Advertising case study 3: Represent NHS Blood campaign

Our final close-study product for Advertising and Marketing is the 2016 NHS Blood and Transplant online campaign video 'Represent' featuring Lady Leshurr.

This product provides an excellent opportunity to explore a range of different representations: ethnicity, masculinity, femininity, class, age, disability and ability and place. It's also a different type of advert as it's not promoting a product but instead is a campaign designed to influence the audience's behaviour.

Sample questions for Advertising and Marketing

In your Media exams, you are likely to get questions similar to these:

1) Why do advertisers use stereotypes? [6 marks]

2) Explain how advertisements reflect the historical context in which they were created. [12 marks]

Think about how you might answer those questions based on the CSPs we have studied.

Advertising campaigns

Some adverts are produced in a series as a campaign. An advertising campaign is a series of advertisements that share a singular theme, message or idea. These are used to raise awareness of an issue or of the brand itself. The best campaigns have an emotional impact on audiences.

An advertising campaign will usually appear across multiple media platforms - print, broadcast and online.

Represent: background information

Lady Leshurr is an English rapper, singer and producer. She is famous for her freestyling rap style and has her own clothing line. 

This is the advert CSP:

The two articles we read in the lesson provide details on the campaign and how it was developed. This also gives information on why blood from people with a BAME background is so vital. 

GLOW words to use in connection to this campaign

• Literal – the actual, obvious meaning 
• Semiotics - the message behind what you see (hidden messages)
• Reinforce stereotype – when a representation is what we usually see in the media
• Challenge/subvert stereotype - When a representation goes against what we normally see in the media
• Mass/mainstream - A mass or mainstream audience is made up of a large group of people (men, women, children, elderly).
• Niche - A niche audience is a small subset with a narrow range of interests or characteristics. 

Codes and conventions of rap music videos

• There are many low-angled, close up shots in hip hop videos, to imply the artists’ power over their audience. The low angle gives them the power, because they look down on the audience and the close up gives status because it implies they’re important enough to have a frame to themselves.
• Sections of direct contact with the camera (the artist usually spends a lot of time looking straight into the camera as if to talk or have a conversation with the audience and relate to them)
• Props regarding costume tend to be used, for e.g. gold jewellery (male rap artists are commonly known to wear heavy chains or prominent rings)
• Show a clear display of emotions – if the tone of the song is angry, the artist is likely to present this through their gestures and facial expressions.
• Strong editing cuts between concept / performance and narrative.

Represent NHS Blood & Transplant campaign: blog tasks

Work through the tasks in this blogpost to make sure you're an expert on this CSP.

Re-watch the Represent video and then watch the 'making of' video:



1) What does BAME stand for?

2) Why is there a need for blood in the BAME community? 

3) What does this advert want people to do once they've seen it (the 'call to action')?

4) Why have the producers chosen famous BAME celebrities to feature in the advert? Give an example of three well-known people who appear in the advert and why they are famous - make sure you write their names and spell them accurately.

5) Suggest some connotations for the slow-paced long shot of empty chairs at the end of the advert.

6) How does the advert match the key conventions of a typical urban music video?

You will have lesson time to answer these questions but will need to complete for homework - due date on Google Classroom. 

Extension tasks

1) How does the advert subvert stereotypes - this means present people in a way we don't normally see them in the media? Give three examples (e.g. ethnicity, masculinity, femininity, age, class, disability/ability etc.) 

2) How does the advert reinforce certain stereotypes of the BAME community?

3) Choose one key moment from the advert and write an analysis of the connotations of camera shots and mise-en-scene (using CLAMPS).

4) Read this MOBO press release about the "B Positive" campaign - the follow-up to the Represent advert. How does it aim to build on the success of the Represent campaign?

5) How is celebrity endorsement or star power used to make the campaign stand out?

Finally, research the following stars in more detail: Lady Leshurr, Ade Adepitan, Kanya King. Why are they famous? How do they help the campaign reach different segments of the niche BAME audience?

Advertising case study 2: Audrey Hepburn Galaxy advert

Our second close-study product for Advertising and Marketing is the 2016 Galaxy chocolate advert 'Chauffeur' featuring dead Hollywood film star Audrey Hepburn.

This product provides an excellent opportunity to explore a range of different representations: celebrity, place (Italy), gender and more. 

Galaxy advert: background information

This is the advert CSP:

You can read more about the incredible CGI technology that went into creating the advert here. There is also a Guardian feature from the production company behind the advert explaining the technical process. 

GLOW words to use for this CSP

• Intertextuality: When one media text refers to or suggests another media text
• Semiotic codes: The media language choices (‘signs’) that create connotations for the audience.

Historical context of confectionary advertising

Nostalgia, or a "yearning for yesterday," is a frequently used advertising tool.  It is particularly common in the chocolate industry.

