Ethnicity/Race

• East Asian stereotypes - Intelligent, hard working people obsessed with electronics and martial arts
• Middle Eastern/Arabian stereotypes - Cruel, violent terrorists. Religious fanatics, forced marriages. Blue collar workers (shop workers/owners, cab drivers) 
• Black people stereotypes - Criminals and drug addicts. Racism with white policeman arresting innocent, unarmed black males. Also blue collar workers - as seen on The Simpsons with Apu owning the Kwik-E-Mart
• White American Stereotypes - Obese, patriotic, arrogant racists
• Caribbean Stereotypes - Gangsters, criminals, drug addicted. Sexist and homophobic males
• Mexican stereotypes - Drug addicts and rapists - Donald Trump wanting to build a wall to keep them out
• Hispanic/Latin American Stereotypes - Lazy and uneducated, involved with drugs
• White British - Educated, arrogant racists

Theorists:

Pieterse (1992): 'The legacy of several hundred years of western expansion and hegemony, manifested in racism and exoticism, continues to be recycled in western culture in the stereotypical images of non-western cultures".

Sarita Malik (1998): “The word ‘race’ in the cultural and political terrain has almost universally been aligned with Black and Asian people, as though they are the only racial groups that ‘own’ an ethnicity… Whiteness has been naturalized, as though it is an invisible ‘norm.’ When it is of course an ethnic group like any other."

“Many feel that Black and Asian audiences are still not sufficiently catered for and that insensitivity towards issues of race and ethnicity still exist. The reality of a lived multiculturalism is not represented in the British media." 

She suggests the key reason for this bias is that not enough people from different races create the media texts - "Although it is now more common place to see Black and Asian people... who do not necessarily carry the race theme, the repertoire of imagery still remains limited. There are still too few Black people actually controlling the images in terms of directors, screenwriters and producers." (Malik, 1998). 

Stuart Hall (1981) argued "There is a grammar of race based on a traditional diet for the British Media that is based on the standard image of blackness being the social problem."

Regional identity

Theorist Andrew Higson (1998) writes; “Identity is generally understood to be the shared identity of naturalized inhabitants of a particular political-geographic space – this can be a particular nation or region.”

Higson goes on to say: "Stereotyping is a form of shorthand, a way of establishing a character......that often reducing the character to the most basic form so that the stereotype often becomes a comic" (1998) 

"No wonder then that a particular characterisation may be criticised for being stereotypical meaning it lacks a realistic dimension, it fails to match up to the reality of identity"

Benedict Anderson (1983) maintains that "the media play a vital role in constructing a national/regional identity as in reality the nation is too big for everyone to know each other yet they often have shared values. The unification of people in the modern world is achieved not by military but by cultural means, in particular the media system enables people (of a national or regional) to feel part of a coherent, meaningful and homegrown community."

Andy Medhurst: "They are awful because they are not like us"

Essex and Scotland Stereotypes:

• Everyone in Essex has the same accent - a chavvy, cockney like accent 
• Everyone is blonde and tanned
• "The Only Way Is Essex" uses phrases like "Shut Up!" and "Well jell"
• Everyone in Essex enjoys alcohol and parties 
• Colloquial dialect - Essex has words such as yallar (yellow), alma chizzit (how much is it) and reem (cool). 

• Every woman is Scotland is play and has red hair
• Every man in Scotland wears a kilt and plays the bagpipes 
• Sheep everywhere 
• Everyone enjoys haggis and whisky
• Xenophobic, especially towards the English Groundskeeper Willie in The Simpsons
• Colloquial dialect - Scotland has words such as anaw (as well), barry (fantastic) and gonnae no dae that (going to not do that). 

