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  /Title (media-studies-a-level-tide.pdf)
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  /Author (churger)
  /Subject (Media Studies A Level - Tide Cheat Sheet)
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    \vspace{-2pt}\large{\bf{\textcolor{DarkBackground}{\textrm{Media Studies A Level - Tide Cheat Sheet}}}} \\
    \normalsize{by \textcolor{DarkBackground}{churger} via \textcolor{DarkBackground}{\uline{cheatography.com/185877/cs/38829/}}}
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  \mymulticolumn{2}{p{5.377cm}}{\bf\textcolor{white}{Cheatographer}}  \\
  \vspace{-2pt}churger \\
  \uline{cheatography.com/churger} \\
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  \mymulticolumn{1}{p{5.377cm}}{\bf\textcolor{white}{Cheat Sheet}}  \\
   \vspace{-2pt}Published 20th May, 2023.\\
   Updated 20th May, 2023.\\
   Page {\thepage} of \pageref{LastPage}.
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  Measure your website readability!\\
  www.readability-score.com
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\begin{tabularx}{3.833cm}{X}
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\mymulticolumn{1}{x{3.833cm}}{\bf\textcolor{white}{Tide (1950) Advert}}  \tn
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\begin{tabularx}{3.833cm}{X}
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\mymulticolumn{1}{x{3.833cm}}{\bf\textcolor{white}{Key}}  \tn
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\mymulticolumn{1}{x{3.833cm}}{{\bf{P\&G}} - Procter \& Gamble (Tide's producers) \newline % Row Count 1 (+ 1)
{\bf{DMB\&B}} - D'Arcy Masius Benton \& Bowles (Tide's advertisers) \newline % Row Count 3 (+ 2)
{\bf{Bold writing}} indicates an importance to the information, {\emph{italics}} represents information that will likely gain you further marks but isn't necessarily important information. \newline % Row Count 7 (+ 4)
\textasciicircum{}Superscript\textasciicircum{} indicates a recap of a theory.% Row Count 8 (+ 1)
} \tn 
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\begin{tabularx}{3.833cm}{X}
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\mymulticolumn{1}{x{3.833cm}}{\bf\textcolor{white}{{\bf{Production Context}}}}  \tn
\SetRowColor{white}
\mymulticolumn{1}{x{3.833cm}}{-{}- PRODUCT CONTEXT -{}- \newline % Row Count 1 (+ 1)
P\&G is one of the world's biggest companies \& leading producers. \newline % Row Count 3 (+ 2)
Designed specifically for heavy-duty, machine-cleaning, {\bf{P\&G launched Tide in 1946 and it quickly became the brand leader in America}}, a position it still maintains today. \newline % Row Count 7 (+ 4)
-{}- CONTEMPORARY INFO -{}- \newline % Row Count 8 (+ 1)
{\bf{Tide is still the highest selling detergent brand in the world}}, with {\emph{14.3\% share of the global market.}} \newline % Row Count 11 (+ 3)
-{}- ADVERTISING -{}- \newline % Row Count 12 (+ 1)
DMB\&B advertising agency handled P\&G's accounts throughout the 1950s. \newline % Row Count 14 (+ 2)
DMB\&B's advertising campaigns for Tide had referred explicitly to P\&G because their market reach showed that {\bf{consumers had high levels of confidence in the company.}} \newline % Row Count 18 (+ 4)
DMB\&B used {\bf{print and radio advertising campaigns concurrently}} in order to {\emph{quickly build audience familiarity with the brand}}.  \newline % Row Count 21 (+ 3)
Both media forms (print \& radio) used the {\bf{housewife character}} and {\bf{ideology that its customers "loved" and "adored" Tide.}} \newline % Row Count 24 (+ 3)
-{}- BROADER CONTEXT -{}-  \newline % Row Count 25 (+ 1)
{\bf{Post-WW2 consumer boom of the 1950s - rapid development of new technologies for home}}, designed to make domestic chores easier (vacuum cleaners, fridge freezers, microwave ovens and washing machines all became desirable products for the 1950s consumer). \newline % Row Count 31 (+ 6)
} \tn 
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\mymulticolumn{1}{x{3.833cm}}{\bf\textcolor{white}{{\bf{Production Context}} (cont)}}  \tn
