Approaching Exam question 3

Learning objective: How to approach a response to question 3 of the written exam

Questions 2c and 3 are the more challenging questions on the exam paper.
They will ask you to discuss the concept of audience or representation.

It is important that your responses are structured and coherent.
Demonstrate broad knowledge and understanding of these concepts to the examiner.
Have a clear introduction, main body and conclusion to help you achieve a more sophisticated answer.

Opening paragraph:

This should define any key terminology showing that you understand the meaning.
Do not start to analyse the texts until you have shown that you understand the question by defining the key terms they have used.
Place the texts in a context.

You should be able to explore all of these key terms using specific examples:

For audience:

• Audience positioning.
• Audience responses
• Audience appeal
• Audience categories
• Audience construction

For representation:

You should be able to use relevant examples to show understanding of how...

Age

Gender

Ethnicity

Issues

Events

Regional/national identity

...are represented in the media today.

For representation you must be able to include terms like construction, ideology and mediation.

*******************************************************

Example question:

Explore how media texts target different audiences.

(Opening paragraph example)

The aim of all media texts, both print based and audio visual is to target an audience who will then be the consumers of the product. In a competetive, media saturated society it is vital that strategies are used in order to target the appropriate audience. Some texts will target a specific, niche audience and the aim of other texts will be to appeal to as wide an audience as possible. All texts are in competition with other existing products and therefore it is essential that their strategies work. The text may also be targeting a primary, secondary and in some cases a tertiary audience.

I have chosen three different texts to demonstrate how they use different strategies to target their audience....

It is important that you plan your answers using a grid to plan your answers.

Like the example here:

So for those that look like a rabbit in the headlights, here is some help with how to approach a question about audience.

• Audience positioning.

Audiences are not passive, we are active.

Texts are polysemic.

Text producers encode texts according to their own ideology.

The encoders include: Editors, journalists, photographers and designers.

Encoding is done through visual and technical codes, language and mode of address.

Some ideologies from Marie Claire magazine (October 2007 featuring Angelina Jolie)

• Looks and appearance are important
• Other people's opinions of you are important
• Feeling good about yourself and having self confidence is important
• Strong independent women should be celebrated - women hold positions of authority and influence
• Emotions and feelings should be discussed and reflected upon
• Celebrities are people too - with feelings and vulnerabilities
• Women need guidance to help them make the right choices
• Women are maternal
• A fashionable look is important but people (children) shouldn't be harmed in attaining this look
• Materialism

You can also discuss the Hollyoaks extract we looked at or the promotional poster for Kidulthood. (See your own task responses.

Audiences are positioned through the use of camera shots, angles and framing.

Humour and sometimes colloquial language or slang.

• Audience responses

This does not necessarily mean that an audience will accept and agree with these ideologies.

Stuart Hall should be applied when the question asks you about responses.

There are a few important things to remember about the three different positions that we can take.

Preferred Reading

Is not just about 'liking' a text - you must understand what the purpose of a text is and agree with its ideologies and the messages it carries.

Oppositional Reading

Is not just 'disliking' a text - there are many reasons why someone may take an oppositional reading - but whatever these reasons are, the audience member must understand what the intentions of the text are, but reject them.

Negotiated Reading

Can be the case whereby an audience member agrees with some ideologies and not others, but it can also be the case where the audience doesn't fully understand the intentions of the text - or is confused about the purpose of the text.

Readers of Marie Claire might take an Oppositional Reading, which might include...

• Rejecting materialism
• Believing that there are more important things in life than appearance
• Believing that having fashionable clothes is more important than knowing where the clothes come from
• It doesn't matter what others think of you so long as you are happy with yourself

• Audience appeal

Media texts appeal to audiences using a variety of methods:

Technical and audio codes - fast paced editing in an action text or bright colours in a gossip magazine

Language and mode of address - Voice over in a horror genre film may attract an audience with promises of a horrific narrative. 

Subject specific lexis

Hyperbole

Imperatives

Quotes to make the text authentic

Elipsis may put answers in the audiences head. 'Got Milk?'

• Audience categories

Here you can consider Psychometric profiles which deal with values and interests, lifestyles of the audience. 

The 4 C's - Mainstreamers, aspirers, reformers, succeeders.

