‘This is America’- Childish Gambino

The music video begins with an establishing shot of an empty warehouse and the video starts as the man sits down and begins playing the guitar. Donald Glover is then introduced from the blurry background. Donald is dancing dramatically and his stance mimics that of the minstrel character Jim Crow- the origin to describe pre-civil rights laws. His erratic dancing is used in order to distract the audience from what is going on in the background, something which is done throughout the entire video. His facial expressions creates a connection to minstrel shows which was a form of entertainment in early 1800’s used to mock black people.

Donald pulls out a pistol and shoots the man playing the guitar. ‘This is America’ video demonstrates violence and racism in America. Donald begins dancing as school children join him, showing that they are growing up the same way as him. This is reinforced by the use of dancing in the foreground contrasted with the violence going on in the background by children dressed in school uniform. Donald enters a room with a choir singing, which is ruined by Donald being thrown a machine gun and killing all of them. This portrays an escalation of violence and the belief that death is normalised as well as the death of talent. There is a short glimpse at an abandoned police car with people running towards it with various weapons, symbolising the police overlooking violence on the black community and possibly portraying that police are a huge part of why it’s such a problem.

The camera subsequently pans round to young people using their phones, something which recently have been used to record and capture police violence between members of the black community and police brutality. Then the camera pans back round to Donald, with even more violence in the background reflecting the amount of chaos one person could cause. At one point there is a horse galloping past in the background, mirroring the ‘horsemen of the apocalypse’. This could also represent either the contrast between the horse and cars, further reinforcing the thought that society is going back in time or this could also portray police horses that control crowds of people particularly at protests. The video then ends with Donald running from an unknown presence that many others also appear to be running away from, which could reflect violence and how it will eventually catch up to people.

‘Hard out here’- Lily Allen

The song depicts Lily being put under pressure by her record label to look perfect. She challenges the attitudes of pop culture and reinforces the image of feminism. The music video begins with Lily herself on the operating table, this use of personification implies that it is music artists which are made to be ‘perfect’ by their managers and people above them. This role is played by an older white man, therefore suggesting the sexist and racist industry within music is prominent and not talked about enough. Lily is getting a liposuction in order to “fix” her face and body otherwise she will “end up on her own”. She is even wearing makeup whilst on the operating table highlighting the constant message that all women have to always look appealing.

There is a TV above the operating table with backup dancers, and this also represents the constant ‘perfect’ image is always there. Then Lily joins the stereotypical music video with the back-up dancers which symbolises her being a part of pop culture’s expectations. Alternatively, this could portray through the use of a stereotypical music video that she is being controlled by her record label and is not able to make her own ideas. This is followed by a scene with Lily washing car rims, underlining the two stereotypical roles of men and women, and that her duty is to ‘serve’ men by washing up.

“Inequality promises that it is here to stay, always trust the injustice because it’s not going away”. These lyrics in the song summarise the entire message that sexism and racism are common attitudes in the media. She calls out Miley Cyrus and Robin Thicke due to their previous experiences with the unnecessary sexualisation in the music industry. The use of back-up dancers in the video twerking presents how this sexualisation has therefore become normalised. The music video and song is far more explicit than any other song about the topic, showing Lily’s pure frustration with how women are portrayed and the false messages they consequently send to their fans.

‘Question Time’- Dave

Dave addresses the subsequent suffering due to the rich older upper class being more involved with politics than young working class people. “Question Time” is named after the BBC show where they interview and question top politicians. Dave questions these politicians directly about their motifs and intentions to the British people. This entire song challenges the stereotype that millennials don’t know and aren’t concerned about politics, a common belief that is inaccurate.

Dave tells a story through many different perspectives, something which politicians lack to do. He raps about the fact that there are children dying in Syria, and that our own drone strikes kill so many civilians. The lack of knowledge and understanding behind this contrasted with terrorist attacks in this country is an issue which is very rarely discussed.