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\mymulticolumn{1}{x{3.833cm}}{Products linked to these new technologies also developed during this time - for example, washing powder.% Row Count 3 (+ 3)
} \tn 
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\mymulticolumn{1}{x{3.833cm}}{\bf\textcolor{white}{Examples of 1950's hair (2)}}  \tn
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\mymulticolumn{1}{x{3.833cm}}{As seen on Veronica Lake}  \tn 
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\begin{tabularx}{3.833cm}{X}
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\mymulticolumn{1}{x{3.833cm}}{\bf\textcolor{white}{Media Language}}  \tn
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\mymulticolumn{1}{x{3.833cm}}{-{}- COMMON CODES AND CONVENTIONS OF PRINT TEXTS -{}- \newline % Row Count 1 (+ 1)
{\bf{Visual codes}} (what will be discussed later) \newline % Row Count 2 (+ 1)
{\bf{Slogans}} \newline % Row Count 3 (+ 1)
{\bf{Persuasive language }}(use of hyperbole) \newline % Row Count 4 (+ 1)
{\bf{Narrative}} \newline % Row Count 5 (+ 1)
{\bf{Soft-sell technique}} (selling a lifestyle- in this case, stereotypical housewife character). \newline % Row Count 7 (+ 2)
{\bf{Hard-sell technique}} (aggressive language, directly telling you to buy the product) \newline % Row Count 9 (+ 2)
{\bf{Demonstration of product}} (product in action) \newline % Row Count 10 (+ 1)
{\bf{Logos and branding}} (familiarity) \newline % Row Count 11 (+ 1)
{\bf{Mode of address}} \newline % Row Count 12 (+ 1)
{\bf{Intertextuality}} \newline % Row Count 13 (+ 1)
{\bf{Product endorsement}} \newline % Row Count 14 (+ 1)
{\bf{Unique selling point}} \newline % Row Count 15 (+ 1)
-{}- INDUSTRY CONTEXT -{}- \newline % Row Count 16 (+ 1)
Print adverts from the {\bf{1950s conventionally used more copy than we're used to seeing today}}. \newline % Row Count 18 (+ 2)
Consumer culture was in its early stages of development and, with {\bf{so many 'new' brands and products entering markets, potential customers typically needed more information about them}} {\emph{than a modern audience}}, used to more advertising, marketing and branding, might need. \newline % Row Count 24 (+ 6)
-{}- HOW DIFFERENT ELEMENTS OF MEDIA LANGUAGE AND THE COMBINATION OF ELEMENTS INFLUENCE MEANING -{}- \newline % Row Count 26 (+ 2)
{\bf{Composition uses Z-line and a rough rule of thirds}}- your eye is constantly looking at something. \newline % Row Count 29 (+ 3)
{\bf{Bright, primary colours}} connote the {\bf{positive associations the producers want the audience to make with the product.}} \newline % Row Count 32 (+ 3)
} \tn 
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\mymulticolumn{1}{x{3.833cm}}{\bf\textcolor{white}{Media Language (cont)}}  \tn
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\mymulticolumn{1}{x{3.833cm}}{{\bf{Headings, subheadings and slogans are written in sans-serif font, connotating an informal mode of address}}. This is {\emph{reinforced with the 'comic strip'-style image}} in the bottom right-hand corner with {\bf{two women 'talking' about the product using informal lexis ('sudsing whizz')}} \newline % Row Count 6 (+ 6)
The more {\bf{'technical' details of the product are written in a serif font, connoting the more 'serious' }}or 'factual' information that the '1,2,3' bullet point list includes.  \newline % Row Count 10 (+ 4)
-{}- APPLYING THEORY -{}- \newline % Row Count 11 (+ 1)
Roland Barthes - Semiotics  \newline % Row Count 12 (+ 1)
\textasciicircum{}Theory recap: (1) the idea that texts communicate their meanings through a process of signification. (2) the idea that signs can function at the level of denotation, which involves the 'literal' or common-sense meaning of the sign, and at the level of connotation, which involves the meanings associated with or suggested by the sign. (3) the idea that constructed meanings can come to seem self-evident, achieving the status of myth through a process of naturalisation.\textasciicircum{} \newline % Row Count 22 (+ 10)
Suspense is created through the enigma of 'what women want' and emphasised by the tension-building use of multiple exclamation marks.  \newline % Row Count 25 (+ 3)
