Avatar - Year 10 assessment

Avatar Film Poster Analysis

The poster consists of a single image, in this case a face of an ‘avatar’, the central character of the film. The face is twice as big the frame, and is placed on the right hand side of the frame, split down the middle, which increases the idea of ‘alien’ – we are used to seeing a whole face, not half of one, and especially not a blue one – this plays with our expectations of a movie poster, and teases us with the idea that ‘less is more’...the striking visual leads us to expect a striking film, and the fact that the poster does not reveal much about the film, apart from the alien nature of the characters works as a teaser, designed to make the audience want to know more, and to see the film.

We see a blue male face (or half face on a dark background), and the face is lit from the top left, highlighting the cheekbones and the lips. Because the poster is essentially dark, the glowing ‘spots’ on the face (intensifying the character’s ‘alien’ nature) and the single yellow eye are prominent: they are much brighter than the surroundings. The eye holds the key central position in the frame, and looks straight at us, the audience, challenging us to explore the film to find out more.

The idea of ‘halves’ is important here: the avatar is half alien, half human DNA, and to reinforce this we get half a face. One half is presented, the other half is mystery. There is very little text in the poster: the banner across the top says ‘From the Director of Titanic’ – this intertextual reference gives a sense of the size and the scale of the film: it’s very much in the blockbuster mould. The title of the film, at the bottom of the poster, is in a distinctive font, which glows with the same light blue as the spots on the character’s face, standing out against the dark background, and highlighting the key text which anchors the image: in comparison, the text at the top of the poster is much less clear.

Despite the unusual font, the block capitals help this stand out. In the bottom left of the poster is a the address of the film’s homepage, avatarmovie.com, giving the audience the opportunity to seek more information if they need it, and in the bottom right is the production information, letting us know the studio financing and producing the film (20th Century Fox) – again, we know that this is going to be a major film because of major studio involvement.

This Trailer analysis comes from the News of the World website (!) - the language is informal, but there is some good commentary on why things are as they are and the meanings of the trailer: use this to supplement your class notes.

By Robbie Collin, 29/10/2009

WHEN the Avatar teaser trailer was launched back in August, movie fans were split into two camps.

Those who were intrigued and excited by the possibilities of a brand new £120 million movie directed by James Cameron, and whinging idiots.

And now, surely, the naysayers will be silenced. Because this brand new three-and-a-quarter minute trailer sets out Cambo's stall more clearly than ever. There Will Be Robots. There Will Be Aliens. There Will Be Carnage. But most importantly, There Will Be Plot.

Convinced? No? Then read my shot-by-shot analysis - and, more importantly, watch the damn thing yourselves and savour the sweet, sweet blockbuster magic.
* Avatar is in cinemas on December 17.

New full length trailer for James Cameron's Avatar

0.03 "Are you Jake Sully? I'd like to talk to you about making a fresh start..."
The first thing we see is a pair of eyes, opening. James Cameron wants you to OPEN YOUR EYES and appreciate his new VISION. Do you see?!?!

Character

0.16 "I became a marine for the hardship. I told myself I can pass any test a man can pass. All I ever wanted was a single thing worth fighting for..."
Aha! Something about character. One of the few legit criticisms of the first Avatar trailer was there wasn't much more to it other than a means of introducing the film's rough plot and the Na'vi, the ten-foot blue cat people who make up about half the film's cast.

But Jake Sully (played by Sam Worthington) is the star of the show and now we find out a bit about him. He's a wheelchair-bound marine who wants to get back in the game. And a mining operation on a far-off planet is going to give him that chance. How? Read on...

0.24 "Ladies and gentlemen, you are not in Kansas any more..."
Colonel Quaritch (Stephen Lang) introduces the marines to the planet Pandora, where most (if not all) of Avatar is set. We get amazing shots of big colourful rhino beasts, floating islands and pterodactyl thingies.

"You should see your faces," says Michelle Rodriguez. Cameron will be hoping this applies to the audience too.

By the way, the first film reviewer to describe Pandora as "Jurassic Park on acid" WILL be fired.

0.40 "This is why we're here. Because this little grey rock sells for $20 million a kilo..."
The marines are on Pandora to harvest un-special-looking minerals that cost a fortune back on earth - maybe they create nuclear energy, or are endorsed by 50 Cent, or something.

