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"  !"W\cn*2A* A!! *"7R!D%"K" 7" < (""-"%y       e l               c ec ice g nqu e tiate tiou sx >-----!-----!-----!-----!----------------------------------------------.-----R Analysis of the European Showreel 1 1 b) Explore any differences between three or more of the 5 5 c) Relate your analysis to the institutional context within which 7 7 d) 11 11 Bibliography 13 Essay by William Knott. 13 the whole , controlled by history, and not just by closely contemporary history although this is evident. To account for the formal construction and stylistic presentation of the advertisements on the show reel we must look at them in a relatively broad and overall manner. Accounting for the listed features is helped by the fact that the adverts are all aimed at a western market economy audience. Their presentation and construction is really controlled by the bourgeois stereotyping and culture of western European countries built up steadily through histo>-!-----------------------------------------------L----------------------------R re-presentation" or expression of certain middle ground ideologies of these western nations. Since its introduction television has been recognised as an awesomely powerful and influential medium. It is often said that televisions power is abused as propaganda and it is true that there is a prolific use of television for political , business , social and ideological propaganda. Propaganda in the sense that adverts have consciously and subconsciously , I feel , influenced "western" culture . It therefore seems very fitting that television is supported , and that it survives through the use and sale of advertisements , propaganda . It could be said that clients through advertising agencies are amongst the most powerful and certainly the most accepted propagandists using the media. These common ideologies are immediately apparen William Knott Public Relations essay " What is public relations ?" This is , as far as I can tell, one of the key points when studying public relations. The "true" meaning of public relations needs to be established before going any further. This is not the simple task it might at first appear to be, so common and well ensconced are the misconceptions of the public relations profession. These ideas of public relations are well illustrated by the following stereotypical definitions. 1. Public relations is the process of persuading journalists and a hostile public that something rotten-smelling is really quite sweet. 2. Public relations is the procedure whereby half-truths are purveyed to the half-asleep to prevent their awakening. 3. Public relations is an activity involving the consumption of alcohol with the aim of persuading people to support dubious causes (Keen & Greenall 1987). I felt the above provided a good synopsis of current prejudices towards good old public relations. Another commonly heard example of such views is the classic "it's only a public relations exercise..." . So that's a brief look at some of the things public relations isn't, now I must endeavour to uncover exactly what public relations is. A fundamental ingredient of "good" public relations must be communication. One needs to develop organised two-way "conversation" between an institution and its audiences. Sound public relations practice should involve "actively" listening as much as "talking", this is "true" communication. It is not simply a case of "buttering people up" and pushing problems "under the carpet". For an organisation to deserve a sturdy reputation it must listen to external (and indeed internal) criticisms and recommendations. If necess William Knott Public Relations essay " What is public relations ?" This is , as far as I can tell, one of the key points when studying public relations. The "true" meaning of public relations needs to be established before going any further. This is not the simple task it might at first appear to be, so common and well ensconsed are the misconceptions of the public relationsofession. These ideas of public relations are well illustrated by the following stereotypical definitions. 1. Public relations is the process of persuading journalists and a hostile public that something rotten-smelling is really quite sweet. 2. Public relations is the public relationsocedure whereby half-truths are purveyed to the half-asleep to public relationsevent their awakening. 3. Public relations is an activity involving the consumption of alcohol with the aim of pe Commentary on production exercises by William Knott  Video collage (free chose)  In this production exercise I set out to study images of women in television commercials. I wanted to look at the ideologies that control these images , and find some way , by means of a mass - media to express some of the images found in commercials. I opted for a video package , as opposed to say magazine or radio presentations , because the small screen medium interested me at the time. I felt I had more chance , personally , of expressing myself through video having used it before. I firstly set about thinking of the use of gender , male gaze and other sexual stereotypes of advertising. Having looked at these I settled for a subversion of some stereotypes. To do this I used preexisting commercials , as opposed to making my own new ones. I then edited the commercial in such a way as to "twist" the meaning of the commercial. This was done in the first shot of the woman saying "I'll never let soap near my face...." . This then made it possible to "read" in that she was not going to spend all her time "beautifying" herself for whose "benefit?" It was quite ironic , as in the rest of the commercial , she clearly didn't mind how much oil of Ulay lotion she washed with which seemed to have all the qualities of a soap. Or instead of "cutting" any of the original visuals I simply over-dubbed a new dialogue to subvert to some degree a female stereotype. The tyre advert was a more subtle example of the above method , where I used a female voice to say the sort of things that are often said in tyre commercials , but by males. This I felt was , overall , the best expression of my thoughts , although I must say I still would have liked to have done more with it. This subversion still allowed the woman her female "identity" , but challenged cultural perceptions of gender / technical relations. This , I considered , gave a positive image of women , without being so overt as to have a detrimental affect on the changing deep-seated cultural ideologies. Which by their very nature can be sensitive subjects to deal with on a mass media; especially when the idea is to sell a product . It can be felt very threatening to have long held ideas challenged too strongly. These mythologies are being reinforced every day by the media and I feel it wise not to alienate people when trying to change views or they will become defensive , as if you were insulting them , and "turn off". Basically I wanted to make people realise that just because it's a woman selling the car tyre it doesn't mean she has no knowledge of the subject. My other over-dubbed advert was taken to an altogether more blatant level. It was an advert for a washing powder , and originally it had stuck to many of the conventions of sexual job stereotyping. There had been clear assumptions made that the woman should know what a child's clothes should be like , and the male should "obviously" be scientific. I simply subverted some sexual stereotypes by changing the dialogue. Now it's the female fixing the car and the male doing the washing. I must admit that one of the reasons I selected this advert originally was that it annoyed me intensely . There was though , one thing I did like about it. The woman was in the "driving seat" - she was making high powered decisions , was taller than the man and very confident - , even though in many ways she was a stereotype - didn't know about science , working in relation to children etc. I kept this aspect intact , and maybe even exaggerated it a little , as it was entirely suitable for my ideological question. It is all mannered , and some might say I had injected a hint of sarcasm to the project. If this is so it was wholly unintentional , and just a reflection of my feelings towards the original. I felt that at least it gave a cartoon- like interpretation of what I was "getting" at. If not an exactly practical one. It was crude. In contrast to this edited advert I selected the Peugeot advert and left it intact. This advert I felt exposed female stereotyping and dealt with them very well by showing a very powerful and strong woman making her way in a "mans world". I wanted to show that some modern adverts were showing changing attitudes. One of the main problems I had when making this video , were technical restrictions. Because I needed an editing suite , which our school didn't have at the time , I had to borrow one. This , I discovered , is not ideal when working on "A" level work , with all its pressures and deadlines. I could only use the equipment in the brief periods when it was idle. This lead to the product being rushed , and me feeling frustrated with it. It did , looking at it positively , teach me a lot about the production process , and the fact that this alone can seriously impede a product. I now feel that this was a fairly naive piece of work , and would approach it quite differently now - I would make my own adverts , target the whole package more specifically and have a more honed idea of the points I wanted to make about images of women - This is probably because it was my first production exercise , and I was relatively inexperienced in the subject. As an initial idea though I still think it has much potential, and looking back at it has taught me a lot , and shown me how my ideas have changed as I followed the course - looking in much more detail at the effects of history/culture , the people who make adverts and public opinion and psychology. Election material (non-fiction). This was a very topical piece of work , arising from the general election in 1992. It seemed to be the obvious event to study , as the whole of the British Media was saturated with it. There was also debate about the "use" of the media in political campaigns giving it more reason for investigation. My colleague and I decided that a relevant production exercise on this subject would be to produce a campaign poster and party leaflet. The idea was to apply the sort of techniques of presentation and manipulation we were seeing throughout the election , to material for our own bogus party. We made the poster first. It seemed simple enough in theory , but when we actually started work on it the problems soon appeared. We studied the posters that were being used by "real" parties , so we could emulate the style as closely as possible. There was one very strong influence in most of the posters we saw , they were all "negative". That is to say they rarely said "we will" but rather "they have , they did" or "they will. We concluded that this was an important aspect to reflect in our own work. This decided we started work on the theme for the poster , working on the wording first. The theme was also not a random one , but one we felt represented the general "mood" of this particular election , the apparent "decline" in British society. The wording we settled for was "His-tory is to blame". This had a negative stance of the type we were looking for and also started us thinking about the pictorial imagery for the poster. We had committed ourselves to there being a man in it somewhere , so this was a start. We ended up with man lying on the ground , in poor condition. This was to symbolise the housing and unemployment problems of the country , as were the tower block of flats and factory with a cross through it. The reason for the use of the tower block is that it has become something of a cliche in the media in relation to unsatisfactory housing. This means it is instantly quite a powerful image , as it needs little "decoding". The factory is just a blatant representation of the current decline of the manufacturing industries in Britain. The whole lot together we felt made quite an impact , through its "shock" factor and exploitation of some current "moral panics". I feel the way the text anchors the images is especially significant. It is possible to see the images (other than the man) as positive , but as a result of the text the "audience" is already positioned to "read" them as negative. I feel it is probably important to mention the target audience at this point. We weren't just aiming this poster at the unemployed and those with inadequate living conditions . This and the leaflet were aimed at a very much "middle class" and student audience. The idea is to outrage them (with the poster) , and instil a feeling of guilt and need for change. The text then points the blame. The idea was that they might then read the leaflet to see what the "independents" were all about. It was therefore necessary to make the leaflet very positive and relevant to this "middle class" / student audience , with lots about education , the environment , health care etc.. We analysed lots of leaflets of this nature that local candidates had circulated to get a good impression of the style and format we should use. They all used the same formula , candidate on front with their name in bold , sectioned topics inside with relevant positive images and a profile at the end. This we then tried to reproduce with our product. We concentrated mainly on the "look" and "feel" of it although the text was still important. To this end I feel we were very successful. In my eye it looked just like the "real" thing. This brings me on to another very important point , the production process we used. For me this was a very interesting aspect of the project. We did the whole package , poster and leaflet on computer. The poster was done using an art programme (coral draw). Firstly we arranged the text on the page and choose the type set (font) we wanted. We selected a very plane bold font which I feel looks trust worthy through its straightforward nature and also has an air of authority. It gives an impression that it was "genuine" people who made the poster not just bureaucrats by lacking in unnecessary frills. We then selected the images we wanted from photographs in books. Having found the desired image we scanned it onto the computer. Scanning is a process whereby you can digitally transfer a======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ==r) more suited to the high text content. The whole lot was then printed out on a laser printer for a professional looking finish. I enjoyed the whole exercise and felt I learnt a lot about the conventions of this sort of product. I also gained more experience in production techniques , and the positive and negative points of using totally computerised methods - for - professional finish , good for large scale production , - against - can slow the ideas , can reduce and restrict creativity and is slow when using for small scale projects. GCSE Teaching material (images in context).  The idea behind this exercise was to design some teaching material for GCSE media studies students on the use of "point-of-view" in films and "the look". The first thing that I started thinking about was targeting the material at the right level so it should be relevant and interesting to a GCSE class. In doing this I wanted to leave scope for individuals to follow up thoughts on the subject in their own way and to as high a level as they wanted. I feel this made my material rather lacking in detail and possibly somewhat woolly although a good idea in itself. Looking back at it I feel that I had the emphasis misplaced and I missed some of the real psycho - analytical and ideological reasons behind the "Look" and the "Point-of-view". If I were making the material now I would concentrate much more on the "male gaze" and the ideology behind it. I would also put more emphasis on the psychological "positioning" of the audience rather than the "actual" position of the camera , as I feel now that some of the material may be misleading. That is to say that it implies that all point-of-view is when the camera is taking the position of a character's eyes as opposed to conveying their feelings and "position" within the context of the whole narrative. In selecting the few clips to convey the point-of-view I stuck to the stereotypical conventions of suspense and fear. I then backed this up with the text saying that students should look for it and note it in other genres. I do feel though , that I didn't stress the cultural importance of it being so often a male "gaze" at a female used in film. I may be being hypercritical here as this was material for GCSE not "A" level and targeted thus. It was this targeting that was difficult. As far as actually producing this product was concerned I was quite pleased. I set the work sheet out in a "teachers' notes" format as opposed to a student's handout format , again for greater flexibility and teacher interpretation. This to me looked reasonably professional as it was all done on word-processor. I also spent some time putting the accompanying video together. I filmed me giving it an introduction and edited it all together to give a Barry Norman , Film '93 look. All very stereotypical , but I decided it might get a class in the right frame of mind as it has become something of an institution and a convention they might relate to. I found this exercise very useful in aiming a product at a very specific and predefined audience , so it helped me to think about targeting. It also made me very aware that it is easy to target the right people with the wrong information , and make too many assumptions. The production was all good practice as was the meeting of deadlines , as usual. Car advertisement (style) We had a totally free choice on this production exercise related to style , so we could produce something on any topic. I had wanted to make a car commercial for some time and this seemed the perfect opportunity. After deciding on cars as the theme I then decided what format to make it in. Video , I decided would be a good choice , as a moving format might be the best way of expressing transportation. My aim was to produce an advert that exposed the stereotyping and conventions in auto advertising. To achieve this I decided to make an advert that stuck to them rigidly , as opposed to subverting them. I had actually conceived the advert in great detail about a year prior to making it. This was helpful in the initial stages as it allowed us to make the storyboard quickly as I knew exactly the images I wanted. As we progressed though , my preconceived ideas and ideological dogmatism held things up , as I wanted everything exactly as I had pictured it. This of course was not possible due to time restrictions , cost , other "A" level commitments etc. This I found a very useful lesson in keeping detached from the advert. I was too involved , the initial idea was mine , the car was mine , and I wanted it just so for the filming. This is not ideal with time as short as it was. The basic idea of the advert was a cliche , young white male , sleek car , empty country lanes , pretty woman , parties , and a big country house. It was very much aimed at a specific target audience ; young men or men who wanted to feel young. As a result it had to contain the appropriate ideological messages - style , power , "success" , rsuading people to support dubious causes (Keen & Greenall 1987). I felt the above public relationsovided a good synopsis of current public relationsejudices towards good old public relations. Another commonly heard examlpe of such views is the classic "it's only a public relations