letter

Dear, Rupert Murdoch,

I am writing this letter to you for the decline and charging for online news content, since although you have said that the answer to: ‘can anything be done about all newspapers losing money’. Such as ‘sixty British local newspapers closed in the first three months of 2008’ and ‘70 newspapers closed in the first three months of 2009 alone’. You have said that from June readers of ‘The Times’ and ‘The Sunday Times’ will have to pay £1 a day, or £2 a week, for access to their websites. But the actual question is will it work?. well if you are goin to charge people a £1 or £2 then people might aswell just buy a normal newspaper which will cost them less especially in the time of recssion. Since many applications have proposed ’micropayment’ systems which was inspired by mobile phones and iTunes that charge readers a few pence to access articles. Also recently there has been a blossoming of alternative ways to gather and report written news. These include web-only newspapers-such as successful US site The Huffington Post, the Christian Science Monitor, which has scrapped its print edition to focus on an online presence-to-not-for-profit news organisations such as ProPublica and local newspapers that are run as charities. Also it is useless charging for online news since the internet has made information free and there isn’t going to be any change. Also Newspapers are not worth paying for since they are not original, and in order to do this they need to increase the sort of niche expertise. In addition Media barons have had it good for a decade they have to recognize that their domination on news is now over. Finally to conclude this challenge us citizens have the right to receive news for free, as not everyone can afford the news.
Yours Faithfully,

Dilwinder Poonyani (A-level media student)

Represenation of teenagers in the UK

TV programming:

• skins
• hollyoaks
• eastenders
• inbetweeners

News:

• channel 4 news
• ITV
• BBC

Movies:

• kidulthood
• adulthood
• 4321

Magazines

• teen vogue
• sugar

News Corp- Rupert Murdock

Examples:

• News of The World
• The Sun
• The Sunday Times
• News International

Independant Broadcasting Authorit - Independant Television Authority - Kenneth Clark

Examples:

• ITV
• ITV2
• TWW
  

In raising these questions, I am only at the beginning of figuring out what a more positive kind of post-feminist account of religion and family might look like, and so have no compelling summary to offer, let alone a call to a specific research agenda. In my own work, I do want to take some feminist insights for granted. But I explicitly reject the idea that strong feminist critiques have had their day and must now give way gracefully to approaches that favor a consensual and functional, or even communitarian, interpretation of the good society. I am feeling more combative, or at least constructively critical, about theories that neatly divide society into a “public” and a “private” realm, while systematically devaluing those feminine things (religion, family) assigned to the private (cf., Warner 1999). I am not sure where it will lead, but it feels right to begin pushing back the boundaries of post-feminism by asking a different set of questions.
Penny Edgell Becker

Feminism have had its erea
Feminism and post feminism have had its time
She is saying that post feminism has specific set of rules.

What the hell is postfeminism, anyway? I would think it would refer to a time when complete gender equality has been achieved. That hasn’t happened, of course, but we (especially young women) are supposed to think it has. Postfeminism, as a term, suggests that women have made plenty of progress because of feminism, but that feminism is now irrelevant and even undesirable because it has made millions of women unhappy, unfeminine, childless, lonely, and bitter, prompting them to fill their closets with combat boots and really bad India print skirts.
Susan J. Douglas

Women have not made progress and that post feminism is not gone anywhere
It says that nothing has been achieved

It’s about deeply held political convictions, not to mention strategy. If there’s a wad of people out there extolling postfeminism and meaning “I think feminism is flawed and I’d like to see some goal-shifting, fresh tactics, and revisiting of contentious topics,” this isn’t just an issue of what’s going on in a speech group that doesn’t overlap with mine. It’s about defending feminism’s ground. Feminism is already doing the work that these (as I have come to think of them) non-evil postfeminists think comes with their prefix. And it’s beyond obvious that feminism suffers from its terrible reputation and from the vast misunderstandings that stunning numbers of people still have about it (no matter how many times it happens, I will never, ever get used to being asked if I hate men). I can’t help but see even the non-evil usage of “postfeminism” as a rejection of and attack on feminism, and an implication that the movement is finished. And that means I need to challenge it at every turn.

