RESEARCH

1. Theorists Research and KeyConcepts, Contextual Research – [1.1,1.2]
In this document, I have compiled detailed notes on theorists, theories as well as key
conventions that will help me when creating my final project. In this research, I have
also been able to utilise my GCSE Media Studies work which includes key points in
creating a media product and also analysing it.
I have also included audience classifications research, so that I am already
considering and constantly thinking about my target audience, even If it hasn’t been
fully defined and outlined in detail.
As I am going to try and use film and print in my FMP, the theories I have studied will
discuss both types.
In all my different ideas there is one common factor which is that ‘social media
influencers’ would be used to help promote. As my ideas are all.
Practitioners/Social Media Influencers
Niki Demar
Dear popular retail stores, a
message for you;
In this YouTube video by influencer
Niki Demar, she explores the
difference between Guys and Girls
clothing.
Specifically, one of the brands she
uses as an example is Urban
Outfitters. In this video she is
criticising how clothing brands
stereotype with genders and makes
the point which she consistently
refers back to being ‘guys have
better graphic shirts with better
quality’ and ‘girls = pink and flowers’ making the argument that the girls’ clothing is
very basic and doesn’t really step out of the box in comparison to boys clothing.

2. Theorists Research and KeyConcepts, Contextual Research – [1.1,1.2]
Looking at Demar’s Instagram, there is a
common theme of bright colours
contrasting with her vibrant red hair. In
terms of the style of her Instagram,
creative is an understatement. From the
different types of photos, to the layout and
presentation, Demar’s Instagram is very
aesthetically pleasing to an audience.
Niki Demar also creates music:
https://open.spotify.com/artist/6YsltkujF8WzkCRM9S5vy5
Her music allows her to open up about emotions that she struggles to put directly
into words and also allowing her to connect with her fanbase more, as well as people
outside of her following
The reason as to why I have chosen this specific influencer is because she steps
outside of the box in terms of the conventional YouTube and is described by many
as having ‘no-filter’. She is an advocate for mental health, whilst being very open
about her own struggles mentally without worrying about the repercussions and
backlash she may face. By doing this, she is seen as a positive influence on people
as she doesn’t view the world in ‘rose-tinted glasses’ and telling the world when she
is having a bad day.
Cindy Sherman


3. Theorists Research and KeyConcepts, Contextual Research – [1.1,1.2]
 Sherman is a contemporary master of socially critical photography
 Sherman turned to photography towards the end of the 1970s in order to
explore a wide range of common female social roles, or personas.
 Turning the camera on herself in a game of extended role playing of fantasy
Hollywood, fashion, mass advertising, and ‘girl next door’ roles and poses,
Sherman ultimately called her audience’s attention the powerful machinery
and make-up that lay behind the countless images circulating in an
incessantly public, ‘plugged in’ culture.
 Sherman utilises the camera and various tools of ‘everyday cinema’, such as
makeup, costumes, and stage scenery, to recreate common illusions or iconic
‘snapshots’ that signify various concepts of public celebrity, self-confidence,
sexual adventure, entertainment, and other socially sanctioned, existential
conditions
 In the vast majority of her portraits, she directly confronts the viewer’s gaze
Pamela Hanson
 Hanson is one of the first women to succeed in fashion photography. With
over 20 years of experience, she has become an ‘irreplaceable part of the
photography community’
 She has an impressive list of clients including Vogue, Victoria’s Secret,
Harpers Bazaar.
 Her photos are bright, emphasizing her models’ natural skin textures
 Her photos also add that candid feel to them, making them appear more
natural
 She has directed several video and television commericals for clients
including Estée Lauder, Elizabeth and James, Avon etc.
 Hanson has also received a reward from the Association of Independent
Commerical Producers (AICP) for her “Family Stories” short documentary, a

