Genre conventions and the camera

Learning objective: Consider shot types, camera angles and framing and explore their impact on narrative and audience.

You will give evidence that you know the meaning of the key terminology of media language and the technical codes of image analysis.

Key Terms: Shot size. Angle. Lens. Composition

Task 1: Make notes on shot types as explained in these videos.

(Lisa Tarbuck video)

http://www.bbc.co.uk/learningzone/clips/genre-analysis-drama/11108.html

Camera Angles

Describing Shots

When describing camera angles, or creating them yourself, you have to think about three important factors

— The FRAMING or the LENGTH of shot - how far away from the subject is the camera?

— The ANGLE of the shot

— If there is any MOVEMENT involved

When describing different cinematic shots, different terms are used to indicate the amount of subject matter contained within a frame, how far away the camera is from the subject, and the perspective of the viewer. Each different shot has a different purpose and effect. A change between two different shots in a film is called a CUT.

Framing or Shot Length

1 . Extreme long shot

This can be taken from as much as a quarter of a mile away, and is generally used as a scene-setting, establishing shot. It normally shows an EXTERIOR, eg the outside of a building, or a landscape, and is often used to show scenes of thrilling action eg in a war film or disaster movie. There will be very little detail visible in the shot, it's meant to give a general impression rather than specific information.

The extreme long shot on the left is taken from a distance, but denotes a precise location - it might even connote all of the entertainment industry if used as the opening shot in a news story

2. Long Shot

This is the most difficult to categorise precisely, but is generally one which shows the image as approximately "life" size ie corresponding to the real distance between the audience and the screen in a cinema (the figure of a man would appear as six feet tall). This category includes the FULL SHOT showing the entire human body, with the head near the top of the frame and the feet near the bottom. While the focus is on characters, plenty of background detail still emerges: we can tell the coffins on the right are in a Western-style setting, for instance.

3. Medium Shot

Contains a figure from the knees/waist up and is normally used for dialogue scenes, or to show some detail of action. Variations on this include the TWO SHOT (containing two figures from the waist up) and the THREE SHOT (contains 3 figures...). NB. Any more than three figures and the shot tends to become a long shot. Background detail is minimal, probably because location has been established earlier in the scene - the audience already know where they are and now want to focus on dialogue and character interation. Another variation in this category is the OVER-THE-SHOULDER-SHOT, which positions the camera behind one figure, revealing the other figure, and part of the first figure's back, head and shoulder.

4. Close-Up

This shows very little background, and concentrates on either a face, or a specific detail of mise en scène. Everything else is just a blur in the background. This shot magnifies the object (think of how big it looks on a cinema screen) and shows the importance of things, be it words written on paper, or the expression on someone's face. The close-up takes us into the mind of a character. In reality, we only let people that we really trust get THAT close to our face - mothers, children and lovers, usually - so a close up of a face is a very intimate shot. A film-maker may use this to make us feel extra comfortable or extremely uncomfortable about a character, and usually uses a zoom lens in order to get the required framing.

5. Extreme Close-Up

As its name suggests, an extreme version of the close up, generally magnifying beyond what the human eye would experience in reality. An extreme close-up of a face, for instance, would show only the mouth or eyes, with no background detail whatsoever. This is a very artificial shot, and can be used for dramatic effect. The tight focus required means that extra care must be taken when setting up and lighting the shot - the slightest camera shake or error in focal length is very noticeable.

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Camera Angles

The relationship between the camera and the object being photographed (ie the ANGLE) gives emotional information to an audience, and guides their judgment about the character or object in shot. The more extreme the angle (ie the further away it is from eye left), the more symbolic and heavily-loaded the shot.

1. The Bird's-Eye view

Quentin Tarantino From Above on Vimeo.

This shows a scene from directly overhead, a very unnatural and strange angle. Familiar objects viewed from this angle might seem totally unrecognisable at first (umbrellas in a crowd, dancers' legs). This shot does, however, put the audience in a godlike position, looking down on the action. People can be made to look insignificant, ant-like, part of a wider scheme of things. Hitchcock (and his admirers, like Brian de Palma) is fond of this style of shot.

2. High Angle

Not so extreme as a bird's eye view. The camera is elevated above the action using a crane to give a general overview. High angles make the object photographed seem smaller, and less significant (or scary). The object or character often gets swallowed up by their setting - they become part of a wider picture.