This classic Flake advert from the 1980s creates a nostalgic atmosphere of a more innocent time: 

Galaxy brand identity

The Galaxy brand identity has focused on luxury and indulgence for over 25 years. This 1995 advert is a good example of the Galaxy brand and also features a nostalgic soundtrack:




Audrey Hepburn
Audrey Hepburn was a huge Hollywood star in the 1950s and 1960s. She was associated with Hollywood glamour and style and was also a fashion icon and model. She died in 1993 at the age of 63.

For the Galaxy advert, the advertising agency used a CGI-version of Hepburn from 1953, the year of her hit film Roman Holiday. The advert is set on the luxurious Italian Riviera which creates intertextuality and nostalgia – two key audience pleasures.


Intertextuality in Media Products

Intertextuality is where one media product (e.g. Galaxy) makes reference to other media products (e.g. Audrey Hepburn movies such as 1953 film Roman Holiday) to interest and engage the audience.

Narrative theory

We also need to learn narrative theories in GCSE Media Studies and the Galaxy advert is an ideal time to learn these. Narrative theories help us understand how media texts are constructed to engage an audience and keep them watching or reading until the end.

Propp’s  Character theory

Vladimir Propp stated that there were seven basic character functions when he analysed 100 fairy tales and that these were present in most narratives. Media products still use these recognisable character types today:

Hero, Villain, Heroine/Princess, Father, Donor, Helper/Sidekick, False Hero

Todorov: equilibrium

Todorov suggested that all narratives follow a three part structure.

They begin with equilibrium, where everything is balanced, progress as something comes along to disrupt that equilibrium, and finally reach a resolution, when a new equilibrium is restored.

Equilibrium > Disequilibrium > New equilibrium

This can be applied to most media narratives.

Galaxy advert: Representations

The TV advertisement for Galaxy uses a range of stereotypes. Stereotypes are used so that information can be quickly communicated to the target audience. What stereotypes are used in this advert and why? Are they reinforced or subverted?

Place: Italy

Celebrity: Audrey Hepburn

Product: Galaxy chocolate

Time: 1950s

Gender: Men & Women

Galaxy 'Chauffeur' advert: blog tasks

Work through the tasks in this blogpost to make sure you're an expert on this CSP.

Re-watch the Galaxy advert then answer the questions below:

1) Why is the advert set in the 1950s? What audience pleasure does this provide? 

2) Who is Audrey Hepburn?

3) Why did Galaxy select Audrey Hepburn for this advert? 

4) What is intertextuality?

5) What Audrey Hepburn film is suggested in this advert and how is this effect created (e.g. mise-en-scene - CLAMPS: costume, lighting, actors, make-up, props, setting)?

6) What are the connotations of Audrey Hepburn and celebrity in this advert? 

7) What representations of gender can you find in this advert?

8) Are stereotypes reinforced or subverted in the Galaxy advert? Give examples.


Extension tasks

Which of Propp's character types are represented in the advert? (Note: just choose two or three character types that are definitely used in the advert - it does not use them all). 

How does the advert's narrative (story) follow Todorov's theory of equilibrium?

Read the Framestore case study and the Guardian feature. How did they recreate an Audrey Hepburn film using location, casting and CGI?

Now read this Vintage Everyday feature behind the scenes of the Galaxy advert. What other background information do you learn here regarding the construction of the advert?

Women in the 1950s are represented very differently in two of our advertising CSPs: OMO and Galaxy. What similarities and differences can you find by analysing the two products?

Due date for this work on Google Classroom.

Advertising case study 1: OMO print advert

The first close-study product for Advertising and Marketing is the 1955 advert for OMO washing powder that appeared in Woman's Own magazine.

This product provides an excellent opportunity to analyse the changing representation of women in advertising over the last 60 years.

Sample questions for Advertising and Marketing

In your Media exams, you are likely to get questions similar to these:

- Why do advertisers use stereotypes? [6 marks]

- Explain how advertisements reflect the historical context in which they were created. [12 marks]

OMO advert CSP (1955)

OMO was a popular washing powder brand in the 1950s. This advert was from 1955 and needs to be studied both in terms of historical context and how it would be received today.

In 1955, British society was still adjusting after World War Two in which women took on many traditionally male jobs with men off fighting. This led to advertising in the 1950s often trying to reinforce traditional female stereotypes of housewives and mothers in order to protect male power both at work and at home.

Annotations

In the lesson, you'll have a chance to annotate your own copy of the OMO advert and make notes of the key conventions and what they communicate to the audience.

Here are some of the questions we discussed when we annotated our copy of the advert in class:

And here's an image of an annotated advert from a lesson on OMO - you'll need your Greenford Google login to access this.

OMO advert: blog tasks

Work through the tasks in this blogpost to make sure you're an expert on this CSP.

1) What year was the advert produced?

2) How were women represented in most adverts in the 1950s?

3) What typography can be found in the advert and what connotations might this have?