4. Theorists Research and KeyConcepts, Contextual Research – [1.1,1.2]
public service announcement collaboration with The Partnership at
Drugfree.org.
 She photographs a variety of styles from editiorial, advertising, personal and
even landscape also, showing her as a talented photographer who is not
stuck to one style of photography
Mia Regan
https://thetab.com/uk/2020/01/03/who-is-mia-regan-romeo-beckham-girlfriend-
136454
 Mia Regan is a model for Storm models
 Her Instagram: @mimicoocher. She currently has …. Followers as of January
2021. The reasoning behind the username is linked back to her nickname
Mimi/Mooch by her friends and family. Her Instagram frequently features
festival pics, exotic places and also commonly brand sponsorship; edited in a
vibrant and creative way
 Mia is currently in a relationship with footballer David Beckhams son, Romeo
Beckham and have been ‘Instagram official’ since September 2019. They
were first spotted together at Victoria Beckham’s fashion show after-party
dinner. Mia has also made an impression on the Beckham clan, she creates
cute collages, and Victoria also shares some of her latest creations to her
Instagram. She even had her modelling her new collections.
 In a Q&A on her Instagram, Mimi was asked where she’s from, to which she
responded ‘Chip, near Bath
Looking at Brands
Urban Outfitters
The reason as to why I have
chosen Urban Outfitters as one of
the brands to research is
because the company was one of
my original inspirations in terms
of brands based off their social
media presence, how they
advertise to their audience and
promote themselves across
different platforms.
 Owned by retail-industry giant URBN – who also own Anthropologie and Free
People, Urban Outfitters has over 2003 stores across the United States,
Canada and Europe. However, as on of the North America’s top retailers, it is
easy for consumers to be swept up in the hype of the brand, rather than
reflect upon its commitment to suitability and ethical practice. Dockrill, M.
(2020). How Ethical Is Urban Outfitters. Available:
https://goodonyou.eco/how-ethical-is-urban-outfitters/. Last
accessed 7th Jan 2021.
Their Ethical Representation

5. Theorists Research and KeyConcepts, Contextual Research – [1.1,1.2]
https://goodonyou.eco/how-ethical-is-urban-outfitters/
 They use some renewable energy in its direct operations to reduce its climate
impact, but no meaningful action has been taken to reduce or eliminate
hazardous chemicals. There is also no evidence it implements water
reduction initiatives. (Environmental Impact)
 Despite having a policy stating that Urban Outfitters does “…not knowingly
carry products that use cotton originating from Uzbekistan”, in 2014 it received
the lowest score possible on a survey conducted by the Responsible Sourcing
Network that measured action taken by brands to ensure cotton originating
from Uzbekistan was not used in its products. There is also no evidence that
Urban Outfitters supplies its workers with a living wage. (Labour Conditions)
 There is no evidence UO has an animal welfare policy, while it does not use
fur, down, angora, or exotic animal skin, it does use leather, wool and exotic
animal hair from unspecified sources. There is no evidence it traces any
animal products to the first stage of production. (Animal Welfare)
https://www.urbn.com/our-brands/urban-outfitters
 Founded in 1970 in a small space across the street from the University of
Pennsylvania
 “We share our customers’ interests and values, representing community at all
times by offering inclusion in social media, events, community involvement,
and entrepreneurial opportunities.”
 “Offering a mix of in-house and branded product and covering apparel,
accessories and shoes, UO Women’s provides a fashion destination for
customers who define their own sense of style”
 “With a focus on lifestyle and culture, UO Men’s presents a continuously
updated mix of premium basics and on-trend fashion pieces, featuring denim,
exclusive collaborations, limited edition sneakers, graphics and accessories.
Theories and Media Concepts
Forms and Conventions: Media Language (Mise-en-scène, Camera, Editing,
Sound, Anchoring), Narrative and Genre
Audience: Those who consume the media text
Institution: Those who make the media texts
Representation: How the institution presents people, places and events in the world
through the media text

6. Theorists Research and KeyConcepts, Contextual Research – [1.1,1.2]
On the right, here is a list
with diagrams of different
types of shot, which can
be used in both print and
film pieces. This will help
me in creating my
product as it gives me an
idea of what each type of
image will look like, and
what it will present to the
audience.
Mis-en-scène
The arrangement of properties, scenery in an image. A French word for ‘what is in the frame’
Code and Definition Example What it might suggest
Setting
The place where the media
text takes place will be
loaded with meaning either
for the story or the product
being advertised
 Inside (bedroom)
 Outside (garden)
 Time/Period
 Feeling trapped,
closed in
 Open air, freedom
 When and where
(history)
Props
A prop is not there just
because it has to be. Props
are carefully chosen. They
should tell you something
about the person/people in
the image.
 A racer
 Unicycle
 Mountain Bike
 Fast, sporty, in a
hurry
 Performer, show-off,
funny, extrovert
 Tough, durable,
adventurous
Non-Verbal Communication
All people in an image are
actors. Every expression they
put on and every position
 Facial Expressions
 Slouching
 Stiff
 Sad/Happy, confident,
scared
 Lazy, relaxing, good
for nothing