Birmingham Stereotypes:

• Unintelligent accent that people mock
• Associated with being poor and living in council estates 
• Heavy drinkers
• Working class people associated with football 
• Brummie screwdriver is UK slang for hammer

Cornish Stereotypes:

• Pasties, farmers, fields, beaches, miners and tractors
• Intelligent accents, as shown in Doc Martin and Poldark
• Cornish people talk a lot and repeat themselves
• Pasties, cream teas (jam before the cream)
• 'Dreckly', 'right on' and 'me lover'

Geordie accents:

• Common, rough slobs who live in council houses
• A Greggs on every street corner
• Fake tan and hair for nights out
• Geordie Shore - the 'lads' are trying to 'pull birds'
• Chavs with fake designer labels and tracksuits
• Uneducated
• Heavy drinkers
• Aggressive
• Criminals
• Clubbing with high heels

London Stereotypes:

• Chavs
• Criminals/thugs
• Gangsters and grime
• Eastenders - Cockney accent - 'alright me geezer?'
• Middle class people in council houses or rich snobs
• Football teams

Manchester Stereotypes:

• Typical Northerner stereotype - loud, rude, alcoholic
• Social class - working class
• Mainly chavs wearing tracksuits and having babies at 16
• Multi cultural - more diversity than any other UK city
• Huge football teams
• Coronation Street
• Criminals

Scouse/Liverpool Stereotypes:

• Obsessed with football
• Distinguishable accent
• Chavs wearing tracksuits or pyjamas and Ugg boots at Tesco
• The scouse accent is the most popular for being mimicked for comedic effect
• Drug users
• Rough schools
• Full of criminals
• Accent is hard to understand
• Lots of slang phrases
• Swears a lot
• Thieves
• Hollyoaks

                                                                Wales Stereotypes:

• Unintelligent accent that can't be understood
• Obsessed with rugby
• Hanging out with their sheep
• Living in the middle of the countryside
• Class - middle/lower
• Rugby pitch, Church, Pub, Field with sheep
• The Valleys 
• Gavin and Stacey
• Farming
• Beer

Yorkshire Stereotypes:

• Old fashioned
• Cobbled streets
• Rural countryside
• Flat caps, tweed jackets
• Open fields, country pubs, local shops
• Yorkshire puddings, Yorkshire tea
• Class - mainly lower class (farmers)
• Emmerdale

Class practice essay question

In the extract of 'Shameless' I will discuss how different class theories are supported or disrupted through the use of media language.

The opening scene shows one of the main characters walking down the street. His confident walk connotes strength and power, and the low camera angle used also supports this. The next shot shows the boy knocking on someone's door, and the camera tilts up to show his keen facial expression. As the door slowly opens the boy smooth's down some of his hair, which shows that he may be nervous.
An over the shoulder shot is used to show the female character(who opens the door) looking anxious when she sees the boy, which could support Medhurst's theory because the boy is being presented as 'awful because they are not like us'. This is also supported when the boy is ordered to take his shoes off. A high camera angle is used to connote superiority to the audience, because they are looking down on him. Continuity editing is used throughout to show the audience that the narrative is progressing. The scene could almost be seen as a long take because the camera follows the boys actions for a long period of time. This has been done to show how the narrative and the boys actions are progressing to move forward. The fact that the female character demands that his shoes be placed into a bag also supports Medhurst's theory.

The next shot shows a Shot/reverse shot of two characters having a conversation. The girls speech suggests that she is in a lower social class than the boy, but you can infer from her house that she is in a higher social class. When the girl goes under the table the camera movement is very shaky, which suggests that the boy is nervous and unsure, which juxtaposes with the girls confidence. This could support Halls youth theory because a young audience categorised in the  C1-E social classes will want to see rebellious teenagers like themselves so they are able to relate to them. The next shot shows the girls mother smiling to herself, oblivious to what is going on. This would support Butsch's theory if she was a working class male and not a working class female, because she could be seen as 'well intentioned but dumb'.

Match cut editing is used in the next shot to show the audience that the narrative has progressed but the boy is now in a different location. The camera movement is unsteady to follow the hurried actions of both of the characters in the room. His bedroom is shown to be messy, which fits in with the stereotype of teenage boys being lazy and untidy. It also shows evidence that he is in a low social class because of the state and size of his room. If the boy was in the upper class of society, he would most likely to be living in a huge mansion like house, and would probably have a servant or maid to tidy his bedroom for him. Also, he has a lot of posters and pin ups that look like they have been pull-outs from magazines. This supports Halls youth theory because the boy belongs in the C1-E social class range, so he may be buying magazines that feature rebellious teenagers like himself. An eye line match shot is used to show him looking at a rude magazine that features naked gay men, which supports Medhurst's theory of homosexuals being 'awful because they are not like us'. His facial expression shows confusion and discomfort, and also panic when his brother enters the room. The fact that he shares a room with his brother also suggests that they are in a lower class, because their house is too small for every child to have their own bedroom. This shows support for Butsch's theory because it is suggesting that their father 'fails in his role as a father and a husband'.

