This document discusses how representations of class are portrayed in reality television shows, specifically structured reality (SR) shows. It begins by providing context on the history and current state of social class in Britain. It then examines how class is depicted on British television generally and in the emerging genre of SR shows specifically. The essay will analyze two contemporary British SR programs, Made in Chelsea and Desperate Scousewives, to explore how they represent the upper and working classes and what insights they provide about how class is portrayed in televised reality shows.
This document discusses classical Hollywood cinema and how it compares to alternative cinema of the same time period. It defines key elements of classical cinema like the 3 act structure, editing for continuity, and representation of time and space. It provides examples of classical films like Casablanca and notes how Psycho diverged as an "alternative cinema" by killing its lead character. In conclusion, it argues that classical storytelling serves as a base for modern films and will continue to influence cinema going forward.
This document discusses the distribution and promotion of the film "I, Daniel Blake" by Ken Loach. It was distributed in the UK by eOne Films and targeted working class audiences through partnerships with newspapers like the Daily Mirror and events coinciding with political conferences. The film's promotion generated discussion of its social themes and political messages. It was promoted as a film addressing issues of importance to many citizens and was very successful commercially and critically, winning several awards in the UK and internationally.
The history of cinema can be broken down into seven ages:
1) The Pioneering Age from 1896-1912 saw the development of early motion picture technology and short films without narratives.
2) The Silent Age from 1913-1927 featured the emergence of Hollywood and use of techniques like camera movement to develop stories.
3) The Transition Age from 1928-1932 was when films moved from silent to adding synchronized sound.
4) The Hollywood Studio Age from 1932-1946 was dominated by major studios producing genre films.
5) The Internationalist Age from 1947-1959 saw the decline of studios and rise of challenges from foreign films and television.
6) The New Wave Age from 1960-1980 was defined
This document provides an overview of Hollywood from 1910-2009 in decade increments. Some of the key events and developments highlighted include:
- DW Griffith directing early masterpieces like The Birth of a Nation in the 1910s that helped establish Hollywood.
- The 1920s saw the rise of the studio system and the transition to sound films with The Jazz Singer.
- The 1930s was Hollywood's golden age of studio dominance producing iconic films.
- World War 2 patriotic films dominated the 1940s but blacklisting impacted the industry in the 1950s.
- Independent films rose in popularity in the 1960s-70s challenging the studio system.
- Blockbuster franchises like Star Wars renewed cinema in the 1970
Film began in 1895 when the Lumière Brothers invented the Cinématographe and projected some workers leaving a factory, creating the first motion picture. Early silent films showed daily routines and lives but later films used imagination and special effects to tell fantasy stories. Title cards were used to explain dialogue and pianos provided background music. The first sound film was 1927's The Jazz Singer starring Al Jolson, who sang six songs. Color films emerged in 1932, starting with Walt Disney's animated short Flowers and Trees. The first cinema opened in 1905 in Pittsburgh as the Nickelodeon with 96 seats.
Curran and seaton industry and ownership 2020 part 1KBucket
Curran and Seaton argue that the media is controlled by a small number of large companies that are primarily driven by profit and gaining power for their owners. This concentration of ownership limits diversity in media productions. While making money is understandable for businesses, the concern is when profit is prioritized over other responsibilities. Newspapers in particular have become more focused on promoting certain political views that benefit their owners' business interests, even when the papers themselves operate at a loss, allowing owners to gain influence beyond financial returns.
Karl Marx was a 19th century German philosopher who developed influential social and political theories about capitalism and class struggle. Some key aspects of Marxist theory discussed in the document are:
- Society is divided into classes based on relationships to economic systems like capitalism.
- Ideology perpetuates existing power structures by making them seem natural.
- Works of art and media reflect the class interests of their time and can challenge or maintain the status quo.
- Material conditions directly impact people's lives and analyzing these is important for understanding society and enacting positive change.
The document summarizes the history and development of movies from the late 19th century to recent years. It describes key events and innovations such as the invention of motion picture cameras in the 1890s, the first film shown by the Lumiere brothers in 1895, the contributions of early innovators like Georges Melies, the rise of Hollywood studios and blockbuster films, and the influence of events like the World Wars and technology changes. Major movie eras and genres are outlined along with influential directors, actors, and films from each period.
This document discusses classical Hollywood cinema and how it compares to alternative cinema of the same time period. It defines key elements of classical cinema like the 3 act structure, editing for continuity, and representation of time and space. It provides examples of classical films like Casablanca and notes how Psycho diverged as an "alternative cinema" by killing its lead character. In conclusion, it argues that classical storytelling serves as a base for modern films and will continue to influence cinema going forward.
This document discusses the distribution and promotion of the film "I, Daniel Blake" by Ken Loach. It was distributed in the UK by eOne Films and targeted working class audiences through partnerships with newspapers like the Daily Mirror and events coinciding with political conferences. The film's promotion generated discussion of its social themes and political messages. It was promoted as a film addressing issues of importance to many citizens and was very successful commercially and critically, winning several awards in the UK and internationally.
The history of cinema can be broken down into seven ages:
1) The Pioneering Age from 1896-1912 saw the development of early motion picture technology and short films without narratives.
2) The Silent Age from 1913-1927 featured the emergence of Hollywood and use of techniques like camera movement to develop stories.
3) The Transition Age from 1928-1932 was when films moved from silent to adding synchronized sound.
4) The Hollywood Studio Age from 1932-1946 was dominated by major studios producing genre films.
5) The Internationalist Age from 1947-1959 saw the decline of studios and rise of challenges from foreign films and television.
6) The New Wave Age from 1960-1980 was defined
This document provides an overview of Hollywood from 1910-2009 in decade increments. Some of the key events and developments highlighted include:
- DW Griffith directing early masterpieces like The Birth of a Nation in the 1910s that helped establish Hollywood.
- The 1920s saw the rise of the studio system and the transition to sound films with The Jazz Singer.
- The 1930s was Hollywood's golden age of studio dominance producing iconic films.
- World War 2 patriotic films dominated the 1940s but blacklisting impacted the industry in the 1950s.
- Independent films rose in popularity in the 1960s-70s challenging the studio system.
- Blockbuster franchises like Star Wars renewed cinema in the 1970
Film began in 1895 when the Lumière Brothers invented the Cinématographe and projected some workers leaving a factory, creating the first motion picture. Early silent films showed daily routines and lives but later films used imagination and special effects to tell fantasy stories. Title cards were used to explain dialogue and pianos provided background music. The first sound film was 1927's The Jazz Singer starring Al Jolson, who sang six songs. Color films emerged in 1932, starting with Walt Disney's animated short Flowers and Trees. The first cinema opened in 1905 in Pittsburgh as the Nickelodeon with 96 seats.
Curran and seaton industry and ownership 2020 part 1KBucket
Curran and Seaton argue that the media is controlled by a small number of large companies that are primarily driven by profit and gaining power for their owners. This concentration of ownership limits diversity in media productions. While making money is understandable for businesses, the concern is when profit is prioritized over other responsibilities. Newspapers in particular have become more focused on promoting certain political views that benefit their owners' business interests, even when the papers themselves operate at a loss, allowing owners to gain influence beyond financial returns.
Karl Marx was a 19th century German philosopher who developed influential social and political theories about capitalism and class struggle. Some key aspects of Marxist theory discussed in the document are:
- Society is divided into classes based on relationships to economic systems like capitalism.
- Ideology perpetuates existing power structures by making them seem natural.
- Works of art and media reflect the class interests of their time and can challenge or maintain the status quo.
- Material conditions directly impact people's lives and analyzing these is important for understanding society and enacting positive change.
The document summarizes the history and development of movies from the late 19th century to recent years. It describes key events and innovations such as the invention of motion picture cameras in the 1890s, the first film shown by the Lumiere brothers in 1895, the contributions of early innovators like Georges Melies, the rise of Hollywood studios and blockbuster films, and the influence of events like the World Wars and technology changes. Major movie eras and genres are outlined along with influential directors, actors, and films from each period.
The document provides information about the film I, Daniel Blake including its production, distribution, marketing, genre, audience, narrative, and critical and commercial success. It was directed by Ken Loach, stars Dave Johns and Hailey Squires, and focuses on two characters affected by the UK benefits system. The film was marketed through grassroots screenings, social media campaigns, and press coverage of its themes. It was a critical success, winning the Palme d'Or at Cannes, and sparked political debate around welfare reform in the UK.
This document provides an overview of the history of cinema and its development over time. It describes the early pioneering age from 1896-1912, which saw the emergence of early film technologies and the establishment of cinema as an art form. It then outlines the major periods and developments in cinema, including the silent age from 1913-1927 which saw the rise of Hollywood, the transition to sound films from 1928-1932, and the classical Hollywood studio era from 1932-1946 dominated by the major studios. The document discusses the decline of the studios, the rise of television, and new international cinemas and styles from the late 1940s onward. It traces cinema's evolution from early one-shot films to narrative storytelling and increasing cinematic
C1SA Newspapers Daily Mirror (2021 onwards) context language representation a...KBucket
This document provides context about a newspaper article from The Mirror, a British tabloid newspaper.
The Mirror targets a mostly working class readership and traditionally takes a left-wing political stance. The article being analyzed covers Theresa May suffering another defeat in Parliament over her Brexit proposals.