exercise..." . So thats a brief look at some of the things public relations isn't, now I must endevour to uncover exactaly what public relations is. A fundamental ingredient of "good" pr must be communication. One needs to develop organised two-way "conversation" between an institution and its audiences. Sound pr practice should involve "activley" listening as much as "talking", this is "true" communication. It is not simply a case of "buttering people up" and pushing problems "under the carpet". For an organisation to deserve a sturdy reputation it must listen to external (and indeed internal) criticisms and recommendations. If necesary taking corrective action. This communication needs to be organised, as with any aspect of an institution in order to keep tabs on, and make sure the communication stays cohearent. Hence the need for a dedicated pr profession. An ultumate aim for a pr departement is -To build a level of mutual understanding and respect which allows the institution's goals to be readily met (Keen & Greenall 1987). It is very important to remember though that in pr this can only be achieved be using the truth. If a stratagy involves lieing then this cannot be classed as pr. Indeed one of the items in the institute of Public Relations code of conduct is : " A member shall have a positive duty at all times to respect the truth and in this regard not to disseminate false or misleading information knowingly or recklessly and to use proper care to avoid doing so inadvertently." Of course this is only a simplifed analysis of the problems and critisiary taking corrective action. This communication needs to be organised, as with any aspect of an institution in order to keep tabs on, and make sure the communication stays coherent. Hence the need for a dedicated public relations profession. An ultimate aim for a public relations department is -To build a level of mutual understanding and respect which allows the institution's goals to be readily met (Keen & Greenall 1987). It is very important to remember though that in public relations this can only be achieved be using the truth. If a strategy involves lying then this cannot be classed as public relations. Indeed one of the items in the institute of Public Relations code of conduct is : " A member shall have a positive duty at all times to respect the truth and in this regard not to disseminate false or misleading information knowingly or recklessly and to use proper care to avoid doing so inadvertently." Of cosms leveled at pr. There is the whole question of pr in conjunction with polotics and ideology. Here it is a question of ethics rather than straight cut true and false wi e whole of the British Media was saturated with it. There was also debate about the "use" of the media in political campaigns giving it more reason for investigation. My colleague and I decided that a relevant production exercise on this subject would be to produce a campaign poster and party leaflet. The idea was to apply the sort of techniques of presentation and manipulation we were seeing throughout the election , to material for our own bogus party. We made the poster first. It seemed simple enough in theory , but when we actually started work on it the problems soon appeared. We studied the posters that were being used by "real" parties , so we could emulate the style as closely as possible. There was one very strong influence The term art may designate on a number of modes of expression conventionally catogorized by the medium utilized or the form of the product: thus we speak of painting, sculpture, film making, music, dance, literature, and many other modes of aesthetic expression as arts and all of them collectively as the arts. The term art may be further used to distinguish a particular object, environment, or experiance as an instance of aesthetic expression, allowing us to say, for example, that 'that drawing or tapestry is art`. Traditionally the arts are divided into the fine and liberal arts. The latter are concerned with skill of expression in laguage, speach and reasoning. The fine arts, a translation of the French beaux-arts, are more concerned with purely aesthetic ends, or, in short, with the beautiful. Many forms of expression combine aesthetic concerns with utilitarian purposes: poetry, architecture, metalworking advetising design may be cited as examples. Another traditional system of classification applied to the fine arts, establishes such categories as literature (including poetry,drama, story and so on), the visual arts (painting, drawing, sculpture, etc.), the graphic arts (painting, drawing, design and other forms expressed on flat surface), the plastic arts (sculpture, modelling), the decorative arts ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ==ions that do not necessarily expext to get anything for themselves in return for it. They support the artist because they are committed to art for its own sake or to a particular artist. In this specific sense, artistic activities may be sponsored by government agencies supporting art as a "social service" for the people, by private foundations, by individual sponsors, by relatives who support the artist while he is economically unsuccessful, or by friends and acquaintances whom an artist "sponges on". Sponsorship may thus be, in some cases, unintentianal. Self-financing and sponsorship are economically "abnormal" sytems of financing the production of goods and services that potentially posses an economic value to people other than their producers. These modes of financing are found principally in the "cultural" acticities, above all religon and art (but also in "ideological" politics), and they occur because the artists are not treated as if they were engaged only in the production of economic values. They produce economic values , but there is also a "religious" aspect in their activity that requires to be supported for its own sake. If the arts were to be supportede entirerly by a market economy, this aspect might well dissapear: art would therefore become a commodity. The arrangement of economic support that have traditionally carried the main burden of sustaining artistic activities are the three types of normal economic systems inti which the arts may be intergrated like any other productive activity: the exchange, command and market economies.   The exchange economy. An artist in the exchange economy produces for a customer familier to him who, in turn, directly or through a series of similar exchanges, provides him with a desired good or service of equivelant value. The command economy. The artist in the command economy depends on a consumer - an individual or organisation - of superior status who has extracted a great deal of wealth from the producers in the economy and can distribute it, perhaps within the boundaries established by tradition, as he sees fit. The artist is paid well if he produces economically valuable aesthetic goods and services. (A significant exception to this principle has been built into the situation of women in the performing arts: in male dominating societies, they tended to be paid well if they performed sexual as well as artistic services.) Before the modern age, all artists who produced expensive works of art were supported by economies of this type. Even today, architecture - to the extent thar it is an art - and the large-scale "technological" arts are supported in this manner.  The market economy. In the market economy, many artists compete for the favour of numerous customers not grestly differing in their purchasing power and not personally known to the artists. Since artists are not familiar with their customers, their products become acts either of self-expression or of appeal to an image, an abstract stereotype, of the "average customer". In market economies, the arts are particularly dependent on support through the economically "abnormal" systems of self-financing and sponsorship. These systems typically provide the economic basis for radically new departures in the arts in market econmoies. They also subsidize the established arts when their costs are to high to be supported by the market (symphony orchestras for example). Architecture is a very expensive business, it is conditioned by two forces. One is economic - the search for a maximum stability and durability in building with a minimum of materials and labour. The other is expressive - the desire to produce meaningful form. Therefore, should more money be available so that society can be provided with more beautiful artistic buildings or are most people satisfied with sky scrapers and simple buildings. Major expenses in buildings land, materials, and labour. In each case they are high when the commodity is scarce and low when it is abundant, and they influence planning more directly when they become restrictive. The effect of high land values is to limit the amount of space occupied by any building as well as the ammount of expenditure that can be reserved for construction. When land coverage is limited, it is usually necessary to design in height and space that otherwise would be planned in breadth and depth, as in the ancient Roman insula (apartment houses) or the modern skyscraper. When the choice of materials is influenced by cost, >-------!-------!-------!-------!-------!-------!-------!-------!----R  Happy Valentines Day Sahra or the formal construction and stylistic presentation of the advertisements;  Since its conception television has been recognised as an awe_ somely powerful and influential media. Some might rate its overall world power as second only to military aggression, some may rate it as just ahead, with violence being caused by it. It is often said that televisions power is abused through propaganda and it is true that there is a prolific use of television for political and ideological propaganda. It therefore seems very fitting that television is supported and survives through the use and sale of propaganda, advertisements . It could be said that advertising agencies are amongst the most powerful and certainly the most acceptable propagandists u>-------!-------!-------!-------!-------!-------!-------!-------!----R  Happy Valentines Day Sahra ! To Sahra tation , if such things are evident , which I believe they are , of the advertise_ ments on the show reel they must be looked at in a relatively broad and overall manner. Accounting for the above fe======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ==all phases of architectural design are affected, since the planning procedure, the technique, and the form of buildings are dependant on materials. High labour costs influence the choice of techniques and, consequently, of materials. They encourage simplification in construction and the replacement of craftmenship by standardization. The development in the nineteenth and twentieth centuries of light wood-frame construction and methods of prefabrication were largely the result of the rising cost of labour. The art of architecture is something that the whole of society can enjoy, therefore, many people will agree that any money - within reason - spent on architecture is well spent and that architecture certainly deserves promoting. Opera is another very expensive business but unfortunately - as it is one of the elite arts - not very many people appreciate it or go to see operas. This, of course, is a great shame as many people don't realise quite what they are missing. The cost of putting on a production amonts to a large sum of money. If the expense had to be recovered totally from the box office, we would have to pay two or three times as much for our seats at the opera as we pay at present. Fortunately, in most countries the state subsidises the leading opera companies. In Germany and Austria, the leading theatres, such as the Deutsche Oper in Berlin, and the Vienna State Opera, are generously supported by the state. In Great Britain, we have fewer opera companies, and they are inadequately subsidised in comparison with the theatres of most other European countries. In the United States, subsidy comes mostly from private and business sources. In Great Britain, though rarely elseware in the world, non-opera- going tax-payers are sometimes heard to complain about the large subsidies which are paid to opera companies, because in their view, opera is an elitist and expensive art form enjoyed only by the aristocracy and well-heeled snobs. This is demenstrably untrue, and in any case, these same tax-payers do not think to complain about the cost of art galleries, museums, public libraries and many other ammenities used only by a minority of the population. It is very important for opera, as a major art form, that there should be at least one national company in each country which is able to maintain the highest possible standards. The biggest companies must plan their productions several years in advance so that they can secure the services of star singers and conductors. And, it is equally important that all opera companies, like drama companies should flourish at local and regional levels as well. Production costs can easily total 200,000 or more, though an opera can be put on for as little as 10,000. Like many of the other arts, operas are sponsored. The kind of businesses that would sponsor an opera are ones whose products would appeal to the audiance i.e. expensive jewellers or a designer clothes company. You wouldn't get a company like Safeway sponsoring an opera because it wouldn't be worth their while. Arts like sculpture, paintings, metalwork design and drawing - the graphic and visual arts - are, again, only appreciated by a minority of the population and deserve promoting much, much more. The table below provides an analysis of public expenditure on the visual arts, comparing different areas of expenditure for the various funding agencies in 1983/84. The definition of visual arts used in this table is very narrow and excludes the crafts, photography, film and video. Exhibitions and revenue support for the galleries were the main areasurse this is only a simplified analysis of the problems and criticisms levelled at public relations. There is the whole question of public relations in conjunction with politics and ideology. Here it is a question of ethics rather than straight-cut true and false which determines the feasibility of public relations. For example is it ethical to do pr. for the IRA, a tobacco company or the National Front? All of these are deeply problematic questions but their is one basic rule that as I understand it should be adheared to. That is that sound pr. is relient on the organisation being "worthy" of respect. As one person said in the video we watched on pr. , he couldn't do pr. for a client who wouldn't look him in the eye and say they honistly beleived in their product. This is, from material I've read a key issue in pr.. of the country , as were the tower block of flats and factory with a William Knott Public Relations essay " What is public relations ?" This is , as far as I can tell, one of the key points when studying public relations. The "true" meaning of public relations needs to be established before going any further. This is not the simple task it might at first appear to be, so common and well ensconced are the misconceptions of the public relations profession. These ideas of public relations are well illustrated by the following stereotypical definitions. 1. Public relations is the process of persuading journalists and a hostile public that something rotten-smelling is really quite sweet. 2. Public relations is the procedure whereby half-truths are purveyed to the half-asleep to prevent their awakening. 3. Public relations is an activity involving the consumption of alcohol with the aim of persuading people to support dubious causes (Keen & Greenall 1987). I felt the above provided a good synopsis of current prejudices towards good old public relations. Another commonly heard example of such views is the classic "it's only a public relations exercise..." . So that's a brief look at some of the things public relations isn't, now I must endeavour to uncover exactly what public relations is. A fundamental ingredient of "good" public relations must be communication. One needs to develop organised two-way "conversation" between an institution and its audiences. Sound public relations practice should involve "actively" listening as much as "talking", this is "true" communication. It is not simply a case of "buttering people up" and pushing problems "under the carpet". For an organisation to deserve a sturdy reputation it must listen to external (and indeed internal) criticisms and recommendations. If necessary taking corrective action. This communication needs to be organised, as with any aspect of an institution in order to keep tabs on, and make sure the communication stays coherent. Hence the need for a dedicated public relations profession. An ultimate aim for a public relations department is -To build a level of mutual understanding and respect which allows the institution's goals to be readily met (Keen & Greenall 1987). It is very important to remember though that in public relations this can only be achieved be using the truth. If a strategy involves lying then this cannot be classed as public relations. Indeed one of the items in the institute of Public Relations code of conduct is : " A member shall have a positive duty at all times to respect the truth and in this regard not to disseminate false or misleading information knowingly or recklessly and to use proper care to avoid doing so inadvertently." Of course this is only a simplified analysis of the problems and criticisms levelled at public relations. There is the whole question of public relations in conjunction with politics and ideology. Here it is a question of ethics rather than straight-cut true and false which determines the feasibility of public relations. For example is it ethical to do public relations for the IRA, a tobacco company or the National Front? All of these are deeply problematic questions but their is one basic rule that as I understand it should be adhered to. That is that sound public relations is reliant on the organisation being "worthy" of respect. As one person said in the video we watched on public relations , he couldn't do public relations for a client who wouldn't look him in the eye and say they honestly believed in their product. This is, from material I've read, a key issue in public relations. Public relations goes further than just communications though, as Jon White points out:  The practitioner has a role beyond that of the communicator, a  role which includes tasks of social analysis and knowledge of  effective intervention and negotiation techniques.(PR Week, 5-  11 March 1987) This must indeed be the case as communication can only be one of many tools in public relations. Communications are used in public relations to achieve a specific goal. Therefore outlining objectives is a very important aspect in any form of public relations. A specialised understanding and analysis of attitudes is first needed so as to aim for the "right" objective. Then the "visible" aspects of public relations can be put into action. It's no good trying to achieve a racy, go-for-it, all or nothing corporate identity if your client is a building society. The Institute of Public Relations has two definitions of public relations. One is for " public relations practical ". That is public relations activities  Public relations practice is defined .... as the deliberate,  planned and sustained effort to establish and maintain mutual  understanding between an organisation and its  public.(Institute of Public Relations) The other is for " public relations absolute " . This relates to how at any one time an organisation stands in relation to other organisations or individuals.  