Cultural resistance
Cultural hegemony
Subcultural theory

– Organised political movements
– Public protests
– Petitions, marches

Hegemonic: dominant, ruling-class, power-holders
● Hegemonic culture: the dominant culture
● Cultural hegemony: power, rule, or domination maintained by ideological and cultural means.
● Ideology: worldview – beliefs, assumptions and values

Cultural hegemony functions by framing the ideologies of the dominant social group as the only legitimate
ideology.

The Birmingham school were the first to recognise teenagers and British working-class youth culture.

Subculture:
– working-class youth culture
– Unified by shared tastes in style, music and ideology
– A solution to collectively experienced problems
– A form of resistance to cultural hegemony

Statement of Intent
I want to create a comedy / horror film and have several jokes about finding a dead body and a gun next to it, it will be dark and funny at the same time. I want it to be mostly funny and quite serious at certain times. I want to target people that watch this film as 16 + as it is a dark comedy. The main character will be about a troubled boy always arguing with his parent until he finally gets fed up and leaves home, to then stumble across a knife and a dead body. For my posters, I will include the troubled boy and his parents in the background, with a knife in his hands. Furthermore in the second poster I will include less characters and just focus on the dead body and the boy.

My film can be seen similar to the stereotypical horror / adventure film as it has a boy going missing and further finding out mysteries about a murderer. My film will be different however because it will lead you on to what the audience predicts that a boy is going to find the murderer that left a gun by the body, but will have a twist on the whole story line and turn out not to be what the audience expected.

My film will be about a boy who to disobey his parents and do whatever he wants to. He has a argument with his parents over wanting to have a mullet and runs away, he then finds a gun on the floor and roams around in confusion until he sees a body on the floor.

Tangible

– Actors
– Supporting
– Cameras
– Green screen
– Cast
– lighting
– Makeup
– Sound men
– Director screen
– Script
– Props
– Costumes
-Antagonist

Conceptual
– Story / Script
– Short summary of your story
– Emotional attachment to the characters
– Empathy
– Linear
– Chronological
– Flashback

Gustav Freytag

Peripeteia – change in fortune
Anagnorisis – A moment of revelation

A really good way to think about NARRATIVE STRUCTURE is to recognise that most stories can be easily broken down into a BEGINNING / MIDDLE / END. The Bulgarian structuralist theorist 

1. Tztevan Todorov presents this idea as:
   – Equilibrium: the story constructs a stable world at the outset of the narrative. Key characters are presented as part of that stability.
   – Disruption
   – New equilibrium

2. Vladimir Propp:
His work suggests that stories use stock characters to structure stories.

1. Hero – Propp identifies two types of hero, the seeker-hero( who relies heavily on the donor to perform the quest) and the victim hero (who needs to overcome weakness to complete their quest)

The villain: fights or pursues the hero and must be defeated it
the hero is to accomplish their quest.
The princess and the princess’s father: the princess usually
represents the reward of the hero’s quest, while
the princess’s
lather often sets the hero difficult tasks to prevent them from mar.
rying the princess.
The donor: provides the hero with a magical agent that allows
the hero to defeat the villain.
The helper: usually accompanies the hero on their quest, saving
them from the struggles encountered on their journey, helping
struggles
them to overcome the difficult tasks encountered on their quest.
The dispatcher: sends the hero on his or her quest, usually at the
start of the story.
The false hero: performs a largely villainous role, usurping the
true hero’s position in the course of the story. The false hero is
usually unmasked in the last act of a narrative.

1. 
   
   Often there is a villain who has done something to the victim. this means we need a hero, who is often accompanied by a helper is sent out to fight the villain.

Anachronic devices – (flash forward/flashback): subvert traditional linear storytelling techniques through time blending.

Cultural industries – the different types of popular media, production, distribution and products in the creative industry.

Production – the making side of media.

Distribution – The methods by which media products are delivered to audiences, including the marketing campaign.

Exhibition – consumption- the retail branch of the film industry when the media is taken in by individuals or a group.

Media concentration – the ownership of mass media by fewer individuals.

Conglomerates – a group that owns multiple companies which stand out different media specialised in written or audio-visual content.

Globalisation – the worldwide integration of media through the cross-cultural exchange of ideas.

Cultural imperialism – The practice of promoting the culture values or language of one nation in another.

Vertical Integration – Where media companies expand by acquiring different businesses in the same chain of production and distribution.

Horizontal Integration – a way in which media companies expand by acquiring media companies that work in similar sectors.

Merger – Where 2 or more business combine together to make one.

Monopolies– concentrated control of major mass communications within a society.

Gatekeepers– the process through which information is filtered for dissemination.

Regulation– the process by which a range of specific, tools are applied to media systems and institutions to achieve established policy goals such as pluralism, diversity, competition, and freedom.

Deregulation– the process of removing or loosening government restrictions on the ownership of media outlets.

Free market– one where voluntary exchange and the laws of supply and demand provide the sole basis for the economic system.

Commodification– the transformation of the relationship, which is trafficked into things that are free of the commercial nature of the relationship.

Convergence– the merging of media technologies and platforms through digitization and computer networking.

Diversity– diversity of ideas, viewpoints or content options .

Innovation– change in several aspects of the media landscape, like the development of new media platforms, new business models and new ways of producing media texts.

