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Showing posts from January, 2020

Woman Magzine - Creme Puff Advert

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Mise-en-scene:  The man - We see a handsome suit-and-tie wearing man smiling behind the female model in the image, reinforcing the breadwinner mentality that men were always supposed to be formally dressed for their work, notably we see a ring adorned by him too on the ring finger, though this isn't the same for the woman. This could be the creators of Creme Puff trying to represent the product as irresistible to even the most off-limits men, and perhaps a reason for certain women to purchase it. Mode of address:  Though the piece does not address the viewer directly through the image, it gives the implication that the buyer of the product is just so heavily invested within it that she doesn't have the spare attention for such, while having what we assume to be her partner also failing to directly address the spectator it puts emphasis on the patriarchal ideology of pleasing men at that time by having his line of sight upon her, implying similar results would be achie

Alfred Hitchcock Women Magazine Analysis

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Analyse two of the images included in this article.   Consider shot type, costume, and especially the anchorage provided by the lexis of the captions. What ideological perspectives are being constructed? T he interview is an interesting gateway to the period of 1964 and it's representation of women simply through the language that Hitchcock uses to describe them, constantly objectifying women throughout a magazine that's target audience was clearly intent on being those he spoke upon.  In what ways does this article confirm   patriarchal hegemonic ideologies   relating to women? A lfred Hitchcock born on the 13th of August 1899 in  Leytonstone, Essex, England, stated to be one of the most influential and majorly studied directors ever. Though alongside this, he is known for his many controversies, most infamously that of those revolving around his treatment of the actress Tippi Hedren, who'd starred as the leading lady in a trio of his films, 'Discovery', 

Woman Magazine Analysis

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This issue comes from August 24th 1964 'Woman's Greatest' - Aspirational,  demographic of middle class woman 25-50s presenting itself on being able to show these women how they can improve their lives in a variety of ways. The lexus is that of glamour and importance, 'Greatest', 'Special', 'Lively', 'Improvements' and 'A-level' all give blatant implications of such, with each of these words make an appearance in every body of text upon display. 'special magic' acts as an enigma code to make the viewer intent on finding out what that supposed magic is. the text that also uses a direct mode of address in it's usage of 'ARE YOU AN A-LEVEL BEAUTY?' which acts as another enigma code to support the viewer to read on in the magazine and think about the enquiry that has been made to them, it also creates a feeling of inclusivity between the magazine and the reader to some extent. The image of

Wired Magazine Cover Analysis

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This cover is from Wired's March 2013 edition. Codes and conventions: Elon's crossed arms - This acts as a symbolic code of the person performing the action to be no nonsense and firm, or perhaps even defensive in their demeanour about particular subject matter. Elon's gaze - The fact that Elon is looking aside rather than directly at the camera gives the symbolism of someone in deep thought or consideration, and by doing so implies that by purchasing the magazine and reading it you'll get a better glimpse of his mind, etc. Layout and design The design makes usage of the Z-line technique to guide the eyes along from the skyline and title of the magazine, right across the celebrities gaze and through the main articles/ issue name, then finally the main article at the bottom, producing it in such a way makes the information all more graspable to the viewer. We see the rule of thirds being utilised quite heavily in this magazine cover, (and most magazines at that) in

Key Assessment 2 - Newspapers

1 . Compare how the set editions of the Times and the Daily Mirror construct representations and reflect the ideology of the producer [30]: Looking into the Daily Mirror, a tabloid, it immediately becomes clear that the intention of their paper is created within the lexus of entertaining rather than informing, with the majority of their front page being blustered with inter-textual to services like Coral, and horse racing, as well as the Cheltenham Festival and the soap opera EastEnders taking up the majority of the screen, with what would be considered the more formal news upon Theresa May being delegated to a small portion of it; This is in stark comparison to The Times which tries to take a far more formal lexus and overall mode of address to the viewer in the form of a broadsheet. The cover image is an unflattering, large close-up of Theresa May that centres the page, with the majority of the page aside from the header being comprised of the story attached to the image in masses