but we will make it explode. We will democratise it.” This reveals how the director wants to set societal standards. 


Campaign: Why brands need to change

Read this Campaign article on Joseph Gelfer and why brands need to change their approach to marketing masculinity. If the Campaign website is blocked, you can find the text of the article here. Think about how the article relates to our work on gender and advertising then answer the following questions:

1) What are two ways advertising traditionally presented masculinity and why does the writer Joseph Gelfer suggest this needs to change?
- Advertising traditionally presents masculinity both through, ''either a glamorous James Bond-style masculinity that attracted ‘the ladies’, or a buffoon-style masculinity that was firmly under the wifely thumb'' which indicates how masculinity is perceived in society. Gelfer suggests this needs to change as people need to perceive masculinity in different ways and allow males to behave how they want instead of living up to societal expectations which may make them feel uncomfortable. 

2) What are the five stages of masculinity?
- Stage 1 is defined as "unconscious masculinity", which means that traditional masculinity has been adopted by someone without them even thinking about it.
- Stage 2 is defined as "conscious masculinity", which means that traditional masculinity has been consciously adopted by someone.
- Stage 3 is defined as "critical masculinities" and is largely aligned with feminist thought. People at Stage 3 are aware that society is often patriarchal and homophobic and want to counter these problems.
- Stage 4 is defined as "multiple masculinities" and suggests that masculinity can mean anything to anyone.
- Stage 5 is defined as "beyond masculinities" and proposes the simple truth that masculinity does not exist.

3) What stage of masculinity do you feel you are at in terms of your views of gender and identity? You can read more about the five stages of masculinity here.
- I believe I am at stage 3. This means that I believe there are issues with patriarchy and homophobia within society and want to allow people to be happy with themselves in society. I also do not have a problem with peoples sexuality or their views on male and female behaviour. This is the reason I believe I am at stage 3 when it comes to the five stages of masculinity along with most people in our generation. 

4) What stage of masculinity was the Score advert aiming at in 1967?
- The Score advert in 1967 was targeted at stage 1 as women were seen as slaves to men as they were inferior and submissive to male dominance in society. Females wore less clothing in the advert and were shown to be sexual symbols in society and were appealing to the male gaze. (Mulvey) Women were depicted to serve men who were accepted as the dominant gender in society in 1967. 

5) Why are the stages of masculinity important for companies and advertisers when targeting an audience?
- The stages of masculinity are important for companies and advertisers so that they can allocate their product towards a certain type of group. The product needs to target audiences which sit in a certain stage in society so that they can sell a successful product. Furthermore, they do not want to upset certain groups of people in society.