The next shot shows a female wildly dancing in a nightclub, which suggests that she is in a higher social class than the brothers because she is able to pay for transport and admission to the club. Also, she is wearing a red, expensive dress. This could show support for Gandal's theory because her dress contrasts with the ordinary clothes worn by the boys shown previously, as their class is presented as a 'cultural other'. This could also show support for Medhursts theory because the boys are a stereotypical representation of the lower class, so they are 'awful because they are not like us'.

Class theorists

Keith Gandal (2007) states that lower class people are portrayed as a 'cultural other' through fashions that deviate from the middle and upper classes.

Gandal also said that target audiences are drawn in by the 'sentimental rags-to-riches story' because they like to think of poor people making it big through music.

Medhurst (1998): "They are awful because they are not like us".

Richard Butsch (1992) states working class males in the media are presented as: "Incompetent and ineffectual, often a buffoon, well-intentioned but dumb. In almost all working-class series, the male is flawed, some more than others...he fails in his role as a father and husband, is lovable but not respected." 

Stanley Hall (1981) said that black people are stereotyped as 'the social problem' which has been embraced by Hip-Hop culture. This is evidenced by Hip Hop magazines showing that money has been attained through crime e.g drugs, pimping, gang crime.

His youth theory works because the young C1-E target audience want to read about rebellious poor people like them.

Class

The mansion in the background of the 'Downton Abbey' connotes wealth and the upper class. The wall featured as the background in the 'Shameless' poster suggests that the party/social gathering is occurring in a small apartment or house, as the characters look squashed together.  The clothing worn by the characters in 'Shameless' is significantly more casual than the clothing worn by the characters in 'Downton Abbey'. The clothing presented on 'Downton Abbey' is very formal and sophisticated - all of the men are wearing tuxedos and many of the women are wearing elegant evening gowns. however, some of the women are servants (which also supports gender stereotypes) as evidenced by the plain dresses and aprons. The facial expressions portrayed by the 'Downton Abbey' characters are all very stern and almost sinister, which connotes snobbiness. Whereas the facial expressions in 'Shameless' are mainly cheerful to show that they are all enjoying themselves.

The dark colours in 'Downton Abbey' connote sophistication and elegant, whereas the bright pastel like yellow in 'Shameless' connotes cheerfulness and happiness. This shows that the characters are categorised into lower social classes because the colours and clothing used does not portray them as rich and snobby. Hair is also a relevant factor in representing class, because the messy hair shown on some of the characters in 'Shameless' connotes that they are messy characters.Whereas in 'Downton Abbey' everyones hair is styled neatly so as not to go out of place, which shows tidiness, which connotes professionalism.

The positioning of the characters is also important. In 'Downton Abbey' all of the characters are in an organised line, with the poorer people at the back to contrast with/highlight the wealthy people at the front. Whereas in 'Shameless' the positioning is all disorganised to add to the messiness presented in the poster. Many of the characters are looking away from the camera, which shows that they are not formal, professional characters. This contrasts with the characters in 'Downton Abbey' because they are all standing up straight and looking directly at the camera. This connotes power and control.



The camera angles used can also be a key factor in determining class.

Disability practice essay question

In the extract of 'The Secret Diary Of  A Call Girl' , I will discuss how the theories presented by Jessica Evans (1998), Cumberbatch, Barnes, Negrine (1992), Longmore (1987) and Jordanova (1989) are both supported and disrupted through the media language presented in the clip.

