AS Lesson 9 - old age
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The document discusses negative stereotypes of older people that are common in media representations. It notes that older people are often portrayed as poor, forgetful, antisocial, incapable of work, in ill health, and difficult. One study from 1993 found that older people were often shown as being forgetful and difficult in TV sitcoms. Another study from 2004 showed that just 1.5% of US TV characters were elderly, usually in minor or comic relief roles that played on ineffective mental, physical, and sexual capacities. However, some research has also found more positive portrayals emerging of older women in advertising as the population ages and older people represent a growing market segment.
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The document defines key terms related to ethnicity and representation of ethnic groups in media, including:
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The document discusses representation of ethnicity in media texts. It outlines two media theories - Alvarado's theory of four key themes in racial representations which are exotic, dangerous, humorous and pitied. It also discusses tokenism as the practice of limited inclusion of marginalized groups to create an appearance of inclusion rather than discrimination. Specific stereotypes associated with African Americans are also mentioned such as being represented as blue collar workers.
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This document summarizes several theories about how audiences interact with and are influenced by media: Bulmer & Katz described escapism, personal companionship, identity, and surveillance; Gerbner & Gross discussed how media shapes audiences' worldviews, including inaccurate perceptions; Hall argued audiences interpret media based on social factors; Coleman suggested media influences behavior; and Anderson described how the internet enabled targeting of niche audiences over mass audiences.
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The document discusses several theories related to collective identity and audience reception of media. It addresses how media representations of young people as threats to society can influence audience perceptions and the construction of social identities. Theories discussed include copy cat behavior, encoding/decoding theory, social identity theory, and how passive consumption of negative media portrayals can widen gaps between social groups.
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This document provides 12 examples of potential coursework titles and assignments for an AQA A2 media studies course. The examples focus on topics like reality television, representations of authority in film, the popular press, violence in media, documentaries, music and moral panics, popular genres like hospital dramas and Doctor Who, and the contemporary popularity of the zombie genre. Each example includes a suggested coursework title or research question and proposes a linked media production, such as a news article, film sequence, or advertisements, to accompany the written work.
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The document discusses representations of children and youth in various media. It analyzes characters in South African and international children's television fiction, finding that males overwhelmingly play heroic roles while females are often younger, slighter helpers who are rescued. Advertisements in popular magazines also depict gendered differences, showing boys as more active and girls in domestic spaces. Print news media tends to portray youth as needing rescue, dangerous, or beyond help. The document calls for nurturing children's critical media literacy skills through production instead of just consumption.
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This powerpoint focused on the images children view and how it shapes the way they live their lives. I recommend discussion about the topic rather than ignoring the problem.
AS Media Studies - Section A - answering the question
The document provides information on analyzing representations in media texts, including:
- Representations of gender, age, ethnicity, sexuality, class, ability can be stereotypical.
- It identifies common stereotypes of different groups, such as the helpless elderly, criminal youth.
- Textual analysis examines camerawork, editing, sound, and mise-en-scène to understand how representations are constructed.
- Questions may ask to analyze one or more of these technical elements in a provided media extract.
SociologyExchange.co.uk Shared Resource
The document discusses media representations of masculinity and how they have changed over time. It notes that boys see men in media as violent, angry, leaders, and problem solvers. This portrayal of masculinity as only strength and aggression is considered an "ideological myth." In the 1980s, magazines aimed at men started portraying them as emotionally vulnerable, caring about their appearance, and treating women as equals. However, representations of masculinity in media remain contradictory, with both traditional macho images and newer caring images circulating in popular culture.
Sexist media: the presence of gender stereotypes in US advertisement
The way women are portrayed in US’ advertisement changed, but it’s still sexist and women are still marginalized by the media. In the old days, advertisers related women with beauty, childcare and domestic works. Nowadays, there’s more pressure to avoid content that influences gender inequality - despite this, we can find many ads that stereotype women, mostly showing them as sexual objects.
https://bit.ly/sexistmedia
Media Representation of Women- Gender Studies.pptx
Historically, media representations of women have often been limited to stereotypical roles such as caregivers, homemakers, or romantic interests. Women are frequently objectified and sexualized in media portrayals, reducing them to their physical appearance and reinforcing narrow beauty standards. This can contribute to body image issues, low self-esteem, and unhealthy relationships among women and girls.Women are often underrepresented in media, particularly in leadership roles, STEM fields, and other traditionally male-dominated areas. When they are represented, they may be portrayed as exceptions or tokens rather than as fully developed characters with agency and complexity.Media representations of women often intersect with other aspects of identity such as race, ethnicity, sexuality, and disability. Intersectional analysis reveals how these intersecting identities shape women's experiences and opportunities in media portrayals. Women from marginalized groups may face additional layers of stereotypes and discrimination.Feminist scholars, activists, and media watchdogs have long critiqued the representation of women in media and advocated for more diverse, inclusive, and empowering portrayals. This includes initiatives to increase the visibility of women's voices and stories, challenge stereotypes, and promote media literacy and critical thinking among audiences.Overall, media representation of women plays a powerful role in shaping societal attitudes and perceptions. Efforts to promote more diverse, authentic, and inclusive portrayals of women are essential for challenging gender stereotypes, promoting gender equality, and fostering a more equitable and inclusive media landscape. While there have been some improvements in recent years, including the emergence of strong female characters in film, television, and literature, significant challenges remain. Women continue to face systemic barriers to equal representation and opportunities in media industries, including issues of pay equity, workplace harassment, and lack of access to decision-making roles.
