Advertising assessment: Learner response

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

good understanding of historical contexts and reference to theories. question 3 needs explicit reference/examples to the named text.

2) Read the whole mark scheme for this assessment carefully. Identify at least one potential point that you missed out on for each question in the assessment.

The representation of the male as hunter in a foreign jungle setting suggests a reference to
the British Empire and the colonial dominance of the 19th century.

3) On a scale of 1-10 (1 = low, 10 = high), how much revision and preparation did you do for this assessment?

5/6

4) Look at your answer and the mark scheme for Question 1. What aspect of technical film language (camerawork, mise-en-scene etc.) or advertising persuasive techniques do you need to revise to improve your response to this kind of question in future?

i focused a lot on different aspects of mise en scene but need to revise camerawork so that i can develop my points on this more.

5) Look at your answer and the mark scheme for Question 2. What aspects of the cultural and historical context for the Score hair cream advert do you need to revise or develop in future?

I need to develop the historical and cultural context about the colonisation in Britain and link this back to the ad.

6) Now look over your mark, teacher comments and the mark scheme for Question 3 - the 20 mark essay question on David Gauntlett and masculinity 'in crisis'. Write a completely new paragraph for this question based on the suggested theories/answers in the mark scheme. Make sure it is an extensive, detailed paragraph focused on the question and offering examples/textual analysis from the Advertising CSPs.

it could be argued that masculinity is in fact 'in crisis' as recent high-profile campaigns/movements such as #metoo and #timesup have challenged sexual harassment in the workplace. Some people have reacted against this by suggesting these campaigns emasculate men and contribute to a ‘crisis in masculinity'. Not only this, the Maybelline campaign also supports this as it received openly hostile or abusive comments such as: “Dads, this is why you need to raise your sons” – implying strong masculine role models are required to prevent men becoming emasculated. Furthermore, there is a lack of major advertising campaigns that seek to explicitly challenge or call out traditional

masculine stereotypes. For women, the Dove ‘Real Beauty’ campaign and the Always ‘Like a

Girl’ campaign have actively challenged dominant representations of women. Equivalent

campaigns for men either do not exist or have failed to have the same impact.

Magazine practical task planning

1) Plan your main flash - this is the main cover story that links to your central image.

'the meaning behind the music'

2) Plan the image you will need for the cover - model, costume, make-up, lighting etc. At this point, simply describe the image you need to capture.

female model, mostly black outfit, looking directly at the camera, natural/serious expression - not smiling, show power and confidence.

3) Write the cover lines and any additional text you need for your magazine cover.

'up and coming artists you need to follow'
'50 greatest throwback songs

4) Sketch out your cover on plain A4 paper using your written planning. Take a photo of your sketch and embed it in your blogpost.

Magazine practical task research

1) Use your lesson notes on magazine genres and conventions to view a range of potential magazine covers. Create a shortlist of three potential magazines and embed an example front cover from each one.

        

2) Select your chosen magazine to create a new edition for and explain the thinking behind your choice.

i chose to do the rolling stone as it successfully uses key conventions of a magazine and i like that the background and main subjects outfit are quite monochrome, so that the main focus is on the cover star. Although there are quite a few different straplines on some of their covers there arent too many so the cover doesnt look too busy, so the reader can focus on all aspects on the cover.

3) Find three different front covers for your chosen magazine and embed them in your blogpost. Analyse the fonts, colours and typical design. What is the language or writing style? How are the cover lines presented? You need to become an expert in the design and construction of this magazine and its branding.

        

-masthead partly covered by main subject/cover star

-3 main colours

-focus on beauty, hair, fashion

-women empowerment

-feminism

-names/main topics in bigger font and brighter colour

Advertising: End of Unit Index

1) Introduction: narrative in advertising
2) Advertising: persuasive techniques
3) Advertising: the representation of women in advertising
4) Advertising: Score case study and wider reading
5) Advertising: Maybelline case study and wider reading
6) Advertising: Gauntlett - Media, Gender and Identity reading and questions

Advertising: Gauntlett - Gender, identity and advertising

Read this extract from Media, Gender and Identity by David Gauntlett. This is another university-level piece of academic writing so it will be challenging - but there are some fascinating ideas here regarding the changing representation of men and women in the media. If you can't access David Gauntlett's website, the text is also available here.

1) 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 typical role/representation of women has changed a lot in the last 50 years, as the media has focused on 'girl power', moving away from the traditional idea that women are just meant to be the housewives. Meanwhile the masculine ideals of absolute toughness, stubborn self-reliance and emotional silence have been shaken by a new emphasis on men's emotions, need for advice, and the problems of masculinity. Although gender categories have not been shattered, these alternative ideas and images have at least created space for a greater diversity of identities.

2) How does Gauntlett suggest the media influences the way we construct our own identities?

Popular media fosters the desire to create new modes of life - within the context of
capitalism. Whether one is happy with capitalism, or seeks its demise, it must surely be considered
good if modern media is encouraging the overthrow of traditions which kept people within limiting
compartments.

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?

The two CSPs reflect generational differences as they both depict masculinity and what it means to be a man/typical male attributes in two very different ways. the score hair cream advert represents men as the dominant sex which can be seen through the image of weaponry as he is holding a gun in his hand whilst being surrounded by women who are looking and reaching up to him, ultimately showing that he is in a higher position, physically and contextually. this is in contrast to the maybelline advert where they portray an unconventional representation of men by using social influencer MannyMua - an openly gay man who expresses his interest in beauty. this acknowledges gender fluidity, steering away from the traditional view that mens masculinity is defined by strength or power.

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?

Manny and Shayla are opinion leaders meaning they make their own personal decisions and dont let others dictate what they do, which sets a good example for their audiences as they are often inspired to be like them as they are considered as role models. More of a representation of minority groups in the media has been seen in the past couple of years compared to times of a more traditional society - this agrees with Gauntlett's idea that identity is becoming more fluid and how more and more people are beginning to look up to people who are inclined to being their self.

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?

it is a good example of traditional masculinity as it was created during a time period where traditional views were widely spread in society and the score hair cream advert in particular portrays this as it shows how men were expected to be the dominant sex who hold majority of power and were the breadwinners, while women were there to sexually appeal to the man and satisfy there needs and desires by being a good housewife.