3. Eye Level

A fairly neutral shot; the camera is positioned as though it is a human actually observing a scene, so that eg actors' heads are on a level with the focus. The camera will be placed approximately five to six feet from the ground.

4. Low Angle

These increase height (useful for short actors like Tom Cruise or James McAvoy) and give a sense of speeded motion. Low angles help give a sense of confusion to a viewer, of powerlessness within the action of a scene. The background of a low angle shot will tend to be just sky or ceiling, the lack of detail about the setting adding to the disorientation of the viewer. The added height of the object may make it inspire fear and insecurity in the viewer, who is psychologically dominated by the figure on the screen.

5. Oblique/Canted/Dutch Angle

Sometimes the camera is tilted (ie is not placed horizontal to floor level), to suggest imbalance, transition and instability (very popular in horror movies). This technique is used to suggest POINT-OF-View shots (ie when the camera becomes the 'eyes' of one particular character,seeing what they see — a hand held camera is often used for this.

Camera Movement

A director may choose to move action along by telling the story as a series of cuts, going from one shot to another, or they may decide to move the camera with the action. Moving the camera often takes a great deal of time, and makes the action seem slower, as it takes several second for a moving camera shot to be effective, when the same information may be placed on screen in a series of fast cuts. Not only must the style of movement be chosen, but the method of actually moving the camera must be selected too. There are seven basic methods:

1. Pans

A movement which scans a scene horizontally. The camera is placed on a tripod, which operates as a stationary axis point as the camera is turned, often to follow a moving object which is kept in the middle of the frame.

2. Tilts

A movement which scans a scene vertically, otherwise similar to a pan.

3. Dolly Shots

Sometimes called TRUCKING or TRACKING shots. The camera is placed on a moving vehicle and moves alongside the action, generally following a moving figure or object. Complicated dolly shots will involve a track being laid on set for the camera to follow, hence the name. The camera might be mounted on a car, a plane, or even a shopping trolley (good method for independent film-makers looking to save a few dollars). A dolly shot may be a good way of portraying movement, the journey of a character for instance, or for moving from a long shot to a close-up, gradually focusing the audience on a particular object or character.

4. Hand-held shots

The hand-held movie camera first saw widespread use during World War II, when news reporters took their windup Arriflexes and Eyemos into the heat of battle, producing some of the most arresting footage of the twentieth century. After the war, it took a while for commercially produced movies to catch up, and documentary makers led the way, demanding the production of smaller, lighter cameras that could be moved in and out of a scene with speed, producing a "fly-on-the-wall" effect.This aesthetic took a while to catch on with mainstream Hollywood, as it gives a jerky, ragged effect, totally at odds with the organised smoothness of a dolly shot. The Steadicam (a heavy contraption which is attached a camera to an operator by a harness. The camera is stabilized so it moves independently) was debuted in Marathon Man (1976), bringing a new smoothness to hand held camera movement and has been used to great effect in movies and TV shows ever since. No "walk and talk" sequence would be complete without one. Hand held cameras denote a certain kind of gritty realism, and they can make the audience feel as though they are part of a scene, rather than viewing it from a detached, frozen position.

5. Crane Shots

Basically, dolly-shots-in-the-air. A crane (or jib), is a large, heavy piece of equipment, but is a useful way of moving a camera - it can move up, down, left, right, swooping in on action or moving diagonally out of it. The camera operator and camera are counter-balanced by a heavy weight, and trust their safety to a skilled crane/jib operator.

6. Zoom Lenses

A zoom lens contains a mechanism that changes the magnification of an image. On a still camera, this means that the photographer can get a 'close up' shot while still being some distance from the subject. A video zoom lens can change the position of the audience, either very quickly (a smash zoom) or slowly, without moving the camera an inch, thus saving a lot of time and trouble. The drawbacks to zoom use include the fact that while a dolly shot involves a steady movement similar to the focusing change in the human eye, the zoom lens tends to be jerky (unless used very slowly) and to distort an image, making objects appear closer together than they really are. Zoom lenses are also drastically over-used by many directors (including those holding palmcorders), who try to give the impression of movement and excitement in a scene where it does not exist. Use with caution - and a tripod!

7. The Aerial Shot

An exciting variation of a crane shot, usually taken from a helicopter. This is often used at the beginning of a film, in order to establish setting and movement. A helicopter is like a particularly flexible sort of crane - it can go anywhere, keep up with anything, move in and out of a scene, and convey real drama and exhilaration — so long as you don't need to get too close to your actors or use location sound with the shots.