Intro to g325 Section B
This document discusses representations of youth identity in media. It begins by asking the reader to consider examples of media that represent or are identified with youth from the past five years. It then presents two quotes about youth from different eras to show that concerns about youth behavior are not new. The document outlines five structuring points for examining how media represents youth and how youth use media to form collective identities. It discusses the role of outsiders like media and adults in constructing identities for youth groups and how youth must accept these identities. The document analyzes factors like subculture representation and alienation that are common in media portrayals of youth.
SociologyExchange.co.uk Shared Resource
This document discusses media representations of different age groups and how they have changed over time. It notes that in medieval times, children had low status but are now more prominent in families. It outlines common stereotypes of life stages as helpless/innocent children, irresponsible youth, responsible adults, and vulnerable elders. The document also summarizes studies that found children portrayed mostly in commercials, elders underrepresented in media at 2.3% despite being 11% of the population, and youth often depicted negatively as a "problem".
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This study examined people's perceptions of images of women in advertisements and their impact on brands. It surveyed 500 respondents in Bangalore on their views of how women are portrayed in ads and whether these portrayals affect purchasing decisions. The results showed that most respondents felt women were depicted as alluring decorative objects in ads. Respondents also agreed that ads usually portrayed women in domestic or caretaking roles. However, respondents indicated that the images of women in ads did not significantly impact their decisions to purchase a particular brand if they were otherwise satisfied with it.
Similar to AS Lesson 9 - old age (20)
AS Media Studies - Section A - answering the question
AS Media Studies - Section A - answering the question
Sexist media: the presence of gender stereotypes in US advertisement
Sexist media: the presence of gender stereotypes in US advertisement
Media Representation of Women- Gender Studies.pptx
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This document discusses themes of genre, narrative, representation, gender, age, ethnicity, nationality, social class, and immigration as depicted in the film Paddington. It analyzes how the film represents these concepts through characters like Paddington the bear, the Brown family, Mr. Curry the neighbor, and Millicent. It also examines how the film potentially challenges xenophobic attitudes towards immigrants expressed by some characters.
Lesson 10 - TV comedy mindmap Q4a & 4b
This document discusses two comedy channels and their differences in terms of being public service broadcast or commercial, their target audiences in terms of size, demographics, and socioeconomic factors. It also covers scheduling techniques for each channel including any differences in appeal based on weekday versus weekend as well as primetime versus post-watershed content. Specific programming examples are provided for each channel.
Lesson 9 - TV Comedy Q4b mark scheme
The document provides guidance for answering a question about how two television programs provide different audience pleasures, noting that higher levels require detailed examples from both programs for multiple pleasures discussed, while lower levels may cover fewer pleasures or only one program but still require some understanding of pleasures; it also provides two sample student answers with examiner comments on why they received the marks awarded.
Lesson 8 - TV Comedy Q4a mark scheme
This document provides the mark scheme for a question asking students to discuss the scheduling of two TV comedies. It outlines four levels of response with criteria for level of knowledge, use of terminology, understanding of industry contexts and channels, and quality of writing. It provides examples of student answers and explains why they would receive certain marks based on the level descriptors. The document is intended to help students understand what is required to achieve different marks for this question.
Lesson 7 - TV Comedy - Question 4b case study
This document provides guidance for a case study assignment on TV comedy programs. Students are instructed to photocopy and complete a handout comparing the different pleasures offered by two comedy programs, citing specific examples and episodes. The document outlines what higher, middle, and lower level answers should include, such as identifying and contrasting a range of pleasures like humor, narrative elements, and audience gratification. Students are advised to discuss pleasures, provide examples from episodes, and demonstrate understanding of how the programs differently please audiences.
Lesson 6 - TV Comedy audience pleasures
The document contains information about assignments that are due, including coursework, posters, evaluations, and homework. It discusses which students need to submit which assignments and provides instructions for the homework assignment, which involves analyzing two TV comedy programs in terms of their scheduling and how they provide different audience pleasures. The document contains sample questions and criteria that could be used to evaluate the homework.