Lisa

Post feminism is projected in a negative way along with label. There is a lot of cliché

I’ve come across the term used in the way Lurker describes, similarly, in academic circles, and for academic reasons I don’t think anyone should use it. The problem lies in the ambiguity of the prefix “post”, because post can mean since something commenced OR since something concluded. So, while technically a “post-feminist society” could mean a society since feminism began to be an influence, there will always be people who think you mean since feminism ended.
Orlando

Post feminism suggests that feminism has ended. It also suggests that feminism was presented straight after post feminism although it could have started 3 or 4 yrs after.

Ranking

Penny - 4
Susan - 3
Lisa - 1
Orlando - 2

I have chosen lisa as 1st because I think her idea of post feminisn is correct.
There is alot of people that think post feminism hasn't changed and there is also a lot of evidence which shows this

What are the different representations of women in adverts and how are they signified?

The representation of women can be positive: challenging the roles and expectations of women or negative: reinforcing a patriarchal society. This essay questions how and why these representations are constructed in an advert for Gucci Guilty Perfume and Stella Artois beer.

Firstly the Gucci advert is in widescreen which connotes a dramatic cinematic experience to engage its audience. More attention is gained by the female character first seen in the text and her protagonist is signified through this. The protagonist has female dominance which is signified through the use of colour- everything is in black and white while her hair is gold/blonde. This colour connotes gold, power and divinity signifying her importance in the text.

The use of intertextuality in this text will appeal to a particular audience. The film references a great deal to the neo film noir Sin City, with the use of colour and the female dominant femme fatale character. Sin City appeals to a male audience due to the action genre, this trailer could also appeal to the same audience due to the intertextuality. In terms of the Uses and Gratifications theory, a female audience might realise and accept the protagonist in the text is a form of escapism and also a male gaze, by theorist Mulvey, and therefore might aspire, from Young and Rubicam's 4Cs, to be the object of male gaze too.

Though the protagonist is an object of male gaze, it could be suggested that she sexually objectifies herself to tease the audience. The protagonist puts her leg into the frame of the shot. As she puts into the frame, it signifies self objectification, allowing the audience to fetishise her body. Another shot, a high angle, of their sexual activities signifies CCTV and spying which is voyeuristic. The fact she is on top signifies her control of the situation for both the male character and the audience.

Not only does the protagonist exert her feminity through self objectification she also presents herself as an anarchic character signified by adopting male stereotypes. The advert begins with a long shot of an unknown character speeding down the motorway, which stereotypically would be expected to be a male character. However, the audience's expectations are challenged when a medium shot of the driver shows to be a female.

In contrast, women are negatively represented in the Stella Artois text. The most obvious editing technique used in the advert is the split screen: one side shows the female getting dressed and the other side is of the beer getting "prepared". This use of split screen signifies that neither the beer nor the woman know they have been placed side by side. This puts the audience in position of control as they can voyeur the woman, in a socially acceptable way. Audiences may identify this control as patriarchy, and also identify with the unknown male character whose presence is felt within the text. This text then reinforces the idea of a patriarchal society and that women are subordinated by men.

Not only does the female share the screen with the beer, but the screen is split equally between the two "objects" which connotes the woman is equally objectified to the status of beer. It is suggested the audience is male due to the female and beer subject. Though the advert is targeted at men, it also negatively stereotypes men as people who have little respect for women which however is a dominant representation.

A range of close up shots of the female are used to fetishise her body. There is a close up shot of the female's leg slowly and elegantly rising from the bath tub. On one hand this could signify femininity and her control over it which is the oppositional reading. However, the more dominant reading is that her legs are an important part of the female body and connotes a male audience who can voyeur her body.

The text near the beginning of the trailer says "the preparation" which is an enigma code as the audience question "what event is the preparation for?". It is signified through the shots that the woman and beer preparation is for the male through the use of action codes. Action codes of both the preparation of the woman and the glass of beer are the same.

Women are represented as people who prioritise their looks and appearance, and this ad reinforces this ideology. Action codes including close ups of her: brushing her hair, doing her make up and putting on heels strongly represent women as image conscious. It could be said that the advert reinforces this representation, which is always seen in the media. Funnily enough, it could also be said that the media itself is the cause of this representation as this ideal, perfect woman is always represented in the media, and women feel they have to aspire to it.