In the opening scene, non diegetic music is used to sexualise the female character, which shows support for Laura Mulveys theory of women being sexualised for the 'Male Gaze'. The music is used as discrimination against stops when the camera pans down to show the disabled person in the doorway. This supports Evans theory because the disabled character is being presented as unattractive and unappealing, and also supports Medhursts theory of disabled people being discriminated against because they are 'not like us'. The camera then pans up to show the disabled boys father stood behind the wheelchair, which supports Jessica Evans theory of disabled people being presented as dependent people having to rely on others to help them. An awkward atmosphere is created by the boys dad getting the money from the wheelchair to pay the prostitute. You can connote from the awkward silences and actions that all of the characters are presented as awkward, nervous individuals not knowing what to say or do. The dad lifting the boy out of his wheelchair and placing him on the bed supports Evans theory, because the boy is dependent on his dad to help him. The fact that the boy asks his dad to take off his dungarees to show that they aren't wearing the same top adds to the awkwardness of the scene. When the dad leaves and the female begins locking the door, a eye line match shot is used to show the boys frightened facial expression. This makes him seem childlike, which shows support for Evans theory. Continuity editing is used throughout to show that the scenes are progressing continuously after each other, which makes the audience aware that the narrative is moving forward.

The awkward atmosphere increases when low angle shots are used of the females face, as her facial expressions portray pity and sympathy towards the disabled boy, especially when she has to help him drink and take his shirt off. This shows Evans theory because the boy is dependent on another person to help him. This shows support for both Evans and Medhurst theories, as he is presented as dependent and 'awful because he is not like us'. Parallel editing is used in the next shot to show his dad fidgeting in the car, not knowing what to do. This also increases the awkwardness of the situation, as his actions make the audience realise he is feeling just as uncomfortable as his son is. This shows support for Evans theory because it shows that the disabled male character is reliant on his dad for help and transport, whereas if it was an able-bodied boy going to a prostitute, it is likely that he will not have informed his dad. Whereas in this situation, the disabled boy has to rely on his dad for everything. Also, the fact that the boy is going to a prostitute suggests discrimination against disabled people, as it is insinuating that the boy is too imperfect and unattractive to get a girlfriend.
A high angle is used when she takes off his shirt, which makes her seem more like a carer. This shows support for Evans theory, because he is depending on another person to get him undressed. The clip ends with a final high angle shot of the boy on his back looking uncomfortable, with a startled expression on his face. This shows that he continues to feel nervous, which could support Evans theory because his feeling of discomfort are maybe because he feels like his disability is getting in the  way.

In conclusion, i think that the theories of Medhurst, Evans, Cumberbatch, Negrine, Barnes and Jordanova are supported or disrupted throughout the use of camera work, editing and mise-en-scene. Cumberbatch, Negrine and Barnes (1992) theory is disrupted due to the fact that a disabled character is being acknowledged on the show, and isn't being 'screened out from television fiction'. However, he isn't being presented as a 'normal' individual, which shows support for Medhurst's theory because 'they are awful because they are not like us'. Evans theory is supported because the disabled character is being presented as weak, dependent and unattractive. Jordanova's theory is also supported throughout the clip because the disabled character is being presented as more of an object to be managed, rather than a human being.

Disability

The media continue to enforce disability stereotypes portraying disabled individuals in a negative un-empowering way. Disabled characters are portrayed as lazy, useless and a burden to society. 
 
In his 1991 study, Paul Hunt identified 10 stereotypes that the media use to portray disabled people:

1. The disabled person as pitiable or pathetic
2. An object of curiosity or violence
3. Sinister or evil
4. The super cripple
5. As atmosphere
6. Laughable
7. His/her own worst enemy
8. As a burden
9. As Non-sexual
10. Being unable to participate in daily life

Jessica Evans (1998) drawing on the words of Frued and other psychoanalysis states:

"Disabled people are seen as childish, dependent, underdeveloped and are regarded as 'other' and are punished by being excluded from ordinary life. Thus popular images and rhetoric of disabled people abound which comfort us with people who are imperfect, helpless, unattractive, disgusting, shitty, dribbling people"

As Cumberbatch, Barnes and Negrine (1992) as well as Longmore (1987) point out studies of the representation show that disabled people are screened out of television fiction or else occur in a limited number of roles.

As Jordanova stated in 1989:

"The idea of otherness is complicated, but certain themes are common:the treatment of others is more like an object, something to be managed and possessed, and as dangerous, wild, threatening. At the same time, the other becomes an entity whose very separateness inspires curiosity, inviting inquiring knowledge. 