Task 2:

Identify 5 shots from this clip and discuss their impact on the narrative.

Approaching the MS2 Report

Learning objectives:
List five key points found from research that helped  to create artefacts as MS2 report is approached.

Approaching the MS2 Report

You will be shown how to approach your written report. This includes structuring using relevant terminology to demonstrate your own understanding.

Between 1200 and 1600 words
Your report should include:
A brief outline of the task.
A discussion of the most significant research findings which informed the pre production.
A brief justification of the target audience for the production.
An evaluation of the production which highlights its strengths and weaknesses through, for example, a comparison with existing media products.

Tips for writing a suitable report

The report must be 1200 - 1600 words and can be submitted in a range of different formats including; an essay or a suitably edited blog. The first part of the report outlines the research findings that informed your preproduction work and the second part of the report evaluates your production work.

The report is worth 40 marks so it is important that you spend some time ensuring what you write will pick up marks.

You must stay within the word limit and you should draft and redraft your report with Mr Ealey so that you achieve this

Use any notes you made when you were completing your preproduction artefact to help you to write the first part of the report.

Set out your aims clearly at the beginning of your report. This will ensure that your teacher and the moderator are clear about what you set out to do.

'My task was to create a storyboard, a DVD cover and two film posters for a gangster film. In order to accomplish this I had to engage in research of the gangster genre and the specific sub-genre of the gangster heist film.

Later in the report you can develop how you achieved your aims.

Briefly discuss the research undertaken and how it informed the pre production.
Include specific examples to back up your findings. For example, include references to specific films and and state what you discovered when you analysed them that informed your pre production.
Avoid statements like; ' I looked at a lot of magazine front covers...'
In other words, be specific and detail your findings.

Your aim is to demonstrate that your research enabled you to discover the key codes and conventions of your chosen genre which you then replicated in your work. If you are stuck then refer to the Media Studies blog and the examples that were set out during class.

Briefly discuss the intended audience for the pre production and production and explain how they have been targeted. Remember to justify your decisions

Evaluate the strengths and weaknesses of the production through, for example, a comparison with your production and existing media products.
Here you can include visuals, for example screen shots from your production and compare them to shots in a similar, existing text.

You will also need to complete a cover sheet. (See handout) outlining your preproduction and production. You will also need to briefly outline the focus of your report.

• A report thus consists of three elements: the research informing the preproduction; a brief indication of the target audience; and an evaluation of the production.
  
• 􏰀The evaluation part of the report should discuss the production’s strengths and weaknesses through a comparison with existing media products. Candidates who have been working in a group need to base their evaluation on their role – for example camerawork or editing. 
  

Task 1:
List in your orange books under the dated title ' Approaching MS2 report';
five key points found from your research that helped you to create your artefacts.

Exemplar work:

Conventions of a magazine double page spread.

Learning Objectives: To create a rough out of a DPS in preparation of MS2 coursework.

Key terms: Image, quote, celebrity, stand first, by lines, colour scheme

Codes and conventions of a double page spread

Task 1: 

Rough out a DPS and submit for feedback if you plan to create this for your pre production or production.

For this double page spread on Adele, a large image has been used that covers more than half of the page. This striking image will capture the reader's attention straight away and invites them to read this interesting article. A simple title in black offers a brief overview of what is included in the next couple of pages; the readable font shows the idea that text can be interesting and informative at the same time. 

Representation of gender

Learning objective:
Explore the representation of gender in the Media.
To further research texts dealing with the issue of gender and describe the different ways that men and women in the media challenge gender conventions.

Key terms:
Subversion of stereotypes - This is where a media text presents an alternative and different representation that 'plays with' or challenges audience expectations.

When analysing a text, state if the characters are Challenging stereotypes?

Beth Ditto

Lindsay Lohan

...Or re-enforcing stereotypes. As in these examples of representation of gender.

What are the impact of the representations on the audiences – are they likely to be negative or positive?

Again, the effects of gender representation is shown here.

Task 1: 

List 5 female actors or music artists that conform to traditional stereotypes and 5 females that challenge the stereotype. Say where and when they can be found.

Key Figure: 
Laura Mulvey - is a feminist film theorist whose work on the sexual objectification of women through 'male gaze' can be used to analyse a range of media texts, films, ads, magazines etc.