Marines

0.45 "Their village happens to be resting on the richest deposit and they need to relocate. Those savages are threatening our whole operation..."
Whose village? The Na'vi's village of course.

The marines need to get rid of the pesky Na'vi in order to harvest their loot, so we get some shots of their impressive looking war machines rumbling through the forest, and the Na'vi waving their spears in the air and rolling in a move that's basically film shorthand for Noble Savages Who Will Not Be Oppressed. Ewoks did it. So did the Scots in Braveheart.

But it looks like before declaring all-out war on the Na'vi, the marines are mounting a last-ditch attempt to find a "diplomatic solution". (NB - judging by the end of the trailer, this is not very successful.)

Wait a minute, was that Sigourney Weaver, playing some kind of doctor who probably has a crisis of conscience about the whole operation? It WAS? Excellent.

0.59 "The concept is to drive these remotely-controlled bodies called Avatars..."
And the film's key plot device gets explained in layman's terms. Jake Sully is one of a number of soldiers whose mind will be transplanted into a Na'vi body, so he can infiltrate their ranks. Sneaky.

1.13 "You get me what I need, I'll see to it that you get your legs back. Your real legs."

Colonel Quaritch gives Jake his reason to fight. This guy is going to relish the ability to walk unaided as an Avatar, but to be free of the wheelchair for good? That's his dream.

1.19 "Looks like you...this is your Avatar."

This shot of Sam Worthington's half-smile when he realises he's about to walk again was one of my favourite things about the entire teaser trailer. And it's back here. Because it's great.

1.30 Apparently when your mind goes into the body of an Avatar you get a brief glimpse of an early 90s rave video.

1.34 The first of many new special effects money shots to be previewed, we see Sully's Avatar cross a lake in a helicopter. I have no idea what a ten-foot-tall blue cat person would look like under the rotor blades of an army chopper, but this probably isn't far off.

1.51 "You should not be here..."

Introducing Zoe Saldana's character, Neytiri - a Na'vi who befriends Sully on his infiltration mission. Do you think they'll have some kind of forbidden romance? Probably not, eh.

2.07 "Outstanding..."

Lots of special effects shots that should look fantastic in 3D, most involving people jumping off high things. 3D films normally either go down the thrill-ride path (eg A Christmas Carol) OR the subtler, give-the-shot depth route (eg Up) but it looks as if Cameron's trying to have his cake and eat it.

Dramatic

2.15 "Did you forget what team you're playing for?"

And here's the dramatic bit! Once he's in his Na'vi body, Sully's torn between fulfilling his mission - and his ambitions as a marine - and defending the interests of the mysterious and weirdly sexy natives he's grown to love. It's a bit like Pocahontas! But in space!

2.19 "The strong prey on the weak..."

A lot of very impressive war scenes, as the Na'vi square up against the marines for the Final Showdown.

Clearly Quaritch just wants to wade in and knock the nine lives out of these dumb blue hippies, and it appears he gets his wish. But a small band of marines including Sully, and it looks like Michelle Rodriguez, are going up against him.

2.32 "We're going up against gunships with bows and arrows..."
But which is better? Gunships, or bows and arrows? There's only one way to find out...

2.40 FIIIIGGGHHTT!!!

Interestingly, the trailer namechecks ALL of James Cameron's biggest hits - Terminator, Aliens, T2, True Lies AND Titanic. The implication being, this is a film that will appeal to fans of all the above. So expect bad-ass robots, brilliantly-designed ET beasties, big action and a tender, candlelit scene where Sully draws Neytiri with her boobies out. Possibly.

2.50 The cup of coffee shot.
This is the single best shot in the entire trailer - it tells you everything about Colonel Quaritch that you need to know. Here is a man who will launch a missile strike designed to cause cultural genocide, and then take a delicious sip of piping hot java from the comfort of his deathbot's cockpit. James Cameron gold.

2.55 "We will send them a message...that this...is our land!"

FREEEEEDOMMMM!

3.07 AVATAR.

BICKETY-BAM! Sorry, but this is going to be freaking excellent.