Medhurst (1997) argued in terms of power relations and the constructions of stereotypes : "they are awful because they are not like us".

The theories concerning disability can be applied to the elderly with ease, according to Evans (1998):

"Old people in our culture are also segregated and treated as though they are waiting to die, they are close associations between dependancy, illness and dying. It seems that increasingly in our culture there are pressures that encourage a reversion to infantile feelings which have to be madly defended against"

Youth practice essay question

In the extract of 'Skins', I will discuss how the theories presented by Stanley Hall (1904), Bill Osgerby (1998) and Dick Hebdige (1998)are both supported and disrupted through the media language presented in the clip.

In the opening credits of 'Skins', non diegetic upbeat music is used to present the show and its characters in a fun, lively manner. This both disrupts and supports Stanley Halls theory because although the teenagers aren't presented as depressed characters, many of them are engaging in sexual and alcohol related activities. In the opening shot, an extreme close up of one of the main characters is used. You are able to infer that the character is important from the way that the show opens with his face. The lighting on his face is dark on one side and light on the other. This supports Bill Osgerbys' theory, because the character is being presented as both fun and a troublemaker. The camera then zooms out to show the audience that the character is in his bed. His bedcover shows a naked man and woman, which supports Halls theory of teenagers being addicted to sex. The character then gets out of bed to do a variety of different stretches and exercises, which shows that he is image conscious and wants to look attractive to other people. He switches his stereo on, which plays diegetic music. The music is quite sexualised, which shows support for Stanley Halls theory. Continuity editing is used to show the audience that everything flows smoothly. The next shot shows his sister walking up to their house. You can connote from her clothes, hair and make up that she out partying the previous night. A high angle is used to make the audience feel more inferior and powerful to her. The diegetic sound of the boys watch indicates that it is usual for him to let his sister into the house every morning. This gives the audience more information about their relationship and personalities. The next shot shows a low angle shot of the male main character looking at his naked female neighbour, which disrupts Halls theory because it shows that it isn't just teenagers addicted to sex - his middle - aged neighbour is knowingly leading him on.

Tonys' father is an example of a disruption of Stanley Halls theory, because Tony is presented as a smartly dressed teenager who is organised enough to fold his clothes (as evidenced by the cutaway shot shown earlier) and wake up before his alarm clock goes off, whereas his dad looks as though he doesn't care as much about his appearance, as you are able to infer from the way he presents himself. Also, every other word he says is a swear word, whereas Tonys dialogue doesn't involve any swearing. This disrupts Halls theory of teenagers being rebellious, as it is the dad who is acting like the typical teenager stereotype of being lazy, swearing and acting like a slob.

The next shot  shows Tony in the bathroom  reading a Penguin classic 'Nausea' which disrupts Stanley Halls theory because he is showing intelligence, and he is not engaging in any drug, alcohol or sex involved activities. Tony climbing out of his bathroom window supports Osgerby and Hebdiges theory, because he is presented as being fun and a troublemaker because he looks like he enjoys winding his dad up. The camera follows his every move, such as flushing the toilet and brushing his teeth to show that he is dragging time out to wind his dad up more. When his dad enters the kitchen and bends down to get the drill for the bathroom, a high angle shot is used to show the audience that his pants have fallen to reveal his bum. This also adds evidence to the point I made earlier about his dad disrupting Stanley Halls theory by not caring about his appearance. After Tony leaves the house and calls his friend, the next shot shows his phone ringing on a plate that also contains a cigarette butt and leftover food alongside cutlery. This supports Stanley Mills negative portrayal of teenagers.

Youth Representation

Stanley Hall (1904) argued that “ Adolescence is inherently a time of storm & stress when all young people go through some degree of emotional and behavioural upheaval, before establishing a more stable equilibrium at adulthood." 

He also argued that:

• The common mood of teenagers is a state of depression
• Criminal activity increases between the ages 12 & 24 
• Young people are extreme and need excitement; “Youth must have excitement and if this is not at hand in the form of moral intellectual enthusiasms it is more prone to be sought in; sex, drink or drugs.”