4) What does the costume, make-up and placement of the model (mise-en-scene) suggest about women's role in society in 1955?

5) Why is a picture of the product added to the bottom right of the advert?

6) What are the connotations of the chosen colours in this advert - red, white and blue?

7) How does the anchorage text use persuasive language to encourage the audience to buy the product? Give examples.

8) What representation of women can be found in this OMO advert? Make specific reference to the advert and discuss stereotypes.

Extension questions

What is the preferred reading for this advert - what did the producers of the advert want the audience to think in 1955?

What is the oppositional reading for this advert - how might a modern audience respond to this text and the representation of women here?

How much do you think things have changed over the last 60 years with regards to representations of women in advertising? Give examples from a variety of adverts

How is the aftermath of World War Two reflected in the Omo advert? Why did many adverts in the 1950s strongly reinforce the stereotype of women as mothers and housewives?

You will have lesson time to answer these questions but will need to complete for homework - due date on Google Classroom.

Advertising and Marketing: Key conventions

Our new topic is Advertising and Marketing - an important aspect of Media Studies.

One of the key aspects to deconstructing advertisements is denotation and connotation. Remember the definitions:

Denotation: the literal meaning of something
Connotation: the deeper meaning or what is suggested (reading between the lines)

Codes and conventions of print adverts

When studying print adverts we need to look for the following conventions or typical features:

• Picture of product
• USP - unique selling point. What is it that makes the product special or different to appeal to consumers?
• Lighting
• Setting / colour scheme
• Logo – this is usually the brand name 
• Slogan – this is a catchy phrase summing up the ethos of the product e.g Nike’s ‘Just Do It’

Adverts will often use unique and interesting ways to attract the attention of the target audience. This might be: innovative branding; clever use of space; unconventional or subversive ideas; emotional connections or shock / controversy.

Persuasive techniques in advertising

Advertisements are generally trying to persuade their target audience to:

• Buy a product or service
• Believe something or act in a certain way
• Agree with a point of view

There are many persuasive techniques used in advertising. A selection include:

• Image and colour scheme- to catch and keep attention
• Slogan – a catchy phrase or statement
• Established brand identity – associated with success or taste or good quality. 
• Repetition – constant reference to product name
• Association / Star Power – e.g. celebrity endorsement
• Emotional appeal or shock tactics – designed to create strong feelings
• Expert opinion – ‘4 out of 5 dentists…’
• Imperative- Giving no choice e.g ‘Taste the rainbow’

Media analysis example - Maltesers advert

Conventions and analysis

• Pictures of the product (Maltesers) to remind us of the type of product it is. The image also reinforces the word ‘lighter’ as the chocolates dance and jump off the floor. 
• The Logo is bright and large in the centre of the advert. The word ‘malt’ relates to the flavours used and ‘tesers’ is a play on the word ‘tease’ which ties in with the playful, light ethos. 
• The Background features the heavy use of red. It is bright and eye-catching with connotations of love. This makes the consumer recognise the brand colour and makes them think they love the product, or may gift it to someone they love. 
• The Slogan at the bottom is clearly visible and stands out against the background. ‘Lighter’ and ‘enjoy’ reinforce the USP – that Maltesers are slightly healthier or 'lighter' chocolate. 
• The Colour Scheme is red and white - recognisable from the packets of Maltesers, creating a brand identity. 

Introduction to advertising: blog task

Create a new blogpost called 'Advertising: Key conventions'. Look at this Skittles advert:

1) What key conventions of print adverts can you find and what are the connotations or deeper meanings of each convention? For each convention, write about how it communicates meaning to the audience. See the Maltesers advert above for an example of how to do this.

2) What is the USP (unique selling point) for Skittles and how do you know? Does the advert use any of persuasive techniques listed above?

Look at the Maltesers example above if you are unsure how to complete these tasks.

Extension tasks

If you have completed an in-depth analysis of the Skittles advert, write an analysis of a print advert that you have chosen using Google Images. 

Next, do some additional research into creative or powerful print advertising. 

Task: Find an example of a print advert for EACH of the following:

1) A clear brand identity

2) A shocking or controversial idea

3) An emotional connection to audience

4) An innovative or ‘different’, subversive concept (e.g the porcupine advertising VW car)

5) A foreign advert that you can understand despite the language barrier

You can find plenty of examples for the above by googling 'creative print adverts' or similar.

Due date: on Google Classroom

Magazines: Heat CSP case study

Heat is our second magazine Close Study Product. We need to study the media language and representation of people and groups on the front cover of Heat 21-27 November 2020.

The key notes on Heat are here:

Terminology: low brow and high brow culture

High brow: Intellectual, cultured. Aimed at intelligent or educated people. E.g. University Challenge / The Times. 

Low brow: Lacking culture or intellectual content. Usually aimed at less educated people or seen as a 'guilty pleasure'. E.g. reality TV, celebrity magazines.