Dave sits down in order to make the story more personalised as he explains the government’s poor treatment of nurses who care for other people. That NHS nurses work long hours and still get little pay for this. This is something which Dave has experienced as his mother was a nurse. He mostly criticises and directs his questions towards members of the Conservative party- the more upper class party. He says “people who can’t ever understand what it’s like to live life like you and me”, representing the Conservatives as privileged and the contrast between this and the working class people being more caring.

In the background of the video there are multiple projections of scenes from black lives matter protests, Brexit, police, NHS staff and the press (Charlie Hebdo). This presents multiple different issues which are overlooked in terms of funding for the country. Dave also address Grenfell Tower, which when this video was released only happened a couple of months prior. He talks about the prime ministers refusal to meet victims and the overall lack of care given by the governments care in relation to so many people’s lives. He also addresses other politicians such as Jeremy Corbyn, asking him to prove he is different to the other MPs before. He makes references to Edson Da Costa and Rashan Charles’ deaths who were two young black men detained by police in London. He briefly mentions the racism surrounding Trump but mainly focuses on British politics.

‘Borders’- M.I.A

The song was released around the time of the Brexit debate and other political issues such as the refugee crisis. In a previous song by M.I.A called “ATENTion”, which is also about refugees, she says “my intent is to let you know what’s important”. In this music video, she presents herself as a social commentator telling the audience the issues surrounding refugees. When she was 9, she fled Sri Lanka with her family to London so M.I.A has a personal experience as to what it’s like to be a refugee.

Many of her music videos include mothers and children but in this particular video she has decided to include almost all men. This is done because of the constant prejudice against particularly male refugees as terrorists and ‘job takers’ which is contrasted by the message of innocence and desperation in the video.  There are singular shots throughout the video to represent each person individually and not as a collective. She then presents these refugees as a mass, much like how they presented in the media, and they climb fences to spell out “LIFE”. The word “life” portrays the importance of living and everyone’s right to be free.

There are multiple scenes with people packed on boats and a human sculpture like a boat, this highlights the hidden amount of people going through this and the lack of awareness surrounding it. In every scene with refugees, M.I.A is seen to be wearing fashionable clothing, contrasting the dull clothing of everyone else. The use of colour and clothing in this video represents the privileged life that others live in comparison to the misery suffered by many to get to freedom. She underlines the gaps in liberal-leaning pop culture with its representation of empowerment and acceptance. The repeated use of “Whats up with that?” shows a direct question to the audience as she stands in front of the representations of refugees.

‘Same Love’- Macklemore

The song and video is a promotional anthem for LGBT rights. It was released in 2013, but same sex marriage wasn’t legalised in America until 2015. The video evaluates the damaging impacts of homophobia and false stereotypes surrounding the gay community. This also reflects how it effects their relationships and the wider society.

The first live performance of the song drew a focus towards conservatives who launched attacks against the video and branded some liberal colleagues as “bizzare”. This adds to the form of homophobia which is talked about throughout the video. The controversy actually helped the track become more popular in the charts but there was an attempt at a petition being made in order to stop Macklemore from playing the song.

The beginning of the music video shows scenes of a baby being born which creates a personalised and stronger emotional connection between the viewer and the video. There are various scenes of the parents holding the child’s hands which is contrasted by the gay couple at the end of the video also holding hands. After this it shows images of churches and weddings that further represents love and understanding, this also foreshadows the ending. The focus of narrative is that of a teenage boy struggling to come to terms with the realisation that he is gay, there are scenes of him at a party as well as him arguing with his mother. Both of these scenes portray him growing as a person and finding himself through the pain and confusion. The repetitive comparison between the LGBT flag and the American flag produces the message that we are all the same and therefore should have the same values.

• The music videos from a contextual point of view is an important promotional tool used by the music industry to market performers and their music.
• The video is used to anchor and interpret the meaning of a song
• Music videos can differ in style too- some are story orientated, some show live performances
• It helps create a ‘star persona’ for the performer
• It adapts/develops the image of a more ‘established’ performer.