Barthes' Semantic Code {\bf{could be applied to the use of hearts above the main image}}. The hearts and the woman's gesture codes have {\bf{connotations of love and relationships}}, {\emph{it's connotated that }}this{\emph{ is 'what women want' (in addition to clean laundry).}} \newline % Row Count 31 (+ 6)
} \tn 
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\vfill
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\begin{tabularx}{3.833cm}{X}
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\mymulticolumn{1}{x{3.833cm}}{\bf\textcolor{white}{Media Language (cont)}}  \tn
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\mymulticolumn{1}{x{3.833cm}}{The {\bf{hyperbole and superlatives ('miracle', 'world's cleanest wash', 'world's whitest wash')}} as well as the {\bf{tripling 'no other'}} are used to {\bf{oppose the connoted superior cleaning power of Tide to its competitors.}} This {\emph{symbolic code was clearly successful as P\&G's competitor products were rapidly overtaken, making Tide the brand leader by the mid-1950s.}}% Row Count 8 (+ 8)
} \tn 
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\mymulticolumn{1}{x{3.833cm}}{Summary: \newline This section covers codes \& conventions of print advertisements, industry context of print advertisements, the composition \& typography, and applies Roland Barthes' Semiotics theory.}  \tn 
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\hhline{>{\arrayrulecolor{DarkBackground}}-}
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\mymulticolumn{1}{x{3.833cm}}{As seen on Rita Hayworth}  \tn 
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\begin{tabularx}{3.833cm}{X}
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\mymulticolumn{1}{x{3.833cm}}{\bf\textcolor{white}{Representation}}  \tn
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\mymulticolumn{1}{x{3.833cm}}{-{}- INDUSTRY CONTEXT -{}- \newline % Row Count 1 (+ 1)
In the 1950s, while {\emph{men were being targeted for the post-war boom in America's car industry}}, {\bf{women were the primary market for the technologies and products being developed for the home.}}  \newline % Row Count 5 (+ 4)
In advertising for these types of texts, {\bf{stereotypical representations of domestic perfection,caring for the family and servitude to the 'man of the house'}} became linked to a more modern need for speed, convenience and a {\emph{better standard of living than the women experienced in pre-war era.}} \newline % Row Count 11 (+ 6)
-{}- HOW SELECTION AND COMBINATION OF MEDIA LANGUAGE CONSTRUCTS REPRESENTATION OF GENDER -{}- \newline % Row Count 13 (+ 2)
The dress codes of the advert's main female character include a {\bf{stereotypical 1950s hairstyle}}, incorporating {\emph{waves, curls and rolls made fashionable by contemporary film stars such as Veronica Lake, Betty Grable and Rita Hayworth.}} The fashion for women having shorter hair had a{\emph{ practical catalyst as long hair was hazardous for women working with machinery on farms or in factories during the war.}} \newline % Row Count 22 (+ 9)
The {\bf{headband or scarf worn by the woman also links to the practicalities}} that women's dress codes developed during this time. For this advert, {\bf{having her hair held back connotes that she's focused on her work, though this perhaps binary opposes to the full makeup that she's wearing.}} \newline % Row Count 28 (+ 6)
-{}- APPLYING THEORY -{}- \newline % Row Count 29 (+ 1)
Stuart Hall - Representation \newline % Row Count 30 (+ 1)
} \tn 
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\vfill
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\mymulticolumn{1}{x{3.833cm}}{\bf\textcolor{white}{Representation (cont)}}  \tn
\SetRowColor{white}
\mymulticolumn{1}{x{3.833cm}}{\textasciicircum{}Theory recap: (1) the idea that representation is the production of meaning through language, with language defined in its broadest sense as a system of signs. (2) the idea that the relationship between the concepts and signs is governed by codes. (3) the idea that stereotyping, as a form of representation, reduces people down to a few simple characteristics or traits. (4) the idea that stereotyping tends to occur where there are inequalities of power, as subordinate or excluded groups are constructed as different or 'other' (e.g; through ethnocentrism).\textasciicircum{} \newline % Row Count 12 (+ 12)