Demographic profiles 

NRS - A, B, C1, C2. D, E

• Audience construction

This is to do with enigmas that keep the audience hooked. 
This is to do with use of celebrity to endorse a product or be a spokesperson for a campaign.

Magazines use the cover, sell lines and cover lines on its front to construct a clear idea of who the audience is.

____________________________________________________________

Representation

When considering representation of age, gender, ethnicity, issues, events or regionality, you should be thinking about the following things:

• ·       Can I identify what approximate age, gender, ethnicity, issues, events or regionality the characters are?
• ·      Are people from different age, gender, ethnicity, issues, events or regionality groups shown as having different interests, personalities, attitudes, behaviours?  If so, how?
• ·      Is their age, gender, ethnicity, issues, events or regionality represented as being important in their life?
• ·      Are people from particular age, gender, ethnicity, issues, events or regionality groups portrayed as being better, more powerful, than others?
• ·      Are people from particular age, gender, ethnicity, issues, events or regionality groups portrayed as being abnormal /weaker/ more pathetic than others? 
•  How do other characters in the clip treat the characters from different age, gender, ethnicity, issues, events or regionality groups?
• What is the message the clip is trying to portray about age, gender, ethnicity, issues, events or regionality?

Age You can refer to The Daily Express covering the London Riots, Waterloo Road, Harry Brown, 

Gender You can refer to Cosmopolitan (Fearn Cotton), GHD, Persil (Rubber).

Ethnicity You can refer to Spooks, Hotel Babylon, Eastenders.

Issues You should discuss body image and teenage delinquency (as seen in the media coverage of the London riots)..

Events You can discuss the media coverage of the London Riots, Christmas as represented in the Sainsburies advert.

Regional/national identity You can refer to Dr Martin

___________________________________________________________

How people, places and situations are represented is also dependent on;

• Costume
• Language / regional identity
• Settings / locations [geographical markers] 

***************************************************

Task 1: Answer the question below 

Using your own detailed examples, explore the representations of gender in the media today.

Texts: Modes of Address 6.5.15

Learning objective: To consider different ideologies when analysing media texts.

Key terms: Mode of Address, polysemic, psycho-graphic

There are four tasks to complete in your orange books today. All are related to each other. If you can grasp these concepts and use the keywords in your exam it will be very beneficial to your mark.

It is a basic principal of media studies that all texts have the capacity to communicate to an audience. Our 'job' as media students is to search for the ways in which meanings are generated.The simple process model of Sender - Message - Receiver is limited because it doesn't conceptualise the relationship between the message (the text) and the receiver.

This is where Mode of Address comes in.

Who does this text think I am?

In other words; what assumptions are being made about me?
How am I expected to read the text?

If you walk into any High Street bank you are addressed by the decor, the signage, the slogans, the uniforms, the lighting, the way the staff use language. All these constitute a mode of address.

All banks are really saying the same thing within an underlying message..

You are very welcome here as long as you want to deposit money, in fact we will give you a tiny bit more money back occasionally and call it  interest.You can also borrow money from us, we want you to do this and we will charge you a lot of money and also call it interest. If you can't pay us the interest back we will take your house. Either way, welcome. Feel free to contribute to the profitability of our organisation.
(Have this pen to remind you of our offer).

It may be that you don't feel welcome, that you are intimidated, out of place but you don't want them to know that so you create an account with them anyway. They want you to do this!

Ideology

Marxists are likely to find evidence in the modes of address of almost every text that confirms evidence of a class divided society in which workers are exploited by capitalists.

Feminists are likely to find evidence in the modes of address of almost every media text that there are assumptions about gender.

However, without denying the validity of these perspectives it is important to realise that texts offer a range of contradictory subjectivities. Some ads for example invite us to be a rebel while others invite us to fit into and be one of the crowd.

Task 1:
Bullet points.
What assumptions are made about me and how am I expected to read these ads?
Consider: Who these texts are aimed at. How do they sell their brand?
Through what denotations and connotations is the audience positioned.

Ad 1


Ad 2


Ad 3


Ad 4


Texts are multi faceted and allow us the possibility of many ways of reading. This is know as polysemy, the texts are polysemic.
However, we all recognise from time to time that a text is trying to manipulate us, to ease us into a subjectivity that we'd reather not have. As soon as we see through the idealogical effect of a mode of address then it is likely to have the opposite effect on us than the one intended.

Ads from the 60's and 70's now seem unsophisticated and blatant and are only shown for their comedic value.