What is a ‘star persona’?

Richard Dyer states that a star is ‘more than talent, beauty, glamour and charisma’. A star is not the same as a person. It is an audience and a representation constructed to appeal to an audience. The ‘star’ may not have any resemblance to the person behind its construction.

Ideas for music videos

• What is the focus of the video? Does it tell a story?
• Locations/Costumes/Props used
• Is the performance from the star? Or is it an actor?
• What are the lengths of the shots?

Ordinary People- Bugzy Malone

• Begins with young boy stuck in an exam hall in school uniform, with close ups of people around him. Shows scenes at school through the corridors & students with the boy on his own
• Bugzy Malone chorus- Scenes of boy at home, shows poverty stricken family, close up to elements of messy room. Listening to music, writing stuff down.
• Also shows streets, boy walking down the street to football practice with drug dealing going on & rough streets- close-ups of guns being concealed.
• Ends with him performing the studio

Friends- Anne Marie Music video ideas

• Starts with a boy & a girl walking down the street, in a restaurant together having a meal
• Cuts with them walking and dancing on a beach, cutting back and forth to scenes where they are at school together.
• They go to a party together playing the song.
• Fighting scene towards the last verse outside the party

Theorist 1: Simon Frith

He is a british sociomusicologist, he believed that music videos could be seperated into categories and identified three types of music videos:

• Narrative
• Performance
• Conceptual

(Some videos may include more than one of these)

Narrative

A music video which features a storyline that relates to the songs lyrics in some way. It can be in the form of linear/non-linear structures

Linear structure– most narratives adopt this structure. ‘A team’ by Ed Sheeran is an example of this

Non-linear/fragmented structure– ‘Photograph’ by Ed Sheeran is an example of this, there are jumps in time and the structure isnt defined.

This may involved the performer playing themselves or a character.

Or may include actors performing in the video. e.g. ‘I really like you’ by Carly RJ

The production values may be high depending upon the status of the performers- although this isnt always the way.

• There are often a lot of close-ups and POV shots to involve the viewer.
• Engimas often used- maintain attention of the audience.

Performance

Music videos which feature a performance from the artist(s)

This could be in the form of:

• Shot from live performances
• Lip-synched performances
• (a mixture of both) e.g. Cigarette by RAYE,Mabel & Stefflon Don

Codes & Conventions of performance music videos?

Today, many music videos inlcude live performances as part of the video. This is done mostly for either two reasons; 1) For a band to demonstrate their musical skill ; 2) Other artists may use it to develop their star persona and attract a wider audience.

Codes and conventions of Performance video sub-genre inlcude:

• Clips from live performances, with shots of both the artist and audience. This gives the audience a sense of involvment and atmosphere. Shots can also include the artists ‘warming up’ before shows to give the audience access to a more personal view of the performers
• Close-up’s of the performer who may have a direct mode of address to engage with the audience. Music videos with direct interaction with the audience are reffered to as a ‘spectacle’.
• Close-up’s may be a form of iconography, which suggests the music genre or theme of the song. Sometimes artists have a particular recognisable motif that is echoed throughout the video.
• To add to entertainment value, the artists may perform in unusual places and will be lip-synced e.g. on roof tops, in fields, etc

Conceptual

This is a style of music video that is based around a concept/idea. They often tend to be fairly unique or utilise a particular editing or filming technique.

The importance of conceptual music videos is that they are dramatic and try to convey a message by being metaphorical- not a direct relationship between the lyrics.

e.g. ‘Elastic Heart’ by Sia which relates to father/daughter relationship.

Social, Cultural & Political Issues- Stereotypes

Stereotypes are prominent in music videos. However, some music videos work to challenge stereotypes.