The document provides background on The Mirror as a national tabloid established in 1903. It discusses the current political context in the UK regarding Brexit negotiations and the divisions in Parliament over approving a deal. Context is also given on the cultural significance of topics sometimes covered in tabloids like EastEnders and horse racing.
Here are the answers to the activity questions:
- The Jazz Singer was the movie that developed the change from silent films to sound films.
- The first line of dialogue in film history was "Wait a minute: you haven’t heard anything." uttered by the protagonist, Al Jolson, looking at the camera in The Jazz Singer.
- Light is the essential element in the Black and White films.
- Before actual methods, frames were painted frame by frame or films were turned into monochrome tones through a dye bath.
- Digital Cinematography is the process of capturing motion picture images digitally rather than on film, such as to video, hard disks, flash memory or other media that
The document summarizes the early history of animation, starting with the zoetrope in 180 AD. It describes several early animation devices from the 19th century like the thaumatrope, phenakistoscope, and flip book. The praxinoscope, an improved version of the zoetrope, was invented in 1877. Modern animation techniques described include stop motion animation exemplified by Nightmare Before Christmas, and CGI animation pioneered by Pixar's Toy Story.
German Expressionist films of the 1920s used stylized, non-realistic sets and lighting techniques to convey mood and deeper meaning with limited budgets. These films dealt with dark psychological themes rather than standard genres. While short-lived, Expressionism influenced later films through its artistic control of scenery and lighting. German filmmakers who emigrated to Hollywood in the 1930s brought Expressionist techniques and influenced genres like horror and film noir. Elements of German Expressionism remain common in modern films through its legacy.
This document provides an overview of the history and development of American cinema. It discusses how the United States became the leading film producing country in the 1920s. It outlines the major stages in the evolution of the film industry in America, from the early films of Thomas Edison to the rise of Hollywood and major studios. It also profiles some of the most famous American actors, directors, and blockbuster films that came to dominate global box offices. The document concludes by noting America's continued dominance in worldwide film production and distribution.
Laura Mulvey argues that in film and literature, the representation of women is dominated by the male gaze. She believes that patriarchal societies view men as active and women as passive objects. Traditionally, films portrayed women in stereotypical roles like wives, mothers, or sex objects, while privileging the male point of view. However, the character of Ellen Ripley in Alien challenged norms by depicting the first self-reliant female science fiction heroine. As women's social roles changed, their media representations also began to feature more career-driven and empowered portrayals.
The French New Wave was an influential film movement that emerged in France in the late 1950s. A group of young film critics-turned-directors rejected classical filmmaking styles in favor of personal expression, deep composition, long takes, and location shooting. They drew inspiration from American films and aimed to bring a sense of realism and flexibility to cinema. Some of the most influential French New Wave films included Breathless, The 400 Blows, and Jules and Jim. The movement had a significant impact on global filmmaking styles.
Here is a 5 sentence paragraph using terminology from the document:
Large companies like Sony benefit more from synergy and cross media convergence than smaller companies due to their size and being conglomerates. As a conglomerate, Sony owns subsidiaries across different media like film studios, record labels, and electronics manufacturers. This allows Sony to leverage synergies between these divisions to promote linked products from its movies, soundtracks, and electronics. Smaller independent companies like those behind Ill Manors lack this vertical integration and diversity of ownership, limiting their ability to coordinate synergistic campaigns. The uneven playing field advantages conglomerates that can utilize their portfolio of companies to maximize profits through cross-promotional opportunities not available to smaller firms.
1) Spectre was produced by Eon Productions and distributed by MGM and Columbia Pictures. It had a budget of $245 million, making it one of the most expensive films ever made.
2) The film was directed by Sam Mendes and starred Daniel Craig in his fourth film as James Bond. It was filmed on location in Mexico, Morocco, Italy and Austria as well as the UK.
3) Marketing efforts for Spectre were extensive and included traditional campaigns as well as partnerships with brands like Heineken, Omega watches, and Sony phones for product placement both in the film and advertisements.
A melodrama is a dramatic work featuring exaggerated emotions and stereotypical characters intended to appeal to audiences' emotions. Originating in 19th century France, examples include soaps like Hollyoaks and Neighbours. Melodramas employ stereotypes like "the hunk" and storylines involving catharsis, escapism, and characters viewers aspire to emulate. They utilize exaggerated non-diegetic sounds, dramatic lighting, and fast-paced camera work to create tension through their multiple concurrent storylines.
Marvel Entertainment is an American entertainment company known for its comic books and film productions. It was acquired by Disney in 2009. Marvel Entertainment has two main subsidiaries: Marvel Studios, which is known for creating the successful Marvel Cinematic Universe film franchise based on Marvel Comics characters; and Marvel Comics, the oldest and most famous comic book publisher in the United States, founded in 1939, which created thousands of popular superhero characters that have inspired fans worldwide.
The document provides a detailed overview of the history of the British film industry from the 1930s to present day. It describes the various booms and recessions experienced over the decades, with American competition and the two World Wars significantly impacting production. While British films have found international success, the industry remains small compared to Hollywood and largely produces films for the British/international art house market rather than big-budget blockbusters.
This document provides terminology related to TV drama production and analysis. It defines various camera shots like close-ups, establishing shots, and point-of-view shots. It also covers editing techniques such as cross-cutting, dissolves, and jump cuts. Finally, it lists sound terminology including ambient sound, asynchronous sound, and contrapuntal sound. The document is intended to help students analyze and discuss elements of TV dramas.
This document discusses key concepts around how media representations are constructed rather than objective reflections of reality. It addresses how media images are often interpretations that say something about their subject and can endorse particular ideologies. Media representations may rely on shorthand like stereotypes due to limitations of time and resources. The meaning of representations depends on whose interpretation is being considered - the producer, audience or text itself. Representations can have political or social consequences by influencing how groups are seen and treated in society.
This document traces the evolution of music videos from their origins in the 1920s with musical short films and cartoons encouraging audience participation, to their rise to prominence in the 1960s and 1980s with influential videos by The Beatles and Michael Jackson. Key developments included the launch of MTV in 1981 which helped establish music videos as a central part of music marketing, as well as the creation of YouTube in 2005 which gave music lovers broader online access to videos and helped new artists find audiences.
The first British film produced was the 1888 short film "Roundhay Garden Scene". British cinema struggled in the 1920s due to competition from Hollywood films. The British film industry received a boost in 1927 with the Cinematograph Films Act, which required cinemas to show a minimum of 20% British films. Popular British actors include Sean Connery, Audrey Hepburn, and Alfred Hitchcock. British humor in films relies more on understatement and irony than slapstick comedy. Examples of popular British comedy and action genres are listed. The British film industry declined in the late 1960s through the 1990s due to economic troubles but has seen renewed success in the 21st century with films like the Harry Potter series.
This is a short picturated presentation i created for my A2 media coursework. It simply expalins the attributes of British and American film, how they are funded and how they are different.
Lesson slides for A2 Media Studies (AQA Spec) with an overview of reality TV and some discussion points. Students are advised to use YouTube to investigate some of the programmes referenced in the slide.
The document discusses how the British mass media typically portrays different social classes in a positive light that reinforces social hierarchies. The upper and middle classes tend to be represented positively as celebrities, while the working class and poor are often portrayed negatively or as problems. In addition, the media focuses disproportionately on issues relevant to the wealthy, such as business and luxury goods, rather than addressing social inequalities or challenges faced by less privileged groups.
The document discusses how different social classes are represented in British media. It analyzes representations of the upper class, middle class, working class, and those in poverty. The upper class is often portrayed through depictions of the monarchy and as cultured with estates. The middle class is overrepresented as educated and successful. The working class is sometimes shown as dumb or immature. Those in poverty or the "underclass" tend to be portrayed negatively through terms like "chavs" or statistics that imply they are responsible for their own circumstances. Neo-Marxist perspectives argue that media representations reinforce social inequalities by celebrating hierarchy.
The document provides information about the film I, Daniel Blake including its production, distribution, marketing, genre, audience, narrative, and critical and commercial success. It was directed by Ken Loach, stars Dave Johns and Hailey Squires, and focuses on two characters affected by the UK benefits system. The film was marketed through grassroots screenings, social media campaigns, and press coverage of its themes. It was a critical success, winning the Palme d'Or at Cannes, and sparked political debate around welfare reform in the UK.
This document provides an overview of the history of cinema and its development over time. It describes the early pioneering age from 1896-1912, which saw the emergence of early film technologies and the establishment of cinema as an art form. It then outlines the major periods and developments in cinema, including the silent age from 1913-1927 which saw the rise of Hollywood, the transition to sound films from 1928-1932, and the classical Hollywood studio era from 1932-1946 dominated by the major studios. The document discusses the decline of the studios, the rise of television, and new international cinemas and styles from the late 1940s onward. It traces cinema's evolution from early one-shot films to narrative storytelling and increasing cinematic
C1SA Newspapers Daily Mirror (2021 onwards) context language representation a...KBucket
This document provides context about a newspaper article from The Mirror, a British tabloid newspaper.
The Mirror targets a mostly working class readership and traditionally takes a left-wing political stance. The article being analyzed covers Theresa May suffering another defeat in Parliament over her Brexit proposals.