In conclusion, both texts females are the protagonists and are sexually objectified for male audiences to fetishise and vouyer their bodies. However, while Gucci’s advert’s protagonist controls her sexuality through self objectification, the Stella Artois’ protagonist is objectified by an unknown but present male character.

In the Gucci’s ad, there are many examples in the text that signify the protagonist’s female dominance, but it is arguable whether this could be seen as a positive representation. The dominant reading is that the protagonist exerts her female dominance over the male challenging the historical patriarchal society and even subordinating males as easily manipulated and easily tempted by women and sex and this would favour feminism. However the oppositional reading which would favour the ideologies of the Stella Artois advert, might be that females can control their sexuality, but it is still for the male gaze and male dominant society.

adverts

In this advert the women is seen picking up the product whilst spraying it on her own underarms at the start of the advert, as the main narrative revolves around the Nivea Calm and Care collection targeted at the female audience,the narrator advises that the skin is damaged during shaving. She there for introduces Nivea Calm and Care deodorant as soothing the skin and helping it recover from all the damage caused by shaving. She declares that not only it enhances your love life if you use this product but also that 77% of women feel sexier when their underarms look good. By using the fact that they have interviewed 2,550 women and 77% of those that it would also recommend it to others within the advert itself, it makes it seem more valuable and a realistic result.

The advert uses non diegetic sound of a guitar and a low tone of music to signify a more settled and comfortable mood as this is also shown through the females face, when she is shown to be play fighting and smiling away as this connotes happiness and 'Feeling Good'. The use of the female voiceover suggests that the product is effective, as it makes the skin wonderfully smooth and soft which makes women feel confident and attractive after using the product.

This product is marketed at its target audience (female audiences) under the 'strapline'
'Feel Closer' in a new brand for the company as it aims to emphasise and promotes a positive impact Nivea products have on female relationships by helping them to "feel good in their own skin" and make their skin feel smooth and huggable. This gives out a positive representation of the female and also the product at the same time.

The women is shown to apply the product on her self which connotes that she is the dominant sex who self objectifies herself in a positive way but also attracts the men in the advert and also the male audience therefore the men become the second audience. The kiss given by the male in the advert also indicated that he is shown her the love by kissing her much smoother and softer skin, as this reflects back to the purpose of the product.

2nd ad



In this ad the representation of women is positive although it challenges the roles of women in a negative way.This ad starts of with a big gucci bottel opening, this gives the effect of us going into the gucci world which shows the affect of UGC. The use of intertextuality in this text will appeal to a particular audience.

The advert begins with a long shot of an unknown character speeding down the motorway, which stereotypically would be expected to be a male character. However, the audience's expectations are challenged when a medium shot of the driver shows to be a female.The most obvious editing technique used in the advert is the split screen: one side shows the female getting dressed and the other side is of the beer getting "prepared". This use of split screen signifies that neither the beer nor the woman know they have been placed side by side and so this represents sexism.

Not only does the female share the screen with the beer, but the screen is split equally between the two "objects" which connotes the woman is equally objectified to the status of beer. This shows that females are just another object to males.

The text near the beginning of the trailer says "the preparation" which is an enigma code as the audience question "what event is the preparation for?".

Representation

The charcters representations are as follows:

Walter Neff is represented as flirty and shows that he likes Ms Dietrichson. This is shown a couple of times; when he goes to her house lookin for her husband and see's her half dressed and when he calls her 'baby' etc. Also it shows that that the lady in the text who is Phillis Dietrichson is in control of Walter Neff and this is shown when she says 'Suppose you let me off with a warning, officer'. She acts like he is the police and shes the culprit. It shows that he can not control her.

Phyllis Dietrichson is represented as sexually objectified and an object of male desire. This is shown because in the beggining of the text its shows how shes half dressed which connotes that its quite seductive. Shes comes across as weak and vulnerable 'he keeps me on a leash so tight I can'y breathe'. Also she is quite flirtacious and this is shown when she comes out to see Neff, she is half dressed and also metions it and her posture when she sits down on the chair. The colour of her clothes change from white to black and she wears low cut blouse which objectified when we see her feet and legs as she comes down the stairs.