Task 2: 
Bullet points
What assumptions are made about me and how am I expected to read these ads?

Consider: Dominant British ideology, feminism, do we still expect consumer products to be linked with desirable gender identities?

So we can say that media texts 'invent' a fictional image of their preferred audience.
This is the foundation of psycho-graphic consumer profiling. It works through ideology.
Sometimes a text's mode of address requires a partisan national subject.
If you watch sports coverage from another country or even City, it may seem that they are not addressing you at all, that they are getting excited about things that just don't matter. This is obviously to do with ideology.

Consideration of modes of address need not be limited to singular texts but can be applied to whole TV stations or newspapers. Take for example the coverage of an event by a broadsheet and by a tabloid.
It is the same event but the modes of address and positioning of the audience differ. One may be aimed at business leaders and one may be aimed at lads.

Task 3:
Bullet points Look at the coverage of the London riots by these five different newspapers.
What assumptions are made about the readership and how are they expected to read the various headlines?

Two useful terms associated with modes of address are positioning and register. The idea that a text can position a receiver should be familiar to you by now. If your friend addresses you like a controlling parent, giving you orders in a loud voice and wagging a finger at you then you are being positioned as child. You may wish to reject this subject position but to do this would put you in a position of conflict with your friend. This is a kind of positioning and media producers are aware of this.

Register requires modifications to fit with the requirements of a particular group.
For example a text might adopt one of the following registers:
Formal register
Informal register
Serious register
Light hearted register

You may have watched a TV show or read an article but been unsure of the intended meaning.
You may have asked yourself if the text was meant to be serious. You eventually realise that it was a mickey take. In fact, you were actually checking what register the text required to be understood.

Task 4:

Watch the following ads and discuss the register required to understand them. Point out why.

Representation summary for MS1

Learning objective: To familiarise with the texts to write about representation in the MS1 exam.

Key terms: Rich texts.

As you revise the concept of representation you should be able to deal with the following using correct media terminology:

• The role of selection, construction and anchorage in creating representations.
• How media texts use representations and the effect those representations have on the audiences.
• The points of view, messages and values underlying those representations.

Representation may be the topic for either question 2C or 3.
Look for the word allocation, Question 3 is worth more marks and therefore you must write more.

You must ensure that you are prepared and have examples of the following areas of representation:

• Gender
• Ethnicity
• Age
• Issues
• Events
• Regional and national identities.

We will study examples of rich texts so that one text can be used for more than one area of representation and may also be used for the audience question.

When answering a question on gender, age, ethnicity or regional/national identities you will be expected to support your discussion with three examples of different media texts.
If three similar texts are chosen, for example three magazines then you will end up saying the same thing three times.

These examples must be as specific as possible. For example, do not just refer to women in magazines, but comment on a particular front cover. If you are using moving image example then select a specific scene that will support what you want to say about representation. This will help you to avoid producing a general response.

The question is going to ask you about representation in the media today.therefore the examples studied must be contemporary. You can refer to an older example to illustrate a point.

Structure your response in a logical and coherent manner. Try to start with an introductory paragraph which demonstratyes your understanding of the concept of representation.

As part of your revision, plan which examples of media texts you have studied in class will best answer the different areas of representation.

Read the question carefully and answer it. Remember to refer back to the question where you can in response. Even rewrite it in the main body of your answer. Don't answer the question you wish you had been asked, you will be penalised.

Make sure that your examples are relevant to the question.

As Exam Prep overview

MS 1: Media Representations and Receptions

It is likely that the teaching of this subject will begin with the study of texts and from
this develop into a study of the issues represented in texts and how audiences respond
to texts and the representation issues they raise.

According to the Specification, for this unit, students will be expected to demonstrate:

• Their ability to examine a media text in detail, employing appropriate analytical tools and language.

• An understanding that texts are constructed.

• An understanding of how social/cultural groups, events and issues are represented in media texts.
• An understanding of how audiences respond to and interpret texts.
• In order to do this, students will also be expected to have studied a range of different representations within texts, including: 
• Gender (for example the different ways in which men and women are represented by the media) 
• Ethnicity (for example through a study of the positive and negative representations of people from different ethnic backgrounds in news coverage and film texts).
• Age (for example the representations of teenagers/youth and older people)
• Issues (for example issues raised by magazines articles such as size zero)
• Events (for example the news coverage of events)
• Local, regional and national representations (definitions and comparisons)

The unit contains three key areas of emphasis: textual analysis, representation and
audience.
It is expected that the teaching of these areas will be combined through
the study of selected texts. It is not intended that they should be “taught” separately.