General

• From Bauer Media’s website about the brand of Heat: “Heat is the brand that sets popular culture alight and gets people talking. Now a huge multiplatform brand that's unrivalled in the entertainment market, heat is more than just a magazine- it's a radio station, a podcast, an app and has a huge online and social media presence.”
• From the Heat media pack: "In print – we bring readers a truly unique, quality experience. From clever A-list access shoots no other magazine could pull off to celeb news – heat has the celeb contacts to give readers the exclusive every time."
• The magazine also offers shopping and lifestyle tips: "Our all-inclusive approach promises style for everybody, no matter what shape or size, and our team test fashion and beauty products to make sure readers spend their hard-earned pennies wisely. And Life Hacks gives readers down-time inspo by curating the buzziest experiences in travel, food, fitness, wellbeing and homes."

Heat's target audience

• FEMALE/MALE: 90% / 10%
• AVG AGE: 37
• AGE PROFILE: 52% AGED 15/34 (14% 15-24, 37% 25-34)
• SEGMENT: 50% ABC1
• MARITAL STATUS: 57% MARRIED (or living with partner) / 43% single

Source: Heat Media Pack 2019

Media language

• Typography / Fonts:  Sans serif fonts to make the magazine feel modern, informal and offering the latest gossip. ‘Posh’ written in serif to make it feel ‘posh’.
• Cover lines: Indirect address favoured by celebrity gossip magazines emphasises the gossip feel. Questions to audience create inclusive, gossipy feel and words like ‘shock new pics’ and ‘Behind closed doors’.
• Name checks/star appeal: the cover is packed with celebrity gossip and the magazine sells itself on having the latest celebrity gossip. Note the stars are given first names only - Heat readers know these celebs already and want to hear the latest.
• Colour scheme: Pink, yellow and red. Bright colours to attract attention – important without a single central image. Gossip magazines tend to be busier and more packed with images to suggest issues that are bursting with different stories. 

Representations

• The people represented on the cover are mostly celebrities and well known actors, reality television stars and music artists. Why?
• Celebrities are presented as important and desirable – but some of the paparazzi photography is designed to make them look like ‘normal’ people.

Social and cultural contexts

The features in Heat focus on a few key areas:

• Relationships: normative and subversive as words are used such as ‘secretive’, ‘baby daddy’ and ‘heartache’. Focus is on relationship breakdowns. 
• Shopping: Christmas shopping suggestions on front cover. Heat magazine emphasises High Street shopping recommendations and affordable ways to get the latest looks.
• British TV and music: Most of the images and stories relate to reality TV stars and/or pop stars (or former pop stars). This is an example of intertextuality with Heat regularly references other media products (e.g. ‘I’m A Celeb Exclusive’).
  

Heat case study: blog tasks

Work through the following tasks and questions to build a detailed case study for Heat - 21-27 November 2020. This will give you plenty of background information to use in an exam question on magazines.

Introduction - Heat Media pack

1) Look at the Heat Media Pack. Go to page 2: the Heat mission. Write three things that Heat offers its readers under 'print'.

2) Now go to page 3 of the Media Pack - celebrity focus. What does the page say that Heat offers readers?

3) Now look at page 4 of the Heat Media Pack. What other content does Heat magazine offer its readers aside from celebrity news?

4) Look at page 5. What is Heat magazine's audience profile? Write all the key details of their audience here. 

Media language

1) How many of the 12 magazine cover key conventions feature on this edition of Heat? List them with specific reference to the convention on the CSP edition of Heat.

2) How are the cover lines written to make the audience want to buy the magazine?

3) What are the connotations of the Heat colour scheme on this particular front cover?

4) How are images used to create interest in the magazine? Find three reasons for your answer. (E.g. paparazzi images or aspects of mise-en-scene such props, costume, make-up, body position, facial expression etc.)

5) What differences can you find between the use of design and typography between Tatler and Heat? List at least three differences and explain the effect on audiences.

Representations

1) What type of celebrities appear on the front cover of Heat? List them here. 

2) How are celebrities represented in Heat? (Positively? Negatively? Reinforcing or challenging stereotypes?)

3) How are women represented on the cover of Heat? Think about both images and cover lines here.

4) How is race and ethnicity represented on this cover of Heat?

5) How do Heat and Tatler represent social class? What different social classes can you find in the features and celebrities on the cover? (E.g. middle/upper class / working class)

 

Extension tasks

1) What are paparazzi images and why are they crucial to the front cover of Heat? 

2) What do these two magazines suggest about representations of social class in the British media?

3) How does the front cover combine text and images to create contrast and narrative on the front cover of Heat?

Complete for homework - due date on Google Classroom.

Magazines: Tatler CSP case study

Print magazine Tatler is our first Close Study Product. We need to study the media language and representation of people, places and groups on the front cover of Tatler (January 2021).