Miss Carden Group - Writing the Proposal

This may also be useful...BTEC Unit 7 Writing the Proposal

Your Proposal…

STEP 1: Research your product.

Know everything there is to know about the product or service as well as its competition. Most importantly, figure out what might be uniquely different about the product. Look for that little "edge" to give you something important to talk about. Is it "better", "cheaper" or "new"?

STEP 2: Pick your medium.

Decide which advertising medium you will run the ad or commercial. Creating a radio commercial is very different from a print ad.

STEP 3: Define your target audience.

Focus here on the person or people most likely to want to consume your product or service. Define the target as descriptively as you can. Start with demographic terms such as young women 18-24 years old living in urban areas in the East and the West. Define their psychographics as well: are they trendy or conservative? Social or solitary?

STEP 4: Decide how the product or service fits into the lives of the target.

Are they current users of the product or not? Do they have a current perception of the product and will your ad complement or modify that perception? How and when will they use it? What will it replace? Are you introducing the product to them for the very first time?
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STEP 5: Be selective; focus the message.

You can't say everything there is to say about a product or service in 30 seconds or on an interactive banner. What is the most important, most powerful statement you can make about your product? No matter if you are creating a simple outdoor poster or a 60 second television spot, your message must be single-minded for people to understand, grasp and associate it with your brand.
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STEP 6: Involve the creative team early and often in the development of the creative brief.

Don't simply draft a creative brief and shove it at the team who is expected to work with it and create a brilliant ad. Get their input and "ownership" of the project during its development so they can have a hand in the direction.

STEP 7: Define the tone.

Is the ad expected to be humorous or straight? Informative or simply a reminder? Steeped in emotion or just the facts?

STEP 8: Give the details.

This is where you lay out the timetable for reviewing work, all necessary approvals and production. You provide the estimated production budget, format for the ad and any other specs for the assignment.

Year 10 BTEC Miss Carden - Creative Advertising Techniques

Creative Advertising Techniques:

Advertising techniques are tools. The tools you use to attract attention, engage minds, trigger emotions, and change what people think. All of which can lead to sales. Or votes. Or clicks.

Make a metaphor

Create a symbolic representation of the key idea you want to communicate by using two images or statements that are completely different, but when placed together create a new idea.
You can use words. Or visuals. Or both. You can create a metaphor to represent a characteristic of the brand. Or a feature of the service. Or a benefit of the product.
To create a metaphor, use one thing - a vivid statement or dramatic visual - to suggest another thing - your company, product or service.

Promise a benefit

Promise readers a compelling benefit that the product or service can deliver.
A benefit is something of value to the target audience. Ask, “What can this product or service do for me?” And the answer is a benefit.
The persuasive energy in a benefit ad comes from two characteristics. First is the importance of the benefit to the reader. Second is the specificity of the benefit.
A good example, the headline, “Introducing a washer so gentle it can actually help your clothes last longer."

Mention a problem

Problems. Everyone has them. And some products solve them.
A TV commercial opens with the kids screaming, “We’re hungry, mom!”
A headline reads, “Do you have enough money for retirement?”
This is a technique to grab attention, to engage people who have the problem. Or people who want to avoid getting the problem.

Get really real

Show what people really think. About the opposite sex, their job, or relatives.
Show how people really feel. About money, their spouse, or financial security in old age.
How people really dress and act at home. What people really think about at work? Like sex and petty insults. Depict the attitudes, jealousies, and insecurities that rattle around inside us all.

Create a character

Create a character that adds interest, story value or recognition to your campaign.
Could be an actor playing a role. Or a cartoon character. Or a dead politician. He, she or they are all "created" characters because you define the role they play in the advertising.
While a brand character must represent a characteristic or the personality of the brand. An invented character does not.

Inject dramatic conflict

Create a campaign that uses drama to focus attention, to heighten interest in your message.
The essence of drama is conflict. And that conflict can be between:
Husband vs. wife.
Molly vs. insanity, a struggle with mental health.
Dog vs. mailman.
Teenager vs. her conscience.
Creative Director vs. client.
Your hero should have a goal, an objective, something she really really really wants to achieve. Or has to accomplish to save the planet.
And you might need bad guys, bad creatures, bad luck, bad weather, bad relatives or bad aliens. Come to think of it, bad relatives can be almost identical to bad aliens. But don't use bad politicians or bad lawyers. There are enough of them already.
It's always nice to have a resolution to the conflict, you know, like a happy ending in the movies. But it's not necessary. Because dramatic conflict is essentially a way to engage viewers in your ad.