When it comes to representation, you need to show that you have explored these areas:

• The role of selection, construction and anchorage in creating representations.
• How media texts use representations and the effect those representations have upon audiences.
• The points of view, messages, and values underlying those representations.
• You will be expected to have studied a range of examples of representations in media texts and you must be able to write about them using key media terminology.

Women:

The representation of women in the media has developed and adapted to reflect cultural and socialogical changes. As women's roles in society have undergone a transformation, this has been reflected in some areas of the media.

However, there are still some stereotypical representations of women where they are defined by how men see them and how society expects them to look and behave. 

Women still tend to be judged on their looks and appearance foremost.

Representations tend to concentrate also on their sexuality; emotions and narratives tend to be based around relationships.

The way in which the representation of women is constructed in texts like glamour magazines is unrealistic and instills unattainable aspiration in the audience.

In an examination response it is important that you explore the representation of gender at a sophisticated level and go beyond basic discussion of positive and negative, it is much more complex than that.

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The representation of Fearn Cotton as the cover image on Cosmopolitan (October 2011) magazine would appeal to both men and women.

In simple terms, women want to BE her and men want to BE WITH her.

The cover line related to her defines her very much in terms of a relationship and of emotions; 

'Being in Love'.

The image is constructed through visual codes, costume and mode of address. 

The image is ambiguous; her posture and body language are strong but she is also very sexualised.

She is defined in terms of her body image and her size.

By highlighting her 'firm thighs' the magazine presents this representation as that which every women should aspire to.

The other cover lines suggest the discourse of the magazine and represent women in terms of beauty, sex and consumerism.

The sell lines of 'miracle beauty buys' gives hope to those readers who do not look like the female construction of the magazine. The representation is obviously unrealistic and the construction includes image manipulation such as airbrushing to give a representation of perfection. Unattainable for most ordinary women.

When you are discussing areas of representation such as stereotyping, you must be sure to analyse the representation according to the context in which it appears and the purpose.

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Subversion of stereotypes

Whilst there remain many stereotypical representations of women in the media, there are also texts that are constructed to challenge these representations. These texts hold messages that offer a more realistic or refreshing representation of women in the media today. In film and television we see more and more women who have key roles and that are active rather than passive. They are defined by what they do, rather tan what is done to them. They are less the victim and more the hero.

Some texts cleverly play with accepted stereotypes in order to challenge them. This is true of the GHD hair straighteners Twisted Fairytales campaign.

Here the stereotypical representations of women are subverted to create strong women who do not have to rely on men to rescue them. The campaign uses Rapunzel, Cinderella and Little Red Riding hood, in each case they leave the stereotypical male hero behind in a twist at the end. 

In the print advert above, RRH is shown to be both sexually attractive and purposeful. She engages in a direct mode of address with the audience. The iconography and graphics remain that of a fairytale but the representation is very different (as the rhyme indicates)..

However, it is also true that, although the women are strong and independent and over come the men in the GHD campaign, they are also stereotypically beautiful and it is their beauty aid, hair straighteners that are deemed responsible for their success.

In this respect, the representation of women in the campaign is ambiguous.

Task 1:

Write 200 words about the representation of women in the Persil ad below

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Men:

Key terms:

New man - this was a term introduced to describe a new breed of men. These men rejected sexist attitudes; were in touch with their feminine side and were therefore not afraid to be sensitive, caring and could sometimes be seen in a domestic role.

A good example of a media text that reflects this changing role is James Bond, here the representation of men has become more acceptable.

Key Figure: 

David Gauntlett - in his book 'Media, gender and identity considers the changing representations of men and women in the media. He also discusses the Pick and Mix theory. This suggests that audiences are active rather than passive and will choose what to do with the media rather than having the media manipulate them.

Stereotypically, men in media texts are represented differently from women but their representation, like that of women, has changed in order to address changes in society.

There have been many cries that masculinity is in crisis and that men no longer have a traditional role to play in society as they once did.

However it is the case that men, just like women have had to change their roles and this has been reflected in their representation across a range of media texts. With the advent of the 'new man' there appeared different representations of masculinity. 

However, even when disguised as a new man, representations of men in the media still tend to focus on the following:

• Body image and physique
• Physical strength
• Sexual attractiveness and relationships with women
• Power and independence

One media area that has developed dramatically is the men's magazine market. Now men as well as women are given aspirational and unrealistic role models to emulate.