6) Gauntlett consistently argues that masculinity is not in crisis. Can the Maybelline 'That Boss Life' advert be used as evidence of this?

it can, as although it doesnt portray the traditional views of masculinity, it doesnt try to force viewers to completely change their views, and instead acknowledges and embraces the fact that masculinity doesnt come in one fixed form and recognises that gender fluidity is increasing and is not a negative thing in society.

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.

some advertisements still portray this conventional representation of men, such as in perfume adverts, where men are often seen to be muscly, strong macho men who match the traditional ideas that were frequently seen around 50 years ago. on the other hand, although this is still often shown in advertising, new media is beginning to drift from this idea and acknowledging other genders and representing unconventional representations of men, such as big beauty companies like cover girl and maybelline who are using social influencers in their adverts, including the likes of MannyMua and James Charles, shedding a positive light on them that advertisments typcially wouldnt of done in the past.

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?

Twenty or thirty years ago, analysis of popular media often told researchers that mainstream culture was a backwards-looking force, resistant to social change and trying to push people back into traditional categories. Today, it seems more appropriate to emphasise that, within limits, the mass media is a force for change. The traditional view of a woman as a housewife or low-status worker has been kick-boxed out of the picture by the feisty, successful 'girl power' icons. Meanwhile the masculine ideals of absolute toughness, stubborn self-reliance and emotional silence have been shaken by a new emphasis on men's emotions, need for advice, and the problems of masculinity. Although gender categories have not been shattered, these alternative ideas and images have at least created space for a greater diversity of identities. Modern media has little time or respect for tradition. The whole idea of traditions comes to seem quite strange.

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?

I strongly agree with Gauntlett's argument where he suggests that younger generations are not threatened by traditional gender roles and are comfortable with social changes as these things are beginning to shape our new generation, helping to make younger generations feel more confident as individuals. The Maybelline 'That Boss Life' advertisement reinforces this idea through the use of MannyMua who although is gay and a male who wears makeup and still has a large fan base as well as being widely influential to his viewers which is evident as he has a large following who constantly show their support and admiration.

10) How do the two advertising CSPs show the changing 'diversity of sexualities' that Gauntlett suggests?

the Maybelline advert shows the changing 'diversity of sexualities' that Gauntlett suggests because it illustrates Manny as someone who goes against traditional male gender roles due to him being a gay male. In contrast, the Score hair cream was an advert from 1967 and in that time period the media reinforced traditional gender roles.

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)?

'Some advertising - such as the sexually charged but androgynous imagery promoting the CK One fragrance 'for a man or a woman' - had reminded viewers of the similarity of genders, hinting that it wouldn't matter which of the attractive male or female models you chose to desire. Other ads (such as ones for Impulse deodorant and Kronenbourglager) playfully teased heterosexual desires only to reveal that the lust object was more interested in their own sex, pointing audiences to the unpredictability of sexualities'

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...")

The Maybelline advert can be linked with Judith Butlers idea of gender being replaced with multiple forms of identity because in this advert we have Manny Gutierrez, a male who is gay and applies make up. This highlights how there can be a different construct of masculinity. These have created liminal spaces between the traditional gender constructs. Instead of the traditional roles of male and females in gender, Gutierrez' representation is a new form of gender is a new 'performance' that represents a large demographic that is otherwise alienated in mass advertising

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?)

The Maybelline 'that Boss Life' advert supports the argument that power has been shifted from media institutions to audiences as brands are starting to use influencers with large followings as their brand ambassadors, showing that audiences have more power than they used to.

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?

The mass media like magazines give a wide range of views from all types of individuals in the modern day. But these stars or role models tell us to 'be yourself', while the advertising is giving us a view of what we should aspire to be like.

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?

Brands who target an older audience tend to stick to traditional ways of advertising, by using celebrities (such as actors/actresses) because they think it's what their audience want. They're less likely to follow trends, especially those set by younger people. Brands that target a younger audience aren't afraid of doing that, because they know they're audience are going to appreciate it.

Advertising - Persuasive techniques

Persuasive techniques

Advertisements are generally trying to persuade their target audience to:

-Buy a product or service
-Believe something or act in a certain way
-Agree with a point of view

There are many persuasive techniques used in advertising. A selection include:

Slogan – a catchy phrase or statement
Repetition – constant reference to product name
Bandwagon – everyone is buying it
Testimonial/association – e.g. celebrity endorsement
Emotional appeal – designed to create strong feelings
Expert opinion – ‘4 out of 5 dentists…’

Examples:
Slogan – Just Do It
Repetition – Go Compare
Bandwagon – Maybelline ‘America’s favourite mascara’
Testimonial/association – FIFA18 ‘El Tornado’ / Ronaldo
Emotional appeal – WaterAid ‘Dig toilets not graves’
Expert opinion – Max Factor ‘The make-up of make-up artists

Case study: Marmite
Advertising: Persuasive techniques blog task

Create a new blog post called 'Advertising: Persuasive techniques'. Read ‘Marketing Marmite in the Postmodern age’ in MM54  (p62). You'll find our Media Magazine archive here.

Answer the following questions on your blog:

1) What does John Berger suggest about advertising in ‘Ways of Seeing’?

Advertising seeks to make us dissatisfied with our present selves and promotes the idea that we can buy our way to a better life. ‘All publicity works on anxiety’ suggested John Berger in his seminal book Ways of Seeing (1972). Advertising offers us an improved version of ourselves, whether we are male or female: Publicity is always about the future buyer. It offers him an image of himself made glamorous by the product or opportunity it is trying to sell.

2) What is it psychologists refer to as referencing? Which persuasive techniques could you link this idea to?

Psychologists refer to the ways that brands offer images about people as referencing. We create a vision of ourselves living this idealised lifestyle, and then behave in ways that help us to realise this vision. This is because it creates strong feelings of dissatisfaction and the advert uses the anxiety of the consumer to make their brands appear more attractive.

3) How was Marmite discovered?

The product that was to become Marmite was invented in the late 19th century when German scientist Justus von Liebig discovered that brewer’s yeast could be concentrated, bottled and eaten.

4) Who owns the Marmite brand now?

Unilever now owns the Marmite brand. Unilever is a British-Dutch transnational consumer goods company. Is products include food, beverages, cleaning agents and personal care products. Unilever's other brands include- Magnum, Dove, Sure, Persil, Ben & Jerry's and many more.

5) How has Marmite marketing used intertextuality? Which of the persuasive techniques we’ve learned can this be linked to?