Some of the key notes from the lesson are here:

General

• Tatler is Britain’s oldest magazine (founded in 1901).
• Targeted at upper classes and upper-middle classes.
• Lifestyle magazine with focus on fashion; high society events such as balls and celebrities such as the Royal family and members of the aristocracy (people with inherited wealth, titles and land.)
• There are versions in Russia, Hong Kong and Indonesia.
• Over the years, Tatler has remained interested in the lives of the Royal family, but has tried to re-invent itself as more ‘edgy’ and modern in recent years, to try and target a younger audience. 

Watch this trailer for BBC's Posh People - a documentary about Tatler, the oldest magazine in Britain.

 


Media language

• This refers to how the producers communicate their message to the audience through the media text. 
• Mise-en-scene: what you see - remember CLAMPS (Costume / Lighting / Actors / Make-up / Props / Setting)
• Typography / Fonts: serif title and sans serif cover lines. 
• Words used and their connotations. 
• Colour schemes: usually two or three in a magazine. Sometimes title matches or is juxtaposed with colours elsewhere on the cover.

Representations

• Tend to reflect dominant representations/stereotypes of wealthy upper-class British people on the cover through images and cover lines.
• The cover star is Emma Weymouth (aka Emma Thynn, Marchioness of Bath) and is a rare black cover star for Tatler. Emma Thynn's father is a Nigerian oil billionaire and her mother is an English socialite (socialite: a person who is well known in fashionable society). This cover star shows Tatler is trying to update its representation of race in the magazine in response to recent cultural changes such as the Black Lives Matter movement.
• Average age of Tatler reader is 41 but the cover tends to focus on celebrities or models who are younger than this (due to dominant ideals of beauty in the Media).
• Cover lines (stories inside) tend to focus on preoccupations of upper classes e.g ‘Inside the new British establishment'; Blond ambition (about Boris Johnson's brother); Off-duty Royal dressing. 

Social and cultural contexts

• The issues that Tatler is concerned with tend to be political but not in a particularly gritty way because the magazine is more interested in fashion, merchandise, beauty and ‘lifestyle’ rather than dealing with news in any depth. Hence references to Boris Johnson's brother and 'the workings of the Westminster web'.
• The preoccupation with parties, private schools, luxury holidays and exclusivity (the ‘Tatler Privilege Club’) assumes a high level of income and an elitist attitude which may alienate or offend people from a different social class. 81% of the readership has an above average income. 44% buy shoes or clothes more than once a month so the cultural context of the magazine could be judged as ‘niche’ (for the few) rather than ‘mainstream’ (for everyone).
• Some of the stories featured in Tatler can be seen as outdated as they are concerned with riding, hunting and shooting which are pursuits generally only enjoyed by upper classes. 

Here's an annotated copy of the cover of Tatler to help you (you'll need your Greenford Google login to access this).

Tatler: case study blog tasks

Work through the following tasks and questions to build a detailed case study for Tatler issue January 2021 (below). This will give you plenty of background information to use in an exam question on print magazines. First, create a new blogpost called Tatler CSP case study.

Introduction - Tatler Media pack

1) Look at the Tatler Media Pack. Go to page 2: how does the editor introduce the magazine?

2) Now go to page 4 of the Media Pack. Focus on the print magazine (NOT tatler.com - the website). List the key demographic details: age, gender %, ABC1 % (social class), HHI (Household Income), % of those living in London and the South East. What do these demographic details suggest about the average Tatler reader?

3) Look at page 6. What do Tatler readers think about fashion? How much do they spend?

4) Go to page 10. What are the special editions of Tatler that run throughout the year? What does this suggest about the Tatler audience? What about the pyschographic audience group that best fits Tatler?


Media language

1) What different examples of typography can you find on the cover of Tatler? What are the connotations of the serif and sans serif fonts?

2) How do the cover lines appeal to the Tatler target audience?

3) What are the connotations of the Tatler colour scheme on this particular front cover?

4) How is the central image designed to create interest in the magazine? Find three reasons for your answer. (E.g. the model, the mise-en-scene such as props, costume and make-up, body position, facial expression etc.)

Representations

1) What celebrities, politicians or famous people are mentioned on the cover? Why do you think Tatler put them on the cover?

2) What do the cover lines suggest about the lifestyle of rich people in the UK?

3) Looking at the image and cover lines together, what different groups of people are represented on the cover and how are they represented? (E.g. men/women/rich people/race & ethnicity etc.) 

4) Are there any stereotypes being reinforced or subverted? How? Why?

Social and cultural context

1) Find three other front covers for Tatler from different months. What issues, subjects or people are regularly featured in Tatler?

2) Tatler runs special issues on holidays, spa breaks, cosmetic surgery, watches and jewellery and private schools. What does this suggest about the magazine's representation of life in Britain? 

3) What audience groups might be offended or insulted by the front cover of Tatler April 2017? 


Extension tasks

1) What would be the preferred and oppositional readings to this cover of Tatler?