Public relations is the state of mutual understanding between  an organisation or individual and any groups of persons or  organisations, and the extent and quality of the reputation  that exists.(Institute of Public Relations) These are by no means a everything there is to public relations , but they help in a small way to work out what is meant by public relations. To a degree public relati======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ==rch and definition of operational objectives 2. Drawing up of a strategy and costed action plan 3. Communicating and programme implementation 4. Monitoring and evaluating progress, results and budgets, re- assessment and modification of programme as necessary. This is obviously not a rigid formula but a good basic outline. The first element requires an answer to why you are planning to undertake a particular public relations project. The second involves defining what, who, where, how and how much. Together the result of these deliberations will provide a clear indication and direction for all those commissioning and working on any public relations project, whatever its size. The final strategy for a long term campaign may well include detailed objectives for the short term, aims for the near future and broad outlined aims for the long term. Again non of this is set in stone by any means. Unlike advertising, public relations is not usually chosen where instant results are sought overnight (although it can aid these). The most successful public relations programmes are those which are planned, executed and revised over a long timescale. Short term progress can it seems be made but as I understand it, it is necessary to implement programmes of action over the longer term if positive shifts in attitudes are to be achieved and sustained. was help William Knott MES 102 PHOTOGRAPHY ASSIGNMENT I feel it is appropriate to explain my choice of object at the outset. It is one of my major shortcomings, basically I love cars, I am the definitive car freak. I say this in a somewhat hesitant tone as ethically it goes against my grain, but there it is. I am therefore very accustomed to looking at photographic images of cars and decided that this interest made them the logical object of my studies. We were also told in a lecture to focus on our personal interests. To select and identify the target audience for this advert I did some research into who would be interested in such a product and what their reading/watching habits were. This would allow me to then do some further investigation as to the nature of images used to sell products to this group of people. Not surprisingly those keen on this product tended to be male young and old and gained William Knott AIT 101 Europa Verde - Account The first thing I had to do when starting this assignment was really organise my ideas and information I was given. Before any design work could comence I needed to have the "raw" material that my document was going to present. I set about finishing off the "master" letter in the right language and with the appropiate information for the individual I was sending it to. This envolved using the calander in Windows to work out dates and also the card file to get information on the activities at the conference and useful translations for both the letter and the map. I "moved" items I needed from these various other packages using copy and paist and maximising and minimising them. I started off slowly only having a few programmes open at a time, but as I went on I got more confident and would have lots of programmes running "flicaggression etc. - , conveyed by the items listed above. Although I was looking at conventions and style in advertising I still wanted this advert to be innovative in some way. Basically I wanted it to expose the conventions and yet differ from the standard , and "work" as a commercial. To achieve this I decided to split the advert up between other adverts. I concluded that as a car is a large and expensive item , people wanting to by one would pick up the car theme and follow the advert through. I then picked music as an anchor for the advert being a very quick form of communicating ideas and feelings , as is required in an advert. It uses peoples contemporary cultural decoding which is one way of expressing things they already have fixed(ish) notions of in code for as opposed to long explanations. Also music effectively targets an audience. I selected different styles of music to convey some of the feelings peopl of expenditure. The Regional Arts Associations made a significant contribution to the latter (almost 30%). Grants and awards paid directly to individual artists accounted for under a tenth of total expenditure. These were mainly provided by the RAAS (51%) and they also formed an important part of the expenditure of the Welsh Arts Council. Purchases of work from living artists accounted for an even smaller share of expenditure. companies becoming "pan- European" , in their work this opens up a much wider spread of people to be targeted by companies through the advertising agencies. There should be , then , more work for the advertising agency. However there are several obstacles in the way , and the greatest of all , as said before must be cultural diversity. A single advert to cover the whole of Europe would be far more difficult than a more localised ae have about different cars. In the end the young man selects the car with the "happening" "dance" music. I chose dance music for the X1/9 because it is a car that seems to "dance" when you are driving it and also I felt the music might appeal to the target audience as a result of its (the music's) "drive". I then linked this to a party which the man was going to , by showing shots of dancing feet at a party cut in with his feet dancing on the car's pedals. Also cutting the party shots with the car on the move gave the idea that the man might be on his way to the party. On arrival at the party the man is approached by a young woman but rather than dancing with her he goes for a drive in his car. Crude , but I felt it was a good way of exposing the sexual stereotyping used in car adverts. That is to say that if this car is better than a beautiful woman it "must" be fantastic. I was pleased with the end result of tmost their information on mew cars from motoring magazines and the Sunday press. Due to the specialized nature of this vehicle I opted to imagine this as being an advert in a magazine such as Performance Car or Classic and sports car. I then looked at the sort of images used in adverts in these publications, to see the common trends and themes. I concluded that a "romantic" angle was a customary one with this ilk of merchandise, so started to base my photograph and advert around this. I decided that as this was a high cost market I should not be to radical in my approach, as the product was quite radical enough. I felt it would be effective to place the car in a traditional and "romantic" framework as this seemed to appeal to the young and old alike, as it seems this character of car does. I noted that many of the adverts used images of aviation. Being near the airport this seemed to be a good location to tap>l 66 >tm 1 >hm 3 >fm 3 >bm 5 >sm 5 >!---!----!----!----!----!----!----!----!----!----!----!----!----R Analysis of the European Showreel a) discuss and account for the formal construction and stylistic presentation of the advertisements;  The construction and presentation of the adverts on the showreel is , I feel , on the whole , controlled by history, and not just by closely contemporary history although this is evident. To account for the formal construction and stylistic presentation of the advertisements on the show reel we must look at them in a relatively broad and overall manner. Accounting for the listed features is helped by the fact that the adverts are all aimed at a western market economy audience. Their presentation and construction is really controlled by the bourgeois stereotyping and culture of western European countries built up steadily through history and so in a terribly generalised way these adverts could be seen as a "re-presentation" or expression of certain middle ground ideologies of these western nations. Since its introduction television has been recognised as an awesomely powerful and influential medium. It is often said that televisions power is abused as propaganda and it is true that there is a prolific use of television for political , business , social and ideological propaganda. Propaganda in the sense that adverts have consciously and subconsciously , I feel , influenced "western" culture . It therefore seems very fitting that television is supported , and that it survives through the use and sale of advertisements , propaganda . It could be said that clients through advertising agencies are amongst the most powerful and certainly the most accepted propagandists using the media. These common ideologies are immediately apparent in the adverts . The first thing that struck me about their overall construction and presentation was the similarity , not so much in detail but in the layout , through a definite "formal" construction , and a common "stylistic" presentation . They all stuck quite rigidly to a set of codes and conventions , using variations on the same formula to sell their product. On the whole this formula can be broken down into a few key components: 1. Music , all except one (the four X add) had some music 2. A voice over , habitually male (only two had women out of over 20) 3. Some on-screen text 4. A limited time span , rarely more than 60 seconds. History has built ideas and images into people's minds. People seem very much more willing to believe things they are told if it is conveyed in a formal manner. We are constantly being "told" the "truth" by the media through traditional and prescribed presentations. The news is the most obvious example of this. Every day we have the news presented to us in the same formal manner. Suits are worn and "correct" English is used. The smart suited man in the Renault could be seen as a reflection of this. The use of addressing the camera is a specific signifying practice of television to give someone authority which is often used in advertising. These historical symbols of power and formality are used metaphorically in the adverts. As a result of history we feel more able to accept things that are exhibited in a formal manner as "right" and truthful; and television and the media as a whole have, to use Roland Barthes words "naturalised" history , so that these codes of power are simply accepted. A constant use of formal conventions in the media means that informality seems out of place and threatening. A central consideration in the formal construction and stylistic presentation of the adverts is the target audience. These adverts all focus on the "middle" or well waged classes , what Galbraith has called "the contented majority" ; and in order to appeal to this "group" the makers have formed "re-presentations" of middle class life and situations that the selected audience can supposedly relate to. The stereotype assigned to this socioeconomic group assumes formality and style with strong family values; but they have gone further. Most of the adverts contain young middle class figures , "yuppies" , the now unfashionable epitome of formality with style , just like we all want to be , don't we ? So that although the products may not be individually not very "stylish" , they do through the context and presentation gain these attributes. As we are persuaded to believe that the qualities shown are desirable it is expected that people will buy the product , because they want some of the image in the advert to rub off on them as a result of their purchase. For example the "fast" lifestyle (James Bond Esq.) of the man in the Renault advert or the body of the woman in the "Bio" advert. The advert that most breaks these conventions is the last one for Castlemain XXXX. This uses "working class" characters , and has no glossy music or middle class setting. Despite the social differences though , it still uses a lot of the formal advertising conventions , voice-over , product name in text , time span etc. with a rather different target audience in view. It also sticks rigidly to gender stereotypes , the rough tough men with the car and more than a touch of a "western" genre feel to it. Although the social constructs are exaggerated to such an extent that the net result is a comical advert , using mass media techniques to jest about images that some would say were created by the same method to do the same job. In other words the advert is sending up advertising and the media. The Aerial advert is in many respects comparable with the Four X advert. It uses very over-the-top stereotypes of a "working class" family. I also felt there might well be some intended geographical stereotyping , suggestions of Northern England in the images , the cottage , countryside etc. It seemed to be hinting at Northern England = Blue collar worker = "working class" . The whole advert was so heavy handed I couldn't make my mind up as to whether I should "read" it as a joke or as simply crude. The interesting aspect of the advert for me was the representations of gender in the advert . For the most part they were clear stereotypes of the hard working male and the "house wife" . At the end of the advert there was a relatively subtle subversion of this , with it being the female making the suggestion of sex to the male. It may seem a small point but I felt it significant. Both these adverts work to some sort of mythological realism , that is to say they are clear mythological interpretations. The construction of the adverts is also controlled by financial and commercial constraints. It is much quicker , cheaper and less risky for a company to use a standard approach and a formula that has been tried and tested; and this forms a template for advert construction. It is the use of this formulaic structure that binds all these adverts together and defines their limitations. Adverts , more than any other media construct , have to clock in immediately as a result of the time restriction and need for instant impact. They use stereotypes a great deal as these are instantly recognised by many people. So if you like half the "story" can be told through myths set up by the media by simply appearing on the screen. This gives the advertisers more time to focus on their product. For example the Renault advert uses the myths set up by the James Bond films to quickly establish the sort of lifestyle of the man in the advert. Having looked at the adverts on a broad scale it becomes easier to identify pan-European advertising modes and methods and it is suggested that they might be taken as "re-presentations" of western European cultural constructions over the last 4,000 years. They exhibited stereotyping of gender , class and age (the house wife in the Aerial advert , the voice in the B.A. ad and the young people in the Red Cross advert etc.). It seems that formality is a seller Euro-wide and that it manifests itself in similar forms throughout the continent. As for style , its power to move goods if it can be attached to it in any way (even a yogurt!) , is as strong as ever. This I suppose is endemic of western culture. Style is a strange commodity , it's hard to define and yet it is instantly recognisable. It is taste , quality , tradition confidence and social standing rolled into one. It is evident in many of the adverts : The traditional dinner suited young man in the Renault advert , the Paris "life style" in the Tunes advert the more British than British voice in the British Airways advert. All these are "images" of style being used (tagged on to) to sell goods. Style is I believe what we're supposed to want , it's what the "finest" people do and have , and how the elite live. b) Explore any differences between three or more of the advertise_ ments that may arise from the targeting of different geographical areas. There are many barriers that confront pan-European advertising of brands with a wide market. The greatest of these is probably cultural diversity. There are many broad cultural similarities common throughout western Europe. In detail , though , culture varies quite significantly from country to country. For example Britain has regulations on the use of sexual images in adverts and on television as a whole , and not just rules though , as a culture , I think we have more "taboos". Other European countries are less restricting as their culture accepts sexual exposures as more the norm. In France there is a commercial for Perrier in which a female hand coaxes a bottle into doubling its size before spurting its contents into the air , this would be seen as unacceptable in this country. Scandinavia also seems to have a more free view about the human body than Britain. In the UK. advert for Impulse body spray the breasts are discreetly masked during the "spray shot". In Scandinavia the same advert contains a full frontal naked torso. This is a direct illustration of cultural diversity having an influence on advertising. Another common factor that changes with marketing in different geographical areas is humour. Even the visual kind often fails to cross national boundaries happily. Where the joke is verbal it can become impossible to translate the humour into another language. It is of utmost importance that it is remembered that different nations look at other nations in a different manner than the nations might see themselves. This comes through as national stereotyping in advertising. National stereotyping can restrict the usage of adverts to certain geographical locations. In the UK Renault can emphasise its Gallic chic with the middle-aged seducer and his sultry daughter Nicole filmed against a Maylesesque background. But not in France where , Phil Horton , Renault UK's Communications Director said "the image is of high tech". So although selling the same product they set up very different "mythologies" . Myth for Barthes , was a mode of representation , "a kind of speech" , characterised above all by its "self-evident truth" , its "naturalness". Both adverts use "myth" in a similar manner but produce different "mythologies". They both deny history and politics. Examples of the above geographically variable features and others can be seen in the adverts on the showreel. The French commercial for "Bio" yogurt shows how , because of national culture , the use of a topless woman in an advert can be considered , whereas if you take the British advert for Aerial where the couple are in bed there is only a "suggestion" of sex at the most and certainly no nudity. Some people might argue that this is because of broadcasting legislation in this country , but surely any legislation is just a reflection of a country's ideologies and culture. Sex is a taboo subject in this country that can only be hinted at , and consequently if the Aerial advert was targeted at a French audience , it might have been more explicit . Similarly , if "Bio" was being aimed at a British market , I suspect a different approach may have been employed. Although again the gender to sex subversion at the end of the British advert is interesting. The "Tunes" advert is for a British audience , yet contains Frencher than French images. It is a good example of cultural stereotyping to the extent of creating a mythology for a specific target nation. It is a similar use of stereotypical Gallic chic and "taste" as displayed in the Renault commercial mentioned above. The images it presents are caricatures of the French and I believe this immediately sets its geographical position as more than likely not being