Marmite has many adverts that feature characters from cartoons. One example is Marmite’s 2003 ad featuring Zippy from the children’s television programme Rainbow. Another example is a 2007 £3m campaign featuring the 1970s cartoon character Paddington Bear (watch below). This type of marketing technique links to association/celebrity endorsement.

6) What is the difference between popular culture and high culture? How does Marmite play on this?

High culture relates to the cultural value of different products, whereas popular culture also relates to the same thing, but it is for the masses rather than a select audience. Marmite plays on the idea of popular culture and high culture through their creation of "Ma'mite". This series of advert plays on the iconography associated with the royal family (e.g. the crown and the motto) , which makes their product more memorable, as audiences would remember the comical aspect of the adverts.

7) Why does Marmite position the audience as ‘enlightened, superior, knowing insiders’?

Postmodern audiences arguably understand that they are being manipulated by marketing. They
understand the conventions that are being deployed and satirised. Postmodern consumers are simultaneously aware that they are being exploited, yet also prepared to play the game – if it brings them a sense of superiority and social cache.

8) What examples does the writer provide of why Marmite advertising is a good example of postmodernism?

Due to the view of people in the post-modern world thinking that they do not get manipulated by adverts and the media due to so many different views being publicized through social media. But Marmite uses this idea of making the audiences get the aspect of 'love it or hate it' and see the knowledge of the joke for audiences to publicize their view on their love or hate of the product.

Narrative theory - example questions (catch up)

How do the representations in Figure 1 position the audience to desire the Patek Phillipe watch?

-idea it makes you the ideal family man

-lasts for generations - worth the investment

-something to hand down to his son - has significant value

Four theorists we can call on when exploring narrative in media products:

-Todorov – Equilibrium

-Propp – Familiar character types

-Barthes – Enigma and action codes

-Levi-Strauss – Binary opposition

How are representations of masculinity shaped by cultural and historical contexts?

Your answers should refer to the Patek Phillipe advert (Figure 1 – published 2014) and your Close Study Product, the Score hair cream advert (Figure 2 – published 1967).

-The representation of men in these adverts are a basic stereotype of them - men are meant to be seen as a good looking, attractive and strong.
-In Patek Philips watch advert it shows how a man is meant to look after the son and make him look like he is the dominant want
-shows a man providing the family with something while the women isn't not even represented in the advert - idea that if you purchase the product all problems are solved - dont even need wife/mother figure
-Score hair cream advert it shows that the man is over looking the women showing his dominance. -The low angle shot shows that the women are below that men.
The advert is there to attract men into buy something that degrades women

Narrative in advertising: Jonah Sachs

American writer Jonah Sachs has highlighted the importance of storytelling in advertising and marketing: 

“The story wars are all around us. They are the struggle to be heard in a world of media noise and clamour. Today, most brand messages and mass appeals for causes are drowned out before they even reach us. But a few consistently break through the din, using the only tool that has ever moved minds and changed behaviour – great stories.”

Women in advertising catch up (Kilbourne and Van Zoonen)

In contemporary 21st century western media, are women still conforming to the ‘media-created woman’ for a man’s pleasure?

-in many cases yes, as one of the first things you will notice when you look at this advert is a number of women dressed in barely any clothing which would appeal to men

-on the other hand, the women go against the typical representation of women/what is expected of them as they are of a slightly older age and body types that are usually under-represented are being shown in a positive light.

How were women represented in advertising in the 1950s? The 1970s? The 1990s?

1950's - a womans purpose is to cater to and please men, men are the breadwinner - goes to work while woman is a caring housewife. 'its a mans world' - sense of ownership, women have no freedom and must do as they're told.

1970's - aimed at housewives by suggesting that buying that tin of coffee would keep their husbands pleased and if they dont keep men satisfied they will be punished.

1990's - adverts link to mulveys male gaze - idea that women are there to be sexually attractive to men, purpose is to satisfy and meet their desires.


Jean Kilbourne: Killing us softly

She has been studying the image of women in advertising for over 40 years. Her series 'killing us softly' highlighted the negative representation of women in advertising.

She went on further to make documentaries studying this issue and whether it was changing over time.

Van Zoonen

She was one of the first theorists to explicitly link gender, feminism and media studies. She is a key figure in third wave feminism alongside theorists such as Butler and McRobbie.

Looking specifically at the representation of women from 70s/80s advertisements, she questioned how much things had really changed - although women in adverts were being shown to now have jobs, their appearance was usually still the vital element.

Like McRobbie, van Zoonen was particularly interested in the pleasures female audiences took from the womens magazines that were heavily criticised by more radical 70s style feminists.

Similarly to Butler, Zoonen sees gender as negotiated and dependent on social and historical context. She suggested that the meaning of gender is a 'discursive struggle and negotiation, the outcome having far-reaching socio-cultural implications' - 1994

Advertising and Marketing: Score Catch Up Work

Notes:

Hypermasculinity is defined as: a psychological term for the exaggeration of male stereotypical behaviour, such as an emphasis on physical strength, aggression, and sexuality.

Advertising in the 1950s-1980s often featured a hypermasculine representation of men – and some representations in the media today still continue this.

Joseph Gelfer, a director of masculinity research, suggests that the way masculinity is represented in advertising is changing. Looking at advertising over the last 20 years:

“Previously, masculinity was mostly presented in one of two ways: either a glamorous James Bond-style masculinity that attracted ‘the ladies’, or a buffoon-style masculinity that was firmly under the wifely thumb. 

Thankfully, and somewhat belatedly, things are beginning to change.” (Gelfer, 2017)

Gelfer suggests there are five stages of masculinity – how people perceive and understand what it means to be a man.

Stage 1: “unconscious masculinity” – traditional view of men

Stage 2: “conscious masculinity” – as above but deliberate

Stage 3: “critical masculinities” – feminist; socially constructed

Stage 4: “multiple masculinities” – anyone can be anything

Stage 5: “beyond masculinities” – it doesn’t exist 

Gelfer says advertisers need to think about how their target audience views men and masculinity when creating campaigns.

Score Advert

The Score hair cream advert is an historical artefact from 1967. It should be examined by considering its historical, social and cultural contexts, particularly as it relates to gender roles, sexuality and the historical context of advertising techniques. 