2) Are there any misrepresentations or under-representations of certain groups? What might this suggest about the target audience?

3) How does the front cover engage audiences with possible narratives? Look for stories, cliffhangers, dramatic cover lines etc.

4) Read this Guardian article on the BBC documentary about Tatler called Posh People. What does the article suggest about the people who produce and read Tatler?

Complete for homework - due date on Google Classroom.

Film Industry assessment: learner response

Well done on completing the Film Industry assessment - the more we practice these questions the more confident we'll be in the exams at the end of the course.

The first part of your learner response is to look carefully at your mark, grade and comments from your teacher. If anything doesn't make sense, ask your teacher - that's why we're here! 

Your learner response is as follows:

Create a new blog post called 'Film Industry assessment learner response' and complete the following tasks:

1) Type up your feedback in full (you don't need to write the mark and grade if you want to keep this confidential).

2) Read the mark scheme for this assessment carefully. Write down the mark you achieved for each question:

Q1:
Q2:
Q3:

Q4: 

Where you didn't achieve full marks, write WHY you think you missed out on the extra marks. Use the indicative content suggestions in the mark scheme to help with this.

3) Did you get any media terminology wrong in the assessment? Make a note of it here for future revision:

4) Write a definition of vertical integration to revise this key industry terminology.

5) Finally, look at your 20-mark essay - question 4. Write a new essay plan for this question, using the suggested answers in the mark scheme to help you. Use this format:

Introduction - answer the question:
Paragraph 1: 
Paragraph 2:
Paragraph 3:
Conclusion - sum up your argument in one sentence:

Your learner response is homework if you don't finish it in the lesson - due date on Google Classroom.

Film Industry: I, Daniel Blake

Our second Film Industry CSP is Ken Loach's independent social realist film I, Daniel Blake.

Remember: for film, we only need to study the industries key concept - so this means the companies behind the film, the budget, the marketing and promotion and finally the box office success.

Hollywood v Independent cinema

Independent films are very different to Hollywood blockbusters like Black Widow. The style of ‘indie’ films is very different to Hollywood blockbusters, as the directors and producers have more creative input – it’s being made in their vision, not in the vision of studio bosses.

Independent films have much smaller budgets, and are often supported financially by public service broadcasters, film institutions and charity funding. They are also distributed by smaller companies.

I, Daniel Blake notes

I, Daniel Blake is an award-winning independent British Drama film. The main character, Daniel Blake, 59, who has worked as a joiner most of his life in the North East of England needs help from the State for the first time ever following an illness.

He crosses paths with a single mother Katie and her two young children, Daisy and Dylan. Katie’s only chance to escape a one roomed homeless hostel in London is to accept a flat some 300 miles away.

Daniel  stands up and fights for his dignity, leading a one-man crusade for compassion that will transform the lives of a struggling single mother (Katie) and her two children.   It is a drama that has a strong political message about Britain in an age of government austerity.

Key details:

• I, Daniel Blake was released in 2016 and was directed by Ken Loach. The film was rated by the BBFC as a 15.
• A UK/French co-production, the film is a classed as a drama due to the nature of the narrative and themes within the film.
• The cast is made up of lesser known actors, including Dave Johns, Hayley Squires and Sharon Percy.
• The film is classed as an independent film, due to the fact that it is a low budget film with a relatively unknown cast.

Director power: Ken Loach

Ken Loach has been a director for over 50 years. He’s never had Hollywood success, mainly because he’s never wanted it. Loach’s style is social realism – telling stories that represent the lives of ordinary working-class people and the social issues they face, for example unemployment, poverty and addiction. His films also have political themes. Rather than create films for entertainment or money, his goal is to expose and educate people to the issues that many people in society face.

Ken Loach's 2019 film Sorry We Missed You highlighted the difficulty of working class people working on zero hour contracts (you can watch the trailer here). Here he talks to Sky News about the film and how it compares to Marvel superhero blockbusters like Black Widow:

Marketing and promotion

Along with traditional trailer and print adverts, the film makers eOne also used disruptive marketing such as:

• Organise free (or ‘pay what you can’) screenings and talks in community centres across the UK to build local enthusiasm for the film’s message.
• Film was premiered not in London, but Newcastle (where the film is set) to gain local support. 
• Labour Leader Jeremy Corbyn attended the London premiere and people that had been denied benefit payments were asked to placard the event.
• ‘I, Daniel Blake’ was projected onto the Houses of Parliament ('guerrilla marketing') and in various cities
• Loach appeared on BBC Question Time to talk on issue giving the film extra credibility

A conventional trailer was also produced for the film:

Additional promotion:

• A partnership was set up with Trinity Mirror (Daily Mirror owners) to run a marketing campaign based on the film. The Daily Mirror traditionally supports the Labour Party and left-wing causes so therefore agreed with the main message of the film.
• The film also paired up with NomadiX Media's iProjector to create an outdoor campaign using quotes from the film.
• Ken Loach and the writer did interviews with newspapers and magazines to promote the key messages of the film (see clip from Economist below).
• Finally, a video was released using members of the public and politicians that supported the film’s message. This was highlighted with the hashtag #WeAreAllDanielBlake