France. France wouldn't "buy" this image of itself. Were always given images of Paris as images of France , and the French wouldn't accept this as their country. As a result of many factors the whole of France is now seen as glamorous and therefore a desirable connection for a product to have. Add to that the over-the-top French pigeon English and the advert finds its home on the screens of British households. It is possible that this advert might work in another European country but to me it seems to appeal to a traditional perception of British "French" humour. There is a tension in this advert between the "serious" style reading of the French connection and the "take the micky of the media itself" "French" humour. Ideas of "morality" or "taste" tend to play a big part in targeting a specific area or country. An example of this can be seen in the Moulinex advert. This shows how cultural differences of countries can be expressed through humour and used to sell a product to a particular country. The use and context of animals in the advertisement is the factor that limits it to certain countries. The commercial was made for Spanish television , and shows an animal before it's been in a mounlinex microwave and after. The advert is designed to be entertaining , I must admit it made me smile but perhaps for slightly different reasons from the intended ones. I was basically shocked by the advert , not in any serious manner , and I feel it is exactly this that restricts this advert to only certain geographical areas. Spanish culture has a different approach to animals than say for example English culture- especially in relation to food. I believe that the British don't really like to think that what they are eating used to walk around and live. People might find the advert not offensive but possibly slightly in bad taste in Britain. As with the "Tunes" advert , the use of humour can here determine the geographical area targeted . There are several factors involved in targeting different geographical areas. They range from the blatant differences of language to more subtle cultural and economic variables. The differences could be summarised as cultural and economic diversity. c) Relate your analysis to the institutional context within which advertising agencies currently operate. There are also significant differences in economic and business structure that can cause a great difference to the commercials seen from nation to nation. If the national importance of advertising is measured by the percentage of Gross National Product devoted to it , then the British and Spanish , both spending 1.3 % of GNP , obviously regard it far more seriously than the Germans and French (0.75 per cent each). Within these overall budgets the types of media used by advertisers vary greatly in popularity from country to country. Television and the press are always the major components , but the split between them differs from 22 per cent television and 64 per cent press in Germany to 48 per cent television and 41 per cent press in Italy. Of other , some might say "lesser" media , the French and Spanish spend more than 20 per cent of their budgets on radio and posters which in the UK get 8 per cent. The results of the above differing sizes and allocations of budgets can be seen in the adverts on the showreel and other commercials seen on television. The advert for the German bank , I feel was very simple and inexpensive , possibly as a result of Germany's relatively small advertising budget and its strong preference for printed adverts. The advert shows a young man rejecting a "gimmicky" flamboyant bank in favour of a straight forward "serious" bank. I feel this says something about Germany's culture and reputation for strong level-headed economic policies. Most British bank commercials are very glossy and expensive in terms of aesthetics. This could also be attributed to the differences in the two country's banking practices. The answer is likely to be a complex mix of many factors , but the differences in economic and business structure of the nations in question plays a large part in the adverts construction. The balance of spending in part reflects differences in legislation governing the sale of television airtime. In France , supermarket chains like Leclerc and Mammouth are forbidden from advertising on television , whereas Tesco , Asda and Sainsbury make frequent appearances on UK screens. With deregulation in this country this could well all change in the near future. With the possibility of much more overall airtime and narrower audiences there is likely to be a big change in advertising , with more specific targeting and competition. In Germany the national broadcasters ARD and ZDF are permitted only a few blocks of commercials between 5 pm and 8 pm and their rates are strictly non-negotiable , a severe limitation on TV spending. By contrast , in Italy only two newspapers have real claim to national status , neither selling more than half a million and disproportionately strong in Rome and Milan respectively. This goes some way towards explaining the Italian bias towards television. The structure of the advertising agency business is equally diverse. Measured by billings , the top five European agencies are all French with the UK's largest , Saatchi and Saatchi , billing only 378 million against Publicis Conseil's 657 million. Underlying these figures are a French industry dominated by a few huge agencies in Paris; a UK industry centred on London , but with more medium-sized players; and a German business with no single centre , its most important exponents spread , like their clients , between Hamburg , Frankfurt , Dusseldorf and Cologne. In all countries the agency business has traditionally fallen into two ownership camps: the home-grown like Saatchis , France's RSCG , and Italy's Armando Testa ; or the American networks like Young and Rubicam and McCann Erickson whose local agencies figure prominently in the top ten of every EC member. There are further institutional influences acting upon the adverts we see , both on the showreel and in general. The structure of the television networks that the adverts are shown on can vary greatly from nation to nation and even regionaly within a country. There are further complications when state-owned television is put into the equation. For example the BBC has just recently been stopped from advertising its own products on its own stations , being paid for mainly by public money. This then offers the commercial stations another income as the BBC now advertise through them. To a further extent a similar situation has cropped up with Spanish television. The Spanish government's policy of allowing state-owned broadcasting stations to take commercial advertising is to be challenged by European Commission competition authorities. This is a test case of Brussels legislation which will have important ramifications for national broadcasting operations throughout the EC , in which the "dual financing" of all Spanish state-owned TV and radio networks is to investigated. The outcome could provoke a restructuring of both the Spanish television market and all other EC government-controlled stations relying on both public subsidy and commercial income. An expansion of television advertising time should increase competition. As a result of varying competition from nation to nation in terms of the numbers of commercial stations that can show adverts and the legislation controlling them , the nature of the adverts is likely to adjust to accommodate particular countries' television networks. In Germany for example as only a relatively small amount of air time can be used by advertisers , the commercials must be tailored for such a market. This could well lead to the adverts being not so suitable for other European countries. The advertising agencies themselves have to rely on other institutions to help produce the commercials. They contract work out -the music - the directing - the filming and the art-work etc. The institutes they contract-to , play a very important part in the final product. If an agency knows the right people it can produce the advert it wants to. It is because the institutions work in this way that there tend to be winners and losers in the world of advertising especially in Britain and France where advertising in concentrated in the capitals; and not just in terms of management but also within the images seen in the adverts. The Tunes advert is an example of this , and many adverts are shot in London ; this seems to happen to a lesser extent in Germany where the advertising is more evenly spread. Mrs. Thatcher claims that the advertisers did not like the duopoly in British television. With the deregulation of British television imminent many advertisers are worried that fragmentation will increase production costs and possibly reduce targeting and audience effectiveness. Deregulation will be a major influence on advertising agencies in the near future. d) Consider the effects on advertising agencies that 1992's opening up of the European Market has had and may have in the future. The effects of the opening up of the European Market on businesses is only really just beginning to be felt. With so much work still to be done and so much hanging on the Maastricht Treaty it is difficult to remark on its effects on advertising. However one can see some possible advantages and disadvantages it will offer to the advertising agencies. With the possibility of more companies becoming "pan- European" , in their work this opens up a much wider spread of people to be targeted by companies through the advertising agencies. There should be , then , more work for the advertising agency. However there are several obstacles in the way , and the greatest of all , as said before must be cultural diversity. A single advert to cover the whole of Europe would be far more difficult than a more localised advertisement especially if it were to be a good hard-hitting commercial. The answer then might be to have one pan-European agency make a series of adverts for the individual nations and possibly making the adverts thematic with variations. The computer manufacture Apple Mackintosh have run just such a campaign. This surely raises another substantial issue : cost effectiveness. The necessary pan-European research and production costs would be very high . These could conceivably be off-set by long term profits ; but in today's recsessionary economic climate the initial short term costs may seem prohibitive. Ways of cutting the production costs are desperately needed. One option is that employed by the makers of "Maigret" on ITV. They make the programme in one of the ex-"eastern block" countries , where production costs are only a fraction of those in the old "western" Europe. This would inevitably only be a short term solution , but such countries will only become a greater part of the equation with time. Both in terms of sales and production. I see advertising agencies going along much as they are for the time being , with some agencies still working within a small geographical area. Then- when and if we start to come out of recession there may well be an increase of pan- European and even global agencies. This would reduce the overall number of advertising agencies creating "super agencies" , although I think that there will still be a number of national agencies acting as specialists. Advertising agencies , I feel , will have to choose between staying wholly national or going Global/pan-European. I suspect there will be little room for only going half way and dabbling in global advertising , as the competition from the big global agencies could prhis scene , as we lost all the speech from the original film and had to over-dubb it all , with some accuracy. Incidentally I slipped a slight metonymic signifyer in at this point. As the man sits on the bonnet of the car its lights pop up. The man then zooms off down an empty road signifying freedom gained by his beloved car. This is accompanied by the standard bold text blurb. And deep male voice over simply saying the car and makers names. The advert really implies a whole lifestyle - status , way of spending time , wealth of material and immaterial goods , attitude etc. - that , if you buy this car you may gain. Considering how rushed the making of the advert was I was very pleased with the result. We had problems with the weather , the car and the text generator. Taking these into account I felt the product stuck quite closely to the concept (see storyboard). One noticeable compromise was that we ended up having to The term art may designate on a number of modes of expression conventionally catogorized by the medium utilized or the form of the product: thus we speak of painting, sculpture, film making, music, dance, literature, and many other modes of aesthetic expression as arts and all of them collectively as the arts. The term art may be further used to distinguish a particular object, environment, or experiance as an instance of aesthetic expression, allowing us to say, for example, that 'that drawing or tapestry is art`. Traditionally the arts are divided into the fine and liberal arts. The latter are concerned with skill of expression in laguage, speach and reasoning. The fine arts, a translation of the French beaux-arts, are more concerned with purely aesthetic ends, or, in short, with the beautiful. Many forms of expression combine aesthetic concerns with utilitarian purposes: poetry, architecture, metalworking advetising design may be cited as examples. Another traditional system of classification applied to the fine arts, establishes such categories as literature (including poetry,drama, story and so on), the visual arts (painting, drawing, sculpture, etc.), the graphic arts (painting, drawing, design and other forms expressed on flat surface), the plastic arts (sculpture, modelling), the decorative arts (enamelwork, furnature design, mosaic etc.), the performing arts (theatre, dance, music), music (as composition), and architecture (often including interior design). Naturally all these art forms need to be financed to some degree or other. One way in which the artist can gain finance is through sponsorship. Sponsorship of artist activities may be said to occur when the artist draws upon economic support of individuals or organisations that do not necessarily expext to get anything for themselves in return for it. They support the artist because they are committed to art for its own sake or to a particular artist. In this specific sense, artistic activities may be sponsored by government agencies supporting art as a "social service" for the people, by private foundations, by individual sponsors, by relatives who support the artist while he is economically unsuccessful, or by friends and acquaintances whom an artist "sponges on". Sponsorship may thus be, in some cases, unintentianal. Self-financing and sponsorship are economically "abnormal" sytems of financing the production of goods and services that potentially posses an economic value to people other than their producers. These modes of financing are found principally in the "cultural" acticities, above all religon and art (but also in "ideological" politics), and they occur because the artists are not treated as if they were engaged only in the production of economic values. They produce economic values , but there is also a "religious" aspect in their activity that requires to be supported for its own sake. If the arts were to be supportede entirerly by a market economy, this aspect might well dissapear: art would therefore become a commodity. The arrangement of economic support that have traditionally carried the main burden of sustaining artistic activities are the three types of normal economic systems inti which the arts may be intergrated like any other productive activity: the exchange, command and market economies.   The exchange economy. An artist in the exchange economy produces for a customer familier to him who, in turn, directly or through a series of similar exchanges, provides him with a desired good or service of equivelant value. The command economy. The artist in the command economy depends on a consumer - an individual or organisation - of superior status who has extracted a great deal of wealth from the producers in the economy and can distribute it, perhaps within the boundaries established by tradition, as he sees fit. The artist is paid well if he produces economically valuable aesthetic goods and services. (A significant exception to this principle has been built into the situation of women in the performing arts: in male dominating societies, they tended to be paid well if they performed sexual as well as artistic services.) Before the modern age, all artists who produced expensive works of art were supported by economies of this type. Even today, architecture - to the extent thar it is an art - and the large-scale "technological" arts are supported in this manner.  