• Created by: holly6901
  • Created on: 29-09-20 11:38
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  • Tide
    • Media language
      • • Z-line and a rough rule of thirds can be applied to its composition.  
      • Bright, primary colours connote the positive associations the producers want the audience to make with the product. .
      • Headings, subheadings and slogans are written in sans-serif font, connoting an informal mode of address.
        • This is reinforced with the ‘comic *****’- style image in the bottom right-hand corner with two women ‘talking’ about the product using informal lexis (“sudsing whizz”).
      • The more ‘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
    • Representation
      • The dress codes of the advert’s main female character include a stereotypical 1950s hairstyle incorporating waves, curls and rolls. 
      • The headband or scarf worn by the woman also links to the practicalities that women’s dress codes developed during this time.
        • For this advert, having her hair held back connotes she’s focused on her work, though this is perhaps binary opposed to the full makeup that she’s wearing
      • It was made fashionable by contemporary film stars such as Veronica Lake, Betty Grable and Rita Hayworth.
      • The fashion for women having shorter hair had a practical catalyst as long hair was hazardous for women working with machinery on farms or in factories during the war. .
    • Audience
      • 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) domestic products of the 1950s continued to be aimed at female audiences. .
      • The likely target audience of increasingly affluent lower-middle class women were, at this point in the 1950s, being appealed to because of their supposed need for innovative domestic technologies and products.
      • The increasing popularity during the 1950s of supermarkets stocking a wider range of products led to an increased focus by corporations on brands and their unique selling points.
      • The likely audience demographic is constructed through the advert’s use of women with whom they might personally identify (Uses and Gratifications Theory). These young women are likely to be newly married and with young families (the men’s and children’s clothing on the washing line creates these connotations).
    • Theory
      • Semiotics - Roland Barthes
        • Suspense is created through the enigma of “what women want” and emphasised by the tensionbuilding use of multiple exclamation marks. 
        • Bathes’ Semantic Code could be applied to the use of hearts above the main image. The hearts and the woman’s gesture codes have connotations of love and relationships. It’s connoted that this is “what women want” (in addition to clean laundry!)
        • Hyperbole and superlatives (“Miracle”, “World’s cleanest wash!” “World’s whitest wash!”) as well as tripling (“No other…”) are used to oppose the connoted superior cleaning power of Tide to its competitors.
        • This Symbolic Code (Barthes) was clearly successful as Procter and Gamble’s competitor products were rapidly overtaken, making Tide the brand leader by the mid-1950s
      • Representation theory - Stuart Hall
        • the images of domesticity (including the two women hanging out the laundry) form part of the “shared conceptual road map” that give meaning to the “world” of the advert.
        • Despite its ‘comic *****’ visual construction, the scenario represented is familiar to the audience as a representation of their own lives.
      • Theory of Identity - David Gauntlett
        • women represented in the advert act as role models of domestic perfection that the audience may want to construct their own sense of identity against


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