Exaggerate

Take the basic idea you want to communicate, your concept, and then exaggerate it. Take it to extremes. Push it beyond reason, beyond reality. In the copy. With visuals. Or both.
Exaggerate the benefit. Exaggerate the problem. Exaggerate size, the physical appearance.
Just make sure to exaggerate your exaggeration. Because a BIG exaggeration is interesting, and a powerful way to get communicate your concept. A small exaggeration is simply a misleading ad.

Eye candy

Create a visual so luscious, unusual and striking that it leaps off the screen to grab attention.
Eye candy ads work the same way a Salvador Dali illustration works. These ads stop and engage readers with the look of "Wow. I've never seen anything like that."
Eye candy is the visual equivalent of "Let me show you something new and interesting."
Frequently, the product is the hero in an eye candy ad. But visually rich advertisements can communicate brand characteristics as well. Including a sense of style, an appreciation for fine design, that readers or viewers can associate with.

But usually the creative and persuasive energy lies in the look, the visual. Bang, it grabs and engages eyeballs.
The challenge here is not only creative, but you must also have a generous budget for photography, special effects or image editing.

Make it human

Give human characteristics to your product,
or to something that represents your service.
This technique - personification - can help you create ads that are more interesting, and relevant to viewers. More human and engaging.
You can literally turn the product into a person. Or give it human abilities, such as speech, thought or emotion.
Or go the other way, and blend something about the product into a real person. For example, to depict someone who is a heavy computer user or text message sender, you could show keypad letters embossed on finger tips - and fingertips in the concave shape of the keys.

Make an offer

Make the audience a compelling offer, and tell them exactly how to get it.
This is the essence of direct response advertising. "Hey, Mr. Viewer, Here's what you can get, and here's how to get it."
There are two characteristics that influence the effectiveness of your offer, strength and relevance.
Strength:
"25% off" is stronger than "10% off." "Win a new Toyota 4 Runner" is stronger than "Win a digital camera."
Relevance:
A free brochure offering "10 Ways to preserve the resale value of your new car" is more relevant to people shopping for automobile financing than, "10 ways to protect your good credit."
Be sure to get your offer up front - in the headline or subhead. Put it at the top of the mailer or email. And support it with photos and visuals.
You could save money

This is free.

Check here on the blog for the assessment task details.

Year 11 Exam Topics - Advertising: Coke Zero and Diet Coke

Advertising and Marketing - Audiences. The Coke Zero/Diet Coke thing.

...it's all in the acesulfame potassium. Ace-K, as it's known in the sweetening business, is an artificial sweetener found in Coke Zero, but not in Diet Coke, which is only sweetened with aspartame. And that's the difference, technically. A little variation in taste (due to the sweetener) and actually a tiny difference in the calories (Coke Zero has a little bit less) and you've got 2 drinks for the price of making one, and a diet drink without the word 'diet' - a whole new marketing possibility.

According to studies, men are reluctant to buy diet drinks, which are traditionally marketed at women and have all the associated diet and lifestyle connotations: something the marketers felt wasn't particularly a male thing. Men, though, were increasingly health-conscious; toning and working out in the gym, running and keeping fit, and needed an alternative to 'girly' Diet Coke or the sugar-loaded regular version.

Pepsi had actually stolen a march on Coke with Pepsi Max, launched in Europe in 1993, and aimed at an active, male market (sponsoring the rollercoaster at Blackpool was a good move in terms of reaching out to its target audience) but it was unavailable in the USA because of licensing problems over the ingredients, and so the Coca-Cola company had the opportunity to hit the global market with the same product, assuming that it passed food safety standards at home and abroad. Coke Zero was introduced to a global market in 2006.

Coke Zero advertising: Our Hero/A taste of life as it should be.