Examples of this include:

Elderly People- (Modestep-Sunlight) There are still elements of stereotypes of young people where they are seen as stealing, partying & taking drugs.

Young People- (Dizzee Rascal-Love this town) where young people are seen as vandals but are actually helping people instead.

Rep. of women-(Jess Glynn- Thursday) She challenges stereotypes of women and how they portray themselves in terms of beauty & mental health.

Rep. of men- (David Bowie- Life on Mars?) Presents Bowie himself wearing makeup, as well as showing emotion in the video.

Media Language

The water-aid advert reinforces charity advertisement conventions which link to key information. There is a personalised narrative which this information is relevant. As well as a direct appeal to the audience for money in order for them to help. However the advert goes against the typical codes and conventions of charity appeals where it lacks a non-diegetic voiceover and black and white visual codes, perhaps suggesting the happiness and hope that Claudia has.

• The opening scene includes a medium shot (a pull focus) between the digital radio and the rain against the window- therefore establishing to the audience that the advert is starting in a modern, British setting. One which the audience would be familiar with.
• It is suggested that the scenes occur at the same time, contrasting the difference between British and African weather
• The visual and audio codes work together to construct a narrative of “sunshine” (in Africa) on a ‘rainy day’ (in Britain) with the associated with the issues with drought and the aims that the charity is trying to relieve.
• Theoretical Perspectives– Suspense is created through the enigmatic use of slow-motion, medium close up, low angle tracking shot of Claudia’s feet & bucket is used in order to produce rhythm with the song she is singing. This is shown with the on-screen graphic of a water pump appearing (Barthes’ Proairetic Code)
• Dress Codes- Main female character includes stereotypical knee-length skirt with a pink colour palette.
• Her age is similar to many other young women walking past her throughout the advertisement, therefore she isn’t experiencing this alone- and there are many more people like her that need help.

Representation

Stuart Hall’s theory of representation-

The advert depicts scenes of dry, dusty African environments which many people like Claudia are struggling to survive. Therefore this forms the perspective of “shared conceptual road map“, giving the meaning to the “world“.

The positive audio codes then contrast stereotypical charity advertisements, the audience consequently creates enigmas as to why Claudia is so positive about her situation. The enigma is then solved at 01:00 when we see the water pump, this is when it first becomes clear to the audience the type of advert this is.

David Gauntlett’s Theory of identity-

Claudia acts as a role model for the type of lifestyle that the audience could be responsible. The audience also feel sympathy for such a positive soul and are more inclined to donate.

Audience

Target audience demographic is connoted through the adverts inclusion of a young woman-personal identity (Uses & Gratifications Theory). Parents may feel sympathy for the children represented in the advert. Water-Aid acts as an opinion leader (for the target audience) who presume the “650 million people..” statistic is reliable.

Unconventionally, the use of positive visual codes, audio codes & representations give the advert a form of unique selling point. That the charity are looking at the positive changes it is making through previous donations.

Stuart Halls Reception Theory-

The use of a hand-held camera & indirect mode of address made by the main character Claudia connote the audience is following her story as she tells it through visual codes shown throughout the advert. The fact that Claudia is named presented a more personalised narrative as well as the preferred reading to the audience that she is a real person.

Media Language

•  The capitalised serif font of the title creates connotations linked to the vampire film genre with its ‘wooden’ styling and blood dripping from the letter V (referencing a fang)
• Use of a painted main image highly conventional of films of the period.
• Use of gloomy grey, black and brown colour palette reinforces the films dark and scary conventions.
• There is a hook in order to persuade the audience to see the film.
• Posters contain enigmas to encourage audience to answer unsolved questions that the audience have to the film poster.
• 1960’s audience for this advert could be assumed to be familiar with the codes and conventions of a ‘monster’ movie film poster. Factors such as the composition, fonts and representations.
• The central image includes the representations of the vampire and the typically female victims.