The {\bf{images of domesticity}} (including the two women hanging out the laundry) {\bf{form part of the 'shared conceptual road map' that give meaning to the 'world' of the advert.}} Despite its 'comic strip' visual construction, the {\bf{scenario represented is familiar to the audience as a representation of their own lives.}} \newline % Row Count 19 (+ 7)
David Gauntlett - Identity \newline % Row Count 20 (+ 1)
\textasciicircum{}Theory recap: (1) the idea that the media provide us with 'tools' or resources that we use to construct our identities. (2) the idea that whilst in the past the media tended to convey singular, straightforward messages about ideal types of male and female identities, the media today offer us a more diverse range of stars, icons and characters from whom we may pick and mix different ideas.\textasciicircum{} \newline % Row Count 28 (+ 8)
{\bf{Women represented in the advert act as a role models of domestic perfection that the audience may want to construct their own sense of identity against. }}% Row Count 32 (+ 4)
} \tn 
\hhline{>{\arrayrulecolor{DarkBackground}}-}
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\mymulticolumn{1}{x{3.833cm}}{To summarise, this block covered the industry context of men and women being targeted for differently for products, the dress codes and how they are typical to 1950s through stars of that time and the new change of having women in the workplace, and finally the appliance of Stuart Hall's Representation theory and also David Gauntlett's theory of identity.}  \tn 
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\mymulticolumn{1}{x{3.833cm}}{\bf\textcolor{white}{Example of 1950's hair (1)}}  \tn
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\mymulticolumn{1}{p{3.833cm}}{\vspace{1px}\centerline{\includegraphics[width=5.1cm]{/web/www.cheatography.com/public/uploads/churger_1684589886_image_2023-05-20_143804476.png}}} \tn 
\hhline{>{\arrayrulecolor{DarkBackground}}-}
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{3.833cm}}{As seen on American film-star Betty Grable}  \tn 
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\begin{tabularx}{3.833cm}{X}
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\mymulticolumn{1}{x{3.833cm}}{\bf\textcolor{white}{Audiences}}  \tn
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\mymulticolumn{1}{x{3.833cm}}{-{}- HOW MEDIA PRODUCERS TARGET, ATTRACT, REACH, ADDRESS AND POTENTIALLY CONSTRUCT AUDIENCES -{}- \newline % Row Count 2 (+ 2)
{\bf{Despite women having seen their roles in society change during the war}} (where they were needed in medical, military support and other roles outside of the home) {\bf{domestic products of the 1950s continued to be aimed at female audiences.}} \newline % Row Count 7 (+ 5)
The likely target audience of increasingly {\bf{affluent lower-middle class women}} were, at this point in the 1950s, {\bf{being appealed to because of their supposed need for innovative domestic technologies and products.}} \newline % Row Count 12 (+ 5)
The increasing popularity during the 1950s of {\bf{supermarkets stocking a wider range of products led to an increased focus by corporations on brands and their unique selling points.}} \newline % Row Count 16 (+ 4)
The likely {\bf{audience demographic is constructed through the advert's use of women with whom they might personally identify}} ({\emph{Uses \& Gratifications theory}} \textasciicircum{}non-essential theory, but still useful to learn and apply\textasciicircum{}).  \newline % Row Count 21 (+ 5)
These young women are {\emph{likely to be newly married and with the young families (the men and chin's clothing on the washing line creates these connotations).}} \newline % Row Count 25 (+ 4)
The {\bf{endorsement from 'Good Housekeeping Magazine'}} makes them an {\bf{Opinion Leader for the target audience}}, reinforcing the repeated assertion that Tide is the market-leading product.  \newline % Row Count 29 (+ 4)