Context: 1967 can be seen as a period of change in the UK with legislation on (and changing attitudes to) the role of women – and men – in society. Produced in the year of decriminalisation of homosexuality and three years before the 1970 Equal Pay Act, the representation of gender could be read as signalling more anxiety than might first appear. The reference to colonialist values can also be linked to social and cultural contexts of the ending of Empire.

-women surrounding him, reaching out as if he is superior to them

-man holding weapon - has power over the women

-women wearing revealing clothing - mulvey's male gaze - idea women are there to be appealing to men

-text reinforces idea of masculinity, repetition to suggest that the product isnt for women and is not feminine in any way

-male physically placed higher up - suggests dominance/superiority.

Score advert and wider reading

Score hair cream advert

Answer the following questions to ensure you have a comprehensive textual analysis of the Score hair cream advert:

1) What year was the advert produced and why is the historical context important?

1967 - its important because during this period, views in society about women were starting to change, partly due to this be the period of third wave feminism.

2) Analyse the mise-en-scene in the advert (CLAMPS): how is costume, make-up and placement of models constructed to show male dominance?

-women dressed in sexualised hunting costume: short skirts, tied-up shirts and ammunition belts - links to Mulveys 'male gaze', suggesting a woman's purpose is to appeal to men
-women positioned reaching out to him suggests he is a significant figure and has dominance as he is also placed higher up
-the man is holding a a gun suggesting he is the dominant as he has power over their lives

3) The main slogan is: 'Get what you've always wanted'. What does this suggest to the audience and how does it reflect the social and cultural context of 1967?

-it suggests that the consumer can have anything they want if they use the hair product
-suggests that what men wanted in that time period was for women to want and desire them and chase after them.

4) Why is it significant that the advert text says it is "made by men" and that it also contains "Score's famous masculine scent"?

-it reinforces that it is targeted at men as well as reinforcing expectations and gender stereotypes in society at the time

5) What representation of sexuality can be found in the advert?

-the typical gender roles in society at the time are being portrayed by making the man a figure who is positioned as dominant and superior to the women who as submissive and chase after male attention.

6) How does the advert reflect representations of masculinity in advertising 50 years ago?

-it reflects how masculinity was something important to men at the time and they had to be the dominant figure. The advert shows this by having the man hold a gun - a phallic symbol to reinforce his masculinity.

7) How much do you think things have changed with regards to representations of masculinity in advertising?

-representations of masculinity are gradually beginning to change in advertising and is much less extreme than it used to be, as some brands are starting to use public figures to go against the 'norms', such as Covergirl, who recruited James Charles as one of their brand ambassadors. However, the way masculinity in advertising is represented is in some ways the same as it was 50 years ago as some advertisements still reinforce Mulvey's 'male gaze'. For example, perfume adverts often feature a woman who is dressed to look attractive and appeal to the male, who is typically in little clothing and has abs and big muscles.

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'"?

-we focus on girls more and the issues that effect them but dont usually look at the issues that could effect boys as it has become normal to brush it off and tell them to man up or just deal with it.

2) How has the Axe/Lynx brand changed its marketing to present a different representation of masculinity?

3) How does campaigner David Brockway, quoted in the article, suggest advertisers "totally reinvent gender constructs"?

4) How have changes in family and society altered how brands are targeting their products?

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?


Campaign: Why brands need to change

Read this Campaign article on 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?

- A glamorous James Bond-style masculinity that attracted ‘the ladies'
- A buffoon-style masculinity that was firmly under the wifely thumb.


2) What are the two reasons the writer Joseph Gelfer suggests for why this needs to change?

-The altruistic reason is that traditional masculinity causes problems, whether it be its impact on men’s wellbeing or on women and their equal representation in society. All brands need to do their part in making the world a better place, so looking at masculinity can really be seen as part of corporate social responsibility efforts.


-The self-serving reason is that masculinity is constantly shifting and brands need an equally agile response in order to engage with consumers and remain relevant and competitive. By repeating tired clichés or offering alternatives of only limited imagination, brands are in danger of failing on both these fronts

3) 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. They also tend to believe that masculinity is not biologically determined, rather socially constructed.

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. People at Stage 5 understand how masculinity operates at the other stages, but ultimately believe it to be an illusion that society has created to keep people in line

4) What stage of masculinity was the Score advert aiming at in 1967?


Stage 2

5) Why are the stages of masculinity important for companies and advertisers when targeting an audience?

It is important as it will kelp them know what products appeal to men and different types of men. It helps the advertisers keep up with the changing views of men and how masculine their products should be in order to appeal to consumers.

Advertising: Maybelline case study and wider reading

'That Boss Life' close textual analysis

1) Narrative & genre: narrative theory and sub-genre
-Propp - hero type role when they 'save' girl with mascara - gets her into the club
-makeover transformation
-Barthes action and enigma codes (eg: what is in the case? what are they going to do when they get in the car? action codes of applying the make up and sharing it)
-suitcase is important in storyline - glowing / gold

2) Cinematography: camera shots and movement
-extreme close ups of the eyes - fetishisation
-medium close ups of outfits showing before and after - allows you to see the change (makes us perceive product as transforming)
-repeated shots of product - strategy to make product stay in consumers mind and make the brand/product easily recognisable
-tracking shots of bag - adds to pace and build up
-establishing shot of setting - see hotel room and new york skyline - linking back to the brand where they are based - inspirational/desirable quality

3) Mise-en-scene: costume & props
-suitcase/trolly - idea of luxury - done to make product be seen the same way
-'ordinary' clothes first then switches to more glam costumes to show transformation/highlight the difference

4) Mise-en-scene: actors, setting, lighting and colour
-gold colour - idea of treasure/valuable
-bell boy - luxury lifestyle
-purple colour - regal/royalty, more gender neutral

5) Editing: pace, transitions and visual effects
-slow motion - throws mascara in air, mimicks throwing money - rich from having the product - suggests how much its worth
-when product is applied, editing is slowed down - more intense, get to see product and how it works in more detail

6) Graphics: text/graphics on screen
-logo on screen
-hashtag (that boss life) - social media promotion, allows awareness to be spread quicker
-repetition of slogan
-colloquial language - targets at younger audience, shows its more modern/relatable

7) Sound: dialogue, music and sound effects
-upbeat music, seem more modern
-background sounds of a club - suggests product is ideal when going to an event/need to be more dressed up

Maybelline 'That Boss Life': wider reading

1) Why was this campaign such a landmark for beauty product advertising?