Representation

Stuart Hall’s Theory of representations

The images of a castle, bats and the vampires capes form part of the “shared conceptual road map”. The audience is actively encouraged to decode this familiar generic iconography.

The stereotypes constructed by the film are positive because it portrays the vampire as strong and power further intensified by the fact he is only holding her by one arm. However, this also presents the women as sexualised as they are wearing pale dresses in order to highlight the curves of their bodies. Gesture codes of the woman on the left portrays a passive vicitm.

David Gauntlett’s Theory of identity

Representations of women differ from historical beliefs that the victims are typically women because they are weak and vulnerable. The female vampire acts as a role model for women struggling against male oppression or desperate to be seen as equal to men, no matter the narrative or environment.

Media Language

• The print advert is aimed at women who have domestic responsibility and chores within the home, this is shown by the central image being of a lower middle class woman of the period.
• The layout on the print advert suggests that the women who purchase the product will love the results- further presented by the love hearts and the gesture that the woman is hugging the product.
• Language is used in the print in order to pursuade the audience, headings and subheadings have been used in a sans-serif font, therefore connoting an informal mode of address to the target audience. This is further demonstrated by the print presented in a comic-strip style with the two women at the bottom discussing informally about the results of the product.
• The advertisement includes bright colours that portray the positive associations that the producers want the consumers to have with the product. The woman appears to reflect the colour scheme with a yellow tint to her skin, relating to the main colours associated with ‘Tide’. The background colour is white reflecting the ‘whitewash’ and clean result.
• Technical codes related to the product show the more ‘factual’ information written in a serif font.
• At the time the advert was created, it was not generated for a modern audience, the attitudes and beliefs are outdated. In the post-war boom of 1950 many new technologies were developed and these before long became desirable products and a symbol for status in refference to the American Dream.

Representation

Stuart Hall’s Theory of Representation

This type of advertising uses stereotyping specificaly related to the ideas of the time period. The key beliefs reflected in this print is the form of women being domestic and obsessed with products which benefit them in this enviroment. The woman is the centre image which mirrors the target audience of the advert. The disregard of men in the advert suggest the belief of women doing typical roles within the home and men doing hard labour or fighting at war.

The stereotypes related to the advert are both positive and negative as they represent women as organised and tidy. However, these stereotypes can also portray women of the time period as ‘simple-minded’ by the use of primary colours mainly assosicated with children.

Images of domesticity (inclusion of women hanging out the laundry) reflects worlds opinions at the time. Despite the comic strip visual construction, scenario represented is familiar to the audience.

David Gauntlett’s Theory of Identity

A modern audience would disagree with the representations of women as it greatly differs from current beliefs of the roles of men and women in todays society. There is a lot more copy on this advert than we would expect to see on modern ones, this is because there were a lot of new products appearing on the market combined with technological developments.

Women were represented in the advert to act as role models of domestic perfection

Women were still generally judged by their appearances , and therefore manny adverts uses representations to concentrate on sexuality and emotions and narratives based upon relationships.

Audience

The audience of the time period were targeted by this advert through the use of portrayals of women and the satsfied results that Tide give. Audiences would have trusted the advertisement due to the endorsement of ‘Good Housekeeping’ which would have related to the target audience and convinced the effectiveness of the product.

Stuart Hall’s Reception Theory related to audience

The use of indirect mode of address made by the woman in the main image illustrates that her relationship that she has with the audience is of prime importance (Tide products has what she needs/wants). This, is the dominant/hegemonic encoding of the advert’s primary message.

The direct mode of address of the images (top-right/bottom-left corners) link to imperative “remember!” and use of personal pronouns “Your wash” etc.

George Gerbner Cultivation Theory

Tide advert aims to cultivate ideas that “nothing washes the same as Tide”, its a desirable product. Advertising strategies changed dramatically during the 1950’s, portrays that Tide is a innovative product with a unique selling point.