Lesson 4 - TV Comedy audience
Here are 3 key terms I have learned today and could explain to the class:
1. Demographics - The classification of individuals or groups by age, gender, income, location and other socio-economic factors used to identify audience segments. Demographics provide basic attributes about a population but do not capture beliefs, values or motivations.
2. Maslow's Hierarchy of Needs - A theory developed by Abraham Maslow proposing that people are motivated to fulfill basic needs before moving on to other needs. The hierarchy typically displays these needs as physiological, safety, love, esteem and self-actualization needs that must be satisfied sequentially. This theory is used in advertising to appeal to different needs.
3. Young & Rubic
Lesson 3 - TV Comedy - Channels and scheduling
E4's branding emphasizes being "beautifully random, joyously daft and generally not taking things too seriously." OFCOM regulates all broadcasting channels in the UK to ensure they follow guidelines. Public service broadcasting (PSB) channels like the BBC are required to provide quality programming that reflects UK diversity and mixes genres, while avoiding repeated shows. Commercial channels primarily aim to attract large audiences to sell expensive advertising slots. Television scheduling strategies carefully plan what programs air when to target specific audiences.
Lesson 1 - TV Comedy idents
This document provides guidance and instructions for a media studies exam section on TV comedy. It outlines that Section B is worth 30 marks and will have two questions: 4(a) discusses the scheduling of one or two comedy programs on channels and 4(b) how the programs offer different pleasures to audiences. Students should be prepared to contrast two texts or discuss one text in detail using media key concepts. They should choose comedy programs from contrasting broadcasters like BBC1 and E4 to discuss how the programs link to the channel branding and audiences. The homework assigns watching two comedy programs, one from a mainstream channel and one from a younger channel, to use as case studies in the exam.
Lesson 2 - TV Comedy PSB
The document discusses different types of broadcasters in the UK including the BBC, Channel 4, and commercial stations. It explains that the BBC and Channel 4 have a public service broadcasting (PSB) remit where they aim to inform, educate, and entertain the public, while commercial stations solely aim to attract audiences to sell advertising. The BBC is publicly funded through television license fees, Channel 4 is publicly owned but commercially funded through advertising, and commercial stations are solely funded by advertising. There is ongoing controversy around funding models and whether the television license fee should continue.
Lesson 12 - Question 3 exam practice
The document provides a mark scheme for evaluating responses to a question about representation of characters in an extract. It outlines four levels of performance from 1 to 4, with level 4 being the highest. For level 4, the response would explore at least one representation issue thoroughly with examples from the text and clearly expressed ideas. Level 3 requires identification of one issue with understanding of representation and use of evidence. Level 2 describes representation aspects with some understanding and evidence. Level 1 shows minimal understanding of representation without using the concept of stereotyping and offers little evidence.
Lesson 11 - Action Adventure ethnicity and buddy movies
This document provides a rubric for assessing responses to questions about representation in media extracts. It outlines four levels of response with varying criteria for understanding, evidence, and writing quality. The highest level demonstrates thorough understanding of representation issues, offers a range of evidence, and is written clearly with few errors. The lowest level shows minimal understanding, minimal evidence, and ideas obscured by errors. Sample questions are provided about characters, genres, and technical elements used to create effects.
Lesson 10 - Female representation in Action Adventure films
The document discusses female representation in films and provides examples of how female characters can be categorized as empowered, sexually objectified, or stereotyped. It also includes a marking scheme for assessing answers on female representation with four levels of achievement.
Lesson 9 0 Action Adventure Representation
This document discusses representation and gender roles in action-adventure films. Traditionally, these films are aimed at male audiences and depict exaggeratedly masculine male heroes and stereotypical female characters. Women are often shown as damsels in distress or empowered but still sexually objectified. The camera will linger on women's bodies to gratify the male audience in what is called the "male gaze." However, some films now feature stronger female leads, though representation of men and women still tends to rely on stereotypes that enforce patriarchal expectations of gender roles.
Lesson 8 - Action Adventure archetypes
This document discusses the concept of an anti-hero in storytelling and asks the reader to identify which of several characters could be considered an anti-hero. It defines an anti-hero as a protagonist who lacks traditional heroic traits like idealism, courage, and morality. It also prompts the reader to name 3 archetypal heroes and explain why they fit that category.
Lesson 7 - Action Adventure jeopardy analysis
This document discusses key techniques used in action adventure films to create spectacle, jeopardy, and suspense. It outlines various special effects like models, makeup, stunts, and CGI. Conflict and combat scenes are examined, including fist fights, martial arts, and realistic portrayals of violence. Speed and motion are achieved through editing techniques and diegetic/non-diegetic sound. Jeopardy and suspense are generated by placing likeable characters in threatening situations and ending scenes on cliffhangers. The reader is tasked with providing examples of films that exemplify these concepts and analyzing how film techniques fit the action adventure genre in a sample clip.
