Component 1: Section A (Advertising & Marketing) Flashcards

1
Q

How would you summarise the Water Aid advert? (Context)

A
  • Focuses on student Claudia (personalised narrative used) who subverts usual stereotypes and conventions of a charity advert
  • Shot in Lubunda, Northern Zambia in 2016
  • asks for £3 donations
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2
Q

How is suspense created in the beginning of the Water Aid advert?

A

Suspense is created through the producer’s enigmatic use of the slow-motion, medium close up of the protagonist and a low angle tracking shot of Claudia’s feet and the bucket she is swinging
-also a conceptual binary opposition between protagonist and stereotypical archetype in charity advert of this sub genre

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3
Q

How does the Water Aid advert subvert the usual codes and conventions of a charity advert of this sub-genre?

A
  • high key lighting
  • bright lighting and bright colour palette and choice of costume
  • no non-digetic voice over
  • no black and white visual codes
  • no melancholic audio codes
  • many binary oppositions created> goes against usual stereotype as the advert shows the power and effects of donations as opposed to a lack of them
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4
Q

What are the main camera shots used in the Water Aid advert?

A
  • Medium shot with a pull focus of digital radio and rain against the window establishes the advert in a modern, British setting
  • Low angle tracking shot of Claudia’s feet> audience taken on her physical and metaphorical journey to a better life
  • Close up shot of protagonist (centred)> shows her importance
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5
Q

What representations are constructed in the Water Aid advert?

A
  • The protagonist wears costumes and shoes of a bright colour palette > reflects her happy nature
  • We realise her independence through her actions at the water pump> suggesting she’s “grown up too fast” because of her circumstances
  • her confident, smiling gesture codes establish her as the protagonist and a ‘character’ whom the audience can positively associate with
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6
Q

Why might Water Aid have subverted the usual stereotypical ‘victim’ (archetype) in the advert?

A

Because of the desensitisation of the audience and public to the usual traditional fundraising tactics as they have have become familiar with the stereotypical ‘victim’ many times already

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7
Q

How can structuralism (Levi Strauss’ Theory) be linked with the Water Aid advert?

A

Examples of binary oppositions:
•Visual binary opposition between the primarily beige, washed out colour palette at the beginning and the more vibrant colours used later on
•Conceptual binary opposition between Claudia and usual archetype of an advert of this sub genre> subverts the stereotype
•The on-screen graphic creates a conceptual binary opposition between Claudia’s positive story and the other less fortunate people> this is what encourages audience to be a part of solution and donate

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8
Q

How can David Gauntlett’s Theory of Identity be applied to the Water Aid advert?

A

Claudia acts as a role model for the type of lifestyle changes the audience could become responsible for through donating to charity.

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9
Q

How can Van Zoonen’s Feminist Theory he applied to the Water Aid advert?

A

By assuming the stereotypically male roles, Claudia is perhaps contributing to social change by representing women in non-traditional roles e.g carrying the bucket of water

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10
Q

How can Gilroy’s Post-Colonial Theory be applied to the Water Aid advert?

A

Water Aid encourages the British audience to ‘help’ those like Claudia in ‘less-developed’ countries

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11
Q

What are some of the main features of the Tide advert?

A
  • Female protagonist dressed up and wearing makeup with eyes fluctuated on product, hugging product and puckering lips> notion of scopophilia
  • use of feminine colour palette which suggests connotations of love and romanticism
  • repetition of ‘women’ > (direct address) established “norm” as roles of women are reinforced
  • ‘patronising construction’ > suggests ‘less educated gender’ and need to follow a clear, specific set of instructions in order to fulfil their role properly
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12
Q

Who launched the product Tide? When?

A

Procter and Gamble in 1946 (end of war period perhaps suggesting women’s roles should now regress back to being domestic related only?)

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13
Q

What do the hearts on the Tide advert suggest? (media language feature)

A
  • Suggests women love what they do
  • Reinforces traditional feminine values
  • Role done in return of love from husband?
  • nurturer and loving house wife stereotype?
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14
Q

What is significant about the font used on the Tide advert? (ML feature)

A
  • It is attractive> grasps attention
  • Sans serif> informative
  • usual convention of adverts associated with women
  • curvy font> ideology of ‘ideal woman’ in society?
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15
Q

Why is there an informal lexis used in the Tide advert? (ML feature)

A
  • mode of address is leading back and casual > element of subtlety
  • aimed at ‘ordinary’ working class women
  • chatty and informal> light hearted
  • family friendly
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16
Q

What is the ideology behind the ‘patronising construction’ in the Tide advert? (ML feature)

A
  • suggests patriarchy and male dominance > ironic
  • conceptual binary opposition between Tide and competitors> superlatives suggests superiority
  • patronising as women are instructed on how to do the role they are so familiar with
17
Q

What is the context of Kiss Of The Vampire?

A
  • 1963 Horror film
  • produced by hammer film productions and distributed by Rank and Universal
  • intended sequel to Dracula 1958
18
Q

What were the usual codes and conventions of the horror genre during this era? 1950s-60s?

A
  • iconography-blood and gore
  • ‘sinister’ colours (black and red)
  • low-key lighting
  • eerie fonts
  • powerful villain with scary expression
19
Q

What are some of the visual codes of Kiss Of The Vampire?

A
  • conventional iconography Of blood and gore
  • strong male protagonist (villain)>patriarchy
  • woman sexualised and objectified> weak and vulnerable
  • low key lighting and gloomy eerie colour palette > reinforces dark and scary conventions of film
20
Q

What are some of the conventional visual signifiers that suggest a HORROR genre on Kiss Of The Vampire film poster?

A
  • Serif font = signifier Of blood and fangs and wooden coffin effect
  • Iconography Of blood and gore
  • Bats = signifier Of vampirism and horror
  • Painted ‘main’ image = common at the time
21
Q

How is a reversal of roles presented on the Kiss Of The Vampire film poster? (Gauntlett’s identity theory + Strauss’ Structuralism theory)

A

A woman is dominating a man and appears powerful and defensive in her gesture codes. Could be seen as a role model for females against male oppression (subverts usual gender roles within society=conceptual and visual binary opposition)

22
Q

How could Laura Mulvey’s Male Gaze Theory be linked to Kiss Of The Vampire film poster?

A
  • both women are dressed in common, revealing costumes that are skin tight > scopophilia
  • one woman appears weak and vulnerable in her gesture codes as she is dominated by a male > sexualised and objectified
23
Q

How is the zeitgeist of the 60s captured in Kiss Of The Vampire?

A

Old stereotypes of women being ‘passive’ to males & ‘Male fears’ of women challenging male dominance encoded
-first women went to space> slowly gaining more opportunities in society

24
Q

What connotations does the verb ‘Kiss’ suggest in the title of the film Kiss Of The Vampire?

A
  • buzz word of the 60s

* suggests opposing connotations; love or vampirism? (Binary opp)

25
Q

How can Gauntlett’s Theory Of identity be linked to Tide advert?

A

Women are represented in the advert act as role models of domestic perfection that the audience may want to construct their own sense of identity against

26
Q

How can Stuart Hall’s Theory Of Representation be linked to Tide?

A

The images of domesticity form part of the “shared conceptual road map” that gives meaning to the “world” of the advert
-the scenario represented is familiar to the audience as a representation of their own lives