Task One

McDonalds 2018 Advert

This advert focuses on an 17 year old student named Rebecca, aspiring to go to university. They own the latest smart phones and recreational apps. They would describe themselves as sociable and have a large friendship group. Their typical hobbies would include football and anything to do with social networking. They grew up in a sub-urban environment and enjoy both the countryside and cities.

Gala Bingo 2018 Advert

This advert is tailored to a middle aged mother named Karen with two children. She is of lower middle class and watches a lot of daytime television, particularly soap operas. She lives in a semi-detached house in an urban environment, she is religious, and works during the weekday.

Barclays Lifeskills 2018 Advert

This advert is targeted towards working class everyday young people who have finished college and are looking for a future career. They are committed on one career that they aspire to be a part of, typically the military or emergency services. At school they were extremely academic, and focused strongly on education.

Fairy 2018 Advert

Claire, 52 from Selsey is being addressed by the company for middle aged mothers who are family oriented. They are domestic, and have potentially either an office or a work-from-home job. They live in a modernised family household in a sub-urban town and are married with children. They are perfectionists and shop for quality products.

Alton Towers 2018 Advert

These people are mostly teenagers or recently graduated students. They enjoy creative subjects in their free time and spend almost all of their time with their friends. They grew up in an urban city and has a small part-time job to enables them to meet with friends often. They are thrill seekers who like to try new things and enjoy adrenaline rushes, their favourite film genre would typically be horror films as a result of this.

Nike London 2018 Advert

Nike aimed this advert at late teens/early 20’s males who live around and are familiar with the London area. They are of working class, and are actively involved with social media. They enjoy trendy items and aren’t very materialistic although they would like to be. They have a large group of friends who all share the same interests as them. They like participating and watching various different sports and are part of pop culture.

Aviva 2011 Advert

The advert looks at a middle class male named Boris in their late 40’s/early 50’s with relatively young children. They all live together and are family oriented. Both parents have relatively well-paid jobs with the weekends off. They go on family holidays each year abroad and the children have a chance at university.

Emirates 2018 Advert

Alexander, 32 from Kent is academic, focused and achieved high at school. The advert is aimed at a mid-30’s middle class man who is very work-oriented and dedicated. He is well travelled and has a well-paid job which takes up a lot of his time. He is a businessman and as a result dresses smart.

Task Two

On one side, audience profiling can be used in order to establish clearly the intended target audience to a viewer. However, being too precise with this type of marketing can lead to many complaints and concerns among the public. Advertisers have to take control of the products they are selling and make careful decisions around the choices they decide to make. In some cases, stereotyping of typical consumers of that product are made due to its advertising, for example: the fairy dishwasher brand shows white mothers promoting their products, when in reality the product is inclusive for everyone.

Stereotyping of a consumer can become discriminatory, and this controversy can extremely damage the company profit-wise for a long period. Many people may feel like they cannot associate with a product due to its main ‘target audience’ or previous controversy that surround it. Over the years there have been many different campaigns to end racism/misogyny in the media industry. Companies’ reputations have been damaged greatly by this, with H&M being an example of this. In January 2018, H&M released an advertisement for a hoodie, with a black child modelling- the hoodie had the words “coolest monkey in the jungle”. H&M later suffered enormously for this use of clear prejudice, H&M reported financial struggles after the incident, with profits dropping as low as 60% for the first quarter of 2018. As a consequence, many celebrities who promoted the brand before, such as (The Weeknd & G-Eazy) have now cut ties over the massive backlash.

kiss-of-the-vampire

Product Context

Produced by Hammer Film Productions and distributed by J. Arthur Rank and Universal, Kiss of the vampire was intended to be the second sequel to the 1958 Dracula. Although the films script actually has no reference to this, perhaps to distance itself from the unfavourable comparisons to the superior Christopher Lee who starred in the film.

Historically, 1963 saw the early stages of ‘Beatlemania’ and the so-called ‘swinging sixties’, the assassination of JFK and the Soviet Union launching their first woman into space.