The document provides background on The Mirror as a national tabloid established in 1903. It discusses the current political context in the UK regarding Brexit negotiations and the divisions in Parliament over approving a deal. Context is also given on the cultural significance of topics sometimes covered in tabloids like EastEnders and horse racing.
Here are the answers to the activity questions:
- The Jazz Singer was the movie that developed the change from silent films to sound films.
- The first line of dialogue in film history was "Wait a minute: you haven’t heard anything." uttered by the protagonist, Al Jolson, looking at the camera in The Jazz Singer.
- Light is the essential element in the Black and White films.
- Before actual methods, frames were painted frame by frame or films were turned into monochrome tones through a dye bath.
- Digital Cinematography is the process of capturing motion picture images digitally rather than on film, such as to video, hard disks, flash memory or other media that
The document summarizes the early history of animation, starting with the zoetrope in 180 AD. It describes several early animation devices from the 19th century like the thaumatrope, phenakistoscope, and flip book. The praxinoscope, an improved version of the zoetrope, was invented in 1877. Modern animation techniques described include stop motion animation exemplified by Nightmare Before Christmas, and CGI animation pioneered by Pixar's Toy Story.
German Expressionist films of the 1920s used stylized, non-realistic sets and lighting techniques to convey mood and deeper meaning with limited budgets. These films dealt with dark psychological themes rather than standard genres. While short-lived, Expressionism influenced later films through its artistic control of scenery and lighting. German filmmakers who emigrated to Hollywood in the 1930s brought Expressionist techniques and influenced genres like horror and film noir. Elements of German Expressionism remain common in modern films through its legacy.
This document provides an overview of the history and development of American cinema. It discusses how the United States became the leading film producing country in the 1920s. It outlines the major stages in the evolution of the film industry in America, from the early films of Thomas Edison to the rise of Hollywood and major studios. It also profiles some of the most famous American actors, directors, and blockbuster films that came to dominate global box offices. The document concludes by noting America's continued dominance in worldwide film production and distribution.
Laura Mulvey argues that in film and literature, the representation of women is dominated by the male gaze. She believes that patriarchal societies view men as active and women as passive objects. Traditionally, films portrayed women in stereotypical roles like wives, mothers, or sex objects, while privileging the male point of view. However, the character of Ellen Ripley in Alien challenged norms by depicting the first self-reliant female science fiction heroine. As women's social roles changed, their media representations also began to feature more career-driven and empowered portrayals.
The French New Wave was an influential film movement that emerged in France in the late 1950s. A group of young film critics-turned-directors rejected classical filmmaking styles in favor of personal expression, deep composition, long takes, and location shooting. They drew inspiration from American films and aimed to bring a sense of realism and flexibility to cinema. Some of the most influential French New Wave films included Breathless, The 400 Blows, and Jules and Jim. The movement had a significant impact on global filmmaking styles.
Here is a 5 sentence paragraph using terminology from the document:
Large companies like Sony benefit more from synergy and cross media convergence than smaller companies due to their size and being conglomerates. As a conglomerate, Sony owns subsidiaries across different media like film studios, record labels, and electronics manufacturers. This allows Sony to leverage synergies between these divisions to promote linked products from its movies, soundtracks, and electronics. Smaller independent companies like those behind Ill Manors lack this vertical integration and diversity of ownership, limiting their ability to coordinate synergistic campaigns. The uneven playing field advantages conglomerates that can utilize their portfolio of companies to maximize profits through cross-promotional opportunities not available to smaller firms.
1) Spectre was produced by Eon Productions and distributed by MGM and Columbia Pictures. It had a budget of $245 million, making it one of the most expensive films ever made.
2) The film was directed by Sam Mendes and starred Daniel Craig in his fourth film as James Bond. It was filmed on location in Mexico, Morocco, Italy and Austria as well as the UK.
3) Marketing efforts for Spectre were extensive and included traditional campaigns as well as partnerships with brands like Heineken, Omega watches, and Sony phones for product placement both in the film and advertisements.
A melodrama is a dramatic work featuring exaggerated emotions and stereotypical characters intended to appeal to audiences' emotions. Originating in 19th century France, examples include soaps like Hollyoaks and Neighbours. Melodramas employ stereotypes like "the hunk" and storylines involving catharsis, escapism, and characters viewers aspire to emulate. They utilize exaggerated non-diegetic sounds, dramatic lighting, and fast-paced camera work to create tension through their multiple concurrent storylines.
Marvel Entertainment is an American entertainment company known for its comic books and film productions. It was acquired by Disney in 2009. Marvel Entertainment has two main subsidiaries: Marvel Studios, which is known for creating the successful Marvel Cinematic Universe film franchise based on Marvel Comics characters; and Marvel Comics, the oldest and most famous comic book publisher in the United States, founded in 1939, which created thousands of popular superhero characters that have inspired fans worldwide.
The document provides a detailed overview of the history of the British film industry from the 1930s to present day. It describes the various booms and recessions experienced over the decades, with American competition and the two World Wars significantly impacting production. While British films have found international success, the industry remains small compared to Hollywood and largely produces films for the British/international art house market rather than big-budget blockbusters.
This document provides terminology related to TV drama production and analysis. It defines various camera shots like close-ups, establishing shots, and point-of-view shots. It also covers editing techniques such as cross-cutting, dissolves, and jump cuts. Finally, it lists sound terminology including ambient sound, asynchronous sound, and contrapuntal sound. The document is intended to help students analyze and discuss elements of TV dramas.
This document discusses key concepts around how media representations are constructed rather than objective reflections of reality. It addresses how media images are often interpretations that say something about their subject and can endorse particular ideologies. Media representations may rely on shorthand like stereotypes due to limitations of time and resources. The meaning of representations depends on whose interpretation is being considered - the producer, audience or text itself. Representations can have political or social consequences by influencing how groups are seen and treated in society.
This document traces the evolution of music videos from their origins in the 1920s with musical short films and cartoons encouraging audience participation, to their rise to prominence in the 1960s and 1980s with influential videos by The Beatles and Michael Jackson. Key developments included the launch of MTV in 1981 which helped establish music videos as a central part of music marketing, as well as the creation of YouTube in 2005 which gave music lovers broader online access to videos and helped new artists find audiences.
The first British film produced was the 1888 short film "Roundhay Garden Scene". British cinema struggled in the 1920s due to competition from Hollywood films. The British film industry received a boost in 1927 with the Cinematograph Films Act, which required cinemas to show a minimum of 20% British films. Popular British actors include Sean Connery, Audrey Hepburn, and Alfred Hitchcock. British humor in films relies more on understatement and irony than slapstick comedy. Examples of popular British comedy and action genres are listed. The British film industry declined in the late 1960s through the 1990s due to economic troubles but has seen renewed success in the 21st century with films like the Harry Potter series.
This is a short picturated presentation i created for my A2 media coursework. It simply expalins the attributes of British and American film, how they are funded and how they are different.
Lesson slides for A2 Media Studies (AQA Spec) with an overview of reality TV and some discussion points. Students are advised to use YouTube to investigate some of the programmes referenced in the slide.
The document discusses how the British mass media typically portrays different social classes in a positive light that reinforces social hierarchies. The upper and middle classes tend to be represented positively as celebrities, while the working class and poor are often portrayed negatively or as problems. In addition, the media focuses disproportionately on issues relevant to the wealthy, such as business and luxury goods, rather than addressing social inequalities or challenges faced by less privileged groups.
The document discusses how different social classes are represented in British media. It analyzes representations of the upper class, middle class, working class, and those in poverty. The upper class is often portrayed through depictions of the monarchy and as cultured with estates. The middle class is overrepresented as educated and successful. The working class is sometimes shown as dumb or immature. Those in poverty or the "underclass" tend to be portrayed negatively through terms like "chavs" or statistics that imply they are responsible for their own circumstances. Neo-Marxist perspectives argue that media representations reinforce social inequalities by celebrating hierarchy.
‘With the collapse of Communism, Marx’s contribution to the analysis of culture lost its contemporary significance.’ Discuss.' An analysis of the global Occupy protests in 2011/12 in light of Marxist philosophy.
The document provides information for students on being a peer mentor for new students at the University. It outlines that mentors should provide advice on campus life, academic resources, and activities. Mentors are expected to send mentees 5 emails over the year and complete online training. The role of mentor can be accredited on a student's HEAR transcript. Support and guidance for mentors is available from program leads.
The document discusses equality and diversity legislation in the UK and how it relates to the role of a mentor. It covers the Equality Act of 2010, which protects people from discrimination. Direct discrimination involves treating someone less favorably due to a protected characteristic, while indirect discrimination involves neutral policies that disproportionately disadvantage those with protected characteristics. Effective communication as a mentor involves being inclusive, an active listener, and tailoring communication to individual mentees. The use of inclusive language is important to avoid stereotypes and make all people feel respected.
The document provides guidance on writing a strong personal statement for university applications. It begins by explaining the purpose of the personal statement and how it will be reviewed. It then offers tips on structure, content, and style. Examples of both strong and weak personal statements are provided for different subject areas. The document concludes by answering common questions and providing references for additional help.
