Buckingham's theory suggests that media do not offer transparent reflections of reality but constructed versions intended to maintain dominance. When applied to representations of youth, the media historically constructed unrealistic and subjective portrayals to avoid "chaos" and promote social control, but have become more reflective over time as they challenge dominant ideologies. Examples from films in the 1950s-90s like Rebel Without a Cause showed carefully constructed extremes of youth behavior to create moral panic, while more recent films like The Selfish Giant offer more balanced, realistic reflections that lessen dichotomies between youth and adults. While media still portray some youth subcultures and deviance, they now also provide context and seek to build understanding between audiences and youth.

1. Media representations are just reflections of the reality. Not the constructions or distortions. Discuss to one
or more group(s) of people.
Buckingham’s theorysuggests that the media do not just offer us a transparent ‘window on the world’ but a
mediated version of the world in order to maintain hegemony. When applying this theory to the collective
identity we have studied which is youth, it can be argued that this theory is correct as the media have been
responsible for creating unrealistic and subjective representations of youth with the purpose to avoid
‘chaos’ and ‘corruption.’ However, the media have become less constructive and more reflective when
representing youth over the years due to them being more critical on dominant ideologies and challenging
what is the actual ‘right’ way to live and behave.
During the 1950steenagers were flourishing in prosperity after World War Two and they were able to live
more independently with their disposable income. This new way of living and rise of deviance shocked
adults and the concept of teenagers thinking for themselves and creating their own style was threatening.
The media was a key source of inspiration for youth as it was a way, as Tajfel and
Turner’s social identity theory states, that youth were able to identify themselves and started to construct
youth representations- leading to adult fears and moral panic.
In (Rebel Without A Cause), the loud theatrical music, dramatic acting and violent behaviour construct an
extremelynegative representation of youth. The subculture shown through the large colourful jackets and
styled hair symbolises he deviancy of youth and making them dichotomous against the adults. This can be
supported by Acland’s theory which explains that this contrast between youth and adults construct the idea
of what is ‘normal’. The tilting camera shots of the arguing scene between the young protagonist and his
parents create a sense of chaos and corruption. The low key shot of the knife scene makes them superior
and threatening. This use of camera work makes youth seem like theyneed to be protected from society as
Acland’s’ ideology of protection theory states. Similarly in (Quadrophenia) set in the 1960s, the subculture
of mods collectivised in a mass riot further demonstrates the out-of-control youth representation and in the
90s, (Trainspotting) has shown youth evolving from violence to drugs and not fitting the ‘proper’ lifestyle. All
of these historical examples show the carefully constructed representations of youth with the purpose to
create a distance between the audience and the collective identity being presented. This then makes the
audience fear youth and moral panic is created. Therefore theyare constructions rather than reflections.
However, when focusing on contemporary case studies, we are able to realise that the media have
weakened their rigid construction of youth and have reflected more on the truth behind youth. This can be
shown through the film (The Selfish Giant). Instead of the media just portraying a troublesome and corrupt
representation of youth, they also show the reasons why youth are that way and create a closer relationship
between youth and the audience. The dichotomous relationship between youth and adults lessens by the
end of the film and we are able to witness the embrace of the young anti- hero and the victim’s mother. The
scene ends the film to conclude that youth and adults must unite despite their differences. The media also
elaborates on this realism as its genre is a social commentary. Unlike in (Rebel Without A Cause), there is
extremelyminimal music to avoid distraction between the audience and the collective identify being
presented. The absence of music opens space for interpretation and doesn’t sway the audience to act or feel
in a specific way. However, it can be argued, due to Hebdige’s theory, that youth are always seen as
troublesome to some extent.However, his behaviour is made to be understood by the audience by
emphasizing the poverty stricken, grey, damp setting of Bradford. The lack of awareness for the
protagonist’s ADHD and the corrupt families victimise youth and therefore we sympathise with them.
Therefore the media is able to create a more realistic and reflective representation of youth because of the
more liberal attitude of them modern time and its desire to show multiple aspects of youth opposed to a
narrow one.
This can also be further identified through contemporary television shows such as (Misfits), (Top Boy) and
(Waterloo Road). All of these media textscontain a subculture possessed by youth to continue the concept
of deviancy. The bright orange jumpsuits worn in (Misfits) iconically presents their criminal collective
identify and plays on the stereotype that all youth are criminals. (Top Boy) also demonstrates this through
their black leather jackets and in (Waterloo Road), all students have personalised their own uniform to
highlight their independence and their desire to oppose adults and other authorities…