The market economy. In the market economy, many artists compete for the favour of numerous customers not grestly differing in their purchasing power and not personally known to the artists. Since artists are not familiar with their customers, their products become acts either of self-expression or of appeal to an image, an abstract stereotype, of the "average customer". In market economies, the arts are particularly dependent on support through the economically "abnormal" systems of self-financing and sponsorship. These systems typically provide the economic basis for radically new departures in the arts in market econmoies. They also subsidize the established arts when their costs are to high to be supported by the market (symphony orchestras for example). Architecture is a very expensive business, it is conditioned by two forces. One is economic - the search for a maximum stability and durability in building with a minimum of materials and labour. The other is expressive - the desire to produce meaningful form. Therefore, should more money be available so that society can be provided with more beautiful artistic buildings or are most people satisfied with sky scrapers and simple buildings. Major expenses in buildings land, materials, and labour. In each case they are high when the commodity is scarce and low when it is abundant, and they influence planning more directly when they become restrictive. The effect of high land values is to limit the amount of space occupied by any building as well as the ammount of expenditure that can be reserved for construction. When land coverage is limited, it is usually necessary to design in height and space that otherwise would be planned in breadth and depth, as in the ancient Roman insula (apartment houses) or the modern skyscraper. When the choice of materials is influenced by cost, all phases of architectural design are affected, since the planning procedure, the technique, and the form of buildings are dependant on materials. High labour costs influence the choice of techniques and, consequently, of materials. They encourage simplification in construction and the replacement of craftmenship by standardization. The development in the nineteenth and twentieth centuries of light wood-frame construction and methods of prefabrication were largely the result of the rising cost of labour. The art of architecture is something that the whole of society can enjoy, therefore, many people will agree that any money - within reason - spent on architecture is well spent and that architecture certainly deserves promoting. Opera is another very expensive business but unfortunately - as it is one of the elite arts - not very many people appreciate it or go to see operas. This, of course, is a great shame as many people don't realise quite what they are missing. The cost of putting on a production amonts to a large sum of money. If the expense had to be recovered totally from the box office, we would have to pay two or three times as much for our seats at the opera as we pay at present. Fortunately, in most countries the state subsidises the leading opera companies. In Germany and Austria, the leading theatres, such as the Deutsche Oper in Berlin, and the Vienna State Opera, are generously supported by the state. In Great Britain, we have fewer opera companies, and they are inadequately subsidised in comparison with the theatres of most other European countries. In the United States, subsidy comes mostly from private and business sources. In Great Britain, though rarely elseware in the world, non-opera- going tax-payers are sometimes heard to complain about the large subsidies which are paid to opera companies, because in their view, opera is an elitist and expensive art form enjoyed only by the aristocracy and well-heeled snobs. This is demenstrably untrue, and in any case, these same tax-payers do not think to complain about the cost of art galleries, museums, public libraries and many other ammenities used only by a minority of the population. It is very important for opera, as a major art form, that there should be at least one national company in each country which is able to maintain the highest possible standards. The biggest companies must plan their productions several years in advance so that they can secure the services of star singers and conductors. And, it is equally important that all opera companies, like drama companies should flourish at local and regional levels as well. Production costs can easily total 200,000 or more, though an opera can be put on for as little as 10,000. Like many of the other arts, operas are sponsored. The kind of businesses that would sponsor an opera are ones whose products would appeal to the audiance i.e. expensive jewellers or a designer clothes company. You wouldn't get a company like Safeway sponsoring an opera because it wouldn't be worth their while. Other performances that take place in the theatre for example, ballets, plays and pantomimes are also part of the arts but are not looked upon as being such elitest arts and fortunately seem to be promoted quite well. Arts like sculpture, paintings, metalwork design and drawing - the graphic and visual arts - are, again, only appreciated by a minority of the population and deserve promoting much, much more. The table below provides an analysis of public expenditure on the visual arts, comparing different areas of expenditure for the various funding agencies in 1983/84. The definition of visual arts used in this table is very narrow and excludes the crafts, photography, film and video. Exhibitions and revenue support for the galleries were the main areas of expenditure. The Regional Arts Associations made a significant contribution to the latter (almost 30%). Grants and awards paid directly to individual artists accounted for under a tenth of total expenditure. These were mainly provided by the RAAS (51%) and they also formed an important part of the expenditure of the Welsh Arts Council. Purchases of work from living artists accounted for an even smaller share of expenditure. Not many people consider broadcasting as one of the arts but Muriel Nissel pointed out the vital contribution of broadcasting to thr arts: music performed by live musicians accounts for about half of the total hours of output on BBC Radio 3. Approximately 150 operas are broadcast each year on Radio 3 and programmes of opera, ballet and dance are frequantely broadcast on all four television channels. The BBC radio drama department offers the biggest single market to the dramatic writer in Great Britain and BBC television drama produces each year 400 units of the widest spectrum of drama for every sort of licence payer. On independant television, drama ammounts to over 10 per cent of the total outputs and provides 30 per cent of the average evening's viewing. Some of the regular series, such as 'Corination Street' and 'Crossroads', draw audiences of between 12 and 18 million people for each episode. Film is both an art form in its own right and the basis of a vast mass entertainment industry. The film and cinema industries operate within a complex environment which has included a considerable ammount of legislation. So, from this we can see that broadcasting and cinema and film is one of the arts that has already been promoted and maybe people should concentrate more on promoting the elite arts. Literature is another great art form, there are many books, plays and poems that famous artists are remembered for. The table below provides an analysis of 1983/4 publis expenditure in support of litery activity. Less than a fifth of spending went directly to writers in the form of residences, fellowships or awards. The principle areas of spending were publishing and the dissemination of literature. Substantial funds were made available in Wales for the support of Welsh language. The English Regional Arts Associations contributed 41 per cent of funds allocated towards public litery events, such as literature festvals. It seems that the Arts Council of Great Britain has provided the most support for literature and has helped considerably in promoting this particular art. Sport is something thet extremely few people consider to be one of the arts and would ridicule you if you suggested it was! Obviously we would all agree that no-one could say that sports like darts are art forms bot lets consider some sporting activities such as ice-skating, swimming and dancing, (some people would even question the fact that these are sports). Ice-skating for example is a wonderful art form and Revaels Bolero performed by Torvill and Dean was a prime example of ice-skating as an art. The table below is a summary of the expenditure of the Arts Council of Great Britain.  The next table shows the consumers' expenditure on the arts: When considering the economics of the arts and subsidization the economist would ask whether or not commercial operation would result in the 'correct' level of the services which the public wants. If the market fails to provide the 'optimal' output of the services of such institutions, this must mean that they provide some benefits to the community at large other than the benefits enjoyed by those willing to pay an economic price for their services. Do such 'external' benefits exist? In conclusion, the 'arts' are hard to define and there is no right or wrong definition. There is no doubt that some of the arts are promoted much more than others. This could be because they are cheaper to finance or more popular than many of the elite arts. Unfortunately there is not a simple solution to this problem which has left a few of the arts inadequately financed and unable to promote themselves to their fullest which is a great shame because in my view and I'm sure in much of the populations view, the 'aers' deserve promoting.  Within these overall budgets the types of media used by advertisers vary greatly in popularity from country to country. Television and the press are always the major components , but the split between them differs from 22 per cent television and 64 per cent press in Germany to 48 per cent television and 41 per cent press in Italy. Of other , some might say "lesser" media , the French and Spanish spend more than 20 per cent of their budgets on radio and posters which in the UK get 8 per cent. The results of the above differing sizes and allocations of budgets can be seen in the adverts on the showreel and other commercials seen on television. The advert for the German bank , I feel was very simple and inexpensive , possibly as a result of Germany's relatively small advertising budget and its strong preference for printed adverts. The  put the text on blank black screens as opposed to being superimposed on the appropriate shots. I felt this detracted little from the advert and some people even preferred it. On the whole this production exercise taught me a lot about this area of work and gave me even more interest in it. I might even make some more just for the fun of it (especially when there are no set deadlines). BY WILLIAM KNOTT.ded ones. I was basically shocked by the advert , not in any serious manner , and I feel it is exactly this that restricts this advert to only certain geographical areas. Spanish culture has a different approach to animals than say , for , example English culture- especially in relation to food. I believe that the British don't really like to think that what they are eating used to walk around and live. People might find the advert not offensive but possibly slightly in bad t Commentary on production exercises by William Knott  Video collage (free choice)  In this production exercise I set out to study images of women in television commercials. I wanted to look at the ideologies that control these images , and find some way , by means of a mass - media to express some of the images found in commercials. I opted for a video package , as opposed to say magazine or radio presentations , because the small screen medium interested me at the time. I felt I had more chance , personally , of expressing myself through video having used it before. I firstly set about thinking of the use of gender , male gaze and other sexual stereotypes of advertising. Having looked at these I settled for a subversion of some stereotypes. To do this I used preexisting commercials , as opposed to making my own new ones. I then edited the commercial in such a way as to "twist" the meaning of the commercial. This was done in the first shot of the woman saying "I'll never let soap near my face...." . This then made it possible to "read" in that she was not going to spend all her time "beautifying" herself for whose "benefit?" It was quite ironic , as in the rest of the commercial , she clearly didn't mind how much oil of Ulay lotion she washed with which seemed to have all the qualities of a soap. Or instead of "cutting" any of the original visuals I simply over-dubbed a new dialogue to subvert to some degree a female stereotype. The tyre advert was a more subtle example of the above method , where I used a female voice to say the sort of things that are often said in tyre commercials , but by males. This I felt was , overall , the best expression of my thoughts , although I must say I still would have liked to have done more with it. This subversion still allowed the woman her female "identity" , but challenged cultural perceptions of gender / technical relations. This , I considered , gave a positive image of women , without being so overt as to have a detrimental affect on the changing deep-seated cultural ideologies , which by their very nature can be sensitive subjects to deal with on a mass media; especially when the idea is to sell a product . It can be felt very threatening to have long held ideas challenged too strongly. These mythologies are being reinforced every day by the media and I feel it wise not to alienate people when trying to change views or they will become defensive , as if you were insulting them , and "turn off". Basically I wanted to make people realise that just because it's a woman selling the car tyre it doesn't mean she has no knowledge of the subject. My other over-dubbed advert was taken to an altogether more blatant level. It was an advert for a washing powder , and originally it had stuck to many of the conventions of sexual job stereotyping. There had been clear assumptions made that the woman should know what a child's clothes should be like , and the male should "obviously" be scientific. I simply subverted some sexual stereotypes by changing the dialogue. Now it's the female fixing the car and the male doing the washing. I must admit that one of the reasons I selected this advert originally was that it annoyed me intensely . There was though , one thing I did like about it. The woman was in the "driving seat" - she was making high powered decisions , was taller than the man and very confident - , even though in many ways she was a stereotype - didn't know about science , working in relation to children etc. I kept this aspect intact , and maybe even exaggerated it a little , as it was entirely suitable for my ideological question. It is all mannered , and some might say I had injected a hint of sarcasm to the project. If this is so it was wholly unintentional , and just a reflection of my feelings towards the original. I felt that at least it gave a cartoon- like interpretation of what I was "getting" at. If not an exactly practical one. It was crude. In contrast to this edited advert I selected the Peugeot advert and left it intact. This advert I felt exposed female stereotyping and dealt with them very well by showing a very powerful and strong woman making her way in a "man's world". I wanted to show that some modern adverts were showing changing attitudes. One of the main problems I had when making this video , were technical restrictions. Because I needed an editing suite , which our school didn't have at the time , I had to borrow one. This , I discovered , is not ideal when working on "A" level work , with all its pressures and deadlines. I could only use the equipment in the brief periods when it was idle. This lead to the product being rushed , and me feeling frustrated with it. It did , looking at it positively , teach me a lot about the production process , and the fact that this alone can seriously impede a product. I now feel that this was a fairly naive piece of work , and would approach it quite differently now - I would make my own adverts , target the whole package more specifically and have a more honed idea of the points I wanted to make about images of women - This is probably because it was my first production exercise , and I was relatively inexperienced in the subject. As an initial idea though I still think it has much potential, and looking back at it has taught me a lot , and shown me how my ideas have changed as I followed the course - looking in much more detail at the effects of history/culture, the people who make adverts and public opinion and psychology. Election material (non-fiction). This was a very topical piece of work , arising from the general election in 1992. It seemed to be the obvious event to study , as the whole of the British Media was saturated with it. There was also debate about the "use" of the media in political campaigns giving it more reason for investigation. My colleague and I decided that a relevant production exercise on this subject would be to produce a campaign poster and party leaflet. The idea was to apply the sort of techniques of presentation and manipulation we were seeing throughout the election , to material for our own bogus party. We made the poster first. It seemed simple enough in theory , but when we actually started work on it the problems soon appeared. We studied the posters that were being used by "real" parties , so we could emulate the style as closely as possible. There was one very strong influence in most of the posters we saw , they were all "negative". That is to say they rarely said "we will" but rather "they have , they did" or "they will. We concluded that this was an important aspect to reflect in our own work. This decided we started work on the theme for the poster , working on the wording first. The theme was also not a random one , but one we felt represented the general "mood" of this particular election , the apparent "decline" in British society. The wording we settled for was "His-tory is to blame". This had a negative stance of the type we were looking for and also started us thinking about the pictorial imagery for the poster. We had committed ourselves to there being a man in it somewhere , so this was a start. We ended up with man lying on the ground , in poor condition. This was to symbolise the housing and unemployment problems of the country , as were the tower block of flats and factory with a cross through it. The reason for the use of the tower block is that it has become something of a cliche in the media in relation to unsatisfactory housing. This means it is instantly quite a powerful image , as it needs little "decoding". The factory is just a blatant representation of the current decline of the manufacturing industries in Britain. The whole lot together we felt made quite an impact , through its "shock" factor and exploitation of some current "moral panics". I feel the way the text anchors the images is especially significant. It is possible to see the images (other than the man) as positive , but as a result of the text the "audience" is already positioned to "read" them as negative. I feel it is probably important to mention the target audience at this point. We weren't just aiming this poster at the unemployed and those with inadequate living conditions . This and the leaflet were aimed at a very much "middle class" and student audience. The idea is to outrage them (with the poster) , and instil a feeling of guilt and need for change. The text then points the blame. The idea was that they might then read the leaflet to see what the "independents" were all about. It was therefore necessary to make the leaflet very positive and relevant to this "middle class" / student audience , with lots about education , the environment , health care etc.. We analysed lots of leaflets of this nature that local candidates had circulated to get a good impression of the style and format we should use. They all used the same formula , candidate on front with their name in bold , sectioned topics inside with relevant positive images and a profile at the end. This we then tried to reproduce with our product. We concentrated mainly on the "look" and "feel" of it although the text was still important. To this end I feel we were very successful. In my eye it looked just like the "real" thing. This brings me on to another very important point , the production process we used. For me this was a very interesting aspect of the project. We did the whole package , poster and leaflet on computer. The poster was done using an art programme (coral draw). Firstly we arranged the text on the page and choose the type set (font) we wanted. We selected a very plain bold font which I feel looks trustworthy through its straightforward nature and also has an air of authority. It gives an impression that it was "genuine" people who made the poster not just bureaucrats by lacking in unnecessary frills. We then selected the images we wanted from photographs in books. Having found the desired image we scanned it onto the computer. Scanning is a process whereby you can digitally transfer an image into a computer. Once in the computer we could manipulate the image however we wanted , allowing us to create the poster. I would have liked to have used scanning for all the images but time was short and scanning is very memory intensive for the computer , and the memory was fit to bursting. As a result the factory is taken from some images already in the computer (clip-art). The leaflet was produced in much the same way but using a desk-top publishing programme (page maker) more suited to the high text content. The whole lot was then printed out on a laser printer for a professional looking finish. I enjoyed the whole exercise and felt I learnt a lot about the conventions of this sort of product. I also gained more experience in production techniques , and the positive and negative points of using totally computerised methods - for - professional finish , good for large scale production , - against - can slow the ideas , can reduce and restrict creativity and is slow when using for small scale projects. GCSE Teaching material (images in context).  