Representation of regional identity in tv dramasjessicaa2
Regional identity in films and television can be identified through various aspects like setting, accents, dialogue, props, costumes and more. Settings provide clues about the region being portrayed, while accents, slang words and dialogue help reveal where characters are from. Costumes, class of characters, and other visual elements also contribute to the regional identity on display. Several examples are then analyzed from shows like Shameless, EastEnders, Home and Away, and Emmerdale to illustrate how regional identity is conveyed through these different aspects.
Collective Identity: Past and possible exam questionsBelinda Raji
This document lists possible exam questions about collective identity and its representation in media. The questions address topics such as how the media represents different groups of people, the role of media in constructing collective identity, and the social implications of varying media representations. Key areas the exam may focus on include how media portrayals of groups have changed over time, the social effects of representations, and the extent to which identity is now mediated through media.
Research Report on "Sexual Content on Television and Youth in Malaysia"Aditi Verma
A research report on "Sexual Content on Television and Youth in Malaysia."
RQ1: To what extent is the youth population exposed to sexual content shown on television today in Malaysia?
RQ2: How does sexual content on television affect the youth of Malaysian Society in terms of beliefs, behaviour, and emotions?
RQ3: What is the attitude and level of acceptance among the youth in Malaysian Society towards the amount of sexual content shown on television today?
(Though no actual research was carried out, so there are no results and discussions in this paper, although all the other elements of a research paper are present - This is more like a project proposal in depth).
Portrayal of women in Indian advertisements has changed significantly over time. Earlier advertisements often portrayed women as passive, less intelligent, and as sexual objects for men. However, advertisements now show women in a more positive light as independent, assertive, and career-oriented. This reflects the social changes in India as more women pursue careers and roles outside the home. Notable examples include the Tanishq remarriage ad celebrating women's rights, and the Hero Honda Pleasure ad advocating for women's empowerment and enjoyment of outdoor activities. Major advertisers are now leading the way in portraying women in a progressive manner that celebrates their evolving status in Indian society.
Lighting is deliberately used in television production to achieve practical and aesthetic effects. Various lighting instruments like Fresnel lights, LED lights, ellipsoidal spotlights, scoops, and fluorescent lights are used to provide adequate illumination, establish mood, and show viewers what objects look like. Care must be taken when using quartz lamps and factors like intensity, color, direction, and focus must be considered when lighting a scene.
The document discusses advertising standards in India. It provides definitions of advertisements and explains why advertising standards are necessary to prevent misleading or unethical practices. It outlines the key legal provisions governing advertisements in India and describes the role of the Advertising Standards Council of India in regulating advertising content to protect consumers and ensure fair competition. The document explains the ASCI's code of conduct and complaint review process for assessing advertisements. It provides examples of advertisements that were upheld as violating standards and others that were found to not be misleading or in violation.
The document discusses postmodern marketing and customers. It talks about how marketing has shifted from focusing on the physical and objective qualities of products to the conceptual and subjective aspects from the customer's perspective. It lists some characteristics of postmodern customers as making identity through products, individualism, non-loyalty, and expecting more profit. The document also outlines aspects of a postmodern marketing mix and how postmodern customers pay for the symbolic value of products and services rather than just their material qualities.
The sociology of mass media: Introduction to neo-Marxism; The Glasgow Univers...brunogiegerich
Neo-Marxism views the cultural superstructure as still influenced by the economic base, but not in a strictly determined way. Individual autonomy and randomness mean cultural outputs do not always correspond to economic interests. Neo-Marxists see class and identity as influenced by both economic and cultural capital. They believe individuals can counter dominant ideologies, but this may still serve capitalist functions. The mass media reflects the interests of dominant social groups in pursuing profits, rather than being a deliberate conspiracy. This results in a narrow range of views and the ignoring of important issues.
This document discusses the changing state of news media. It notes that traditional print newspapers and TV news audiences are declining as more people get their news online. This has prompted questions about what exactly constitutes "news" now. The document explores whether news has become more of a product tailored for consumers rather than just a source of information. It also examines the tension between traditional journalism standards and the rise of citizen journalism via social media.
The document discusses the concept of postmodern marketing and its relevance to creative and media industries, using the advertising industry as a case study. It begins with an overview of postmodernism and theories of postmodern marketing, focusing on symbolic meaning, customization, identity, and playfulness. It then analyzes examples of contemporary advertising to identify evidence of these postmodern marketing traits. While advertising began as a modernist practice, the document argues it has evolved elements of postmodern marketing to continue appealing to audiences in a postmodern world.
The document discusses the role of television in culture and society. It argues that TV is a reflection of culture, transmitting social values and identities to a mass audience. It also influences viewers through socialization and representation of gender, race and class. Theories about audience consumption suggest that people actively use TV to satisfy needs like reinforcement of identity, companionship, information and entertainment.
The Roaring 20s saw the rise of a new independent woman known as the flapper. She cut her hair short, wore revealing clothing, used makeup, drank, smoked, and had premarital relations, which represented a major shift in social norms. Advertising played on this new image of female independence but also reinforced traditional domestic roles. Fashion evolved to reflect the flapper lifestyle with styles like short skirts, bobbed hair, and use of makeup in public. By the late 1920s, flapper fashion began to influence styles for all women.
Media Representations of Regional IdentityCraig Osborne
The document discusses regional identity and stereotypes in the United Kingdom. It describes stereotypes associated with being Scottish, Welsh, Irish, English, from London, Manchester, Newcastle, Liverpool, Essex, Yorkshire, Cornwall/Somerset, South England, and North England. For each region, it provides examples of stereotypical traits often portrayed in television and media, such as Scots being money-obsessed drinkers and Londoners being either posh or "chavs". It concludes by listing questions to consider when analyzing how regional identity is represented in a video clip.
This document provides a summary of representations of social issues in British TV drama over time, including:
1) Social class was traditionally depicted through drawing room comedies but plays by the Angry Young Men in the 1950s brought working class experiences to the forefront.
2) Regional identity became prominent in the 1960s with shows like Coronation Street depicting working class life in the North. Regional dialects and cultures have since shaped many TV shows.
3) Representations of race historically involved offensive stereotypes but shows from the 1980s like Desmond's were produced by Black British people and depicted Black British identity without focusing on otherness.
British social realism developed over the 20th century to depict the lives and experiences of ordinary British people. Key moments included early films showing everyday life in the early 1900s and documentaries from the 1930s-40s that influenced later mainstream films. The 1950s Free Cinema movement and 1960s British New Wave brought social issues like class, gender, and economic challenges to the forefront through films focused on working class characters. Directors like Mike Leigh and Ken Loach examined the impact of policies like Thatcherism and consumerism on communities and family life. While formulas emerged, many films provided complex portraits of British society.
Social realism has been Britain's most distinctive film genre, showing real British experiences on screen and shaping ideas of British cinema. Early British films picked up on social realism found in Dickens and Hardy, capturing everyday interactions. In the 1940s, combining documentary techniques with studio resources, British films appealed to mass audiences during WWII by portraying camaraderie and smoothing class tensions. The British New Wave of the 1960s brought wide shots and plain language to stories of ordinary Britons negotiating postwar society, addressing issues like prostitution, abortion and alienation. Filmmakers like Ken Loach and Mike Leigh later assessed the impact of Thatcherism and consumerism on family life and the erosion of the welfare state.
The document discusses British national identity and how it is represented and constructed through British cinema. It notes that British identity is complex with regional, ethnic, and other identities. British cinema plays a key role in portraying Britain to the world. Some films promote a nostalgic "heritage culture" view of Britain, while others represent youth culture, regional and ethnic communities, and a more modern, multicultural Britain. More recently, British films have had both cultural and commercial success by appealing to international as well as domestic audiences.
Social realism has been Britain's most distinctive film genre, showing ordinary British people and pushing boundaries. Early British films picked up on realism found in Dickens and Hardy. In the 1940s, films combined documentary realism with studio resources to appeal to mass audiences. The British New Wave of the 1960s brought realism to stories of working class lives, addressing issues like class, gender roles and social change. Contemporary British filmmakers like Ken Loach and Mike Leigh have examined the impact of issues like Thatcherism and consumerism on families and communities through emotionally dramatic stories.
1. Social realism has been Britain's most distinctive film genre, showing ordinary British life and experiences on screen and shaping ideas of what British cinema can be.
2. Early British films in the 1900s picked up on themes of everyday social interactions found in authors like Dickens and Hardy to portray everyday life in a realistic style.
3. In the 1940s, British films combined the realism of documentaries with bigger studio productions, creating mass appeal films that reinforced social unity during World War II and the postwar years.
4. The British New Wave of the 1950s-1960s brought a more independent style focused on realist portrayals of working class lives and issues in Britain at the time.
The passage summarizes changes in the British film industry since 1984. It discusses the revival of the cultural and economic fortunes of British cinema in the 1980s and 1990s, including the rise of multiplex theaters. Key production companies during this period included Channel 4, Handmade Films, and Palace Pictures. Genres like art cinema, costume dramas, and social realism flourished. By the mid-1990s, films like Four Weddings and a Funeral and Sense and Sensibility showed the two main directions of British cinema - heritage films and more contemporary adaptations.
The document discusses the genre of British social realism in film. Some key conventions include location shooting instead of studios, use of non-professional actors, and exploring wider social issues through individual stories. Directors like Mike Leigh and Ken Loach are noted for their portrayal of working class lives and examination of the erosion of regional and class identities in Britain over the 20th century. Their films provide complex representations of men and women navigating social and economic changes.