This advertising campaign is squarely aimed at a 20-something male audience (with a bit of movement either side of this demographic) through the linked strands of sex, action and explosions. Hitting the love/belonging and esteem needs on Maslow's Triangle (Hierarchy of Needs - see elsewhere on this blog) the ads present 'our hero' in a range of sticky situations (trapped in his girlfriend's apartment with her parents at the door, in a supermarket bumping into his ex and her massive new man, and in a roadside diner dealing with the tricky issue of how to manage the break-up) In each case the problem in the narrative is resolved thanks to Coke Zero: a swig of the cold, zero-sugar delight and the problem is tackled: SWAT teams, exotic new girlfriends, helicopters, pole dancers and the right words all swing into action once Coke Zero has been put into the mix. It is quite a catalyst.

Remember Todorov's theory of narrative from Year 10?

TODOROV’S THEORY – Todorov proposed a basic structure for all narratives. He stated that films and programmes begin with an equilibrium, a calm period. Then agents of disruption cause disequilibrium, a period of unsettlement and disquiet. This is then followed by a renewed state of peace and harmony for the protagonists and a new equilibrium brings the chaos to an end. The simplest form of narrative (sometimes referred to as ‘Classic’ or ‘Hollywood’ narrative).

Well, this fits in quite nicely, and you can apply this thinking to these ads. In each one, the equilibrium is established at the start of the advert, so we know where the ad is staring from and what the situation is. In 'The Morning After' we see 'our hero' in bed with an attractive female, who gets out of bed looking spectacularly glamorous, and goes off for a shower, leaving 'our hero' in bed and with the apartment to himself. This equilibrium is interrupted by a knock on the door and the arrival of 'the parents'. At a loss, and not wanting to be caught there by an increasingly angry father, he turns to Coke Zero for the answer, and drinking from the fortunately positioned bottle in the girl's fridge, sparks the reaction that restores the equilibruim through the intervention of a SWAT team complete with bed making guns and dog silencers! A new equilibrium is established as 'our hero' is swept away in the by a helicopters as huge fireballs explode into the sky.

The mise-en-scene in the opening is important for the message for the message of the advet. The room is messy, with clothes and cushions thrown around everywhere (the results of 'the night before' as suggested by 'the morning after' title of the text?) and plates and food containers and bottles and glasses all round. This sets the narrative up for the audience, and gives a lot of detail in the first ten seconds that place the action and establish the situation.

'Our Hero' is a 20-something man, representative of the target audience, (who are supposed to see themselves reflected here and identify with his situation) waking up in bed with an attractive woman, feeling pleased with himself and naturally drawn to the Coke Zero in the fridge. He is fit looking, (semi-clothed/in his vest) healthy and with just enough designer stubble to make it clear that he's not completely clean cut and perfect. In each of the adverts in this campaign, 'our hero' looks similar - a white male, 20-someting, with a little bit of stubble and messy dark hair, who is drawn like magic to the sugar-free powers of Coke Zero.

The Coke Zero effect is the catalyst that changes a difficult situation into one that can be managed by a swig of Coke Zero. In each advert the narrative pauses while we see the drink travelling into the body, into the bloodstream and sparking of a chain of internal combustions and explosions that shake the central character's world. This sequence is punctuated by a dramatic voiceover and captions explaining how Coke Zero presents 'Life As It Should Be', using film stock and skewed effects to make it clear that Coke Zero has ripped up the old story (film) and created something new, something dramatic, and something designed to appeal to men. 'Our Hero' wins, either escaping the tricky situation or having it change to his favour in front of him, because he has had a sip of a sugar-free drink. Exciting stuff!

There is nothing in the advertisements that promotes the health qualities of this drink, and in no way is it marketed as a diet product. Coke Zero will change your world, rescue you, make you feel good, special and wanted, and make spectacular women (including your ex) offer you no-strings sex. You could argue that this is a fairy simple way of advertising, but mix this up with high budget production and Hollywood style effects, and your audience sit up and take notice. Coke Zero sales have increased significantly (49 percent in 2008) as a result of some clever marketing and hitting the right audience.

This all contrasts nicely, then, with

Diet Coke advertising: 11:30/Diet Coke break

What we've actually studied in lessons is a hybrid of the original 1990s '11:30' Diet Coke ad and the updated version made for a more modern audience.

