add back to co 1 after mocks Flashcards
SUPER HUMAN tokyo paralympic games 2020
what is the backround info on super.human.
- created by bradford young an oscar nominated cinematographer
- created by 4 creative agency
- produced by serial pictures and somesuch - a global production company that works with channel 4
- ad explores the sacrifices made and endured by paralympic atheltes in preperation for 2020 tokyo games.
SUPER HUMAN tokyo paralympic games 2020
analyse how super.human. uses audio codes
- the soundtrack ‘so you want to be a boxer’ by bugsy malone effectively communicates the struggles of the disabled athletes while still maitaining a positive feel.
- a voice over and dramatic music appear at the start of the ad but rapild change to the alarm and realities of daily life.
- sound effects underscore the music, emphasising the battle of training including groans and grunts and tape being applied.
SUPER HUMAN tokyo paralympic games 2020
analyse how super.human. uses technical codes
- close up shots of expressions to engage the audience and to portray aspects of disability in a non-victim way, showing that this is part of their lives.
- slow motion used to show the cycling track crash combined with muting tthe sound for more dramatic effect.
SUPER HUMAN tokyo paralympic games 2020
analyse how super.human uses visual codes
- iconography and settings are related to the athlete and sport. eg. ellie simmonds putting on her goggles in the pool or training in the gym, but these settings are juxtaposed with domestic scenes of everyday life as a disabled person, suggesting normality of the situation.
- gestures communicate frustration, competition and celebration, visually highlighting the hard work.
SUPER HUMAN tokyo paralympic games 2020
link the theoretical perspective of roland barthes to superhuman.
- clothing is used to rapidly place the athletes within their sport, for example, the track cyclist’s clothing or the swimming costumes contrast with the athletes in their everyday life, such as the hospital clothing when the woman is giving birth or the casual clothing when the wheelchair user tries to access the cafe. these signs serve to illustrate aspects of the lives of the people and creates realism.
analyse the media language in super.human.
- The narrative follows the lives of the
Paralympians and their battles through training. The sequence where the athlete is trying to sing ‘Happy Birthday’ to his daughter on a mobile phone whilst training on a bike reinforces the clash between the sport and the family and further establishes the athletes as real people. - There are also some more stylised sequences constructed to convey meaning. The dream sequence reappears later in the advert and is edited with a Channel 4 news clip announcing the postponement of the Games. The impact of this is shown as the athletes fall ‘over the edge’.
- The advert also uses humour to convey information, for example, the image of the hamster on the wheel and the ‘puke bucket’ are recognisable visual signifiers of struggle. The animated sequences also insert aspects of the comic into what is a gruelling regime.
SUPER HUMAN tokyo paralympic games 2020
how does the ad represent the paralympians?
The advertisement actively avoids negative stereotypical representations of Paralympians as victims to be pitied, or heroes, ‘superhumans’, to be viewed in awe. Instead, the representations
create a realistic, ‘blood and guts’ feel to the advertisement. The representations cover both genders and give a different view of the world of disability to that of ‘having something wrong with you’.
SUPER HUMAN tokyo paralympic games 2020
link the theoretical perspective of stuart hall to superhuman.
This advertisement goes some way to address Hall’s assertions that stereotyping occurs when there are
inequalities of power, and that excluded groups, such as the disabled, are constructed as different. In the advertisement, the focus is on the athletes as ordinary sports men and women striving to achieve a
goal. The athletes are three dimensional and distinct from each other; therefore, the advertisement avoids simplifying their representations.
- The upbeat soundtrack, use of personalisation and positive representations of the event and the athletes as both ‘Super’ and ‘Human’, encourages an audience to accept the ideologies and intended meaning of Channel 4, the encoder, in creating the advertisement. The use of real people creates a preferred reading that the audience should invest in their narratives and subsequently watch the Paralympic Games.
- Some audiences may adopt a negotiated position, acknowledging the legitimacy of the encoder’s position, but may feel more distanced from the sporting theme of the event. However, this audience may be more open to the positive approach of the advertisement and examine their misconceptions about disabled people and their lives more generally.
- Oppositional responses may come from those who are not supporters of Channel 4 and its ethos of giving voice to those who are under-represented. They may be older, not regular viewers of Channel 4 or not interested in sport of any kind.