Bill Osgerby argues that the portrayal of ‘youth’ in the media has not altered much in the last 100 years and is by-en-large pessimistic; “We do not have to search too hard to find negative representations of youth in postwar Britain. Crime, violence and sexual licence have been recurring themes in the media’s treatment of youth culture, the degeneracy of the youth depiction as indicative of a steady disintegration of the UK’s social fabric” (Osgerby, 1998).

However, Osgerby goes onto argue that; “The portrayal of youth is not entirely pessimistic,” he argues that “Mixed metaphors” appear when analysing the representation of youth. He claims; “Dual stereotyping of youth,” creates these mixed metaphors that Dick Hebdige (1988) termed; “Youth as fun,” and “Youth as trouble maker.”

Sexuality

Theorist Andy Medhurst (1998) disrupts representation claims, like those made by Dyer (“How we are seen determines in part how we are treated; how we treat others on how we see them; such seeing comes from representation” Dyer, 1993), because in the real world you cannot ‘see’ sexuality. Unless someone tells you they are homosexual you have no way of knowing.

However, in the media stereotypes are used to explore ideological positions about sexuality. “Films and television comedies are full of images of gay men as effeminate screaming queens…It chooses that aspect of gay male behaviour (selection), inflates it into the defining male characteristic of male homosexuality (magnification), then establishes it as the most easily recognizable image (reduction).”

Medhurst also argued that this is done to make heterosexual viewers feel safe in the belief that their way of living is the only 'natural' one. So stereotyping for the straight viewer makes them feel safe and superior. In addition, the embedded social norm of straight sexuality is reinforced.

“This is why stereotypes of sexuality strive so vigorously to create two, polarized sexualities, hetro and straight, and to insist with such obsessive reductiveness that people who belong to those poles are easily identifiable – hence the recurring presence across media texts of the screaming queen and his female equivalent the butch dyke.”

Examples of gay characters in TV shows:

In 'The 100' one of the main characters, Clarke Griffin/Eliza Taylor has relationships with male characters, and later comes out as bisexual, after having an on-screen relationship with a woman. 

In 'Grace and Frankie' the show is about 2 elderly women who have to come to the terms with the fact that their husbands, who have been best friends for years, are actually in a relationship. 

Captain Holt, from Brooklyn Nine Nine

In 'Brooklyn Nine Nine', Captain Holt disrupts Medhursts theory, as the character is a gay African American who can't be categorised as a 'screaming queen' as he doesn't play up to the gay stereotype.

Sexuality practice essay question

How is sexuality presented in Christian and Syeds kiss scene in Eastenders through:

Camera work

Mise-en-scene

Sound 

& Editing?

In the opening shot, a low angle is used to make the male character look powerful and dominant. This disrupts Medhursts theory, because he isn't playing up to the typical gay stereotype of being a 'screaming queen'. He is also dressed very professionally and isn't wearing flamboyant clothing, which supports Medhursts theory, as you are unable to 'see' his sexuality. As the other male character enters the room, continuity editing is used to ensure that the shots run smoothly. An over the shoulder shot and a one-two shot is used to show the audience what the male characters are looking at. The younger male character loosely supports Medhursts theory because he looks more feminine. However, he is not presented as a 'screaming queen', and his clothes present him as a religious man who supports his heritage. The only sound presented on screen is diegetic dialogue and ambient sounds from the setting they are in. Continuity editing is used throughout the clip to show that the storyline is still ongoing, and to show the audience that all of the shots used in the scene are related to each other. 

The diegetic dialogue used - "There's more to me than being some pumped up queen" shows the audience that this male character is familiar with the stereotypes associated with his sexuality and he doesn't want to be seen as one of those stereotypes. This shows support for Medhurst's theory as homosexuals are being discriminated against because 'they are not like us'. Low angle shots are used whenever Christian is on screen to show that he continues to remain confident and holds control over Syed. Syed is presented as less confident and powerful because whenever he is shown on screen it is from an high angle over the shoulder shot, where the audience looks down on him because of how the camera is positioned. In the final shot where the two male characters kiss, this reinforces Medhursts theory about sexuality being invisible, because when you look at the two characters as separate individuals you are unable to know their sexuality because they aren't playing up to the typical gay stereotype of being a  'screaming queen'.

Gender practice essay question

How is gender portrayed in the extract of Hustle through:

Camera work

Mise-en-scene

Sound

& Editing?