1. TEXTUAL ANALYSIS
Students will be required to analyse texts showing an understanding of why elements of the text are selected and how the text is constructed. It is essential that students are taught to transfer skills across a range of different examples. In this way they will be able to analyse any text they are exposed to under examination conditions.

Study of the following concepts are recommended.

GENRE

• Generic conventions – repetition, typicality, themes and key signifiers
• Mise-en-Scene
• Settings and Locations
• Characteristic plots
• In particular students should consider how conventions are used AND how they are challenged, adapted and combined.

NARRATIVE

• Construction
• Structure
• Key codes such as action and enigma
• The role of characters within the narrative

SIGNS AND CODES
Students will be expected to have an understanding of TECHNICAL CODES and how
meanings are created through them. It is important that students can do more than name the
code; they need to be able to discuss how and why it has been used. Where appropriate,
students should be aware of the following technical codes and their use:

• Camera shots/angles
• Photographic techniques
• Framing
• Editing
• Lighting
• Special effects

Students should also be aware of AUDIO CODES, in particular the use of diegetic and non
diegetic sound through:

• Dialogue
• Music
• Sound effects

In the study of print based texts students should also consider the following through the use
of VISUAL and WRITTEN codes:

• Design / layout e.g. graphics, use of colour etc.
• Typography
• Language
• Persuasive techniques
• Register and mode of address

Note: although in the Specification we use terminology like codes, which emphasises a
structuralist heritage, this is not the only approach Centres may wish to introduce their
students to. The important factor is that students understand that texts go through a process
of selection and construction and that they can, generally, be interpreted differently by
different audiences.

2. REPRESENTATIONS
Centres may wish to encourage their students to examine a range of positive and negative
representations across media forms. In examining the nature of representations (how they
have been selected, constructed, mediated and anchored) and exploring how they are
interpreted and responded to by audiences, students may develop an understanding of
ideologies, for example:

• Ways of seeing the world – ideologies as values, attitudes and beliefs
• How ideologies are conveyed through texts
• How ideologies have affected the production of the texts
• How dominant ideologies are reinforced and/or challenged by texts.

Key Questions:
What kind of world is being constructed by media texts?
Students might consider the following points:

• That the “reality” of the world presented by texts is constructed
• That audiences respond to texts according to their experience and knowledge of the world presented to them
• How are stereotypes used as a shorthand to represent certain groups of people?

Students might consider the following point:
That makers of media texts use audience recognition of types to transmit messages rapidly. Most media texts (e.g. films, magazine articles, television programmes and advertising) only have a short time to establish characters and as a result offer limited representations.
Who is in control of the text? Whose ideas and values are expressed through the representations?

Students might consider the following points:
Texts are constructed and often manipulated by the producers (and organisations behind them). For example: newspaper articles, films, television programmes.
A process of mediation occurs in the construction of media texts, for example a news report.
How will audiences interpret the representation within texts? Who are the texts aimed at?

Students might consider the following points:
That an understanding of representation is linked to the cultural experiences and
the backgrounds of the audience.
It is also affected by the audience relationship with, for example, the individual star/ event /environment etc.
What ideologies / messages might be contained within the representation/s?

Students might:

• Be aware of the view being presented through the text.
• Question whether the particular interests / views of the world are being challenged, reinforced or promoted.
• Consider whether the texts are promoting, challenging or judging the roles of gender / ethnicity/ age etc.

3. AUDIENCE RESPONSES
The focus for this question will be on the relationship between the text and the audience.
The emphasis will be on the social and cultural experiences that affect audiences’ responses
to the text and it is therefore important that the initial focus is on the range of possible
responses to texts and not audience theories – although the analysis of the response may
lead to an exploration of relevant audience response theories.
Students might like to explore:

• The different ways in which audiences can be described e.g. social / cultural background (demographics)
• active and passive
• interactive users
• industry categories ( such as those used by advertisers e.g. aspirers, achievers etc.)