7. Theorists Research and KeyConcepts, Contextual Research – [1.1,1.2]
they take is put there to mean
something.
 Prim, proper, or on
edge
Dress/Costume/Make-Up
A dress or costume is what
actors are clothed in and it
will signify something about
them, the character or
product they are advertising.
Make-up is whatever is
applied to the face or hands
to add meaning to the
character or product being
advertised
 Glasses (thick
framed)
 Jewellery
 Make-Up (heavy)
 Make-Up (light)
 Glasses (small)
 Sturdy, long lasting,
old-fashioned
 Suggest affluence, or
maybe cheapness
 Posing
 Take care to show
natural beauty
 Wise, studious
Colours
Colours carry their own
meaning. You must
investigate the meaning of
the colours when analysing
the image
 Red
 Green
 Blue
 Brown
 Gold
 Purple
 Poision, danger, lust
 Envy, jealousy
 Happiness, cold
 Warm, natural, dull
 Affluence, warmth
 Royalty, velvet soft
Todorov’s theory of narrative
Tzvetan Todorov studied fairy tales and came up with the following narrative theory:
1. Equilibrium – a state of normality
2. Disruption – an even disrupts the normality
3. Recognition – the hero recognises the disruption.
4. Complications – the hero meets problems in trying to restore the equilibrium
5. New Equilibrium
Levi-Strauss binary opposites
Strauss claimed thar stories can only exist with binary opposites, which are elements that are
against each other, for example:
Macro binary opposites
 Hero – Villain
 Protagonist – Antagonist
 Motivator – Observer
 Empowered – Victim
Micro binary opposites
 Woman – Man
 Beauty – Ugly
 Strong – Weak
 Decisive – Indecisive
 Articulate – Inarticulate
 Old – Young
 Rich – Poor
Audience Segmentation Models and Theories
Audience
There are two concepts to understand when looking at audiences,

8. Theorists Research and KeyConcepts, Contextual Research – [1.1,1.2]
 Construction – This is where an institution devises a product that should appeal to a set
audience
 Consumption – This is the actual watching, listening or buying of the product
Advertisers’ Social Grades
Class Description % of population
A – Thriving
1
2
3
Wealthy achievers, suburban areas
Affluent greys, rural communities
Prosperous pensioners
15.0
2.1
2.6
B – Expanding
4
5
Affluent executives, family areas
Well-off w orkers, family areas
4.1
8.0
C – Rising
6
7
8
Affluent urbanites, tow n and city areas
Prosperous professionals, metropolitan areas
Better of executives, inner city areas
2.5
2.3
3.8
D – Settling
9
10
Comfortable middle-agers, mature, home-ow ning
areas
Skilled w orkers, home-ow ning areas
13.6
10.7
E – Aspiring
11
12
New homeow ners, mature communities
White-collar w orkers, better off multi-ethnic areas
9.6
4.0
F – Striving
13
14
15
16
17
Older people, less prosperous areas
Council estate residents, better-off homes
Council estate residents, high unemployment
Council estate residents, greatest hardship
People in multi-ethnic, low -income areas
3.6
10.8
2.8
2.3
2.0
Grade Social Class Chief Income Earner’s
Occupation (% of
Pop.2008)
A Upper Middle Class Higher managerial,administrative,
or professional (4%)
B Middle Class Intermediate managerial,
administrative or professional
(23%)
C1 Lower Middle Class Supervisory or clerical and junior
managerial administrative or
professional (29%)
C2 Skilled Working Class Skilled manual workers (21%)
D Working Class Semi and unskilled manual
workers (15%)
E Those at the lowest levels of subsistence Casual or lowestgrade workers,
pensioners and others who
depend on the welfare state for
their income (8%)
Psychographics (the psychological state of the consumer)
Group Description % of Population
Belongers Traditionalists, cautious, conforming
conservatives, nest builders, stay at
homers, interest in pension plans,
insurance
33%