Because 'not only has it teamed up with beauty influencers for the first time, this also marks Maybelline's first-ever partnership with a man as the star of a campaign.' This shows how Maybelline is breaking typical norms and expectations and showing their support to different movements and ideas.

2) What do the articles suggest regarding the changing representation of sexuality and masculinity?

They have made the act of male glamming feel somehow both revolutionary and a little more normal … because we still live in a culture where makeup is mostly associated with women. After decades of limiting makeup ads to women, beauty brands are finally getting the hint that makeup isn't just for girls; it's for guys too. Back in October CoverGirl named James Charles its first CoverGuy, and brands like Milk Makeup and Anastasia Beverly Hills have been featuring men in advertising campaigns and on social media for a more universal and inclusive approach to beauty.

3) Read this WWD article: Maybelline Taps Digital Makeup Influencers for New Mascara Campaign. Why might 'digital influencers' be so attractive to companies?

'Gutierrez and Mitchell share a combined Instagram following of 5.1 million followers and a YouTube subscribership of 2.5 million.' This means that their product can be recognised on a larger scale and people who support them are more likely to follow the brand and purchase their products, as when a product is associated with something you like, it encourages you to buy it.

4) Why do you think Maybelline chose to use MannyMua and MakeUpShayla in particular?

Because it shows that they are representing different groups in society, such as black people, gay people and those who have similar values as they do, who often go under-represented or are not always shown in a positive light when they deserve to. I think they also chose them as strategic business decision as they are of a similar age group that they are targeting with their products.

5) What does the WWD article suggest is the crucial factor for brands regardless of whether they use influencers or more traditional celebrities?

Some mass-market brands are eschewing the influencer route. Just this week, Revlon announced it was adding Gwen Stefani, a more traditionally established celebrity, to its ambassador lineup.

“It tends to be a younger brand attracting younger consumers for which the power of the influencers is really strong,” noted Liebmann.

In today’s consumer climate, said Liebmann, celebrities aren’t totally out — but it helps if they have a social media following.

“The real power today is if you have somebody recognizable who is also socially effective, a celebrity that has credibility [on social media]. Celebrities who live in this new world can become hugely powerful.”

Media Magazine: The Changing Face of Masculinity

Now go to our Media Magazine archive and read the feature 'The Changing Face of Masculinity' in MM63 (page 15). This will allow us to compare our two advertising CSPs - the Score hair cream advert and the Maybelline digital campaign. Answer the following questions:

1) What message does the article suggest the Score hair cream advert is trying to communicate to the 1967 audience?

The advert is using female sexuality to show men they can have power: you can conquer, you will be desired.

2) How does the article suggest the Score hair cream advert uses narrative to sell the product?

In the 1960s, print advertisements tended to rely more on photography reassuring the target audience that it’s ‘made by men’. This might address any hesitation the average male might have about purchasing grooming products: no women were involved in the creation of this product, it is solely for men, it smells manly and using it will not feminise you in any way.

3) What 1967 stereotypes does the article suggest the Score hair cream advert reinforces?

It reinforces the stereotype that men are superior and have the power to dominate women - who are there to please men and appeal to their needs, which would also support Mulvey's idea of the 'male gaze'.

4) Applying Stuart Hall's reception theory, what does the article suggest the preferred and oppositional readings could be for the Score hair cream advert?

Preferred reading - using this hair cream will give you everything a man would want, admiration and good looks. It will also make you more masculine and successful.

Oppositional reading - some people might believe that the advert is generalising masculinity and portrays masculinity as something as simple as being the breadwinner and having dominance over women. In 1967 homosexuality was decriminalised, - people still did not agree with this so it can be seen that the ad is trying to promote the traditional depiction of masculinity and what it is to be a man.

5) Moving on to the Maybelline advert, why is the background of Manny Gutierrez and Shayla Mitchell significant?

You can see the New York skyline which links specifically to the brand as it represents the city in which they are based. New York also ties into the idea of following your dreams and is known as being a place full of opportunities and the fact that Maybelline uses two social influencers from minority groups in the city suggests the product they are advertising can be life changing and will allow you yo access new opportunities.

6) What is the narrative of the Maybelline advert?

That the product is transforming and something that is luxurious and can instantly make you look more glamorous. The advert also shows that they are an inclusive brand and their products are designed and suited to a range of consumers and their needs.

7) What does the article suggest the Maybelline advert's message is?

The article suggests that the Maybelline advert message is to empower the youth, make them feel special and glamorised. Also, the slogan of this advert is to "lash like a boss", so no matter if you are male or female you can still have the power to "lash like a boss" if you use their product.

8) The final section of the article focuses on masculinity. What do the Score advert and the Maybelline advert suggest regarding the changes in society and media between 1967 and 2017?

There has been a significant change in views and attitudes towards masculinity as advertisements now are starting to become more inclusive by representing minority groups. In the 60s the views in society were much more traditional and suggested that masculinity equals superiority whereas the Maybelline advert is empowering hyper-masculinity and the youth.

Representation of women in advertising

1) How does Mistry suggest advertising has changed since the mid-1990s?

Since the mid-1990s, advertising has increasingly employed images in which the gender and sexual
orientation of the subject(s) are markedly (and purposefully) ambiguous.

2) What kinds of female stereotypes were found in advertising in the 1940s and 1950s?

Looking at women's magazines in the 1950s, Betty Friedan (1963) claims this led
to the creation of the 'feminine mystique': 'the highest value and the only real commitment for
women lies in the fulfilment of their own femininity. The highest good is keeping house and raising
children' (Millum, 1975:74).

3) How did the increasing influence of clothes and make-up change representations of women in advertising?

There was also a second major area of expansion in production/consumption - clothes and make-up
- which led to women being increasingly portrayed as decorative (empty) objects (Winship, 1980:8;
Busby & Leichty, 1993:258). A poignant example of where this occurs is in perfume advertisements;
according to Diane Barthel, one of the most common images here is that of the 'fair maiden'. Taking
Figure 1 as an example, the innocent female is equated with flowers and nature: 'what is
communicated is the sense that any rude contact with reality might spoil the maiden's perfection.

4) Which theorist came up with the idea of the 'male gaze' and what does it refer to?

Laura Mulvey came up with the male gaze and suggested that scopophilia (the basic human sexual drive to look at other human beings) has been 'organised' by society's patriarchal definition of
looking as a male activity, and being looked at as a female 'passivity'.

