Supercurriculars

Media Magazine- Juno Case Study
In this copy of the Media Magazine, there is a case study of Juno. The magazine uses the layout as an intertextual reference to the poster as it is designed in the same way as the movie poster. I thought this was interesting as people with an interest in the movie would find this instantly recognisable. 

The Media Magazine article argues that Juno operates as a defining example of indie mainstream cinema. It blends low budget aesthetics of hand drawn titles and an acoustic soundtrack, with commercial success. The film has a nuanced representation of teen pregnancy where it rejects moral panic in favour of authenticity and emotional complexity. 

The poster uses stylistic choices to communicate tone, identity to emphasise the representation of girlhood and teen pregnancy. The film offers a non-stereotypical portrayal of teen pregnancy, and the article explores why Juno resonated with young audiences seeking authenticity and this could be seen as the preferred dominant reading (Stuart Hall). However, some audiences (potentially older ones) could interpret this more negatively depending on their views on teen pregnancy. 

Overall, the article demonstrates how Juno is a case study which reflects its zeitgest and challenges dominant ideologies.

Livingstone and Lunt's Regulation Theory

Livingstone and Lunt's regulation theory suggests that the way media regulation is restricted, may actually harm the consumer, rather than protecting them. In Mark Dixon's book on media theories, I found that globalisation has been a big challenge in terms of regulating the media, as it has reduced the power of national governments in controlling the media. Regulation theory focuses on the conflict between protecting citizens and promoting consumer choice. This is because regulators wish to protect their audience, as they believe it to be harming them. This could be because of inapropriate content which can be found or also if it is not politically aligned with the current government. However, this presents difficulties because they also believe the audience should have the right to see what they wish to see.

Shelter #NoHomeKit Advert

I thought Shelter's #NoHomeKit film was an interesting advert because it combines something that, generally across the UK, is often spoken about, like football with something that lacks awareness, like homelessness. The advert shows 'fans and famous faces of the beautiful game trading in their team’s home colours for away and third kits on Boxing Day' as described by Shelter. This collaboration between football and Shelter creates awareness for the brand, The intended meaning encoded by Shelter (Stuart Hall) is likely decoded by football fans as intended: to donate and support the cause. Unlike commercial adverts, Shelter’s aim is to raise awareness and encourage donations, rather than to sell a product.

The narrative of the advert contrasts comfort and security with vulnerability and homelessness. It does this by showing famous footballers and fans swapping their home kits for away and third kits, showing solidarity with homeless people. Through the use of celebrities, Shelter position homelessness as a social issue affecting everyone indirectly. This is done to increase relatability, encouraging the audience to make a donation and take action. By using a familiar social setting like football, the advert's message is more impactful and memorable.

The advert reflects altruism through showing the footballers exchanging their home kits for away kits. The footballers engage in the campaign to raise awareness and encourage the audience, rather than for personal gain. Through doing this, Shelter encourage the audience to do the same. This is more likely as some may idolise the footballers involved and participate, as they have, because they believe it builds their relationship with them (Henry Jenkins).