Men too have to be concerned about their weight and body imageand buy into an unattainable lifestyle through the representations presented to them.

Men's Health magazine is now the best selling men's magazine, overtaking FHM in 2010.

Below is a constructed image that defines men very clearly.

The central image is one of perfection and has clearly been manipulated to present the 'perfect body' image.

The mode of address is direct and the use of imperatives is commanding and powerful.

However, as this is a new man, he is also concerned about his health and his diet, but reverts to a more traditional type, refering to sex rather than relationships.

The cover lines include quick fix problem solving to suggest a healthy lifestyle and acquiring this body is easy.

The body language of the model suggests that he is proud of his shape and is self obsessed, looking away from the audience.

However, there still exist in the media the more stereotypical representations of men in strong roles defined by their power, independence and their ability to survive against all the odds. These representations tend to be associated with particular genres, for example the action film, still largely the domain of the male protagonist.

In Casino Royale and Quantum of Solace, the audience is presented with James Bond, the action hero. The iconography that places him in this role is evident in these stills from the film; dinner suit, gun, action shot and the beautiful woman.

However, on closer analysis, this representation is more ambiguous and reflects the new man that is James Bond.

The woman is not an accessory; she is next to him and has clearly been part of the action. His bow tier is missing and his suit is dishevlled. His expression is not the usual cool and calm, but moody and unhappy. In another shot he is seen as protecting the female and looking intimidated himself. Different to the old James Bond.

Task 2:

Write 200 around words on the representation of men in the three texts, 

American Sniper, 

Casino Royale and 

Men's Health.

Audience categories Maslow

Learning objective: Application of audience theory to media texts.

Success criteria:
Discuss the audience of Outnumbered.
Discuss audience interaction with reference to UGT.
Discuss audience interaction with reference to Reception theory and NRS categories.

• Key words: Self Esteem,

Hierarchy of Needs
An American psychologist, Abraham Maslow, suggested that we all have different layers of needs. We have to achieve certain needs before going on to the next layer. Basically we all need to be able to eat and sleep in safety before we can go on to more complex social needs, such as getting married.

His Hierarchy of Needs suggests that once people have their basic needs met like housing, food, safety, shopping, technology, and a job they can then go on to satisfy successively ‘higher needs’ that occupy a set hierarchy or system of ranking.

Maslow studied well respected people such as Albert Einstein, and American presidents, and he studied one percent of the healthiest college student population. He came up with this pyramid where basic needs are at the bottom and at the top something called ‘self actualisation’. This describes a person who has gained the respect of a lot of other people  and has a high level of self esteem and self respect.


Maslow’s Hierarchy of Needs

Task 1: 
Copy Maslow's hierarchy of needs into your orange books.

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So what has this to do with media texts? 
It is very relevant to advertisers, and institutions that carry advertising – newspapers, cinema, television and radio channels.

Maslow’s upper levels at the top of the pyramid are about self esteem and gaining the respect of others. 
This can be linked to the idea that consuming particular media texts fulfils self-esteem, as does buying certain products.

In a nutshell, Maslow is suggesting that if you buy a new pair of trainers of the right brand as shown to you on in the media, then you will feel better about your self, because you have the respect of other people. Maslow's hierarchy can easily be linked to UGT when considering how audiences are targeted.

Can you prove or disprove this theory from your experience?

Task 2: Consider the theory we have looked at in relation to audiences viewing the clip below:

WHAT are they informed of?

WHAT are they learning about family dynamics/dilemmas of family life?

Is it entertaining and if so WHY?

Task 2: 
Identify reasons for audiences to view this show. (UGT)
What NRS categories might the show appeal to? Why?
What position will the audience take when consuming the text? (Reception theory).

Audience categories NRS

You will learn how different audiences consume different media texts according to disposable income, age and needs.

• Key words: Psychographic. Mass. Niche. Demographic.  Uses and Gratification.

Audience theory provides a starting point for many Media Studies tasks. Whether you are constructing a text or analysing one, you will need to consider the destination of that text (i.e. its target audience) and how that audience (or any other) will respond to that text.

Remember that a media text in itself has no meaning until it is read or decoded by an audience.

Ways of categorising audiences/users and audience/user composition. 

Media Audiences an Introduction 

Psychographics is the study of personality, values, attitudes, interests, and lifestyles.[1] Because this area of research focuses on interests, activities, and opinions, psychographic factors are also called IAO variables. Psychographic studies of individuals or communities can be valuable in the fields of marketing.