The document discusses the genre of British social realism in film. Some key conventions include location shooting instead of studios, use of non-professional actors, and exploring wider social issues through individual stories. Directors like Mike Leigh and Ken Loach are noted for their portrayal of working class lives and examination of the erosion of regional and class identities in Britain over the 20th century. Their films provide complex representations of men and women navigating social and economic changes.
Love And Marriage Essay. . Essays on arranged marriages vs love marriages - w...Lisa Cartagena
Marriage Essay | Essay on Marriage for Students and Children in English .... Essay about love marriage and arranged marriage - Arrange Marriages vs .... Essay arranged love marriages. For or against marriage essay. 25 Great Articles and Essays about Love and Relationships | Love essay .... essay on love in 2021 | Love essay, Essay examples, Essay. Remarkable Arranged Marriage Essay ~ Thatsnotus. Marriage Essay | Essay on Marriage for Students and Children in English. Marriage In a World - Free Essay Example | PapersOwl.com. Argumentative Essay on Arranged Marriages: Free Essay Example. Early Marriage Essay | Child Marriage | Marriage. Academic Proofreading - essays arranged marriages vs love marriages ....
The document provides a history of British cinema since 1984. It discusses the revival of the British film industry in the 1980s and 1990s, with the rise of multiplex theaters drawing larger audiences. Major production companies like Channel 4 and Handmade Films backed influential films during this time period. The costume drama genre became synonymous with British cinema, though the term was later replaced with "heritage film." By the mid-1990s, films like Four Weddings and a Funeral and Sense and Sensibility showed the two directions of British national cinema. Trainspotting in 1996 enhanced British cinema's international profile and influence on youth films through its portrayal of sex, drugs and working class life.
The document discusses creativity in TV crime drama genre. It explores how genres evolve through new variations that audiences find popular, such as CSI's forensic science focus. Innovation comes from creative producers and writers expressing the "zeitgeist" or spirit of the times in their shows. Examples given are Prime Suspect addressing women's issues and The Wire portraying the political dimensions of crime. The most innovative programs come from non-mainstream networks with creative freedom, like HBO, which produce challenging shows like The Wire and The Shield with morally ambiguous characters. Genres remain creative by tapping cultural trends and hybridizing with other genres, such as Hill Street Blues combining crime and soap opera elements.
The genre of British social realism developed after World War I and focused on location shooting, non-professional actors, and exploring wider social issues through individual stories. During World War II, films reflected how society was changing with women working in factories and greater state intervention in people's lives. In the postwar period, tensions emerged between traditional communities and new private enterprise. The British New Wave of the 1960s brought wide shots and plain speaking to stories of ordinary Britons negotiating social changes in the postwar era. Films by directors like Mike Leigh and Ken Loach assessed the impact of consumerism on family life and the erosion of the welfare state.
This document discusses British television drama. It notes that while British TV drama audiences and ratings are smaller than in the past, it is still popular and attracts large viewership. It examines several subgenres of TV drama, including teen dramas, soap operas, costume dramas, medical/hospital dramas, police/crime dramas, and docudramas. For each subgenre, it provides examples and discusses conventions. It then focuses specifically on teen dramas, analyzing shows like Skins, Hollyoaks, and Grange Hill and how they represent issues relevant to teenage audiences.
This document outlines the plan and process for a small-scale research project investigating how 'race is constructed in British social problem films from the 1950s-1960s. The focus films are Sapphire (1959), Flame in the Streets (1961), A Taste of Honey (1961), and Pool of London (1951). The next steps include a close analysis of key scenes, characters, and messages in the films, as well as contextual research on race and immigration in Britain at the time to understand how the films reflected or influenced social issues. Breaking the investigation into smaller parts like representations, contexts, and critical responses will help shape the analysis.
This document provides an overview of the topics and themes to be covered in Week 7 of a course on reality TV and news. It discusses definitions of reality TV and how it compares to documentary and news genres. It explores the globalization of television formats and the rise of reality TV shows. It also examines debates around the "dumbing down" of television and questions how to analyze TV news programming. The document provides context on understanding entertainment versus serious news and analyzing the public sphere in television. It lists several required and additional readings on these topics.
This document provides information about codes and conventions of soap operas, including examples from British soap operas like EastEnders and Coronation Street. It discusses several key elements:
1. Codes and conventions of soap operas include focusing on themes like love, conflict, and cliffhangers. They also have large casts, focus on working class communities, and use regional identities.
2. An analysis of a Coronation Street trailer identifies examples of codes like romance, family relationships, focus on working class communities, and disequilibrium.
3. A deconstruction of scenes from EastEnders and Coronation Street find examples of codes and conventions like multi-stranded narratives, family relationships and conflict,
Example Of An Essay With A Thesis Statement.pdfCassie Rivas
Gang membership is a major issue in the U.S., with around 33,000 gangs involved in criminal activities like drug trafficking, murder, and human trafficking. Youth are especially vulnerable to recruitment by gangs during their formative years. While males are more likely to join gangs, not all youth end up participating in these dangerous groups.
Michael Balcon was a British film producer who was influential in the development of British cinema in the 1930s-1960s. He helped establish studios like Ealing Studios and focused on realistic films that explored social issues and depicted ordinary lives. During World War 2, his films promoted national unity and challenged class divisions. In the 1950s, a new wave of British films depicted working-class lives and issues like poverty, unemployment and changing social values in a way that had not been seen before. By the 1980s and 1990s, British films continued to grapple with issues of class, marginalization, and national identity under changing economic and political circumstances.
Similar to (Structured) Reality Television and Social Class (20)
Unveiling Paul Haggis Shaping Cinema Through Diversity. .pdfkenid14983
Paul Haggis is undoubtedly a visionary filmmaker whose work has not only shaped cinema but has also pushed boundaries when it comes to diversity and representation within the industry. From his thought-provoking scripts to his engaging directorial style, Haggis has become a prominent figure in the world of film.
Christian Louboutin: Innovating with Red Solesget joys
Christian Louboutin is celebrated for his innovative approach to footwear design, marked by his trademark red soles. This in-depth look at his life and career explores the origins of his creativity, the milestones in his journey, and the impact of his work on the fashion industry. Learn how Louboutin's bold vision and dedication to excellence have made his brand synonymous with luxury and style.
Barbie Movie Review - The Astras.pdffffftheastras43
Barbie Movie Review has gotten brilliant surveys for its fun and creative story. Coordinated by Greta Gerwig, it stars Margot Robbie as Barbie and Ryan Gosling as Insight. Critics adore its perky humor, dynamic visuals, and intelligent take on the notorious doll's world. It's lauded for being engaging for both kids and grown-ups. The Astras profoundly prescribes observing the Barbie Review for a delightful and colorful cinematic involvement.https://theastras.com/hca-member-gradebooks/hca-gradebook-barbie/
Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspirationgreendigital
Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
Follow us on: Pinterest
Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Sagagreendigital
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
Follow us on: Pinterest
The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
Top IPTV UK Providers of A Comprehensive Review.pdfXtreame HDTV
The television landscape in the UK has evolved significantly with the rise of Internet Protocol Television (IPTV). IPTV offers a modern alternative to traditional cable and satellite TV, allowing viewers to stream live TV, on-demand videos, and other multimedia content directly to their devices over the internet. This review provides an in-depth look at the top IPTV UK providers, their features, pricing, and what sets them apart.
The Evolution of the Leonardo DiCaprio Haircut: A Journey Through Style and C...greendigital
Leonardo DiCaprio, a name synonymous with Hollywood stardom and acting excellence. has captivated audiences for decades with his talent and charisma. But, the Leonardo DiCaprio haircut is one aspect of his public persona that has garnered attention. From his early days as a teenage heartthrob to his current status as a seasoned actor and environmental activist. DiCaprio's hairstyles have evolved. reflecting both his personal growth and the changing trends in fashion. This article delves into the many phases of the Leonardo DiCaprio haircut. exploring its significance and impact on pop culture.
Everything You Need to Know About IPTV Ireland.pdfXtreame HDTV
The way we consume television has evolved dramatically over the past decade. Internet Protocol Television (IPTV) has emerged as a popular alternative to traditional cable and satellite TV, offering a wide range of channels and on-demand content via the internet. In Ireland, IPTV is rapidly gaining traction, with Xtreame HDTV being one of the prominent providers in the market. This comprehensive guide will delve into everything you need to know about IPTV Ireland, focusing on Xtreame HDTV, its features, benefits, and how it is revolutionizing TV viewing for Irish audiences.
At Digidev, we are working to be the leader in interactive streaming platforms of choice by smart device users worldwide.
Our goal is to become the ultimate distribution service of entertainment content. The Digidev application will offer the next generation television highway for users to discover and engage in a variety of content. While also providing a fresh and
innovative approach towards advertainment with vast revenue opportunities. Designed and developed by Joe Q. Bretz
Modern Radio Frequency Access Control Systems: The Key to Efficiency and SafetyAITIX LLC
Today's fast-paced environment worries companies of all sizes about efficiency and security. Businesses are constantly looking for new and better solutions to solve their problems, whether it's data security or facility access. RFID for access control technologies have revolutionized this.