In the extract of Hustle the theories of Mulvey (1975), Mackillon (2002) and Gauntlett (2002) are both supported and disrupted through the media language present in the clip. I will now explore this in more detail with reference to how; camera work, mise-en-scene, sound and editing contributes to constructions of gender representation.

The opening shot is a low angle medium close up of a middle-aged male wearing an expensive suit. The camera angle gives him masculine status as it makes him powerful which could fit Gauntlet’s 2002 theory however, the way he is standing is not a masculine pose which means his character also fits Mackillon’s theory as he is looking more feminine. In the background there is a younger female character shown coming up the stairs to the clothing shop, the positioning seems to support traditional gender roles as she appears lower down, and therefore less important, than the lead male character. The opening scene is accompanied by non-diegetic music that changes when the women comes into shot, it is quite feminine and it contributes to sexualising the female character in a way that fits Mulvey’s 1975 theory. Furthermore, it contributes to de-masculinising the male character to a point where he almost appears camp, which also fits with the dress shop setting and his job. The shots are linked together with a sound bridge and continuity editing is used to not distract the viewer.

The next shot is a high angle over the shoulder shot where the man is informing a customer on the price of a dress she is wanting to purchase. The camera angle makes the man look dominant in this situation, because he is towering over the woman. Also, when he asks “A little too rich for madam?” he is presented as quite patronising. The middle-aged woman disrupts Laura Mulveys theory as she is not being sexualised. Her age suggests that she is a housewife who typically stays at home looking after her kids. When she says “I’ll come back later’ this suggests that she is not rich enough to afford the dress, unlike the younger woman. The sound bridge from the previous scene becomes quieter, and the main sound on screen is the diegetic dialogue. Because the sexualised music is more subtle when the middle-aged woman is on screen, this suggests that the young woman is the only woman being sexualised. This supports Laura Mulveys theory of women being used as ‘erotic objects of desire’.

Once the middle-aged woman leaves the shop, the man focuses his attention on the young woman browsing through the dresses. First noticing her engagement ring gives suggestions about the mans sexuality. The way he jogs over to her eagerly shows that he is significantly more interested in what she has to offer than when he was talking to the middle aged woman. An eye line match shot is used when the young woman is glancing up at the man. This changes to a high angle over the shoulder shot where the man is looking down at the woman, which connotes power and dominance. This shows support for Mulveys theory.

In the next shot, a tilt shot is being used to show off the woman's figure when she tries on a dress. This shows support for Mulveys theory. The theory is also evidenced by the woman exclaiming “Oh yes!” repeatedly, as this can be seen as a sexualised action. The man is still seen as the dominant one as he is taller than the female, so he is able to look down on her. However, this disrupts Mackillions theory, as the man is not the person being sexualised in this situation. He also is not presenting himself as image conscious, as his body language connotes confidence and professionalism. His eyes appear to glance down to look at her bum, which gives further suggestions about his sexuality. Continuity editing is used all throughout to show the audience that the shots run smoothly after each other to show that the story is progressing.

Gender

Laura Mulvey, 1975

"As erotic objects of desire for the characters within the story, and as erotic objects of desire for the spectator"

David Gauntlett, 2002

"Images of the conventionally rugged, super-independent, extra-strong macho man still circulate in popular culture"

Mackillon, 2002

"Males are now used in a similar way as women, in so far as they are being presented as sex objects and are seen to be more image conscious and sensitive"

How is gender presented?

Women:

• Weak
• Powerless
• Over-sexualised
• Belongs in the kitchen 
• Skinny
• Victim
• Often reliant on someone else - usually a man 

Men:

• Heroic
• Attractive
• Strong
• Dumb
• Violent
• Brave
• Powerful
• Muscles

One example of a sexist magazine would be 'GQ', as they present their male celebrities as formal and sophisticated, as evidenced by the smart suit worn by Ryan Gosling, whereas female celebrities are usually posing seductively, with very little clothes on. This is done because it will appeal to many male members of 'GQ's target audience. Ryan Gosling is seen as a 'heartthrob' by many females, and by including a medium close up shot of him looking at the camera uses direct address to make the audience feel more personally involved with him, thus making them want to buy the magazine.