“A media text is always created for a particular audience and will usually appeal most to this target audience.”
These audiences can be categorized and how the target audience is made up affects the media language employed by and the commercial viability of a text. 
The key thing to remember about the media industry is that it is a money making indu$try. What this means is each media text is a product that needs to be made for, and sold to, the right target audience in order to gross a profit.
In other words, everything is done with the target audience in mind.
Due to this being the case a lot of money is invested in audience research and the industry will refer to key theories when considering how to attract/represent this group.

 MASS AUDIENCE: 

Mass audiences are basically large mainstream audiences who consume mainstream or popular culture (Marxist would claim that this audience is largely made up of the ‘working class’), such as Hollywood films, Eastenders, reality TV, Premiership football, simple Hollywood, tabloids etc.
High culture, by contrast, is usually associated with broadsheets, opera, ballet and BBC Four.

 NICHE AUDIENCE: 

A niche audience is smaller than a mass audience but usually very influential. E.g. those that Marx would define as upper class/middle class, who controlled the media and may wish to see ‘high culture’ programs. Hence the launch of BBC Four for those who wish to hear/see artistic high culture programs.

Niche audiences don’t have to be this group though, they can be any small, dedicated group who advertisers feel are worth targeting or creating products for.
Examples could include, certain films (e.g. 'adult' movies - which can not really be called ‘high art’), fishing magazines, farming programs, underwater knitting!

When media text producers profile their audience they take into account AUDIENCE DEMOGRAPHICS (class/economic status, gender, age, geographical location) along with their viewing preferences/needs: 
In other words, they think about the following before developing a text...

1) What social class will the primary target audience fall under?
2) What gender is the primary target audience?
3) What age will the primary target audience be?
4) What nationality will the primary target audience be?
5) What values do the primary target audience have? (Ideology).
6) Audience appeal - what will the primary target audience be looking for in a text? (UGT).

They then think about how they can best represent their primary target audience through;
genre, narrative, characters, cast, locations, cinematography, sound, editing, advertising etc.

Key Theories 

The following theories are all taken into account when profiling, representing and pitching to audiences:
Class: One of the most common ways of identifying a target audience is the social-economic model. Even though this model, used by the NRS (National Readership Survey Ltd), has been used for a long time, it is still useful way of identifying an audience and deconstructing a text.

The basis for the system is money – A/B audiences for example are assumed to have more spending power than CDE audiences. However, it is also presumed AB audiences prefer high culture (e.g. art-cinema, broadsheets and late night art programs on TV). While C/D/E, who stereotypically like Hollywood commercial films and consume more texts, make up a lager proportion of society making this the 'mass audience.'

Task 1: 
List each NRS category.
Give two examples of media texts that would suit consumers from each category.
Show the audience demographic using the first five points above.

Audience categories Young and Rubicam

Learning Objective:  

How different audiences expect media texts to satisfy their wants and how to categorise these audiences.

• Key words: Young and Rubicam, Cross Cultural Consumer Characterisation, Four C’s.

THE FOUR C’S (cross-cultural consumer characteristics): 

This is one of the earliest, but still most popular, ways of profiling audiences. It profiles the audience in terms of wants and needs, not simply demographic. The model divides audiences into 7 types but there are four main categorise for us to consider.

• Mainstreamers

• Aspirers

• Reformers

• Succeeders

The categories can be defined as follows:

 • Mainstreamers; this is the largest group. They are concerned with stability, mainly buying well-known brands and consuming mainstream texts.
People that follow the crowd.

• Aspirers; seeking to improve themselves. They tend to define themselves by high status brands, absorbing the ideologies associated with the products and believing their status alters as a result.
People living a 'champagne lifestyle on a lemonade budget'

• Succeeders people who feel secure and in control – generally they are in positions of power. They buy brands which reinforce their feelings of control and power.
People with lots of money and can afford more high class products

• Reformers; idealists who actively consume eco-friendly products and buy brands which are environmentally supportive and healthy. They also buy products which establish this ‘caring and responsible’ ideology. Individuals (highly media literate, expects high-production advertising and buys product image not product, requires high-profiling sophisticated advertising campaigns).
-People who are worried about ethical issues/want to change the world

Task 1:

Assess which of Young and Rubicams 4C's are being targeted in the print based ad