Hesmondhalgh makes it clear that the Creative Industry is a ‘Risky Business’. Companies work to minimise the risk of their business. A way they can do this is by making their product at first, and then changing it slightly to further boost their sales after the first product. An example of this is music, after selling most of the songs, they could then bring out a remix of it.

As such, this film provides a narrative of INSTITUTIONAL SEXISM, in the same way that we could look at other stories that are concerned with other institutional prejudices – racism, homophobia, Islamophobia etc.

Roger Alies was an American television executive and media consultant. He was the chairman and CEO of Fox News. He resigned from Fox News after being accused of sexual harassment by several female Fox employees.

Judith Butler describes gender as “an identity instituted through a stylized repetition of acts”. In other words, it is something learnt through repeated performance. How useful is this idea in understanding gender is represented in both the Score and Maybelline advertising campaigns?

Judith Butler presents different ideas about gender, implying that it is “an identity instituted through a stylized repetition of acts”. In this essay I will be stating arguments about this idea and the waves of feminism.

Firstly Judith Butler discusses many ideas involved with gender representation such as gender fluidity and changeability. She states that gender is a “Social Construct” and that our gender identities aren’t established at birth, childhood or adolescence, but are formed through our consistent performances of gendered behaviour. She has stated that historically, gender has been viewed in a binary fashion which is divided into categories based on stereotypes and characteristics that can’t be changed. It basically means that gender is ever changing and never fixed based on society, and how it acts and changes. In the first wave of feminism Barry makes the point that although the women’s movement was not the start of feminism. In other words, the issue of women’s inequality has a history that pre-dates the 1960’s, for example Mary Wollstonecraft, (1792) A Vindication of the Rights of Women. In the 1960s sexism was referred to in a systematic way, like a patriarchal society where men were seen as most dominant and superior to women. For example Michelene Wandor stated that “sexism refers to the systematic ways in which men and women are brought up to view each other antagonistically, on the assumption that the male is always superior to the female”. Which also links to the male gaze, which is the representation of women in video games or any form of media, over sexualising them for the male attention presuming the viewer/player is a straight male. Laura Mulvey focused on the male gaze in films and how women were over sexualised for the visual pleasure for men. This also applies to the score CSP as it reveals much more women and shows more body parts. The advertisements implies that you would appear to have more women with you if they were to use your product.

Third wave feminism is different to the feminism of the 60s and it tries to encourage multiple plural identity’s called intersectionality. Barker and Jane wrote “rebellion of younger women against what was perceived as the prescriptive, pushy and ‘sex negative’ approach of older feminists.” They also said third wave feminism is regarded as having begun in the mid 90’s with characteristics such as the differences among women due to race, ethnicity, class, nationality, religion and fluid and multiple subject positions and identities. This can be seen in the Maybelline advert as the the main person in the advert is gender fluid.

1. Introduce the overall aim and argument that you are going to make
2. Establish your first main critical approach (I would suggest Gender as Performance by Butler, but you could start with feminist critical thinking, or . . . )
3. Develop this approach by using key words, phrases and quotation (Mulvey, Kilbourne, Moi, Wander, Wollstonescraft, Woolf, de Beauvoir, Woolf)
4. Apply your theoretical ideas to either or both of the set CSP’s
5. Show some historical knowledge about societal changes – particularly to the historical context of post-war society ie 1950’s-1970’s see this link)
6. Establish a secondary theme or idea that you wish to raise (eg 2nd wave feminism)
7. Develop this approach by using key words, phrases and quotation
8. Apply your theoretical ideas to either or both of the CSP’s
9. Move forward to the present day to show some historical knowledge about societal changes – (ie non-binary world, intersectionality, use of new media etc)
10. Establish a contradictory argument that shows your ability to think and engage
11. Develop this approach by using key words, phrases and quotation (3rd wave feminism Butler, Levy, Dollimore, hooks, Van Zoonen, Raunch Culture, Queer Theory, Intersectionality etc)
12. Apply your theoretical ideas to either or both of the set CSP’s
13. Apply your theoretical ideas to either or both of the set CSP’s
14. Summarise your main arguments
15. Ensure you have a summative, final sentence / short paragraph

Third-wave feminism began in the early 1990s, coined by Naomi Wolf, it was a response to the generation gap between the feminist movement of the 1960’s and ’70’s

The shift in critical feminist studies that reconciles exploitation against empowerment illustrates the shift in feminist thinking towards the 3rd Wave of feminist thought, see for example, groups such as Third Wave Foundation.

According to Barker and Jane (2016), third wave feminism, which is regarded as having begun in the mid-90’s has following recognisable characteristics:

1. an emphasis on the differences among women due to race, ethnicity, class, nationality, religion
2. individual and do-it-yourself (DIY) tactics
3. fluid and multiple subject positions and identities
4. cyberactivism
5. the reappropriation of derogatory terms such as ‘slut’ and ‘bitch’ for liberatory purposes
6. sex positivity

Raunch culture is the sexualised performance of women in the media that can play into male stereotypes of women as highly sexually available, where its performers believe they are powerful owners of their own sexuality’.

Intersectionality:

 It is from this that the development and articulation of intersectionality began to take shape. The early ideas around intersectionality can be traced to theoretical developments from the 1980’s, see for example, the work by Kimberlé Crenshaw (1989) or some of the propositions asserted around Queer Theory

Queer Theory:

In the UK the pioneering academic presence in queer studies was the Centre for Sexual Dissedence in the English department at Sussex University, founded by Alan Sinfield and Johnathon Dollimore in 1990.