Cultural Context in relation to media language

1960’s audience for this advert could be assumed to be familiar with the codes and conventions of ‘monster movie’ film posters due to its composition, fonts and representations of ‘the monster’ and (usually female) victims.

Codes and Conventions

• Serif-font of the title creates connotations linked to the vampire film genre with its styling. (Further referencing the vampires coffin or the stake needed to kill him?). and the blood dripping from the letter ‘V’ referencing a fang.
• Use of  a painted image is highly conventional of films of the period, links to the poster for Christopher Lee’s Dracula.
• Gloomy Grey, black and brown colour pallete reinforces the films dark and scary conventions while red highlight colour draws attention to the attacking bats, it could also reference blood.

Political and social contexts in relation to representations

The 1960’s often portrayed as the start of women’s sexual liberation, aided by the events such as the introduction of the contraceptive pill in 1960. More women than ever were entering the paid workforce and feminists were campaigning for equal pay. In America, equal pay legislation was passed in 1963.

Both women wear pale dresses make of light materials, these dresses serve to reinforce their femininity by highlighting the curves of their bodies.

Gesture code of the woman on the left is that of the stereotypical passive victim of the ‘monster’ his power highlighted by the fact he is holding her with one arm.

water-aid

Product Context

The charity Water-Aid (established in 1981) as a response to a United Nations campaign for clean water, sanitation & water hygiene education. Created by Atomic London in October 2016 this advert stars a 16- year old Zambian student Claudia and aims to show how communities benefit from clean water by depicting everyday chores.

Cultural Context in relation to media language

• After the 1984 ‘Do they know its Christmas?’ single for Band-Aid. This was the first global charity event aiming to raise funds for relief of the ongoing famine in Ethiopia. The comic relief was launched with the same initial famine relief aim, and went on to raise over £1bn for charitable causes across Africa and in the UK.
• Genre- Water aid advert reinforces charity advertisement conventions by including key information about the concern, a personalised narrative. However it explores a non-diegetic voiceover and black & white visual codes could all be seen as unconventional of this advertising sub-genre.
• Codes & Conventions- Opening medium shot with a pull focus between digital radio and the rain against the window establishes the advert in a modern, British setting.
• Visual & audio codes work together to construct a narrative of ‘sunshine’ 9in Africa) on a rainy day (In Britain). With associated problems of drought and ‘lack of access to clean drinking water’

Social Context in relation to representations

Launching the Rain For Good campaign, Water-Aid said that it had ‘deliberately broken away from the traditional charity ad formula’.

The stereotypical ‘victim’ needing our help is an archetype with which the audience would be familiar from many other charity adverts. This would perhaps make the more positive representation of Claudia as a healthy, independent and musically talented woman stand out to an audience who might otherwise become immune from the emotive representations conventionally deployed by this advertising sub-genre.

Social and cultural context in relation to audience

In December 2016, the advert had been viewed roughly 47,000 times on YouTube and actively encourages the sharing of the advert through social networks. Further evidence that the likely target audience are literate with technology is that donations are encouraged through the imperative to text a number. The advert cover of Zoe’s 1990 song “Sunshine on a rainy day” could indicate that the target audience are in their 30s-40s and get pleasure from the nostalgic value of hearing a song which they’re familiar.

• Audience demographic is constructed through the advert’s use of a young woman with whom they might personally identify (Uses & Gratifications Theory). Parents might make similar readings, identifying empathetically with the ‘better life’ Water Aids clean water provides for the children.
• Opinion Leader for the target audience who would assume the “650 million people…” statistic is true and reliable.
• Unconventionally positive visual codes, audio codes and representations would, give the advert some unique selling points compared to other charity appeals

A criticism of these programmes and charity campaigns is that, in order to raise money they only offer negative representations in order to elicit an emotional response from the audience. Water-Aid presents a more positive representation, highlighting how the money spent and the effect of clean water on a community.