• How texts position audiences through the use of:
• Modes of address
• Representation/s
• Narrative/s

How different audiences respond to, use and interpret texts, through the use of relevant theories which underpin the following: Preferred ; Negotiated; Oppositional Readings
Active and Passive responses
Reception Analysis

Reception Theory 

What will students be required to do in the examination?
They will be given stimulus material taken from a range of examples as detailed in the
specification.

For Question 1 students will focus on an analysis of the stimulus material.
For Questions 2 and 3 they will respond to questions on representation and audience.
These questions will explicitly require students to incorporate references to the detailed examples in
their responses. Students who rely solely on the stimulus material in their answers will
obviously produce a limited response.

A SAMPLE TEACHING APPROACH BASED ON THE ANALYSIS OF THE REPRESENTATIONS OF MEN IN THE MEDIA
Clearly there are several different ways for Centres to approach the teaching of this unit. For
example, it could be approached through a study of texts which clearly incorporates an
exploration of representation; or it could be approached through a study of one of the
specified representation areas (for example gender or ethnicity). The best approach in
practice may be to combine these two approaches wherever possible.
This sample teaching approach will encourage students to consider how different media
representations are encoded in media texts and interpreted differently by different
audiences.
As a starting point students could consider stereotypes and ‘categories’ of male
representation, for example:
 The action hero
 Macho man
 The liberal, sensitive ‘new man’
 The ‘lad’
 The professional
 The inept ‘bungler’
Various adaptations of these categories are found in a range of media texts – and this is a
good basis from which to start a discussion of stereotypes.
Possible areas to cover in detail may include:
Men in Magazines
 Men’s Health – the ‘ideal’ man, male narcissism and notions of superiority,
references to women in a ‘seemingly’ sensitive way, quick – fix problem solving (
getting a six pack ), concerns about body image etc., the ‘new man’ and his
concerns. Interesting because it always has a man on the front cover.
 GQ, FHM – earlier examples of the magazines attempted to portray the ‘new man’
but less sensitive towards women, good humoured advice on relationships etc. GQ is
aimed at the (supposedly) smartly dressed, sophisticated man but still lot of images
of women
 Nuts, Zoo – ideas of laddishness, references to women, use of language and mode
of address, reinforcement of stereotypes
 Sugar ‘Ladmag’ – girls’ view of boys, how boys are represented to a younger
audience in a girl’s magazine
Audience issues:
How are men represented to the reader?
How are men represented to women readers?
How are women represented in the magazines?
What are the underlying values and attitudes contained within the magazine?Additional resources
Send for press packs from the magazines – they contain lots of useful information about
readership etc.
Look at the websites – Men’s Health and Nuts give an interesting reader profile
‘The Media Teacher’s Book’ by Julian McDougall has a good chapter on men’s magazines
Media, Gender and Identity by David Gauntlett has a very relevant chapter on gender in
magazines. There is also a related website with up to date information. This has two good
interviews between David Gauntlett , Amy Jankowicz and Derrick Cameron on men in
magazines. www.theory.org.uk
Laura Barton’s Guardian article ‘It’s all gone tits up’ also offers an interesting perspective!
The Guardian, Saturday January 17th, 2004
Men on Television
 Situation comedies featuring well-intentioned but inept men in terms of
relationships and parenting e.g. Nicholas Lyndhurst in After You’ve Gone, Hugh
Dennis in Outnumbered, Robert Lindsay in My Family
 News/documentary programmes. Men as experts, in power, opinion leaders.
Featuring men defined by their professional status and their economic standing.
Seen to be important and valuable by society.
 Television dramas e.g. crime – strong, silent types who are in charge, emotional,
often in touch with their feminine side ( e.g. CSI), attractive to women but who are
also often flawed in some way e.g. drink problem, shady past etc.
Men in Advertising
 Fragrance ads – the ‘beautiful man’, notions of body image, attractive to both
sexes. Explicit nature of some campaigns e.g Aspirational appeal for both
genders. Lynx campaign is interesting in looking at man as the ‘object’ for the
woman.
 DIY, Homemaker ads – ‘it does what it says on the tin’. ‘basic’ man. Often
featuring inept, challenged representation of a man e.g. Flash who needs an
easy solution to domestic problems.
 Car adverts – man in control of machine, ideas of power, often seen to be
overcoming adverse environment e.g. fire, desert etc.
 Family man – cereal ads etc. still usually good looking.
 Consider adverts that play upon and also challenge conventional stereotypes
 Audience issues: How do the persuasive techniques used by advertisers work
upon a range of audiences?
Additional resources:
Websites for specific products – they often discuss strategies, aims and target audiences
Media and Meaning, an Introduction, Stewart et al; The Media Students’ Book, Branston
and Stafford. Good chapter on advertising and audience categoriesMen in Film
 The ‘action hero’ – lots of examples here from superheroes to Bruce Willis and
‘thinking women’s’ heroes like Harrison Ford and George Clooney. An interesting
example is DareDevil - taken from a comic book character where the superhero is
blind. Bond films are interesting to study – how has he and the women around him
changed?
 Macho man – categorized through his belief in himself and his relationship with
women. Can be a comedy character. X-Men , The Matrix – men dealing with
powerful female counterparts. Russell Crowe in Gladiator – mach hero with
emotional side.
 The romantic hero who battles through adversity to ‘get the girl’ e.g. Hugh Grant.
Also notions here of what it is to be ‘English’.
 The loser – men in ‘mid life crisis’ who inspire empathy but also achieve an element
of success, usually in a relationship, within the narrative of the film. E.g. Sideways,
Lost in Translation, American Beauty
 The ‘bad guy’ – villains and their roles
Audience issues:
How is the representation of the character constructed visually?
How is the audience positioned in terms of responding to the character – does this position
changes during the film?
How are audience responses manipulated during the film?
Different audience responses to aspects of the film e.g. violence
Additional Resources
Men In Film , BFI
Useful section in Media, Gender and Identity, David Gauntlett
General resources:
Representation – An Introduction, Roy Stafford, BFI
Media, Gender and Identity, David Gauntlett. Interesting section – ‘Ten things wrong with the
media effects model’
Imelda Whelan, Overloaded: Popular Culture and the Future of Feminism
‘The Media Teacher’s Book’ by Julian McDougall
Understanding Representation ed. Wendy Helsby
Media and Meaning, an Introduction, Stewart et al
The Media Students’ Book. Branston and Stafford
Websites:
www.mediaknowall.com
www.allisonmedia.net
www.theory.org.uk
www.aber.ac.uk/media
www.media.guardian.co.uk

