Newspaper

Component 1A- you will look at the set editions of the Times or Daily Mirror. (Trump elected president).

Component 1B- Newspapers in general- industry and audience.

To what extent do representations in these newspapers make claims about realism?

Knee Jerk: 

To a great extent. 

Both the times and the metro make explicit claims that the representations of issues and events on their front covers are 'real'. Representations are a 're-presentation', where a person, issue of even is 'shown again' by the producer for ideological purposes. However, EVERY representation is in the favour of the producer's ideologies. Representations however can cause harm to the audience, and in particular the group who are being represented. The Times, published on 10th November 2016 by Newscorp, a subsidiary of News International. The Metro is a tabloid free newspaper published by DMG media, a broadly rightwing conglomerate which also publishes the mail and the mail online.

Plan:

Verisimilitude (The appearance of being true or real).

Broadsheet

Tabloid

Bias by selection

Bias by commission

Mise-en-scene

Z-line reading

Anchorage

Intertextuaity

Composition

Stuart Hall- Representation

Polysemy

Semiotics

Hard and Soft news

Stereotypes

Agenda

San-Serif

Serif

D- Definition

A-Argument

C-Context

Trump is a populist. He appeals to a lot of people.

Focus on knife crime

Metro

"Four are knifed in random attacks"

Stereotypical tabloid mode of address. The mid shot of the main image anchors the target audience by using intertextuality to the genre of crime shows such as Dexter or CSI. 

Main headline story focusses on the issue of youth knife crime in the UK. A moral panic which is currently affecting the UK. 

Headline lexis uses classical tabloid hyperbole, for the purpose of constructing fear into the audience or perhaps an exciting narrative.

Choice of language, for example 'knife' and 'attacks' and 'random' is symbolic of the issues that target the working class audience.

There are problems with constructing representations like this. Can manipulate the audience by reinforcing hegemonic ideological perceptions of black teenagers.

Heading 'don't be an april fool' constructs may as an idiot, demonstrating the ideology and it's political bias.

Binary opposition constructed through the hard news of the knife crime and the soft news of the article about the vamps.

A range of bright colours and bold text, with the conflict once more between soft and hard news.

Representation and construction of knife crime in an exciting and dramatic manner presents a hyperreal and dramatic narrative.

Ethical perspectives.

Times

Symbolism of the american flag constructs Trump as a nationalist, which is combined with the iconography of his clenched fist reinforces this ideology.

Anchorage of 'you will be so proud' demonstrates right wing ideologies of the nwspaper, a hyperbolic construct that attempts to convey a realist, yet misleading representation to the audience. 

The preferred reading of this article will view this with happy and a proud reception. Where as the oppositional reading will see the Mise-en-scene of this article as cultivating and false news.

Choice of font. Serious, serif, with connotations of middle class aspirations and sophistication, allowing the target audience to identify with the event.

Highly atypical format and layout suggests to the audience the signifcance an momentousness of the event, an event so important it takes up both the font and back cover.

Takes a post colonial perspective, where america is seen as being the most important county of all.

Takes an ethnocentric viewpoint, favouring a white western president.

The Mise-En-Scene of Trump's empathetic face is a construct of reality, pitting him as the hero, yet may form a binary opposition with the reader's own perception of trump.

Reinforces the ideological perspective that Trump is a powerful force for good in the world, and has the weigh of the US behind him.

However, potentially negative

'you will be so proud', repeated in the ominous colour yellow, also suggests a potential referential code, making intertextual reference to Marvel comic villains.