The direct mode of address of the images in the top right and bottom left-hand corner link to the {\emph{imperative 'Remember!' and the use of personal pronouns 'your wash', 'you can buy'.}} \newline % Row Count 33 (+ 4)
} \tn 
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\vfill
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\mymulticolumn{1}{x{3.833cm}}{\bf\textcolor{white}{Audiences (cont)}}  \tn
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\mymulticolumn{1}{x{3.833cm}}{-{}- APPLYING THEORY -{}- \newline % Row Count 1 (+ 1)
Stuart Hall - Reception (NOT representation) \newline % Row Count 2 (+ 1)
\textasciicircum{}Theory recap: (1) the idea that communication is a process involving encoding by the producers and decoding by an audience. (2) the idea that there are three hypothetical positions from which messages and meanings may be encoded. (3) the dominant-hegemonic position (preferred reading): the encoder's intended meaning is fully understood and accepted. (4) the negotiated position: the legitimacy of the encoder's message is acknowledged in general terms, although the message is adapted or negotiated to better fit the decoder's own individual experiences or context. (5) the oppositional position: the encoder's message is understood, but the decoder disagrees with it, reading it in a contrary or oppositional way.\textasciicircum{} \newline % Row Count 17 (+ 15)
The{\bf{ preferred reading}}(Stuart Hall) of the advert's reassuring lexical fields ('trust', 'truly safe', 'miracle', 'nothing like') is that {\bf{despite being a new product, Tide provides solutions to the audience's domestic chores needs.}} \newline % Row Count 22 (+ 5)
The indirect mode of address made by the woman in the main image connotes that {\bf{her relationship with the product is of prime importance}} (Tide has what she wants). This, according to Hall, is the {\bf{dominant or hegemonic encoding of the advert's primary message that should be received by 'you women'.}} \newline % Row Count 29 (+ 7)
George Gerbner - Cultivation \newline % Row Count 30 (+ 1)
} \tn 
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\mymulticolumn{1}{x{3.833cm}}{\bf\textcolor{white}{Audiences (cont)}}  \tn
\SetRowColor{white}
\mymulticolumn{1}{x{3.833cm}}{\textasciicircum{}Theory recap: (1) the idea that exposure to repeated patterns of representation over long periods of time can shape and influence the way in which people perceive the world around them (i.e. cultivating particular views and opinions). (2) the idea that cultivation reinforces mainstream values (dominant ideologies).\textasciicircum{} \newline % Row Count 7 (+ 7)
{\emph{Advertising developed significantly during the 1950s}} and this theory, developed by Gerbner in the early 1970s, explains some of the ways in which audiences may be influenced by media texts such as adverts. The {\bf{Tide advert aims to cultivate the ideas that: this is the brand leader; nothing else washes to the same standard as Tide}}; it's a {\bf{desirable product for its female audience; and its 'miracle suds' are an innovation for the domestic washing market}}.  \newline % Row Count 17 (+ 10)
Gerbner's theory would argue that the repetition of these key messages causes audience sto increasingly align their own ideologies with them (in this case positively, creating a product that 'goes into more American homes than any other washday product').% Row Count 23 (+ 6)
} \tn 
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\mymulticolumn{1}{x{3.833cm}}{Summary: \newline Context for audience of that time, targeting methods for women are the same despite the developing role of women, the use of the women in the advert used as 'ideal' females and ones that the audience may personally identify with, endorsement from 'Good Housekeeping Magazine', and finally applying Stuart Hall's Reception theory and George Gerbner's Cultivation theory.}  \tn 
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% That's all folks
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