Modern Radio Frequency Access Control Systems: The Key to Efficiency and Safety
(Structured) Reality Television and Social Class
1. MARCH 2012
Skeggs and Wood (2011) maintain that “all
representations are at some level always about
class. Television in particular, with its stories
of everyday life and ‘ordinary people’,
represents the structures of social
relationships, from the most intimate to the
most global, which are always about class.”
Discuss.
IDEAS, POLITICS & POLICY
4,185 words
Student 1160350
2. Introduction
The statement of Skeggs and Wood (2008), forming the title of this essay, comes from their study of
a relatively new genre of programming: reality television. Emerging in the late 1990s and early 2000s
in the form of fly-on-the-wall set-ups like Big Brother (Endemol 1999) and lifestyle-contrasting shows
like Wife Swap (RDF Media 2003), reality TV purports to portray real people going about their lives,
while providing entertainment value through these depictions. Using a series of examples from both
sides of the Atlantic, the authors argue that the new genre is particularly reflective of class
differences and antagonisms. Not only this, but they assert that both the formats and apparent
ideologies in programmes such as Ladette to Lady (RDF Media 2005) betray an imposition of middle
class normativity, using a number of convincing examples and surrounding social context.
This essay will examine their position in relation to the latest step in the evolution of reality
television: structured reality (SR). Originating in the United States in the mid-2000s and quickly
making the transition to British television, the sub-genre marks a new step by presenting the lives of
its subjects in the format of a conventional drama, blurring the traditional lines between
documentary and soap. In the UK as in the US, the programmes depict certain classes of people in
highly stylised and sensational manners. The genre provides potential for class-based insights on two
counts: it portrays real people in their real lives and thus reveals more about reality than a scripted
drama in the style of Eastenders, while the very fact of its heavy orchestration and editing betrays
the class-based viewpoints of producers, who reproduce class-based stereotypes in anticipation of
what the audience expects from certain types of people.
The essay begins by providing a social context, outlining the development of social class in Britain,
arriving at the ways in which the British view and experience class today in light of recent history. A
brief look at the role of British television content in mediating class is followed by introducing the
specific genre of SR. In order to explore Skeggs’ and Wood’s assertion, I will present a class-based
comparative analysis of two contemporary British SR programmes, depicting lives of the fabulously
3. rich and the glamour-seeking working class respectively: Made in Chelsea (Monkey 2011) and
Desperate Scousewives (Lime Pictures 2011). Through this analysis key insights about the
representations of class emerge, and conclusions emerge about the extent and implications of this
culture of televised class representation.
Class in Britain: The past and the present
‘It is widely believed, both in Britain and abroad, that the British are obsessed with class in the way that
other nations are obsessed with food or race or sex or drugs or alcohol’
(Cannadine, 1998)
So wrote David Cannadine in his work Class in Britain (1998). He acknowledges the difficulty of
proving or disproving this belief, but its existence is nonetheless indicative of a long social history
that shapes the way that class is perceived and experienced in post-millennial Britain.
For hundreds of years, dating from the Norman Conquest (1066), British society was strictly
organised under the feudal system. The king was at the head of a social pyramid which placed the
peasantry under knightly liege-lords, who answered in turn to the Crown. The fiscal system of taxes
and tributes reflected this, as did the absolute power of the monarch and the nobility. What
complicated matters from the 16th century onwards was the rise of trade and a prosperous
merchant class – precursors of the Marxian bourgeoisie. This new class grew over the following
centuries, truly blossoming during the Industrial Revolution (c. 1750-1850), when the concentration
and mechanisation of production laid the grounds for modern-day capitalism. This period also saw a
break-up of agrarian society, as country peasants moved to the cities to work under intense labour
conditions, creating the new industrial working class. This class found its expression in the trade
union movements and ultimately achieved political power as the Labour Party (1924). After two
unsettling World Wars, the old social order of powerful aristocracy and underprivileged workers
gave way to a new welfare capitalism, under which income and living standards improved greatly for
4. the middle bulk of British society. The new middle class – large, well-off, influential – was firmly
established.
Margaret Thatcher (1979-90) avowed a desire to break down class stratification, dismantling
organised labour unions and promoting individual endeavour and upward mobility. But Tony Blair’s
(1997-2007) subsequent declaration that ‘We’re all middle-class now’ (Jones 2011) was a denial of
the class difference that still exists in today’s Britain. In fact, 50% of Britons surveyed in 2002
believed the country to be more divided by class than in 1979. (MORI) Moreover, studies reveal that
individual fortunes are still largely determined by socioeconomic class at birth. (Skeggs and
Wood,p11). In 2012, the country finds itself experiencing mass unemployment and deep recession,
under a government whose Cabinet of twenty-nine includes twenty-three millionaires (Owen 2010).
We are debating both welfare cuts and corporate tax breaks, and still nominally ruled by a Queen of
sixty years’ reign. Unlike the economy, class in Britain is very much alive and well.
Class on British television
Cannadine claimed that, ‘Britons are always thinking about who they are, what kind of society they
belong to, and where they themselves belong in it.’ (1998,p23) The consumption of television is a
very British pursuit; figures show that Britons watch an average of 28 hours per week, more than in
any nation except America. (Nationmaster 2011). Given this, where better to turn for insights into
British society than the television schedules?
Hollywood, of course, is fond of portraying British society through an overtly classist lense, with its
long-held predilection for upper class romances like Four Weddings and a Funeral (Newell 1994) and
The King’s Speech (Hooper 2010). But despite popular British complaints on this score (Collins 2011),
this obsession with class is also shared by British TV producers and viewers, with the significant
difference being that lower classes seem to be more frequently represented on the small screen
than on the large.
5. The working classes are depicted in popular soaps including Coronation Street and Emmerdale, and
also in daytime get-rich-quick shows like Deal or No Deal. In the former, there is more than a hint of
regional caricature, which plays on the perception of provincial deprivation in the UK. I will argue
later that region-based class distinction is a key feature of the new SR shows. Class-based moralising
is nowhere more obvious than on The Jeremy Kyle Show, which are accused of ‘presenting the less
well-off as "undeserving" objects of derision.’ (Sparrow 2008).
Unlike American television, with its O.C.s (Fox 2003) and Desperate Housewives, (ABC 2004) the
British offering is remarkably lacking in fictional portrayals of middle or upper-class people. This may
be linked to the earlier point about the general hesitation to engage with the issue of class privilege,
and the traditionally British dislike of overt shows of wealth, derided as ‘nouveau riche’. (Turnock
2007) It may also be attributed to a hidden media power balance, to which I will return later. Aside
from Made in Chelsea, there is really only one dramatic account of the British privileged classes that
has found success in recent years: Edwardian servants-and-masters drama Downton Abbey (Carnival
2011). It seems the British can only stomach overt depictions of class-based inequality when situated
in a suitably-distant romantic past.
I believe that the current British TV landscape betrays an enduring preoccupation with class, albeit a
one-sided one. The fictional portrayal of working-class people by middle-class actors and producers
is a recipe for distortion and class-based stereotyping. Surely then, the new wave of reality-based
drama would afford the opportunity for a restoration of justice, by allowing ‘real-life’ subjects to tell
their own, unmediated stories?
Structured reality (SR) hits the UK
SR is a new post-millenial genre with its origins in US productions like Laguna Beach (MTV 2004) and
Jersey Shore (MTV 2009). Designated by Hill (2005) as the ‘third wave’ of reality television, these
‘dramalities’ purport to show us life as it really is, but in fact this is doubtful. There is evidence of
heavy manipulation of everything from the selection of character-subjects to the locations and
6. situations depicted. The Only Way is Essex (Lime Pictures 2010), Britain’s flagship SR show, opens
each episode with a reminder that ‘While the people are real, some of what they do has been set up
purely for your entertainment.’ The often blatantly engineered selection processes for participators
in American reality TV shows that Grindstaff (Skeggs 2011:188-95) notes have been reproduced,
along with the unashamed glamour and break with gritty reality pioneered by The Hills. (Skeggs
2011) I will argue that the products of this blurring of reality and fiction betray a great deal about
class representation in British television.
The (structured) reality of British class: a comparative analysis
In order to fully bring out the class discourse, I have chosen to compare and contrast two SR
programmes: Made in Chelsea and Desperate Scousewives. At first glance, the premise and aesthetic
appear alike: depictions of glamorous young people entangled in webs of romantic intrigue, played
out at champagne-popping extravaganzas that invariably give rise to plenty of food for gossip the
following day. However, on closer inspection, the characters, situations, language all reveal that the
two programmes are engineered to depict the ultimate stereotypes of class in Britain, with a
regional North-South polarisation providing added emphasis.
Made in Chelsea (MIC)
When James Walcott wrote that ‘Reality TV wages class warfare and promotes proletarian
exploitation,’ (Vanity Fair, December 2009) he failed to predict the recent wave of aristophilia.
Paradoxically, during an economic recession, the British public seems more enthralled than ever
with the upper classes. MIC was impeccably timed to launch hot on the heels of 2011’s Royal
Wedding, itself a fascinating topic for class analysis. For the first time, the heir to the throne was
united with a ‘commoner,’ a fact made much of in the countless column inches and television
programmes devoted to investigating Kate Middleton’s non-noble yet highly privileged background.
(Rayner 2010) In the UK, at least, the public appetite was there for a spot of aristocratic exploitation.