5) How did the representation of women change in the 1970s?

From the mid-1970s there was a proliferation of distinct images that became labelled as the 'New
Woman', and that were seen as representative of the 'changing reality of women's social position
and of the influence of the women's movement' (van Zoonen, 1994:72). The New Woman was
supposed to be 'independent, confident and assertive, finding satisfaction in the world of work and
recreation, seeking excitement, adventure and fulfillment' (Cagan, 1978:8).

6) Why does van Zoonen suggest the 'new' representations of women in the 1970s and 1980s were only marginally different from the sexist representations of earlier years?

van Zoonen asserts that the New Woman 'only departs marginally from her older, more
traditional sisters.' Deconstructing an advertisement promoting the 'Jenni Barnes Working Style'
range of clothing, van Zoonen points to its claim that: 'A woman should look forward to dressing for
the office.' Having a job is seen merely to provide 'another happy occasion for women to dress up
and present themselves.' Indeed, a woman 'is portrayed stepping confidently towards the camera in
an office environment observed by a male colleague from behind; but she is not portrayed actually
working' (1994:73).

7) What does Barthel suggest regarding advertising and male power?

Barthel notes that 'today's young women can successfully storm the bastions of
male power... without threatening their male counterparts' providing we can reassure them that,
underneath the suit, we are still 'all woman', that 'no serious gender defection has occurred'
(Barthel, 1988:124-125; Davis, 1992:50). In other words, that there is no real threat to male power.

8) What does Richard Dyer suggest about the 'femme fatale' representation of women in adverts such as Christian Dior make-up?

Another dubious image of the New Woman is the 'dark lady': on the other side of innocence and romance, is the knowledge and sexuality of the daring femme fatale (Barthel, 1988:76). The message in Figure 5 is that women can use Christian Dior make-up to make themselves sexually attractive - and that her sexuality is for her own enjoyment. Richard Dyer however, claims that such images are
something of a misrepresentation of women's liberation.

MIGRAIN: Ideology final tasks

MM52
Page 34: The World Of Mockingjay: Ideology, Dystopia And Propaganda

1) Read the article and summarise it in one sentence.

It shows the use of propaganda in the media and what ideological views are created in the capitalist society.

2) What view of capitalist ideology is presented in the Hunger Games films?

It suggests that there is a social structure based on class and the upper class have the power and dominance to control the working class as the marxist theory shows how the
ruling class keep the poor under control through civic means; armies of‘Peacekeepers’ are sent to control each district and to punish anyone who tries to defy the authority.

3) What do the Hunger Games films suggest about the power of the media to shape and influence ideological beliefs?

Since Catching Fire, much has changed in regards to power, society and the media. The lines
between the powerful and powerless are more blurred than ever, and although the Capitol still holds most of the power, it is slowly crumbling as people in the Districts begin to stand together and respond to the need to fight against the society that has been set in stone for all these years.

Page 48: They Live - Understanding Ideology

1) Read the article and summarise it in one sentence.

It explores what is meant by ideology and how it changes, looking at the way it influences us and how we as consumers are controlled and manipulated by it.

2) What are the four accepted ideological beliefs in western societies highlighted by the article?

-Good should overcome evil
-Law is better than disorder
-Pleasure is a goal in life
-People should work hard for their money

3) What does Gramsci's theory of hegemony suggest about power and ideology in society?

Italian Marxist philosopher Antonio Gramsci introduced the concept of hegemony, and its role in social control. Gransci defined hegemony as an important way in which those in power maintain their control through consent, rather than the use of force. He argued that the power of ideology derives primarily from ideas and structures which support, and thus serve the purpose of, an elite social group which is able to dominate through ideas, rather than militaristic strength or fear.

4) What does French theorist Louis Althusser suggest about ideology and consumerism?

1: Repressive State Control, also known as ‘Repressive State Apparatuses’ (RSAs) through the major institutions of society – the Government, Army, Police, Courts, etc. – which are dominated by the ruling elite. These state agencies regulate social behaviour and repress the masses through violence, punitive law, and fear.

2: ‘Ideological State Apparatuses’ (ISAs), such as the Church, the media, educational institutions, the family unit etc. These looser institutions control and dominate implicitly through ‘common sense’ acceptance and social norms, rather than through fear. This echoes Gramsci’s concept of hegemony, by which ideology’s power derives primarily from consent as opposed to the use of force.

5) Do YOU agree with the idea behind They Live - that we are unthinkingly controlled by the media which is run in the interests of the economic elite?

I agree as i think that they use the media as a distraction, leading us to believe that we are in control of our lives, when in fact we are performing the way they want us to as we have to work and earn everything that we have. The media is also used to reinforce different beliefs in order to shape and persuade our perspective.

Narrative in advertising: blog task

1) How does the advert use narrative? Apply at least three narrative theories to the text, making specific reference to specific shots or key scenes in the advert.

The advert uses Barthes theory of action codes such as when the girl is being recorded, resulting in more people seeing her play which leads to the next narrative arc of the boy playing hockey. Propp's character theory is also presented as we see a number of hero roles, which would be the people playing the sports, as well as villains which would be things such as the girls family that she has to fight. There also a range of obstacles throughout the video that the sports players must overcome. Lastly we see Todorov's theory of equilibrium, such as the boy who plays hockey, as the equilibrium would be going about his day to day life, followed by the disequilibrium of having no team to play with or against, finishing with the new equilibrium of him playing as every role himself and leading to the next story.

2) Read this BBC feature on some of the people in the advert. How does the advert use celebrities and less well-known people to create stories in the advert?

The advert uses celebrities alongside less well-known people in order to convey the message that 'ordinary' people can become just like people that they might look up to when they buy Nike products. They also use celebrities so that there are familiar faces to attract consumers to the advert, as well as using less well known people so that the audience can relate to them. The advert intertwines some of these figures to show the similarities between them regardless of whether they are famous or not and highlight things that they share a common interest with.

3) Read this AdWeek feature and interview on the Nike London advert. How did the advert use technical codes (camerawork, mise-en-scene, editing etc.) to help create narratives that could connect with the audience?

'For the basketball scene, we used a 360° camera that allowed us to reframe the way we wanted in post and create some interesting distortions. It was convenient to represent how crowded is the place where he plays. For the dunk, we used three cameras to create a stereoscopic move. It was convenient to convey the feeling of hardship with all those balls around.' This shows how they used different angles and shots in order to capture the ambience of the setting and represent it on camera in a way that felt realistic.