Lesson 6 - Action Adventure jeopardy and suspense
The document discusses several key concepts related to narrative structure and genre analysis for action adventure films. It includes definitions of hybrids and sub-genres. It lists the 5 stages of narrative structure developed by Vladimir Propp and the 7 common character types identified by A.J. Greimas. It notes that Claude Levi-Strauss identified the key term "conflict" which drives narratives. Finally, it prompts analysis of how elements like soundtrack, camerawork, editing, and mise-en-scene are used to create effects fitting the action adventure genre.
Lesson 3 - Action Adventure Sub genres
The document discusses six sub-genres of action adventure films: fantasy, disaster, historical, quest, thriller, and swashbuckler. For each sub-genre, it provides examples of movies, common narrative conventions, and codes/iconography. Key information provided includes common elements of fantasy films like imaginary worlds and creatures, disaster films involving impending catastrophes, historical films set in real time periods, quest films involving searches, thriller films with suspense and deception, and swashbuckler films with sword fighting. The document encourages adding to a table summarizing each sub-genre.
Lesson 2 - Action adventure films intro
Here is a thriller sub-genre development of the blurb:
An elite team of CIA agents track a terrorist bomber in Antarctica in a race against time, because the sun is about to set for six months, leaving the killer in total darkness. With the bitter cold and harsh conditions working against them, the agents must use all their espionage skills to find the killer before he disappears without a trace. Iconography of the thriller sub-genre is evident with the focus on suspense as the agents work to outwit the terrorist in a remote icy location before the killer can vanish in the darkness, keeping vital information secret from the audience. It's a high stakes game of cat and mouse as the countdown to nightfall begins.
Lesson 1 Action Adventure Films - Exam requirements
This document outlines the course structure and content for a film studies course. It discusses that the course consists of three parts: an individual portfolio, an exam, and a production portfolio. It provides details on the exam, including that it will focus on action adventure films and TV comedy, last 1 hour and 45 minutes, and contain questions testing knowledge of genre, textual analysis, representation, institutions, and audience. It also introduces some key concepts to be covered, such as defining the action adventure genre and examining genre codes and conventions.
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AS Lesson 9 - old age
- 1. Make a list of all the words you would use to describe people over the age of 60
- 2. To identify how old age is represented in the media
- 3. Cohen (2002) Argues that young people are relatively powerless and an easily identifiable group to blame for society’s problems, Young (typically) African Caribbean males are often used as scapegoats by the media to create a sense of unity through the creation of moral panic (society’s common enemy), Media generated moral panics based on stereotypes means that all young people from a specific group get labelled as troublemakers and an antisocial problem group.
- 4. What about old people? What do you think ? How do you feel older people are stereotyped in the media ?
- 5. Older people Presented in the media in quite negative ways, Suffer from negative stereotypes more than any identifiable group, Usually represented as being poor, forgetful, antisocial, incapable of work, in ill health, difficult and grumpy.
- 8. Key theorist Biggs (1993) Found that old people were represented in the media TV sitcoms as being forgetful and difficult, Cuddy and Fiske (2004) Showed that in the US TV portrayed just 1.5% of its characters as elderly with most of them in minor roles, Usually appeared on TV as a figure of fun and comic relief usually based on ineffective mental, physical and sexual capacities.
- 9. Gender differences Male Represented as sexual partners of younger women (Clooney, Heffner, Willis) Political or religious leaders (Mandela) Successful business people ( Branson, Murdoch) Experts, authoritative journalist, and commentators. Female Seen as invisible as they are expected to remain youthful and forever young. Lack of positive roles.
- 10. Szmigin and Carrigan (2000) Study of the views of advertising executives in 19 London agencies, Types of products and services which could appropriately be represented by older people, Agencies wary of using models which they believe might alienate pupils.
- 11. Szmigin and Carrigan (2000) Growing number of people in the populations have changed advertising, More older women with money to spend (the grey pound), Increase of positive images of ageing and positive roles for older women, Conglomerates pursuit of the older people’s market.
- 12. Visual example .... http://www.youtube.com/watch?v=vilUhBhNnQc Write a response to the following statement: Representations of the women in this ad challenge media stereotypes of age and gender
- 13. Feedback
- 14. Benidorm Explore the ways in which the extract constructs the representation of age using the following micro elements: Camera shots, movement, angles and composition Editing Sound Mise-en-scene Finish for homework: http://www.youtube.com/watch?v=hD_NI7ZyMy4#t=1 03