SUPER HUMAN tokyo paralympic games 2020
Consider how the advertisement super.human targets, reaches and addresses its audience. (include: personalisation, technical codes, audio codes, and USP)
- The use of personalisation will reach the audience. Super.Human. deals with real, human stories focusing on the day-to-day struggles of being an athlete in training and disabled. The individual narratives are constructed to encourage the audience to identify with the athletes and their lives.
- The technical codes include a lot of close-up shots, some of which are uncomfortable, for example, the popping of the blister. It also gives the audience access to views with which they may be unfamiliar, such as the attaching of a prosthetic blade, all of which hold their attention. The editing cuts between the athletes’ gruelling routines and clips of cartoon moments, lightening the mood and engaging the audience through humour.
- The audio codes address the audience. The soundtrack is a recognisable song from the musical Bugsy Malone, So You Want To Be a Boxer. The choice of this upbeat, stirring tune grabs the audience’s attention with its connotations of struggle and hard work paying off. Older audiences will be familiar with the film from which it is taken. Other audio codes suggest struggle, heavy breathing and grunting and these are juxtaposed with sounds from everyday life, such as a woman in childbirth and a baby crying.
- The unique selling point is the ‘showing’ of the athletes’ stories. There is no voice-over and no graphics moralising on the plight of the disabled. Instead, there is an attempt to give a realistic portrayal of the lives of disabled athletes. The audience are left towards the end of the advertisement with the words ‘To be a Paralympian there’s got to be something wrong with you’, encouraging them to examine their own misconceptions of disability in the light of what they have just viewed.
SUPER HUMAN tokyo paralympic games 2020
Consider how audiences may interpret super.human in different ways.
- The advertisement may make some audiences feel uncomfortable as it uses shock tactics to make audiences aware of the issues facing disabled people in their sport as well as in their everyday lives. For example, time lapse photography is used to show a bruise developing and there is a close-up shot of a blister being popped. Audiences may also be affected by seeing disabled rugby player Kylie Grimes unable to enter a café as her wheelchair cannot get over the step.
- The advertisement also challenged audiences to examine how they may use outdated language to categorise disabled people by the on-screen slogan at the end of the advertisement ‘To be a Paralympian there’s got to be something wrong with you’. The aim of this is to encourage
audiences to see this as something positive and that being a Paralympian is something of which to be proud.
SUPER HUMAN tokyo paralympic games 2020
link the theoretical perspective of george gerbner to superhuman.
- This theory suggests that audiences may have become used to the conventions of this subgenre of advertising which raises awareness of a particular social group. Due to the repetition of certain codes and conventions, for example, the focus on the specific disability accompanied by a voice-over with serious mode of address, they may accept this view of the world and perhaps be somewhat ‘immune’ to their purpose.
- Alternatively, this advertisement can also be said to challenge Gerbner’s assertions. As a result of viewing advertisements whose aim is to raise awareness and give a voice to previously under-represented groups, audiences may question their assumptions and be more open to the representations in advertisements like Super. Human., which offers a refreshing and more realistic perception of what it means to be disabled and one that challenges common preconceptions and mainstream values.
give context to channel 4 remit
- purpose is “to create change through entertainment by representing unheard voices” (minority groups)
- commercially funded but publicly owned
- reflects interests of different communities across the UK
- works with 300 creative companies across the UK yearly
kiss of the vampire study
Give the context of the study (who produced and distributed etc)
- produces by Hammer film production
- distributed by J.Arthur Rank and Universal
- KOTV was intended to be the 2nd sequel to 1958’s Dracula
kiss of the vampire study
Look at the KOTV film poster. Analyse 5 things about it.
- dark gothic background to show the audience it is a dark horror film
- bats and the colour red to symbolise the depth of horror and what it’s about
- The ‘V’ in the title also keeps horror interlinked with a white text to stand out and symbolise the teeth of a vampire with sharp edges.
- similar to Dracula, with a woman as a victim, dressed sexually but still glamorous while dead
- Eastman colour - in yellow to stand out and attracts more viewers
- men are mainly listed first and could be in order of importance
- main star in red to make him stand out
- Hammer film production and a universal release were popular horror companies - which show it was global and popular
newspapers - the daily mirror study
Looks at front cover of the daily mirror study and analyse it.
See the eduqas set product sheet.