If the Coke Zero advertisements are aimed at men, then the Diet Coke ads are their polar opposites, aimed clearly and specifically at women. The narratives of the three adverts are very similar: women working in exclusively women-only environments (very empowering - they're not just seen as secretaries, and very different to the stay at home women represented in the Persil ads we have looked at) take a break at a particular time to enjoy and objectify the men on offer to them. From their (and the advertiser's) point of view, the men are there to be looked at and enjoyed, as a break from the cut and thrust of the working day.

The 1990s ad has a fairly straightforward narrative: women working in an office let each other know that it is the crucial time of the day: 11:30. This, however, is not time for an executive meeting, or a gossip session, or even a drinks break of their own to ease the stress of the morning. No, in this case 11:30 is the time the builders working outside take a break, and one in particular (and we are led to assume that this is a fairly regular thing) strips off his t-shirt to enjoy the cooling refreshment that is Diet Coke while the women look on, pressed against the window a few floors up, getting steamier by the minute. The music ('I Just Wanna Make Love to You' by Etta James) played over the video track is not particularly subtle, and gives the viewer a clear indication of how all of these women feel about the diet fizz swigging construction worker lingering over his break time refreshment. Interestingly the women themselves aren't seen enjoying Diet Coke - they enjoy it vicariously, which means through someone else, in this case the exhibitionist builder.

The target audience for this advert are supposed to see themselves in the representations of the working women on the screen - women with important jobs who aren't afraid to enjoy the physical appearance of the object of their collective desires...in the 1990s ad the man is purely objectified - there's no interaction with him, and we don't even know for certain if he knows he is being watched so closely!

In the 2008 update of this advert the same backing track is used, and the message is the same, but the women are much more in control of the situations they create to gaze longingly at whatever Diet Coke guy is featured. In 'Lift' the three women use the opportunity of a Diet Coke break (this time they actually get to drink it) to engineer a situation where, by stopping the lift and getting themselves stuck, they get to have a desirable engineer descend from the roof in front of their very eyes. They have made this happen - they are in charge of the situation and by pressing a button can make a man magically appear!

As repairman descends (dressed in jeans and a white t-shirt, just enough stubble and a hint of bare skin above his waistband) the camera lingers on the three women in the lift as they suggestively bite lips, twist hair, run their fingers over their cans of Diet Coke and show quite clearly that they're enjoying the situation they've engineered for themselves. As the lift stops and they step out they put their empty cans in a bin containing nothing but empty cans, suggesting that this kind of Diet Coke lift action is not a one-off. This ad is obviously more subtle than the in-your-face punchiness of the Coke Zero ads, and doesn't suggest that the drink will get you the man, only get you the man to look at.

The final Diet Coke ad has the same sort of message and structure - the impending arrival of the Diet Coke delivery guy (working women can't exist without it) sends the office into a state of alert: buttons are undone, cleavage plumped up, legs extended, skirts shortened and photos of husbands unsubtly flipped face down as the jeans and white t-shirted delivery guy, hot and sweaty because of the hard manual task he has (carrying a couple of crates of Diet Coke up in a lift!) comes into the office, is stared at and lusted over by an all-woman office with electricity in the air, and, after he drains his can, one woman, obviously impressed, even runs her finger up and around the can where Diet Coke guy has been.

There is a sense of humour running through the ads: the delivery guy laughs when he realises just how much he is the centre of attention, and I'm sure that the intention of the adverts wasn't to suggest that no matter how powerful a woman's job, and how impressive her office is, a Diet Coke guy can still make her go weak at the knees. Remember, though, that the uses and gratifications theory suggests that not only can audiences choose how they receive a text, they can also choose what to make of it, and it is possible to read the advert this way.

Even though we're dealing with a couple of soft drinks, essentially the same, the way that they have been packaged, branded and marketed tells us a lot about the target audience the advertisers have focussed on. Sex still sells, in many different ways, and as Media students it's importance to notice the differences in how it does, depending on who you're selling to.

Mr G.