4) What representation of London does the advert offer?

The advert provides an accurate, realistic representation of London as it shows different elements of life in London and each part of the advert is thought through carefully to make the scenes link to eachother while maintaining their relevance to how London is in real life. London is also represented as a diverse city as a number of people from different backgrounds are shown and includes people of different ages.

5) Why might this advert appeal to an audience?

This advert appeals to audiences because it is realistic, therefore making it relatable to a variety of different people who may be able to identity with one or more actor. Audiences may also like the fact that it is a true representation of London and represents them in a positive light.

Binary Oppositions and Ideology

1) What examples of binary opposition can you suggest from watching this clip?

-working class vs middle/upper class
-open country vs closed country
-racism vs anti racism
-disabled vs disabled
-civilians vs politicians
-freedom vs restriction

2) What ideologies are on display in this clip?

In this clip we see the ideology that the working class are at a disadvantage and are worse off compared to middle/upper class as the rich have more power where as the working class face more restrictions and are inferior to those that are more wealthy.

Ideology and your own choice of clip

1) What examples of binary opposition can you suggest from watching your clip?

-hero vs villain

-powerful vs weak

-supernatural vs human 

-safety vs danger

-security vs fear

2) What ideologies are on display in your clip?

There is the ideology of good and evil as there are a group of people (heroes) who have to protect and save the civilians from the villains, another ideology shown in the clip is the binary opposition of safety vs danger.

Representation Theory - David Gauntlett

1) What is collective identity? Write your own definition in as close to 50 words as possible.

Collective identity is primarily based around a group (collection) of individuals who share a similar set of traditions and values and generally have a similar understanding of their surroundings. Groups may also share similar common interests and experiences.

2) Complete the task on the factsheet (page 1) - write a list of as many things as you can that represent Britain. What do they have in common? Have you represented the whole of Britain or just one aspect/viewpoint?

-The Queen / Royal family
-Red telephone/post box
-Fish and chips
-Union Jack flag
-Big Ben
-London eye
-Buckingham palace

3) How does James May's Top Toys offer a nostalgic representation of Britain?

It offers a nostalgic representation of Britain as they are from a certain time period meaning they are not used or known by children / the youth of todays society, so people who used to have these toys feel a sense of nostalgia as they remind them of the past and represent how things have changed over the years.

4) How has new technology changed collective identity?

New technology has allowed people to interact with people from all over the world and actively engage with the content of the culture around them and then go on to use it as resources for their own cultural productions. It also offers passive audiences the opportunity to voice their own opinions on platforms such as YouTube.

5) What phrase does David Gauntlett (2008) use to describe this new focus on identity?

'identity is complicated and everyone; thinks they have got one'

6) What does Gauntlett suggest about creativity and identity?

Gauntlett argues that there is a shift from a ‘sit-back-and-be-told culture’ to a ‘making and-doing culture’, and that harnessing creativity in both the internet and in other everyday creative activities will play a role in changing how a collective identity is created.

7) How does the Shaun of the Dead Facebook group provide an example of Henry Jenkins' theory of interpretive communities online?

The key aspect of this group is the fact that the collective identity created is one which has no national barriers to the understanding of the cultural identity created. The creation of this group conforms to the following ‘repeated’ view from Henry Jenkins: ‘fan genres grew out of openings or excesses within the text that were built on and stretched, and that it was not as if fans and texts were autonomous from each another; fans created their own, new texts, but elements within the originating text defined, to some degree, what they could do’.

Representing ourselves

1) Read the article and summarise each section in one sentence, starting with the section 'Who are you?'

Who are you? - we are all involved in constructing an image to communicate our identity, there is a difference between the person we think we are, the person we want to be and the person we want to be seen to be.

I think, therefore I am - In the past our identity was based around factors such as class, religion, gender and the predetermined roles - we were part of a number of collectives and self-image was based on the success we had at meeting the expectations.

The rise of the individual - In the 20th century, people began defining themselves as individuals, and so wanted to express their ‘difference’ and ‘uniqueness’, they were empowered by being encouraged to ‘be themselves’.

From citizen to consumer - The consumer boom was based on convincing people that it was no longer enough simply to buy what you needed to survive, it was about creating desires.

Branding and lifestyle - Branding is the association of a ‘personality’ with a product, for example advertisers sell the personality rather than the product, so that people will choose products that match their own self-image.

Who will we be? - Consumers have control over the way they represent themselves across different social networking sites.

2) List five brands you are happy to be associated with and explain how they reflect your sense of identity.

3) Do you agree with the view that modern media is all about 'style over substance'? What does this expression mean?

i agree as in todays society people are more interested at the way something looks or appears rather than the quality or contents of something. People typically prioritise the exterior rather than what something actually represents.

4) Explain Baudrillard's theory of 'media saturation' in one paragraph. You may need to research it online to find out more.

This theory explores the idea of hyperreality which is when the media creates and idealised representation of reality which causes us to feel bad when our own lives dont match up to the fake reality that is portrayed across different platforms.

5) Is your presence on social media an accurate reflection of who you are? Have you ever added or removed a picture from a social media site purely because of what it says about the type of person you are?

No, because although i use different social media platforms i dont often post anything myself but when i do it is a fairly accurate representation of myself.
6) What is your opinion on 'data mining'? Are you happy for companies to sell you products based on your social media presence and online search terms? Is this an invasion of privacy?

I think it is an effective way for brands to advertise and sell their products and also benefits the consumer as it offers them something that they will like, however can be an invasion of privacy as some people may not be comfortable with their data to be so easily accessed.

Feminist Theory

Media Magazine reading

1) What are the two texts the article focuses on?

Pan Am and Beyonce

2) What examples are provided from the two texts of the 'male gaze' (Mulvey)?

Beyonce - claims to be an 'independent' woman but gives into the male gaze by exposing herself and presenting herself as a 'sex object' on camera.

Pan Am - appeals to the male gaze as it heavily focuses on womens appearance and how they should in order to be considered attractive

3) Do texts such as these show there is no longer a need for feminism or are they simply sexism in a different form?


They show that there is still a need for feminism as women are still being objectified and are still expected to look a certain way in order to be accepted by society and the idea that they are there to please men still exists.

4) Choose three words/phrases from the glossary of the article and write their definitions on your blog.