The idea behind this exercise was to design some teaching material for GCSE media studies students on the use of "point-of-view" in films and "the look". The first thing that I started thinking about was targeting the material at the right level so it should be relevant and interesting to a GCSE class. In doing this I wanted to leave scope for individuals to follow up thoughts on the subject in their own way and to as high a level as they wanted. I feel this made my material rather lacking in detail and possibly somewhat woolly although a good idea in itself. Looking back at it I feel that I had the emphasis misplaced and I missed some of the real psycho - analytical and ideological reasons behind the "Look" and the "ove to be too strong. Again the "little company" seems fated to go to the wall. Bibliography Mythologies - by Roland Barthes Television and sex stereotyping - by Barrie Gunter (IBA) Published by John Libbey & Co. ltd. The Guardian 31/1/92 - "Hard sell hits Borders" - by Andrew Beven. Family television - Cultural power and domestic leisure. - Published by Comedia. The Imagery of power. A critique of advertising. - by Fred Inglis. The Guardian 23/5/92 - "Competition focus on Spanish TV." - by Patrick Donovan. The hidden persuders - by Vance Packard. Let them eat Europudding - by William Fisher. Television Mythologies - Edited by Len Masterman. Boxed in : Women and television by Helen Baehr and Gillian Dyer. The Times 10/3/92 - "Men join backlash on sexist adverts." - by Melinda Wittstock. Industry in Europe. - by Mark Smalley. Reading television. - by John Fiske and Hartley. Television in the eighties : the total equation. - by Rex Moorfoot. The 6 O'clock news - The B.B.C. Various Television documentaries on Europe and advertising. recognised as an awesomely powerful and influential medium. It is often said that televisions power is abused as propaganda and it is true that there is a prolific use of television for political , business , social and ideological propaganda. Propaganda in the sense that adverts have consiously and unconciously , I feel , influenced "western" culture . It therefore seems very fitting that television is supported , and that it survives through the use and sale of advertisements , propaganda . It could be said that clients through advertising agencies are amongst the most powerful and certainly the most accepted propagandists using the media. These common ideologies are immediately appaPoint-of-view". If I were making the material now I would concentrate much more on the "male gaze" and the ideology behind it. I would also put more emphasis on the psychological "positioning" of the audience rather than the "actual" position of the camera , as I feel now that some of the material may be misleading. That is to say that it implies that all point-of-view is when the camera is taking the position of a character's eyes as opposed to conveying their feelings and "position" within the context of the whole narrative. In selecting the few clips to convey the point-of-view I stuck to the stereotypical conventions of suspense and fear. I then backed this up with the text saying that students should look for it and note it in other genres. I do feel though , that I didn't stress the cultural importance of it being so often a male "gaze" at a female used in film. I may be being hypercritical here as this was material for GCSE not "A" level and targeted thus. It was this targeting that was difficult. As far as actually producing this product was concerned I was quite pleased. I set the work sheet out in a "teachers' notes" format as opposed to a student's handout format , again for greater flexibility and teacher interpretation. This to me looked reasonably professional as it was all done on word-processor. I also spent some time putting the accompanying video together. I filmed me giving it an introduction and edited it all together to give a Barry Norman , Film '93 look. All very stereotypical , but I decided it might get a class in the right frame of mind as it has become something of an institution and a convention they might relate to. I found this exercise very useful in aiming a product at a very specific and predefined audience , so it helped me to think about targeting. It also madp>l 66 >tm 1 >hm 3 >fm 3 >bm 5 >sm 5 >!---!----!----!----!----!----!----!----!----!----!----!----!----R Analysis of the European Showreel a) discuss and account for the formal construction and stylistic presentation of the advertisements;  The construction and presentation of the adverts on the showreel is , I feel , on the whole , controlled by history, and not just by closely contemporary history although this is evident. To account for the formal construction and stylistic presentation of the advertisements on the show reel we must look at them in a relatively broad and overall manner. Accounting for the listed features is helped by the fact that the adverts are all aimed at a western market economy audience. Their presentation and construction is really controlled by the bourgeois stereotyping and culture of western European countries built up steadily through history and so in a terribly generalised way these adverts could be seen as a "re-presentation" or expression of certain middle ground ideologies of these western nations. Since its introduction television has been recognised as an awesomely powerful and influential medium. It is often said that television's power is abused as propaganda and it is true that there is a prolific use of television for political , business , social and ideological propaganda. Propaganda in the sense that adverts have consciously and subconsciously , I feel , influenced "western" culture . It therefore seems very fitting that television is supported , and that it survives through the use and sale of advertisements , propaganda . It could be said that clients through advertising agencies are amongst the most powerful and certainly the most accepted propagandists using the media. These common ideologies are immediately apparent in the adverts . The first thing that struck me about their overall construction and presentation was the similarity ; not so much in detail but in the layout , through a definite "formal" construction , and a common "stylistic" presentation . They all stuck quite rigidly to a set of codes and conventions , using variations on the same formula to sell their product. On the whole this formula can be broken down into a few key components: 1. Music , all except one (the four X add) had some music 2. A voice over , habitually male (only two had women out of over 20) 3. Some on-screen text 4. A limited time span , rarely more than 60 seconds. History has built ideas and images into people's minds. People seem very much more willing to believe things they are told if it is conveyed in a formal manner. We are constantly being "told" the "truth" by the media through traditional and prescribed presentations. The news is the most obvious example of this. Every day we have the news presented to us in the same formal manner. Suits are worn and "correct" English is used. The smart suited man in the Renault could be seen as a reflection of this. The use of addressing the camera is a specific signifying practice of television to give someone authority which is often used in advertising. These historical symbols of power and formality are used metaphorically in the adverts. As a result of history we feel more able to accept things that are exhibited in a formal manner as "right" and truthful; and television and the media as a whole have, to use Roland Barthe's words "naturalised" history , so that these codes of power are simply accepted. A constant use of formal conventions in the media means that informality seems out of place and threatening. A central consideration in the formal construction and stylistic presentation of the adverts is the target audience. These adverts all focus on the "middle" or well-waged classes , what Galbraith has called "the contented majority" ; and in order to appeal to this "group" the makers have formed "re-presentations" of middle class life and situations that the selected audience can supposedly relate to. The stereotype assigned to this socioeconomic group assumes formality and style with strong family values; but they have gone further. Most of the adverts contain young middle class figures , "yuppies" , the now unfashionable epitome of formality with style , just like we all want to be , don't we ? So that although the products may not be individually not very "stylish" , they do through the context and presentation gain these attributes. As we are persuaded to believe that the qualities shown are desirable it is expected that people will buy the product , because they want some of the image in the advert to rub off on them as a result of their purchase. For example the "fast" lifestyle (James Bond Esq.) of the man in the Renault advert or the body of the woman in the "Bio" advert. The advert that most breaks these conventions is the last one for Castlemain XXXX. This uses "working class" characters , and has no glossy music or middle class setting. Despite the social differences though , it still uses a lot of the formal advertising conventions , voice-over , product name in text , time span etc. with a rather different target audience in view. It also sticks rigidly to gender stereotypes , the rough tough men with the car and more than a touch of a "western" genre feel to it. Although the social constructs are exaggerated to such an extent that the net result is a comical advert , using mass media techniques to jest about images that some would say were created by the same method to do the same job. In other words the advert is sending up advertising and the media. The Aerial advert is in many respects comparable with the Four X advert. It uses very over-the-top stereotypes of a "working class" family. I also felt there might well be some intended geographical stereotyping , suggestions of Northern England in the images , the cottage , countryside etc. It seemed to be hinting at Northern England = Blue collar worker = "working class" . The whole advert was so heavy handed I couldn't make my mind up as to whether I should "read" it as a joke or as simply crude. The interesting aspect of the advert for me was the representations of gender in the advert . For the most part they were clear stereotypes of the hard working male and the "house wife" . At the end of the advert there was a relatively subtle subversion of this , with it being the female making the suggestion of sex to the male. It may seem a small point but I felt it significant. Both these adverts work to some sort of mythological realism , that is to say they are clear mythological interpretations. The construction of the adverts is also controlled by financial and commercial constraints. It is much quicker , cheaper and less risky for a company to use a standard approach and a formula that has been tried and tested; and this forms a template for advert construction. It is the use of this formulaic structure that binds all these adverts together and defines their limitations. Adverts , more than any other media construct , have to clock in immediately as a result of the time restriction and need for instant impact. They use stereotypes a great deal as these are instantly recognised by many people. So if you like half the "story" can be told through myths set up by the media by simply appearing on the screen. This gives the advertisers more time to focus on their product. For example the Renault advert uses the myths set up by the James Bond films to quickly establish the sort of lifestyle of the man in the advert. Having looked at the adverts on a broad scale it becomes easier to identify pan-European advertising modes and methods and it is suggested that they might be taken as "re-presentations" of western European cultural constructions over the last 4,000 years. They exhibited stereotyping of gender , class and age (the house wife in the Aerial advert , the voice in the B.A. ad and the young people in the Red Cross advert etc.). It seems that formality is a seller Euro-wide and that it manifests itself in similar forms throughout the continent. As for style , its power to move goods if it can be attached to it in any way (even a yogurt!) , is as strong as ever. This I suppose is endemic of western culture. Style is a strange commodity , it's hard to define and yet it is instantly recognisable. It is taste , quality , tradition confidence and social standing rolled into one. It is evident in many of the adverts : The traditional dinner suited young man in the Renault advert , the Paris "life style" in the Tunes advert the more British than British voice in the British Airways advert. All these are "images" of style being used (tagged on to) to sell goods. Style is , I believe , what we're supposed to want , it's what the "finest" people do and have , and how the elite live. b) Explore any differences between three or more of the advertise_ ments that may arise from the targeting of different geographical areas. There are many barriers that confront pan-European advertising of brands with a wide market. The greatest of these is probably cultural diversity. There are many broad cultural similarities common throughout western Europe. In detail , though , culture varies quite significantly from country to country. For example Britain has regulations on the use of sexual images in adverts and on television as a whole , and not just rules though , as a culture , I think we have more "taboos". Other European countries are less restricting as their culture accepts sexual exposures as more the norm. In France there is a commercial for Perrier in which a female hand coaxes a bottle into doubling its size before spurting its contents into the air ; this would be seen as unacceptable in this country. Scandinavia also seems to have a more free view about the human body than Britain. In the UK. advert for Impulse body spray the breasts are discreetly masked during the "spray shot". In Scandinavia the same advert contains a full frontal naked torso. This is a direct illustration of cultural diversity having an influence on advertising. Another common factor that changes with marketing in different geographical areas is humour. Even the visual kind often fails to cross national boundaries happily. Where the joke is verbal it can become impossible to translate the humour into another language. It is of utmost importance that it is remembered that different nations look at other nations in a different manner than the nations might see themselves. This comes through as national stereotyping in advertising. National stereotyping can restrict the usage of adverts to certain geographical locations. In the UK Renault can emphasise its Gallic chic with the middle-aged seducer and his sultry daughter Nicole filmed against a Maylesesque background. But not in France where , Phil Horton , Renault UK's Communications Director said "the image is of high tech". So although selling the same product they set up very different "mythologies" . Myth for Barthes , was a mode of representation , "a kind of speech" , characterised above all by its "self-evident truth" , its "naturalness". Both adverts use "myth" in a similar manner but produce different "mythologies". They both deny history and politics. Examples of the above geographically variable features and others can be seen in the adverts on the showreel. The French commercial for "Bio" yogurt shows how , because of national culture , the use of a topless woman in an advert can be considered , whereas if you take the British advert for Aerial where the couple are in bed there is only a "suggestion" of sex at the most and certainly no nudity. Some people might argue that this is because of broadcasting legislation in this country , but surely any legislation is just a reflection of a country's ideologies and culture. Sex is a taboo subject in this country that can only be hinted at , and consequently if the Aerial advert was targeted at a French audience , it might have been more explicit . Similarly , if "Bio" was being aimed at a British market , I suspect a different approach may have been employed. Although again the gender to sex subversion at the end of the British advert is interesting. The "Tunes" advert is for a British audience , yet contains Frencher than French images. It is a good example of cultural stereotyping to the extent of creating a mythology for a specific target nation. It is a similar use of stereotypical Gallic chic and "taste" as displayed in the Renault commercial mentioned above. The images it presents are caricatures of the French and I believe this immediately sets its geographical position as more than likely not being France. France wouldn't "buy" this image of itself. We're always given images of Paris as images of France , and the French wouldn't accept this as their country. As a result of many factors the whole of France is now seen as glamorous and therefore a desirable connection for a product to have. Add to that the over-the-top French pigeon English and the advert finds its home on the screens of British households. It is possible that this advert might work in another European country but to me it seems to appeal to a traditional perception of British "French" humour. There is a tension in this advert between the "serious" style reading of the French connection and the "take the micky of the media itself" "French" humour. Ideas of "morality" or "taste" tend to play a big part in targeting a specific area or country. An example of this can be seen in the Moulinex advert. This shows how cultural differences of countries can be expressed through humour and used to sell a product to a particular country. The use and context of animals in the advertisement is the factor that limits it to certain countries. The commercial was made for Spanish television , and shows an animal before it's been in a mounlinex microwave and after. The advert is designed to be entertaining , I must admit it made me smile but perhaps for slightly different reasons from the intended ones. I was basically shocked by the advert , not in any serious manner , and I feel it is exactly this that restricts this advert to only certain geographical areas. Spanish culture has a different approach to animals than say , for , example English culture- especially in relation to food. I believe that the British don't really like to think that what they are eating used to walk around and live. People might find the advert not offensive but possibly slightly in bad taste in Britain. As with the "Tunes" advert , the use of humour can here determine the geographical area targeted . There are several factors involved in targeting different geographical areas. They range from the blatant differences of language to more subtle cultural and economic variables. The differences could be summarised as cultural and economic diversity. c) Relate your analysis to the institutional context within which advertising agencies currently operate. There are also significant differences in economic and business structure that can cause a great difference to the commercials seen from nation to nation. If the national importance of advertising is measured by the percentage of Gross National Product devoted to it , then the British and Spanish , both spending 1.3 % of GNP , obviously regard it far more seriously than t======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ==an 20 per cent of their budgets on radio and posters which in the UK get 8 per cent. The results of the above differing sizes and allocations of budgets can be seen in the adverts on the showreel and other commercials seen on television. The advert for the German