7. You may have heard rumours that Chelsea is an exclusive world of royals, aristocrats and playboys,
where the gossip is as startling as the prices. Well it’s all true. I’m Caggie Dunlop, and this is my world.
(MIC episode 1, May 2011)
So begins our entree into the gilded circles that inhabit one of the world’s most expensive locales:
South West London, specifically the Royal Borough of Kensington and Chelsea. Building on a well-
established popular perception of the area, MIC is concerned with the affluent lives and turbulent
loves of a group of privileged twenty-somethings in Chelsea. It goes a step further than The Hills in
making its exploration of privilege explicit and conscious, rather than glossing over it as incidental.
The programme employs a kitsch British aesthetic centring on the Union Jack motif, and takes a
tongue-in-cheek approach to its subject matter. At the heart of the narrative is a tortuous love story
between stockbroker Spencer Matthews and globetrotting singer/songwriter Caggie Dunlop.
Desperate Scousewives (DS)
In November 2011, a new incarnation of the SR genre promised us insight into a very different social
enclave. Situated opposite to MIC both geographically and socially, DS was set in Liverpool, a city in
the North-West still popularly associated with social deprivation, tawdry taste and the notoriously
incomprehensible Scouse accent, despite significant rebranding efforts. (Bartlett 2011) No wonder
then, that local residents took such exception (Collinson 2011) to the show’s stereotypical portrayal
of their city on the national stage:
We’re loud and we’re proud. It must be something they put in that water – the Mersey that is... I’m
Jodie, and I’m back. Just like the others, I’m ready to grab life by the scruff of the neck, to get what I
want.
(DS, Episode 1, November 2011)
The opening sequence, narrated in a broad Liverpudlian accent by the platinum blonde Jodie
Lundstram, features shots of glamorous parties and apparently fabulous lifestyles, interspersed with
8. fleeting vistas of terraced housing and inner city dereliction. This is emblematic of the programme
itself, which is essentially concerned with the working-class subjects’ aspirations to worldly success
and quality of life, despite their humble surroundings and backgrounds. While the MIC story is about
living with wealth and privilege, DS is about the struggle to get hold of a piece of it, ‘by the scruff of
the neck’ if necessary.
Occupation and identity
Occupation is one of the key criteria for official socioeconomic classification, with unskilled manual
labourers placed at the bottom and highly skilled professionals ranked highest. (ONS) Despite being
of similar ages, the casts make (or don’t make) their livings in very different fields. Those of MIC’s
subjects who do work pursue careers in decidedly luxury industries: designer jewellery,
entertainment PR and lifestyle journalism. Comical ‘entrepreneur’ Francis Boulle, is the heir to a
diamond-mining company. At the other end of the scale, the DS are salon workers and shop
assistants. In an unusually poignant moment, Amanda Harrington reveals her struggles to succeed as
a glamour model while raising a child she had at 19. Their low-powered jobs reflect their position in
a society still characterised by low social mobility. (Sutton Trust 2007) Even their names reveal clues
about the class divisions still apparent in contemporary Britain. Debbie O’Toole and Joe McMahon
bear surnames characteristic of traditionally impoverished Irish settlers in Liverpool (Aughton 2003)
while Rosie Fortescue and Alexandra Felstead (of MIC) could almost only be names from a public
school register. Research shows that surnames continue to be a rough indicator of social class in the
UK (BBC 2006), and they were almost certainly a consideration in the casting of these two
programmes.
Appearance
The way that people dress is another significant social indicator (Bennett 2010). In a manner that
sometimes appears paradoxical to foreign observers, the British upper classes traditionally eschew
flamboyant dress on all but special occasions, preferring understated (but expensive) styles
9. reminiscent of country living, from designers like Dunhill and Barbour. This is the dress code for MIC:
the boys don quietly superior tweed suits and cricket cardigans, while the girls sport subtle make-up
and simple designer dresses. Once again, DS offers a startling contrast. Here the emphasis is on
flaunting everything; many of the scenes are built around the salon makeover or dressing for a night
out, and the aesthetic reflects a philosophy of ‘More is more’ – from the fake eyelashes and the
surgically enhanced breasts to the sparkling jewellery and obligatory spray tan. When MIC’s Rosie
declares in her cut-glass accent, ‘I think fake tan is probably the most offensive thing in the world,’ or
Mark-Francis announces, ‘Topshop *a popular high street clothing brand] is not allowed!’ these are
more than just casual expressions of preference. British viewers familiar with the cultural context
instantly recognise the subjects’ attempts to distance themselves from cheaper, ‘lowbrow’ forms of
aesthetic expression – the ones which DS flaunts. Good taste is thus reinforced as an upper class
attribute, while the regional working class is portrayed as tawdry and garish.
Language and accent
Despite its relatively small size, the UK has a wealth of diverse regional accents and dialects.
Traditionally, the ‘BBC tones’ associated with the South-East and the upper classes, were favoured as
the ‘received pronunciation,’ and regional accents were poorly represented on national television.
(Rowbotham 2001) People with strong provincial accents are still often regarded as less intelligent,
and lower down the social scale, as exemplified by Rampton’s study of reaction to accents (2003)
and Tolson’s discussion of the British media’s treatment of reality star, Jade Goody (Skeggs, pp52-
55].
While the cast of MIC all speak with the plummy received pronunciation associated in the popular
imagination with the privately-educated upper-class ‘toff,’ the DS characters without exception have
broad regional twangs. Both groups use slang, which by its disparity highlights the social divide.
Lazily drawling use of semi-ironic abbreviations like ‘yah’ (yes) and ‘totes amaze’ (totally amazing) in
Chelsea contrast with earthier terms like ‘boss’ (brilliant) and ‘bang tidy’ (attractive) in Liverpool.
10. This marked contrast in itself indicates a manipulated expression of reality; there are surely plenty of
Liverpudlians who speak more mainstream English, and London is famous for its urban street slang,
associated with lower socioeconomic classes. However, there is another dimension to the language-
linked representation: content. While both programmes deal with romantic adventures, MIC is far
more coy about intimate matters. The Chelsea characters speak in terms of ‘Something happened’
and ‘Did you go there,’ while the Scousers refer openly to ‘anal bleaching’ and ‘giving someone a go.’
Along with the high amount of nudity from both male and female characters in DS, compared to MIC
which depicts none despite being shown post-watershed, a picture begins to emerge of class-based
sexualisation. The old Victorian idea of the vulgar, oversexed working class begins to resurface,
contrasted by the restraint of the morally superior upper classes. (Skeggs, pp225-35)
Social interaction
The ways in which the subjects behave and interact betrays further differences that can be
interpreted in a class framework. Conflicts and conflict resolution, as may be imagined, forms the
bulk of the subject matter. The MIC characters adhere largely to the WASP1 stereotype by eschewing
open confrontation and pursuing grudges in the form of rumour-mongering, whispered comments
and would-be subtle innuendo, masked by pristine politeness. None of Lakoff’s increasing
belligerence of televised confrontation here. (Skeggs,p56) On the other hand, DS would lead us to
believe that all grievances in Liverpool are expressed in the form of shouted arguments littered with
obscenities, and frequently venturing into the physical. Local celebrity Amanda Harrington’s clash
with ‘bitchy blogger’ Jaiden Micheal is a prime example: a public exchange of insults at a party
followed by the throwing of a drink. Overblown theatrics? Very likely. But this only reinforces the
point that there is a conscious portrayal of the working class subjects of DS as given to excess and
uncivilised social habits, while the well-off denizens of the Royal Borough know how to behave in
1
WASP is a North American abbreviation strictly denoting ‘White, Anglo-Saxon Protestant.’ In its wider current
sense it refers to a set of cultural characteristics and values popularly associated with privileged White
communities, including high social influence, and aversion to emotional display and open conflict. (Feldman
2010)
11. polite society. This equation of good class with good manners is an ancient one that continues to
find expression in SR, as it did in its less subtle reality predecessors like Ladette to Lady (Skeggs
2011). The only difference is that where that was overtly pedagogic, DS and MIC are chiefly
concerned with exaggerating and exploiting class-stereotyped behaviour for voyeuristic
entertainment.
Making cultural sense of MIC and DS
The fact that these programmes are manipulated and stage-managed to a significant degree
enhances, rather than reduces, their significance in terms of class-based representation. Rather than
being true documentary accounts, they are exaggerated and stylised portrayals of class stereotypes,
crystallising the idea of continued class polarisation in modern Britain. For example, the DS boys are
frequently shown playing or watching football, a stereotypically working-class but in reality national
sport, (Bennett 2010) while their MIC counterparts engage in polo and rowing, popularly associated
with the privileged classes.
Moreover, there is a moral and behavioural framing of this polarisation. Both programmes
frequently depict scenes in nightclubs or at parties. Yet while the DS are frequently portrayed as
under the influence of alcohol and raucous or emotional because of this, the Chelsea girls are never
shown in this way. It would be unrealistic to conclude from this that non-working class English girls
don’t become very inebriated – in fact research (Randhawa 2011) and personal experience proves
the opposite to be true! The more informed conclusion is that there is a conscious equation of poor
self-control with lower social class. This should lead us to consider who exactly is making and
representing these class-based judgements, since it is unlikely that the subjects themselves are in
control.