Male Gaze – The gaze referring to Laura Mulvey’s seminal article ‘Visual Pleasure and Narrative Cinema’ which argues that main stream Hollywood films subject female characters to the ‘male gaze’ of the camera, fragmenting and objectifying their bodies.

Post-feminism – An ideology in culture and society that society is somehow past needing feminism and that the attitudes and arguments of feminism are no longer needed.

Third wave feminism – Was a movement that redefined and encouraged women to be dominant and sexually assertive.

Music video analysis

1) How might this video contribute to Butler’s idea that gender roles are a ‘performance’?

It reinforces the beliefs in society that women should dress and behave in a manner to please men by being a good housewife.

2) Does this video reinforce or challenge the view that women should perform certain roles in society?

It challenges this idea as the video is made to mock this view as the lyrics and over exaggerated performance suggest that even if you conform to all the expectations in society it doesnt define how attractive you are.

3) Would McRobbie view Beyonce as an empowering role model for women? Why?

I think she would view her as empowering as the video mocks and challenges the view that women should perform certain roles in society shows women that they do not have to conform to these expectations.

4) What are your OWN views on this debate – does Beyonce empower women or reinforce the traditional ‘male gaze’ (Mulvey)?

I think that Beyonce empowers women as she uses her fame and platform to inspire others and encourage them to not accept societies expectations and shows how they are unrealistic and are not valid in the real world.

January Assessment Learner Response

1) -Good attempt under the circumstances: satisfactory responses
    - be fully prepared and arrive for the test on time

Q1 - synergy - allows companies to maximise profit from a brand (e.g. Harry Potter) by branching
out into other platforms, merchandise or products.
Q2 - Unique funding model for BBC and Channel 4 means channels don’t need to chase
audiences/high ratings and PSB remit means subjects are covered and people are
represented that otherwise may be ignored by commercial broadcasters. (for)
Q3 - 'mean world syndrome' / Hypodermic needle theory – largely discredited but perhaps becoming relevant again in era of ‘fake news’ and echo chambers. This would also support idea media has damaging effect on audiences.

3) 2

4) i identified three different strategies and their benefits but need to make sure the benefits i give are different for each one.

5) could have added points about how channel 4 reinvests profits back into programmes which raises quality and benefits audiences. could have also explained how BBC and Channel 4 shouldn’t produce popular programmes such as Strictly Come Dancing as this is unfair on commercial broadcasters struggling to survive in the digital age. Instead PSB channels should focus on programming that isn’t profitable so therefore not produced by commercial rivals.

6)Dependency theory – this could support the idea that the media is having a damaging effect
on audiences. Rokeach and Defleur said audiences were becoming dependent on the media
in 1976 – it could be argued it is even more true today. Studies in recent years have raised
concerns over young people and social media use. If audiences become dependant on the media this could have a negative impact of their lives as they may also develop the mean world syndrome - having a negative and more fearful viewpoint of real life events. This could then lead to a moral panic, suggesting that the media has a damaging effect on audiences.

Introduction to feminism

Case study: Everyday Sexism

1) Why did Laura Bates start the Everyday Sexism project?

She had thought about some of her own experiences where she had been sexually harassed but continued as if it hadn't happened and got on with life as normal. When she asked other women if something similar had ever happened to them all of them said yes, however none of them did anything about it either as they believed it is normal behaviour, or some felt stupid to report it and it wouldnt be taken seriously.

2) How does the Everyday Sexism project link to the concept of post-feminism? Is feminism still required in western societies?

It links to the concept of post-feminism as it looks at how women are still facing harassment and a lack of respect in a number of different environments and this happens on a daily basis.

3) Why was new technology essential to the success of the Everyday Sexism project?

It was essential to the success of this project as it provided women with a place to feel explain incidents they have faced instead of keeping it to themselves and has offered people a safe place where their voices can be heard and supported. It also helped women across the world to realise that the sexual harassment they are facing isnt acceptable and should not be considered as 'normal'.


4) Will there be a point in the future when the Everyday Sexism project is not required? What is YOUR view on the future of feminism?

I think the feminist movement will continue to grow and there may come a point where it is not needed as much as it is today, however i think it could be a long time until it is not needed at all as harassment is something that can be difficult to eliminate entirely as you cant control the actions of every person all the time. I think that even if it is not required to as much of an extent in the future it is still something that is useful as it provides women with a platform to speak on and


Media Magazine: The fourth wave?

1) Summarise the questions in the first two sub-headings: What is networked feminism? Why is it a problem?

The new fourth wave of feminism is also known as ‘networked feminism’. It aims to tackle social
equality issues found both on, and using, modern technology.

2) What are the four waves of feminism? Do you agree that we are in a fourth wave ‘networked feminism’? 

• First wave feminism - the late 19th to early 20th century, main focus on suffrage.
• Second wave feminism - began in the 1960s - 1980s, focusing on the growth of equal pay rights which led to the Equal Pay Act in 1970.
• Third wave feminism - (post feminism) began in the late 90s until 2008, focusing on diversity
• Fourth wave feminism - (networked feminism) 2008 until now, aims to tackle social equality issues, sexual harassment and assault.

3) Focus on the examples in the article. Write a 100-word summary of EACH of the following: Everyday Sexism, HeForShe, FCKH8 campaign, This Girl Can.

Everday Sexism - it was created by Laura Bates so that women could post their own experiences of sexual harassment or assault as she found that almost every woman experienced this on a daily basis. It was created as women usually didnt want to talk about it because they felt ashamed, stupid or like it wouldnt be taken seriously and is considered as something normal to expect in everyday life.

HeForShe - it was set up by Emma Watson and she expresses how gender equality is just as much as issue for males as well as females. She points out that feminism isnt about promoting matriarchy, but promoting solidarity. It is about how gender equality effects people socially, economically and politically and it aims to 'actively involve men and boys in a movement that was originally conceived as "a struggle for women by women".'

FCKH8 - it focuses on the way girls are represented in the modern day and looks at the inequalities that they face, highlighting societies imbalance when it comes to offences.

This Girl Can - Seen as the first fitness campaign. Shows videos and photos of women without the sexual exploitation of women's fitness adverts and doesn't feature body shaming.

4) What is your opinion with regards to feminism and new/digital media? Do you agree with the concept of a 'fourth wave' of feminism post-2010 or are recent developments like the Everyday Sexism project merely an extension of the third wave of feminism from the 1990s?