bank , I feel was very simple and inexpensive , possibly as a result of Germany's relatively small advertising budget and its strong preference for printed adverts. The advert shows a young man rejecting a "gimmicky" flamboyant bank in favour of a straight forward "serious" bank. I feel this says something about Germany's culture and reputation for strong level-headed economic policies. Most British bank commercials are very glossy and expensive in terms of aesthetics. This could also be attributed to the differences in the two country's banking practices. The answer is likely to be a complex mix of many factors , but the differences in economic and business structure of the nations in question plays a large part in the advert's construction. The balance of spending in part reflects differences in legislation governing the sale of television airtime. In France , supermarket chains like Leclerc and Mammouth are forbidden from advertising on television , whereas Tesco , Asda and Sainsbury make frequent appearances on UK screens. With deregulation in this country this could well all change in the near future. With the possibility of much more overall airtime and narrower audiences there is likely to be a big change in advertising , with more specific targeting and competition. In Germany the national broadcasters ARD and ZDF are permitted only a few blocks of commercials between 5 pm and 8 pm and their rates are strictly non-negotiable , a severe limitation on TV spending. By contrast , in Italy only two newspapers have real claim to national status , neither selling more than half a million and disproportionately strong in Rome and Milan respectively. This goes some way towards explaining the Italian bias towards television. The structure of the advertising agency business is equally diverse. Measured by billings , the top five European agencies are all French with the UK's largest , Saatchi and Saatchi , billing only 378 million against Publicis Conseil's 657 million. Underlying these figures are a French industry dominated by a few huge agencies in Paris; a UK industry centred on London , but with more medium-sized players; and a German business with no single centre , its most important exponents spread , like their clients , between Hamburg , Frankfurt , Dusseldorf and Cologne. In all countries the agency business has traditionally fallen into two ownership camps: the home-grown like Saatchis , France's RSCG , and Italy's Armando Testa ; or the American networks like Young and Rubicam and McCann Erickson whose local agencies figure prominently in the top ten of every EC member. There are further institutional influences acting upon the adverts we see , both on the showreel and in general. The structure of the television networks that the adverts are shown on can vary greatly from nation to nation and even regionaly within a country. There are further complications when state-owned television is put into the equation. For example the BBC has just recently been stopped from advertising its own products on its own stations , being paid for mainly by public money. This then offers the commercial stations another income as the BBC now advertise through them. To a further extent a similar situation has cropped up with Spanish television. The Spanish government's policy of allowing state-owned broadcasting stations to take commercial advertising is to be challenged by European Commission competition authorities. This is a test case of Brussel's legislation which will have important ramifications for national broadcasting operations throughout the EC , in which the "dual financing" of all Spanish state-owned TV and radio networks is to be investigated. The outcome could provoke a restructuring of both the Spanish television market and all other EC government-controlled stations relying on both public subsidy and commercial income. An expansion of television advertising time should increase competition. As a result of varying competition from nation to nation in terms of the numbers of commercial stations that can show adverts and the legislation controlling them , the nature of the adverts is likely to adjust to accommodate particular countries' television networks. In Germany for example as only a relatively small amount of air time can be used by advertisers , the commercials must be tailored for such a market. This could well lead to the adverts being not so suitable for other European countries. The advertising agencies themselves have to rely on other institutions to help produce the commercials. They contract work out -the music - the directing - the filming and the art-work etc. The institutes they contract-to , play a very important part in the final product. If an agency knows the right people it can produce the advert it wants to. It is because the institutions work in this way that there tend to be winners and losers in the world of advertising especially in Britain and France where advertising is concentrated in the capitals; and not just in terms of management but also within the images seen in the adverts. The Tunes advert is an example of this , and many adverts are shot in London ; this seems to happen to a lesser extent in Germany where the advertising is more evenly spread. Mrs. Thatcher claims that the advertisers did not like the duopoly in British television. With the deregulation of British television imminent many advertisers are worried that fragmentation will increase production costs and possibly reduce targeting and audience effectiveness. Deregulation will be a major influence on advertising agencies in the near future.e me very aware that it is easy to target the right people with the wrong information , and make too many assumptions. The production was all good practice as was the meeting of deadlines , as usual. Car advertisement (style) We had a totally free choice on this production exercise related to style , so we could produce something on any topic. I had wanted to make a car commercial for some time and this seemed the perfect opportunity. After deciding on cars as the theme I then decided what format to make it in. Video , I decided would be a good choice , as a moving format might be the best way of expressing transportation. My aim was to produce an advert that exposed the stereotyping and conventions in auto advertising. To achieve this I decided to make an advert that stuck to them rigidly , as opposed to subverting them. I had actually conceived the advert in great detai d) Consider the effects on advertising agencies that 1992's opening up of the European Market has had and may have in the future. The effects of the opening up of the European Market on businesses is only really just beginning to be felt. With so much work still to be done and so much hanging on the Maastricht Treaty it is difficult to remark on its effects on advertising. However one can see some possible advantages and disadvantages it will offer to the advertising agencies. With the possibility of more companies becoming "pan- European" , in their work this opens up a much wider spread of people to be targeted by companies through the advertising agencies. There should be , then , more work for the advertising agency. However there are several obstacles in the way , and the greatest of all , as said before must be cultural diversity. A single advert to cover the whole of Europe would be far more difficult than a more localised advertisement especially if it were to be a good hard-hitting commercial. The answer then might be to have one pan-European agency make a series of adverts for the individual nations and possibly making the adverts thematic with variations. The computer manufacture Apple Mackintosh have run just such a campaign. This surely raises another substantial issue : cost effectiveness. The necessary pan-European research and production costs would be very high . These could conceivably be off-set by long term profits ; but in today's recessionary economic climate the initial short term costs may seem prohibitive. Ways of cutting the production costs are desperately needed. One option is that employed by the makers of "Maigret" on ITV. They make the programme in one of the ex-"eastern block" countries , where production costs are only a fraction of those in the old "western" Europe. This would inevitably only be a short term solution , but such countries will only become a greater part of the equation with time. Both in terms of sales and production. I see advertising agencies going along much as they are for the time being , with some agencies still working within a small geographical area. Then- when and if we start to come out of recession there may well be an increase of pan- European and even global agencies. This would reduce the overall number of advertising agencies creating "super agencies" , although I think that there will still be a number of national agencies acting as specialists. Advertising agencies , I feel , will have to choose between staying wholly national or going Global/pan-European. I suspect there will be little room for only going half way and dabbling in global advertising , as the competition from the big global agencies could prove to be too strong. Again the "little company" seems fated to go to the wall. Bibliography Mythologies - by Roland Barthes Television and sex stereotyping - by Barrie Gunter (IBA) Published by John Libbey & Co. ltd. Personal interview with Duncan Grieve Barklay Advertising,Bristol. The Guardian 31/1/92 - "Hard sell hits Borders" - by Andrew Beven. Family television - Cultural power and domestic leisure. - Published by Comedia. The Imagery of power. A critique of advertising. - by Fred Inglis. The Guardian 23/5/92 - "Competition focus on Spanish TV." - by Patrick Donovan. The hidden Persuaders - by Vance Packard. Let them eat Europudding - by William Fisher. Television Mythologies - Edited by Len Masterman. Boxed in : Women and television by Helen Baehr and Gillian Dyer. The Times 10/3/92 - "Men join backlash on sexist adverts." - by Melinda Wittstock. Industry in Europe. - by Mark Smalley. Reading television. - by John Fiske and Hartley. Television in the eighties: the total equation. - by Rex Moorfoot. The 6 O'clock news - The B.B.C. Various Television documentaries on Europe and advertising. Essay by William Knott. l about a year prior to making it. This was helpful in the initial stages as it allowed us to make the storyboard quickly as I knew exactly the images I wanted. As we progressed though , my preconceived ideas and ideological dogmatism held things up , as I wanted everything exactly as I had pictured it. This , of course , was not possible due to time restrictions , cost , other "A" level commitments etc. This I found a very useful lesson in keeping detached from the advert. I was too involved , the initial idea was mine , the car was mine , and I wanted it just so for the filming. This is not ideal with time as short as it was. The basic idea of the advert was a cliche , young white male , sleek car , empty country lanes , pretty woman , parties , and a big country house. It was very much aimed at a specific target audience ; young men or men who wanted to feel young. As a result it had to contain the appropriate ideological messages - style , power , "success" , aggression etc. - , conveyed by the items listed above. Although I was looking at conventions and style in advertising I still wanted this advert to be innovative in some way. Basically I wanted it to expose the conventions and yet differ from the standard , and "work" as a commercial. To achieve this I decided to split the advert up between other adverts. I concluded that as a car is a large and expensive item , people wanting to by one would pick up the car theme and follow the advert through. I then picked music as an anchor for the advert being a very quick form of communicating ideas and feelings , as is required in an advert. It uses people's contemporary cultural decoding which is one way of expressing things they already have fixed(ish) notions of in code form as opposed to long explanations. Also music effectively targets an audience. I selected different styles of music to convey some of the feelings people have about different cars - Rondeau from "Abdelazer" by Purcell is a popular classic as is the Triumph Spitfire - "Take That" is modern popular music as an XR2 is a popular modern car - The Prodigy is innovative dance music in the same way the X1/9 was an innovative dancing car (it was the first mid-engined mass production car) - In the end the young man selects the car with the "happening" "dance" music. I chose dance music for the X1/9 because it is a car that seems to "dance" when you are driving it and also I felt the music might appeal to the target audience as a result of its (the music's) "drive". I then linked this to a party which the man was going to , by showing shots of dancing feet at a party cut in with his feet dancing on the car's pedals. Also cutting the party shots with the car on the move gave the idea that the man might be on his way to the party. On arrival at the party the man is approached by a young woman but rather than dancing with her he goes for a drive in his car. Crude , but I felt it was a good way of exposing the sexual stereotyping used in car adverts. That is to say that if this car is better than a beautiful woman it "must" be fantastic. I was pleased with the end result of this scene , as we lost all the speech from the original film and had to over-dubb it all , with some accuracy. Incidentally I slipped a slight metonymic signifyer in at this point. As the man sits on the bonnet of the car its lights pop up. The man then zooms off down an empty road signifying freedom gained by his beloved car. This is accompanied by the standard bold text blurb. And deep male voice-over simply saying the car and maker's names. The advert really implies a whole lifestyle - status , way of spending time , wealth of material and immaterial goods , attitude etc. - that , if you buy this car you may gain. Considering how rushed the making of the advert was I was very pleased with the result. We had problems with the weather , the car and the text generator. Taking these into account I felt the product stuck quite closely to the concept (see storyboard). One noticeable compromise was that we ended up having to put the text on blank black screens as opposed to being superimposed on the appropriate shots. I felt this detracted little from the advert and some people even preferred it. On the whole this production exercise taught me a lot about this area of work and gave me even more interest in it. I might even make some more just for the fun of it (especially when there are no set deadlines). BY WILLIAM KNOTT.ke the shot in. The appeal of flight is it seems, quite strong with this target audience, and I felt that the form, shape and concept of the car evoked quite strong aviation links. I wanted to give the idea that this product would be as good as owning one's own plane. Having decided this I started thinking of ways to tackle the photo. Initially I considered having the car in the fore ground and the plane as an incidental idea in the back ground. I then thought it would be more interesting to reverse this and make the plane the close object and push the car further back. This breaks the conventions somewhat, and yet seems to boost the appeal and exclusivity of the product by forming a stronger association this something far less available. On top of that, when placed within the context of Performance/classic Car magazine I think the audience will be in little doubt that it is the car they "want". This was all very good in theory, but when I started organising the shoot it became apparent that this was not going to be possible without driving to Bristol airport. Which I didn't have the time or money to do. So I had to revert to my original idea of the planes in the back ground and the car in the fore of the picture. I set the car up so it was facing a plane head on with the tale of another plane entering the shot on the left. This gave hints at aviation, in the similar shapes of the car and aircraft. Indeed this car is based on a 1930's design which were in tern often taken from the aviation world. I took the photograph looking at the rear of the car as this shows one of its most exclusive features, the single back wheel, to best effect. I placed a pair of flying goggles on the rear of the car to further play on the theme and give a more "period" look. "Period" was also the effect I was aiming for in the photograph as a wh William Knott MES 102 PHOTOGRAPHY ASSIGNMENT I feel it is appropriate to explain my choice of object at the outset. It is one of my major shortcomings, basically I love cars, I am the definitive car freak. I say this in a somewhat shy tone as ethically it goes against my grain, but there it is. I am therefore very accustomed to looking at photographic images of cars and decided that this interest made them the logical object of my studies. We were also told in a lecture to focus on our personal interests. To select and identify the target audience for this advert I did some research into who would be interested in such a product and what their reading/watching habits were. This would allow me to then do some further investigation as to the nature of images used to sell products to this group of people. Not surprisingly those keen on this product tended to be male young and old and gained most their information on mew cars from motoring magazines and the Sunday press. Due to the specialized nature of this vehicle I opted to imagine this as being an advert in a magazine such as Performance Car or Classic and sports car. I then looked at the sort of images used in adverts in these publications, to see the common trends and themes. I concluded that a "romantic" angle was a customary one with this ilk of merchandise, so started to base my photograph and advert around this. I decided that as this was a high cost market I should not be to radical in my approach, as the product was quite radical enough. I felt it would be effective to place the car in a traditional and "romantic" framework as this seemed to appeal to the young and old alike, as it seems this character of car does. I noted that many of the adverts used images of aviation. Being near the airport this seemed to be a good location to take the shot in. The appeal of flight is it seems, quite strong with this target audience, and I felt that the form, shape and concept of the car evoked quite strong aviation links. I wanted to give the idea that this product would be as good as owning one's own plane. Having decided this I started thinking of ways to tackle the photo. Initially I considered having the car in the fore ground and the plane as an incidental idea in the back ground. I then thought it would be more interesting to reverse this and make the plane the close object and push the car further back. This breaks the conventions somewhat, and yet seems to boost the appeal and exclusivity of the product by forming a stronger association this something far less available. On top of that, when placed within the context of Performance/classic Car magazine I think the audience will be in little doubt that it is the car they "want". This was all very good in theory, but when I started organising the shoot it became apparent that this was not going to be possible without driving to Bristol airport. Which I didn't have the time or money to do. So I had to revert to my origanal idea of the planes in the back ground and the car in the fore of the picture. I set the car up so it was facing a plane head on with the tale of another plane entering the shot on the left. This gave hints at aviation, in the similar shapes of the car and