9. Theorists Research and KeyConcepts, Contextual Research – [1.1,1.2]
Emulators Smaller, more impressionable, young.
Identity seekers, lack self-confidence,
confused and vulnerable. Advertisers
prey on their insecurities by offering
them role models and hero’s and
reassurance of group acceptance and
friendship
15%
Emulator - Achievers Materialists, acquisitive consumers,
favour designer labels, consumer
goods as evidence of accomplishment,
success and good taste.
20%
Socially Conscious
Achievers
Greying hippies, children of the 60s,
concerned more w ith personal
fulfilment, against conspicuous
consumption, conscious of
environment, scepticalof advertising
20%
Socially Conscious Type A This group is concerned about how
their actions affect the world around
them. They w ant to make the w orld a
better place; recycle, drive fuelefficient
cars etc. They w illresponse to
messages about making a difference
to the society or the environment
Socially Conscious Type B This group has given up on humanity.
They are self-sufficient and w illnot
respond to messages about products.
Need-Directed Minimum w age earners or receiving
benefits. Mainly concerned w ith
survivalthan consumption. Advertisers
not interested in this group. No
expandable income
15%
Lifestyle Types
Here are some different lifestyle types to consider when creating my product
Type Definition
Admiration Seekers People who wish to have products that make others admire
them
Pleasure Seekers People who look for products to give them a sense of
excitementor buzz
Security and Stability Seekers People who search for products that will give them a sense of
stabilityand security(e.g., insurance and mortgage protection)
Anti-Authority Rebels People who seek products that will give them a sense of being
different and going againstsociety’s norms.
Joiners People who buy products that make them feel accepted in
society.
Generation X People who don’tknow what they wantand don’tcare so will
aim to buy any product
Materialists People who buy products that only have material value
Complainers People who are cynical aboutany productand believe that all
products don’twork as well as they should do
Do-Gooders People who always try to do good deed to make themselves
feel good aboutthemselves
Achievers People who are well off and have achieved a lot in their jobs
and can afford the expensive products/brands
Experimentalists People who don’tmind taking a risk on a new product that
society hasn’treallystarted using yet
Working Class Puritans People who are keen on saving and will only buy products that
are essential,notluxurious.
Struggling Poor People who have very little income so can only afford the cheap
versions ofall products
Resigned Poor People who accept they can’t even afford the cheap versions of
products
Maslow’s Hierarchy of Needs

10. Theorists Research and KeyConcepts, Contextual Research – [1.1,1.2]
This theory has been very much linked to how advertisers target the wants and needs of their
target audience by appealing to them on as many levels as the pyramid has,
For example, Coca Cola can fulfil the psychological needs of level 1, but the social acceptance
that comes from drinking Coke Zero could appeal to those on level 3. In addition, Diet Coke
consumers could be drinking the sugar-free drink to help boost their self-esteem at level 4 to try
achieving the self-actualisation of being fit and healthy.
Self-Actualisation
The need to succeed and become what you wish to be
Esteem
Self-esteem, status, respect and admiration
Love/Belonging
The need to belong to a group
Safety
Personal security (jobs, friends)
Psychological
Food, shelter, etc.
Uses and Gratifications
The Uses and Gratification theory is used to analyse why people interact with/consume media
products
Personal Identity
Our lives may be reflected in the text (we may see
a storyline or an incident that has happened to us
at some point in our lives or at the same time)
Diversion, Escapism, Entertainment
The text may help us escape from reality for a
while (almost like a safety valve from the
frustrations of daily life)
Personal Relationships, Social Interaction
We may treat the text as a friend, or a discourse in
our life (the regularity of EastEnders helps
audiences build a relationship with the programme
Surveillance, Information
A text may give us information about a particular
issue/subject
Secondary Audiences
Primary Audience
 Your main target audience
Secondary Audience
 Who will also engage with the product as a secondary.

11. Theorists Research and KeyConcepts, Contextual Research – [1.1,1.2]
Advertisement Theories
These theories illustrate how and why advertising is effective in influencing the customers’ behaviour
and accomplishing its objectives. There are various theories on advertising and most of them
propagate that the success of advertising is controlled by the main practices being carried out which
include frequent brand exposure and repetitive advertising.
The Mediation of Reality
 Advertisements are successful when they are integrated with other media and environments
in which they are completely submerged. Example: In a GUESS advertisement, Paris Hilton
steps down the helicopter escorted by a helper or a boyfriend rolled into one. She manifests
the expression of wealth and glamour, playing her private life out in public as a governess,
model, and reality TV star. The ad blurs the boundaries between reality and a dream
Shifting Loyalties
 Ads mirror changing loyalties. They prompt customers to shift their loyalties and to disown
their current ones for often a relatively new brand in the market. Example: Changing customer
loyalties from Colgate, a brand which one has been uses since ages to Close-up after
watching an exciting ad on television which revealed advantages of using close-up healthier
gums and whiter teeth
The Image of the Meaning
 Advertisements carry on a strong message with a meaning instilled in them. Ads touch our
values, emotions, and the underlying beliefs. In 1962, a cultural theorist Raymond Williams
explained how advertising had swept the goal of selling goods and is more associated with
teaching social and personal values, which is promptly entering politics too. Advertisements
are organised magic’s that hide the real intention of selling the house, which is to sell a
product to make profits. Example: Insurance companies sell their retirement plans, showing
benefits they provide in your environment.
The Hidden Message
 Certain ads misrepresent and misguide the consumers. Packard declared that advertising is
threatening since it uses psychology to form emotionally loaded messages and as the
messages are hidden, the viewers critical resilience is dodged and minimized.
Imitative Desire