12. The third class
If MIC’s subjects stand in for the upper class, and the DS for the working class, then we are missing
an important component of contemporary British society: the middle class. As mentioned before,
there is very little dramatic/fictional programming depicting the middle class on British television,
but this underrepresentation is not indicative of weakness, but in fact of control.
As Skeggs and Wood [2011,p19+ note, media invisibility can be a clue to ‘hidden power.’ Rather than
themselves being represented for entertainment purposes, I would argue that the overwhelmingly
middle-class British media producers (Sica 2011) have created two extreme caricatures of the upper
and lower scales of society, portraying not only the disreputable poor, but also the frivolous rich, as
sensationalised Others, in a manner recalling Foucault’s observations:
The middle class thus defined itself as different from the aristocracy and the working classes who spent,
sexually and economically, without moderation... It differed by virtue of its sexual restraint, its monogamy
and its economic restraint or thrift.
(Foucault 1979,p100)
Thus it follows that the ideal viewer is middle-class, which is frequently equated with ‘normal.’
(Skeggs and Wood 2009,p629) That these programmes exemplify the phenomenon of creating
media through and for the ‘middle-class gaze’ (Lyle 2008) corresponds with the current political
discourse in the UK. Mainstream media is preoccupied with waging a war of words on two economic
fronts: on the one hand there is continued obsession with the idea of ‘benefit scroungers’ and
parasites draining resources from society (Jones 2011), and on the other uproar abounds over
bankers’ bonuses, tax cuts for the very rich and the idea that money can still buy power and
influence. (BBC 2012) The ‘squeezed middle,’ a term implying undue pressures exerted from both
the upper and lower scales of society, seems to be fighting its corner by holding up the imprudence
of the other two classes in implicit contrast to its own traditional ‘economic restraint or thrift.’
13. Exploitation or aspiration?
The SR genre employs a new form of labour: performing oneself (Skeggs 2011). On the one hand, the
subjects are living the neoliberal dream to its fullest: making their way in the world by using not only
their talents or skills but their very identities, arguably the ultimate form of capital. In doing this they
potentially achieve fame, fortune and free products – the subjects and characters inevitably acting
as vehicles for promotion of various consumer goods. SR programming is a direct product of the
dream of social mobility based on consumerism and individual fortune. The old prejudices against
upstarts and climbers may still exist, but they seem weak in post-Thatcherist Britain where everyone,
whether living in a Chelsea townhouse or a terraced estate in Merseyside, can demand a glamorous
lifestyle. But does this come at the price of performing the ultimate alienated labour?
When Marx complained that production had become the aim of man (Baxandall,p63-4), he could not
have predicted that people would one day live out their lives on camera in order to create personal
wealth and corporate revenue. However, the phenomenon could be interpreted as a contemporary
vindication of his lament. The fact of ‘privileged access to the means of making reality’ (Couldry
2000) intensifies this problem of exploitation, as producers control the story and manipulate
representations according to their own class-based judgements of appropriateness and
entertainment value. This power relationship considered, we could even regard the middle-class
media producers as cultural capitalists, controlling a set of fame-seeking wage-labourers from both
the working and the upper classes.
Conclusion
Through analysing MIC and DS, contemporary British SR programmes claiming to depict life at two
extremes of the social scale, it has been argued that the representations made are loaded with class-
based meaning. The deliberate selection and manipulation of the subjects’ occupations, appearance,
language and social behaviour is all calculated to convey caricatured impressions of social class. The
regional working class is presented as vulgar and indiscreet, while London’s upper class is portrayed
14. as more tasteful and restrained, but ultimately frivolous and irresponsible. I have also argued that
these exploitative representations point to the existence of a hidden middle-class, through whose
lens of judgment the programmes are both produced and intended to be viewed, in line with a wider
middle-class media discourse blaming both the thriftless poor and the extravagant rich for the UK’s
current economic and social woes.
Britain’s taste for class-centred SR programming shows little sign of abating, with the continuing
success of nouveau-riche drama, The Only Way is Essex and a new show centred on Welsh working
class youth recently announced. (Bull 2012) This contemporary mediascape yields robust support for
Skeggs and Wood in their assertion that television’s ‘stories of everyday lives and ordinary
people...are always about class.’
15. References
Aughton P (2003). Liverpool, a people’s history. London: Carnegie Publishing
Bartlett D. (2011) It’s Liverpool, I’m Liverpool campaign aims to rebrand city as a global leader. The
Liverpool Echo [online]: http://www.liverpoolecho.co.uk/liverpool-news/local-news/2011/09/08/it-
s-liverpool-i-m-liverpool-campaign-aims-to-rebrand-city-as-a-global-leader-100252-29384567/
[accessed March 2012]
Baxandall L, Morawski S. (1974). Karl Marx and Frederick Engels: On art and literature. New York:
International General.
BBC (2006). What’s in a surname? BBC News [online]:
http://news.bbc.co.uk/1/hi/magazine/5047982.stm [accessed March 2012]
BBC (2012). David Miliband: ‘Idea policy is for sale is grotesque.’ BBC [online]:
http://www.bbc.co.uk/news/uk-politics-17503870 [accessed March 2012]
Bennett T et al (2010). Culture, Class, Distinction. London: Routledge
Bull S (2012). First The Hills, now The Valleys: MTV head to Wales for their new non-scripted reality
show. The Daily Mail [online]: http://www.dailymail.co.uk/tvshowbiz/article-2119260/The-Valleys-
MTV-head-Wales-new-non-scripted-reality-show.html [accessed March 2012]
Cannadine D. (2000). Class in Britain. Harmondsworth: Penguin
Collins M. (2011). The reality behind British stereotypes. Helium [online]:
http://www.helium.com/items/2240368-the-reality-behind-british-stereotypes [accessed March
2012]
Collinson K. (2011) Liverpool-born Desperate Scousewives producer Mal Young defends show as ‘slice
of Liverpool life’ in face of fierce criticism. The Liverpool Echo [online]:
http://www.liverpoolecho.co.uk/liverpool-news/in-the-mix/2011/12/05/liverpool-born-desperate-
scousewives-producer-mal-young-defends-show-as-slice-of-liverpool-life-in-face-of-fierce-criticism-
100252-29894221/ [accessed March 2012]
Couldry N. (2000). The place of media power. Journal of Consumer Culture, 1(2):155-79
Feldman (2010). The Triumphant Decline of the WASP. The New York Times [online]:
http://www.nytimes.com/2010/06/28/opinion/28feldman.html?_r=1 [accessed March 2012]
Foucault M (1979). The History of Sexuality: Volume One, an Introduction. London: Penguin
Hill A. (2005) Reality TV – audiences and popular factual television. Abingdon: Routledge
Jones O. (2011). Chavs: the demonization of the working class. London: Verso
Lyle S (2008). (Mis)recognition and the middle class/bourgeois gaze: a case study of Wife Swap.
Critical Discourse Studies, 5(4):319-30
16. Nationmaster. (2012) Media Statistics: television viewing by country. Nationmaster [online]:
http://www.nationmaster.com/graph/med_tel_vie-media-television-viewing [accessed March 2012]
NS-SEC categories, sub-categories and classes.(2011) ONS [online].
http://www.ons.gov.uk/ons/guide-method/classifications/archived-standard-classifications/ns-
sec/categories--sub-categories-and-classes/index.html [accessed March 2012]
Owen G. (2010). The coalition of millionaires: 23 of the 29 member of the new cabinet are worth more than
£1m... and the Lib Dems are just as wealthy as the Tories. The Daily Mail [online]:
http://www.dailymail.co.uk/news/election/article-1280554/The-coalition-millionaires-23-29-member-new-
cabinet-worth-1m--Lib-Dems-just-wealthy-Tories.html [accessed March 2012]
Rampton B. (2003). Hegemony, social class and stylisation. Pragmatics. 13:1:49-83
Randhawa (2011). Middle class workers mostly to blame for UK alcohol crisis. This is London [online]:
http://www.thisislondon.co.uk/news/middleclass-workers-mostly-to-blame-for-uk-alcohol-crisis-
6560406.html [accessed March 2012]
Rayner G. (2010). Royal wedding: Kate Middleton’s family background. The Telegraph [online]:
http://www.telegraph.co.uk/news/uknews/theroyalfamily/8136814/Royal-wedding-Kate-
Middletons-family-background.html [accessed March 2012]
Rowbotham (2001). Looking at Class: Film, television and the working class in Britain. London: Rivers
Oram Press.
Sica G(2011). Yes, the media does suffer from a class divide. The Guardian [online]:
http://www.guardian.co.uk/commentisfree/2011/sep/26/guardian-class-divide [accessed March
2012]
Skeggs B, Wood H. (2009). The moral economy of person production: The class relations of self
performance on reality television. The Sociological Review: 57:4:626-44
Sparrow, A. (2008). Jeremy Kyle Show ‘undermines anti-poverty efforts,’ says thinktank. The
Guardian [online]: http://www.guardian.co.uk/politics/2008/sep/10/thinktanks.socialexclusion
[accessed March 2012]
Sutton Trust (2007). Low social mobility in the UK has not improved in 30 years. Sutton Trust [online]:
http://www.suttontrust.com/news/news/low-social-mobility-in-the-uk-has-not-improved-in-30-
years/ [accessed March 2012]
Wood H, Skeggs B (2011). Reality television and class. London: Palgrave Macmillan