Coke Zero - Supermarket



Coke Zero - The Morning After



Diet Coke - Original '11:30 Diet Coke Break'



Diet Coke - 11:30

Year 11 Exam Topics - Advertising. 'A Woman Alone' [Persil]

'A Woman Alone' is a 1959 advert from Persil (produced by JWT advertising) from a simpler time, when there wasn't the multitude of products on offer, and the sole purpose of a washing powder was to get things white. In an age of black and white television (colour television broadcasts didn't start in Britain until 1967) there was no point in saying that a washing powder got things clean - you couldn't really demonstrate one red shirt being cleaner than another - so you had to sell a product on its whitening power. This you can see -look how the white in the advert stands out against the (untouched by Persil) greys of the shirts around it.

These are the kind of things you need to think about in your analysis, and when considering this advert as part of your case study:
Sound

The advert opens with emotional string music, the kind of thing you would find in a romantic drama, particularly in the 1950s. This is designed to tie in with the love the woman in the advert feels for her family, tied in with the care she shows for them by making sure they're Persil whitened.

The other non-diegetic (coming from outside the original recording) sound consists of a male voice over, speaking formal standard English using a RP accent (received pronounciation) This gives him authority, and is designed to make the audience for the advert believe in what he says. He is someone to trust, because he speaks well and is a man. All experts in advertising land at this time were men - this was where the power lay.

The actual words he speaks are:

"This woman is alone...yet not alone. Even though her family may be apart from her, they are still a part of her. Being judged by the care she takes of them. Being judged by how white she keeps their clothes. Being judged by the care she takes of them. Being judged by that same whiteness. So Persil is part of her strength, and their happiness. As a mother she uses Persil. As a wife, she uses Persil. Persil washes whiter."

There are some very interesting messages here: look at how the word 'judged' is used - the advert seems to suggest that she is failing in her duty as a wife and a mother if she doesn't use Persil - she will be letting herself down! The voiceover plays on a woman's guilt: only Persil can save her from the scornful looks of the world (and the other Persil mums who are smug in the knowledge that they 'wash whiter' and are looking after their families properly.

Mise-en-Scene

The physical context of the advertisement is clear: the woman is in a clearly ordered kitchen with neat cups and crockery arranged on the dresser, on the sink, and on the dining table where she is in the process of arranging her kitchen. The table is set, and the kitchen sink is clear in the background, firmly placing her as in role as a woman in her natural place - in the kitchen. Her hair and make up is simple and unfussy, and she is not made a sex object either by her make up or clothes: she is dressed in a unrevealing jumper and an apron - hardly the stuff of glamorous dreams! The product is featured in close up so it is foregrounded, but it isn't shown in use...the advert is not selling the practicalities of washing in Persil, but its results.
School and office locations are both represented as being ordered and calm environments. Colours are toned to allow the 'Persil whiteness' of the clothes highlighted to stand out.

Facial Expressions/Body Language

The central character is often shown looking downwards, either at the soft toy in her hands or in close up, making her drift off and think of her family with a dreamy smile on her face. She doesn't look at or challenge the camera, and she doesn't invite the camera to look directly at her. She is not provocative, but could be seen to be submissive, lowering her eyes, and knowing her place. Even though she is doing boring domestic tasks, the look on her face suggests that she enjoys this and enjoys fulfilling her role as a woman, wife and mother, and it is these last two (the wife and mother roles) that define her as a woman.

Sequence
1. Long shot of kitchen to show domestic setting. Woman clearing up breakfast table. She then picks up child's toy.
2. Cut to close up of her face as she thinks of her child.
3. Cut to close up of child's face with the same dreamy expression. Camera zooms out to show child is obviously in school, sat at a desk by a window. She seems to be wholesome, good, and well behaved, clean and attractive. She is sat next to another pupil whose shirt is noticeably less white. Shot ties in with the words of the voiceover 'being judged...'
4. Cut back to mother's face with loving/longing expression.
5. Cut to husband in an office behind a desk. Juxtaposed (put against) colleague wearing a shirt that is less than gleaming white. He notices this and looks concerned at the grey of his own sleeve in contrast to his colleague's
6. Cut to Persil product being put on a cupboard shelf by female hand. Camera pans to woman's contented and downward gazing face.
7. Zoom out to long shot showing the kitchen. Woman gazes lovingly at her husband and puts her arm through his. They smile at each other and wander over to well behaved and calm child who is playing with bricks on the table. Both parents add a brick and the child completes the pyramid, showing family unity. Child looks happy.
8. Cut to close up pack shot of product with bubbles in background, suggesting sparkle/cleanliness.