Secret Cinema Youth screening

Secret Cinema, as part of their charitable Secret Youth campaign, organised a screening of the film in both London’s East End and Newcastle. The event was aimed at first-time voters, and the event happened just before the 2017 general election

The screening was accompanied by talks from Ken Loach and performances from artists that either supported or had a connection with the film’s themes. They also organised food bank donation stalls at the screening and encouraged people to contribute

Budget, box office and critical success

It is very difficult to establish the exact production costs of ‘I, Daniel Blake’ although 16 Films Producer, Rebecca O’Brien, said it was a ‘modest amount’, even for a Ken Loach film. We know some of the funding it received (e.g. £300k from the BFI) and can estimate it to be around £2 million. Compare that to the $200 million that it cost to make our other CSP, Black Widow.

I, Daniel Blake was exhibited in 24 countries and performed well in Europe and other smaller countries. The film grossed £11 million and received a wide range of positive critic reviews.

‘I, Daniel Blake’ Is Ken Loach’s most successful UK release ever and continued to sell well around Europe. Like all Ken Loach films, it did particularly well in France. As well as Box Office success, it was also a critical success and award winner (including the renowned Palme D’or from the Cannes Film Festival).

Regulation: BBFC rating

‘I, Daniel Blake’ was awarded a 15 certificate by the British Board of Film Classifications (BBFC).  This was despite the following scenes being included:

• Bad language (uttered by the main characters out of anger and frustration or for emphasis. Was justified by context and not impactful.)
• Sexual scenes (There are some verbal sexual references voiced in the film, particularly in a scene where a man pays a surprise visit to a woman who is working as a prostitute secretly, to try to dissuade her from prostituting herself.)
• Frightening and Intense scenes (There are two notable scenes of emotional intensity. They include 'the food bank' scene and the ending 'funeral' scene.)

I, Daniel Blake: blog tasks

1) What is independent cinema and how is it different to Hollywood blockbusters?

2) What is I, Daniel Blake about?

3) Who directed I, Daniel Blake and why is this important?

4) How was I, Daniel Blake promoted to an audience? List at least three different methods used by the film's marketing campaign and how they targeted their audience.

5) What unusual or creative marketing methods were used to get audiences talking about the film?

6) What was the estimated production budget for I, Daniel Blake and how much did it make at the box office?

7) How can independent films like I, Daniel Blake compete with Hollywood blockbusters like Black Widow?

8) In your opinion, was I, Daniel Blake a success?


Extension tasks

Read this Media Magazine article on the disruptive marketing campaign used to publicise I, Daniel Blake. Media Magazine is an excellent publication aimed at A Level Media students and it's a great resource for GCSE students aiming for the top grades.

Read this marketing case study on I, Daniel Blake. What does 'making a film launch a political movement' mean?

I, Daniel Blake is an A Level Media text for another exam board. Watch Media teacher Mrs Fisher's YouTube lesson on I, Daniel Blake and make notes on the key points she makes.

Read this Hollywood Reporter interview with executive Alex Hamilton on film marketing - including the I, Daniel Blake grassroots marketing campaign. Why was it successful?

Complete for homework if you don't finish it during the lessons - due date on Google Classroom.

Film Industry: Black Widow

Our first Film Industry CSP is Marvel blockbuster Black Widow.

For film, we only need to study the industries key concept - so this means the companies behind the film, the budget, the marketing and promotion and finally the box office success.

Reminder: industry terminology

In our Introduction to Media unit, we learned a range of media industries terminology that we may well be tested on in the exam. Make sure you know the following:

Conglomerate ownership
Most major media companies are conglomerates that own a range of smaller companies (called subsidiaries). An example of this is Disney owning Marvel.

Vertical integration
Vertical integration is when one conglomerate owns different companies in the same chain of production. E.g Disney owns film studios, CGI specialists, film distributors and TV channels such as the Disney Channel. This gives Disney the chance to make money at every stage of production. Complete ownership = more profit.

Horizontal integration

Horizontal integration is when one company buys other companies at the same level of distribution. E.g Facebook acquired Instagram in 2012 (at a cost of $1 billion) so that they could cancel out the competition by making money from both. Horizontal integration allows companies to widen their audience and find other ways to make money.

Synergy 

Synergy is when a company creates a brand that can be used across different media products and platforms. E.g Disney makes movies but then also has related stage shows, theme parks, merchandise, soundtracks and events.

Black Widow notes

Black Widow is the 24th entry in the Marvel Cinematic Universe (MCU). It raises many industry issues surrounding the production, distribution and exhibition of film in the digital age.  

Film franchise

A film franchise is a series of films or multi-picture stories, often including some of the same characters from film to film.