12. Theorists Research and KeyConcepts, Contextual Research – [1.1,1.2]
 Advertisements tend to act upon the prospect’s mind. It’s been observed that people usually
have the desire of becoming others, especially when the other person is famous, beautiful or
powerful. But the reality is it’s impossible for someone to become like another. However, this
impossibility keeps the desire alive in all of us. The soul of the ritual is that people work in
communities through imaginative projection towards others.
Advertising Theories in Media & Product Testing
 Ever since the rise of mass communications in the early 20th century, marketers, advertisers,
and communicators have based much of their campaign strategies on a central assumption:
the premise that advertising convinces and persuades consumers of the products they should
buy. A dominant model of this strategy for the past century has been the AIDA model,
outlined formally by Timothy Joyce (1967). Attention – Interest – Desire – Action. The AIDA
model assumes that consumers are rational; that they become aware of a brand or category,
take an interest in how the brand can benefit them, recognise their desire or fit based on the
brand’s offerings, and then take action in the form of a purchase or consumption. The model
falls into the Cognitivist, or Strong Theory, of consumer behaviour because it relies on the
belief that customers are thinking, evaluating, and acting intentionally through a linear,
cognitive purchase process. Because it is seen in the Strong Theory as having the power to
change attitudes, advertising is perceived to be persuasive and convincing enough to move
non-purchasers to start using a brand.
Advertising Theory
This theory book provides detailed and current explorations of key theories in the advertising
discipline. It gives a working knowledge of the primary theoretical approaches of advertising, offering
a comprehensive synthesis of the vast literature in the area.
It has been developed as a forum in which to compare, contrast, and evaluate advertising theories in
a comprehensive and structured presentation. Chapters provide concrete examples, case studies,
and readings written by leading advertising scholars and educators.

13. Theorists Research and KeyConcepts, Contextual Research – [1.1,1.2]
Representation Theory
 Representation refers to the construction in any medium (especially the mass media) of
aspects of reality such as people, places, objects and so on.
 The easiest way to understand the concept of representation is to remember that watching a
TV programme is not the same as watching something happen in real life. All media products
re-represent the real world to us; they show us one version of reality, not reality itself. So the
theory of representation in media means thinking about how a particular person or group of
people are being presented to the audience.
 Representations require interpretation – we make judgements about them based upon our
own experiences and backgrounds.
 The way certain groups of people are represented in the media can have a huge social
image. For example, would people’s attitudes to asylum seekers change if they were
presented differently in the media.
 When media producers want you to assume certain things about a character, they play on
existing representations of people in the media. But also, they can change the way certain
groups are presented, and thus change the way we see that particular group.
The Hypodermic Needle Theory
 Dating back to the 1920s, this theory was the first attempt to explain how mass audiences
might react to mass media. It is a model that suggests that audiences passively (active and
passive audience theory) receive the information transmitted via a media text, without any
attempt on their part to process or challenge the data
 This theory suggests that, as an audience, we are manipulated by the creators of media texts,
and that our behaviour and thinking might be easily changed by media-makers.
Contextual Statement
 How are the people you researched influential to you? What do you like about them? What
specific work/scenes/programs do you like and why?
 Why did you look at the research (books/theories) that you did?
 Why are you making the project you currently considering? What attracted you to doing it?
Have you ever done something like this before? Is it related to what you want to do in the
future?
 How could Covid affect your work? What will you do if we are in full lockdown at Production
time?
The people I have researched are influential to me because of the impact they have on their
audience. For example Niki Demar, by her going against the ‘status quo’

14. Theorists Research and KeyConcepts, Contextual Research – [1.1,1.2]
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Hanson, P. (Unknown). Pamela Hanson. Available from
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