aircraft. Indeed this car is based on a 1930's design which were in tern often taken from the aviation world. I took the photograph looking at the rear of the car as this shows one of its most exclusive features, the single back wheel, to best effect. I placed a pair of flying goggles on the rear of the car to further play on the theme and give a more "period" look. "Period" was also the effect I was aiming for in the photograph as a whole. I wanted to get a grey sort of picture, which I thought would give a romantic old texture. The intended end result was to apeal to the target audiences desire for exclusivity and romance of a past eara and some of the exitement of flight. I was not stricktly trying to sell this as a car, but more as an entire expirence, an afordable alturnative to a vintage plane, motorbike or car. I was aiming to sell a "lifestyle". The fence seemed to make the planes seem more out of reach and also added stength to the picture with its straight lines and geometrical shapes amoungst the rounded curves of the car and planes. I set about thinking of a slogan that would build on this aviation theme and possibly set minds dreaming of a romantic picture of owning this car. I also decided to print it all on red paper as this would give the advert more emotion and was a colour favoured by my chosen tarket audience. The blurb was alsoole. I wanted to get a grey sort of picture, which I thought would give a romantic old texture. The intended end result was to appeal to the target audiences desire for exclusivity and romance of a past era and some of the excitement of flight. I was not strictly trying to sell this as a car, but more as an entire experience, an affordable alternative to a vintage plane, motorbike or car. I was aiming to sell a "lifestyle". The fence seemed to make the planes seem mor======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== == a play on the fantasies of this male target audience. I encountered many problems making this advert. I had not taken into account that by their very nature planes tend to move. I would end up walking up to the airport, see the scene I wanted, run back and get the car and the plane would have gone. I also think it was a mistake to plan such an accurate image of the advert in my mind, as this ultimatly restricted me and made me very unhappy with the finished product. I should have got out there with a cammera sooner and taken opportunities as they appeared. This way I think I would have achieved much more lso a play on the fantasies of this male target audience. I encountered many problems making this advert. I had not taken into account that by their very nature planes tend to move. I would end up walking up to the airport, see the scene I wanted, run back and get the car and the plane would have gone. I also think it was a mistake to plan such an accurate image of the advert in my mind, as this ultimately restricted me and made me very unhappy with the finished product. I should have got out there with a camera sooner and taken opportunities as they appeared. This way I think I would have achieved much more my desired photograph. I didn't take into account the need to plan things, like getting a camera with a black and white film in it. All this ended up with me having to make what I could out of the given time. I should have tried more variations of shot when I finally took the picture as I feel that although I was aiming for the grey look it could have used slightly more light. I also should have got more photographic paper as I made so many mistakes in this department and should have made more attempts. This project has taught me a great deal about the world of photography. The problems I encountered I had not even really considered before tackling this. I am not very pleased with the end result, but I don't think I would have been whatever the outcome had been. I must learn not to get to personally worried about the subject of the advert and concentrate more on getting on with taking photographs and conveying a message. If were to do this advert again I think I would try and subvert some of the conventions of advertising in this market. Maybe give it a female slant or place it in an unattractive industrial setting, although the latter has become something of a cliche in car photography over the past few years. I am not entirely displeased with the end result but would like to try some other angles, and improved production. William Knott PUBLIC RELATIONS EXHIBITION SCIENCE FRICTION We were given a choice of several topics for our groups stand at the exhibition. From the outset we worked well as a team, and a group decision was taken that we should cover science in leisure. This sounded like a very interesting PR angle for promoting science and we were all very enthusiastic. It gave us great flexibility to show how science could be great fun and very stimulating to both young and old alike and not just the stereotypical white coats and labs. We also wanted to tackle the social issues surrounding science in leisure i.e. that it was stopping children interacting and communicating. We decided that the best way to undertake these objectives was to have a stand that was itself interactive and very "hands on". We wanted to show that far from being passive like television, science could offer active involvement that people could then talk about and learn from. We gave ourselves individual tasks within the group that we would work on then pool the information and piece it all together into the final exhibition. The team work was very efficient with people taking on jobs that they had special skills in. For example I did a lot of our "internal" group messages and notes because I like using the computer. For the some reason I also churned out lots of designs for posters etc. for the stand using Corel Draw on the PC as I was the only person in our group who knew how to use it and also enjoy this sort of work. Other members of the group did things they were particularly good at or had contacts in. Some people had better telephone skills so they did lots of the phone work. Others had contacts with people doing design, so they tried to get us help in making our stand. Basically we maximised our group potential be working as  William Knott PUBLIC RELATIONS EXHIBITION SCIENCE FRICTION We were given a choice of several topics for our groups stand at the exhibition. From the outset we workred well as a team, and a group decision was taken that we should cover science in leasure. This sounded like a very interesting PR angle for promoting science and we were all very enthusiastic. It gave us great flexability to show how science could be great fun and very stimulating to both young and old alike and not just the stereotypical white coats and labs. We also wanted to tackle the social issuse surounding science in leisure i.e. that it was stopping childeren interacting and comunicating. We deciced that the best way to undertake these objectives was to have a stand that was itself interactive and very "hands on". We wanted to show that far from being passive like television, science could offer active involvement that people could then talk about and learn from. We gave ourselfs individual tasks within the group that we would work on then pool the information and piece it all together into the final exhibition. The team work was very efficient with people taking on jobs that they had special skills in. For example I did a lot of our "internal" group messages and notes because I like using the computer. For the some reason I also churned out lots of designs for posters etc. for the stand using Corel Draw on the PC as I was the only person in our group who knew how to use it and also enjoy this sort of work. Other members of the group did things they were particularly good at or had contacts in. Some people had better telephone skills so they did lots of the phone work. Others had contatcs with people doing design, so they tried to get us help in making our stand. Basically we maximised our group potential be working as a team and pooling information. Sometimes Ideas and work would not get the desired result. For example I spent a great deal of time comunicating with Lotus Cars, but in the end they were unable to help due to being to envolved with the Bologna Motor Show at the time of our exhibition. This sort of thing happened with many leads we tried, but it didn't discourage us to much as we felt we would get something good in the end with all our efforts. a team and pooling information. Sometimes Ideas and work would not get the desired result. For example I spent a great deal of time communicating with Lotus Cars, but in the end they were unable to help due to being to involved with the Bologna Motor Show at the time of our exhibition. This sort of thing happened with many leads we tried, but it didn't discourage us to much as we felt we would get something good in the end with all our efforts.  ASSESMENT Phil Latham My first thought in the development of this adventure was simply that I wanted it to have some relevance to university life. Using this as a basis I went on to decide what the goal of the adventure would be, and how this could be achieved. This basically meant designing what would happen in each room, and what the text would say. Once I had decided had what each room would contain I could draw the map of the rooms. As this was very different to the one already in the program, I had to change all of the information in the procedure WAYS. I also added rooms which could be entered, but not exited by simply adding NOWAY in each directional bracket. The next stage is where my original plans had to be compromised. I had written out my text for each room, without knowing the limit of characters per room. To overco======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ======== SORRY, THIS SECTOR CANNOT BE READ FROM FLOPPY DISK BY ST RECOVER. ======== ==to try and use a new procedure in each room, so that throughout the nine rooms there would be a variety of techniques / operations used. The most useful operation I used was SETPOS. Originally, to move the turtle to a certain position I had to LIFT, then write in often complex movements, and then DROP. SETPOS cut out all of this, and it always moved to the correct co-ordinates regardless of the turtles previous position. As I worked on it more and more, I got more confidant with procedures and changed some of my pictures to make them more like I had originally planned. This involved the use of other procedures, such as ARC, FILL and REPEAT. I also had a problem with oversized procedures which I solved by breaking them down in to smaller sub procedures. I would liked to have made a greater use of the REPEAT function, however, few of my pictures had any aspects which this function could be used for. To use the repeat more, I would have had to simplify the pictures, and I'd rather have better pictures instead of changing the to simpler pictures for the sake of reducing a few lines of procedures. Probably the best habit I got into, was after each addition to a picture or to the program itself, was to check it worked by playing the game. This was different to checking it simply by viewing it by typing ROOMx, as the two results could  William Knott PUBLIC RELATIONS EXHIBITION SCIENCE FRICTION We were given a choice of several topics for our groups stand at the exhibition. From the outset we worked well as a team, and a group decision was taken that we should cover science in leisure. This sounded like a very interesting PR angle for promoting science and we were all very enthusiastic. It gave us great flexibility to show how science could be great fun and very stimulating to both young and old alike and not just the stereotypical white coats and labs. We also wanted to tackle the social issues surrounding science in leisure i.e. that it was stopping children interacting and communicating. We decided that the best way to undertake these objectives was to have a stand that was itself interactive and very "hands on". We wanted to show that far from being passive like television, science could offer active involvement that people could then talk about and learn from. We gave ourselves individual tasks within the group that we would work on then pool the information and piece it all together into the final exhibition. The team work was very efficient with people taking on jobs that they had special skills in. For example I did a lot of our "internal" group messages and notes because I like using the computer. For the some reason I also churned out lots of designs for posters etc. for the stand using Corel Draw on the PC as I was the only person in our group who knew how to use it and also enjoy this sort of work. Other members of the group did things they were particularly good at or had contacts in. Some people had better telephone skills so they did lots of the phone work. Others had contacts with people doing design, so they tried to get us help in making our stand. Basically we maximised our group potential be working as a team and pooling information. Sometimes Ideas and work would not get the desired result. For example I spent a great deal of time communicating with Lotus Cars, but in the end they were unable to help due to being to involved with the Bologna Motor Show at the time of our exhibition. This sort of thing happened with many leads we tried, but it didn't discourage us to much as we felt we would get something good in the end with all our efforts. Our big break was being offered two vertual reality machines from a local Plymouth company. This then became the focus for our stand being the ultimate form of science in leisure at the present time. We then decided to "theme" the stand. Jo in the group came up with the idea of showing the past, prestent(V.R. machines) and future of science in leisure. We were at this point begining to run out of time so decided to go with what we had. It was necesary to stop thinking of new ideas and get on with this one if we were to get any end result. I think this was a very important leason to learn. We then all went of doing our individual jobs again, but this time working towards a more focused idea. We sent massages via the pigion holes to eachother and met up for out of semminar meetings aswell as grouping up in semminar time. All in all I feel the group communicated well and work as a coherent team. Everything from the stand design to the clothes we would wear, the stand concept and features was worked on as a time, getting outside help where needed. I am unable to say whether or not the exhibition as a whole was a be different. A picture may appear to be correct when the room is viewed by itself, but in may not work when actually played in the game, due to processes previously used leading up to that point. Overall, I am fairly pleased with my adventure, considering I had never done any programming previously. Although it did not turn out exactly as I had originally planned, it still accomplished the same goals, and I had very few problems. The only two real problems, were the limitation of the language making simple procedures complex and time consuming , and the fact that finding a computer that was free and that worked proved to be, at times, impossible. The country which has been chosen for this essay is the former USSR. Before the country split up to as it is known now, everything in the ex-USSR was controlled by the Communist Party based in Moscow. They had a government, politics, and bureaucracy like any other country. This meant no rival loyalties or parties. The system was totalitarian and the Communist Party had a monopoly on political power and political wisdom. The entire society was dominated by the controlling bodies in Moscow. It was the centre of a vast bureaucratic appartus. All of these elements were sub-ordinate to the Politburo of the party. All ideas would have been tested by an official ideology. Any ideas which were thought to contradict the ideology were unacceptable. An enormous police force, most of whom operated secretly, enforced any decisions which were made in Moscow. " An image of totalitarian power, the bleak remorseless, all powerful state of 1984. Neither state or party allows no compromise. They control thoughts as well as behaviour. Big Brother sees everything and no infraction goes unpunished. " The ex-Soviet Union didn't turn out the way that George Orwell described it above. Russian totalitarianism was often less than total. The state rarely tried to impose complete control on the entire country or impose official ideology universally. The official ideology ridiculed the Church, although the state permitted organised religion. There was, and still is, a huge and active Church in the ex-USSR. The state's attitude towards the Orthodox Church suggested limits in their ambitions. There was a mild revival which was noticed in Moscow and other large cities. Many young members of the intelligentsia turned to the Church because they thought it fashionable. The state strictly forbidking" between them all the time. I had to organise a timetable for my individual. This involved checking lots of varialbes to check that lectures etc. were actualy happening and making sure there were no "clashes". We had to use the notebook package to do this. This was for me very difficult as there was so much information to absorp, but after planning a better way of recording this information it was much eaiser, but still took some time. erforms a social function, it tends to aim towards creating only one "correct" way of thinking or behaving. Media products therefore creat a feeling of there being some sort of "right thinking cocencus" manifesting itselef in a "commonsensical" way of viewing things, this is the concept of dominant ideology. These ideas of "right thinking" are not necicarily natural, but are built up through culture and therefore the media must play a part. Anyone who does William Knott MES 102 Essay (Q.no.3) Throughout history there is no question that women have been positioned, by the producers of media products, in certain "traditional roles" . The presentation of women in the media has been, and still is biased, because it emphasises woman's domestic, sexual, consumer and marital activities to the exclusion of all else. Women are depicted as busy housewives, as contented mothers, as eager consumers and as sex objets. This stereotyping is biased in relation to male stereotyping because, although similar numbers of men are fathers and husbands the media have much less to say about male roles; men are seldom presented nude, nor is their marital or family status continually quoted in irrelevant contexts. Just as men's domestic and marital roles are ignored, the media also ignore that well over half of any form of organised religious instrution for kids and restricted enrolment into seminaries,therefore there was a national priest shortage. In new industrial cities, churches were not permitted and subject to guidance of the state council for religious affairs.The state could overrule any Church authority, religious or secular. The Church and the state have had a history of differences. Stalin generally harassed the Church, until he needed their support during the Second World War. The Church became Stalin's staunch ally on the home front. Following the war, Stalin again turned on the Church in a bitter anti-religious campaign .This was followed by Khrushchev's campaign against religion, but neither could undo the effects of the brief wartime revival. The relationship between the Church and the state has stabilised, but the Church still endured state interference and vice- versa. It was hardly a solution to the official ideology, but it was a satisfactory agreement that both sides could live with.