Franchises have become even more important than individual stars. They consist of connected universes (e.g. Star Wars, Marvel's Cinematic Universe, DC Extended Universe etc) and many sequels (or prequels).

Blockbuster movies

Black Widow is a blockbuster movie. A blockbuster is a major studio movie that's made with a large budget, big stars and often involves a franchise. 

A true blockbuster is extremely popular and brings in a lot of money. Typically, a blockbuster is a summer movie that audiences line up to see the first weekend it's released (which coincides with the school holidays and more family time).

Disney and Marvel

In 2009, The Walt Disney Company acquired Marvel Entertainment for US$4 billion. The Walt Disney Company now owns Disney Pictures, Marvel Studios, Lucasfilm and Pixar.

Walt Disney Studios are one of Hollywood's major film studios and generated an income of $2.4 billion in 2017.  This means that they can afford to make more expensive films, market them around the world at great expense and ensure that they are hugely profitable.  

Marketing and promotion

Star Power implies that people will want to see a film with a certain star in it. Most mainstream films and blockbusters will use Star Power to attract audiences to their film. The main star in Black Widow is Scarlett Johansson who is very well known and has established fans. 

Walt Disney Studios had a huge budget to make and market Black Widow although the success of the film was badly affected by the Covid-19 pandemic closing cinemas. Some of the strategies used included:

• Traditional methods such as posters and teaser trailers on TV and in cinema.
• Stars of the film appeared on a range of TV chat shows and press events. 
• Film trailers were released on YouTube and in cinemas. 
• Specific IMAX promotions with 22 minutes of the film shot in 1.90:1 aspect ratio especially for IMAX cinemas.
• Section of the Marvel website with gallery, story synopsis, character posters and opportunities to buy or stream the movie.
• Social media profiles on TikTok, Instagram, Twitter and Facebook. Social media and YouTube advertising was also heavily used by Marvel to promote the film including using tweets from audience members on massive billboards.

Star interviews and TV appearances:

Specific IMAX promotional videos:

The Covid-19 pandemic has had a huge impact on the film industry and changed the release strategy for many films. While cinemas are still the primary way of making money for the film industry, some movies are being released to streaming services alongside cinema - or bypassing cinema altogether. Watch this report on Black Widow with an interview with IMAX CEO Richard Gelfond:

Social media marketing

The film used tweets from audience members to help promote the film:

Was the film a global box office hit?

Black Widow’s success is difficult to judge due to the Covid-19 pandemic.

Black Widow’s budget was $200m and it only made $379m at the worldwide box office due to the pandemic. Marvel would have spent well over $100m on marketing the film globally so the profit level is very low. Most Marvel films have made around $1 billion at the box office. 

However, this doesn’t take into account revenues through Disney+ so Black Widow may well still make Marvel and Disney a profit in the end.

Film industry: Regulation

Films in the UK are regulated by the British Board of Film Classification (BBFC).

Black Widow was awarded a 12A by the British Board of Film Classification (BBFC).  It was deemed to have “moderate violence, injury detail”, yet was not too graphic.

With a 12A, no-one under the age of 12 can see the film unless accompanied by an adult. It is quite a new classification (1989)  and was introduced due to the large gap between PG and 15.

It is important that all MCU films are 12A at the most as the major film companies want to keep the young audience for:

• Merchandising opportunities.
• Better potential box office.
• 47% of cinema audiences were aged 7-24 in the UK in 2014.  Word of mouth and peer influence is important in generating interest.

Black Widow: blog tasks

1) List the companies involved in the creation of Black Widow. You may wish to use Black Widow's IMDB entry to help with this but the answers can also be found in the notes above.

2) What is conglomerate ownership? The definition is in the notes above. If you can, explain how Black Widow links to conglomerate ownership.

3) Analyse the film trailer for Black Widow. What aspects of the trailer tell you this is a big-budget blockbuster movie?

4) How was Black Widow promoted to an audience? List at least three different methods used by the film's marketing campaign.

5) What was the production budget for Black Widow and how much did it make at the box office?

6) Would you consider Black Widow a successful Hollywood blockbuster? Why?

7) Who regulates the film industry in the UK?

8) What age rating was Black Widow given? Why?

Extension tasks

Look at the Marvel Black Widow website and note down the different promotional devices used.

Read this feature on Marvel using a fan's tweet to help market the film. Why is audience interaction such an important aspect of modern film marketing?

Read this feature on how Black Widow shot 22 minutes of IMAX footage to give viewers an incredible widescreen experience in IMAX cinemas. Why is IMAX an important part of marketing a blockbuster movie?

Look at this Guardian website page allowing Marvel fans to discuss Black Widow. What interesting opinions do you notice in the comments? 

Read this feature on whether there are too many Marvel sequels and spin-offs. Do you agree?

Complete for homework what you don't finish in the lessons - due date on Google Classroom.