Narrative
The narrative or story of the advert is actually quite straightforward. The 'Woman Alone' of the title is not actually alone, because she is always with her family thanks to the magical properties of Persil. By dressing them in gleaming white she is showing her care for them. She is first shown alone, in the kitchen (is this a woman's place?) and then we see what her family are up to without her: her daughter is well behaved at school and rewarded for it, and her husband lights up the office (all thanks to her care). Back at home, the woman is joined by her husband, and then child, in building a pyramid of bricks that symbolise their family unity, and the glue that holds the family together and makes it so strong is the care she shows through the use of Persil.

Representation
This is the interesting one. For a modern audience this advert raises a lot of questions, and it is ripe for exploring. Does it reinforce the stereotype that a woman's place is in the home? Why? What is the woman's role here? How does this differ from that of her husband? Why does she keep looking down in such a submissive way? Is this all her life should revolve around, and should she be content with this? Is this the ideal woman, someone other women should aspire to be. Obviously this doesn't really fit with a modern view of the world, and a 1950s reading of the text would probably be much different, but are there echoes of this world view (and this hegemony) in the Persil advertising website? Bear all these questions in mind when you go into your exam, and you'll ace it!

Mr G.

Year 10 BTEC Homework - assessment task

BTEC Unit 7

Advertising promotion

Assignment 2

Analyse an existing Moving Image and Print advert for the same product. Go for a campaign and chose a TV ad and a print ad that are linked through the same campaign. Use the guidelines we worked through in class for the print ad analysis, (available on the blog – www.chorltonmediabox.blogspot.com) and then work through these similar criteria for the TV ad. There are lots of similarities, but obviously in moving image adverts Action, Narrative and Sound are crucial.

You need to present this as a PowerPoint presentation: your ICT skills will be crucial here. This is an important assessment for your BTEC unit and needs to be done to the best of your ability.

Deadlines: BTEC Diploma (MGA) Tues 15th Dec - you will be presenting them during the lesson.
BTEC Certificate (MGA) Thurs 18th Dec - you will be presenting them during the lesson.

Analysing Moving Image Adverts

Think about and discuss these areas:

Narrative – what is the story of the advert? Does it tell a story, or is it just a creative imaging of the product? (**it is unusual for there to be no story at all) How is this narrative designed to appeal to the audience?

Audience – what is the audience for the product? How do you know? Give as strong a picture of the audience as you can: age, sex, interests, social groups... Some adverts are targeted at a wide demographic, others are for niche products with a much narrower target audience.

Camera work and Editing – how is the advert edited? Does the audience see short, snappy shots, or does the camera linger? What kind of cuts and fades are used? How does the camera move in the advert? What angles and shot types do we see here? What is the effect on the audience?

Sound – what do we hear in the advertisement? Is it diegetic (actual sounds for filming, such as dialogue) or non-diegetic (sounds added in editing)? What is the effect of this on the audience? How does it link to the product?

Lighting – How is are the scenes lit? Is it bright? Dark? what are the meanings of this?

Colour – what is the significance of the colours used in the advert? (ie. red=danger/sex/passion, green=calm/peace, black=darkness/evil/mystery, white=good/peace, blue=cold/mystery, purple=passion/luxury/wealth, gold=rich/luxury...)

Representation – who or what is being represented in this advert? is this a fair and accurate representation? (based on what you know of the world)
Mise-en-scene – what props and other items are in the advert? what is their meaning? Why have they been put there?

and importantly...

What is the USP (unique selling point) of the advert? What’s special about what it’s selling?

Year 11 GCSE Exam - Persil Website

Persil Website

To go along with your own notes, I have annotated 5 pages from the site - use this as you revise to get your head round how Persil are advertising their products. We may have moved into the 21st century, but there are still clear similarities with their mum-focussed adverts of the 1950s and early 60s. Are Persil reinforcing traditional values and supporting women, or are they creating stereotypes and making a woman's place clear?

Mr G.