Conventions of a magazine contents page

Conventions of a double page spread

Learning Objectives: To create a rough out of a DPS in preparation of MS2 coursework.

Key terms: Image, quote, celebrity, stand first, by lines, colour scheme

Codes and conventions of a double page spread

Task 1: 

Rough out a DPS and submit for feedback if you plan to create this for your pre production or production.

For this double page spread on Adele, a large image has been used that covers more than half of the page. This striking image will capture the reader's attention straight away and invites them to read this interesting article. A simple title in black offers a brief overview of what is included in the next couple of pages; the readable font shows the idea that text can be interesting and informative at the same time. 

Audience Categories - Young and Rubicam (4 C's)

Learning Objective:  

How different audiences expect media texts to satisfy their wants and how to categorise these audiences.

• Key words: Young and Rubicam, Cross Cultural Consumer Characterisation, Four C’s.

THE FOUR C’S (cross-cultural consumer characteristics): 

This is one of the earliest, but still most popular, ways of profiling audiences. It profiles the audience in terms of wants and needs, not simply demographic. The model divides audiences into 7 types but there are four main categorise for us to consider.

• Mainstreamers

• Aspirers

• Reformers

• Succeeders

The categories can be defined as follows:

 • Mainstreamers; this is the largest group. They are concerned with stability, mainly buying well-known brands and consuming mainstream texts.
People that follow the crowd.

• Aspirers; seeking to improve themselves. They tend to define themselves by high status brands, absorbing the ideologies associated with the products and believing their status alters as a result.
People living a 'champagne lifestyle on a lemonade budget'

• Succeeders people who feel secure and in control – generally they are in positions of power. They buy brands which reinforce their feelings of control and power.
People with lots of money and can afford more high class products

• Reformers; idealists who actively consume eco-friendly products and buy brands which are environmentally supportive and healthy. They also buy products which establish this ‘caring and responsible’ ideology. Individuals (highly media literate, expects high-production advertising and buys product image not product, requires high-profiling sophisticated advertising campaigns).
-People who are worried about ethical issues/want to change the world

Task 1:

Assess which of Young and Rubicams 4C's are being targeted in the print based ad