Monday, 2 February 2026

Cut around a solid shape or block capital text (fastest)

 Use this when:

  • The shape/text is a solid color

  • The background has good contrast

Steps

  1. Select the Flood Select Tool

    • Shortcut: W

  2. Click inside the shape or text

    • The area fills with “marching ants”

  3. Adjust tolerance (very important)

    • In the top context toolbar:

      • Increase Tolerance if it doesn’t select everything

      • Decrease it if it grabs too much

    • Turn Anti-alias ON

    • Turn Contiguous ON (usually)

  4. Refine edges (optional but recommended)

    • Click Refine in the context toolbar

    • Feather slightly (0.5–1 px)

    • Click Apply

  5. Cut it out

    • To isolate:

      • Click Layer → New Mask Layer

    • Or to delete background:

      • Press Delete

How to resize a pasted image in Affinity Photo 2

1. Paste the image

  • Copy the image from anywhere

  • Paste it into Affinity Photo (Ctrl + V / Cmd + V)

  • It appears as a new layer in the Layers panel


2. Select the Move Tool

  • Press V
    or click the Move Tool (arrow icon) in the toolbar


3. Resize using the bounding box

  • Click on the pasted image

  • You’ll see a bounding box with corner handles

To resize proportionally (no distortion):

  • Drag a corner handle

  • Hold Shift (Affinity 2 requires Shift to constrain proportions)

To resize freely (distort):

  • Drag without holding Shift


4. Apply the transform

  • Press Enter
    or click Apply in the context toolbar (if shown)

Thursday, 29 January 2026

Viewpoints and Ideologies - Exemplar (Coming Soon)

QUESTION 5: How does The Big Issue use Media Language to construct viewpoints and ideologies in Extract A?

Extract A: THE BIG ISSUE cover 06 February 2023.

At the age of 18, Sophie L Morgan was involved in a road traffic accident that left her paralysed from the chest down. Since then, she has become famous as a T.V. presenter, author and disability advocate. Despite her fame, she admits to suffering from imposter syndrome and has struggled with the reality of her circumstances, particularly when it comes to the ‘invisible’ aspect of being a disabled woman.


 In this extract, The Big Issue are taking a progressive, inclusive and anti-ableist ideological position by presenting the viewpoint that disabled people can be attractive, confident and worthy of our respect, overcoming challenged that are both personal and societal. This will strongly appeal to their "socially" and "ethically conscious" demographic. 

The messaging 


Wednesday, 28 January 2026

DETAILS OF YEAR 13 MOCK - 2026

Paper 1

Question 1: NEWSPAPERS - UNSEEN - THEORIST

Analyse the social representation in the two extracts. 

Apply either Hall, Van Zoonen, Hooks or Gilroy.

Question 2: NEWSPAPER - UNSEEN - LONGER ANSWER

Source A and Source B cover the same news events from two different newspapers, one left‑wing and one right‑wing. 

How far does the media language used in the sources incorporate viewpoints and ideologies? 

In your answer you must: 

  • explain how newspapers use media language to incorporate viewpoints and ideologies 
  • analyse the media language used in the sources 
  • make judgements and reach conclusions about how far the media language used in the sources incorporates viewpoints and ideologies.

Question 3: NEWSPAPERS 

Explain how economic factors influence the way print and/or online news is produced. Refer to The Guardian and the Daily Mail to support your answer.

Explain how historic contexts influence the way print and/or online news is produced. Refer to The Guardian and the Daily Mail to support your answer.

Explain how social contexts influence the way print and/or online news is produced. Refer to The Guardian and the Daily Mail to support your answer.

Question 4:

Question 5: 

Question 6:


Paper 2

Question 1: PUBLIC SERVICE BROADCASTING - ONE OF THESE THREE

  1. How does public service broadcasting (PSB) differ from commercial broadcasting in terms of funding, content, and audience reach? Make specific reference to The Radio One Breakfast Show in your answer. (Explicitly about PSB.)
  2. To what extent does public service broadcasting fulfil its remit to educate, inform, and entertain? Make specific reference to The Radio One Breakfast Show in your answer.
  3. How has technological convergence impacted public service radio broadcasting? Make specific reference to The Radio One Breakfast Show in your answer. (Explicitly about convergence.)

Question 2: FILM INDUSTRY - MAY CHANGE - ANNOUNCING THIS WEEK

  1. To what extent has technological convergence transformed the film industry? Make specific reference to Snow White (1937) and Shang-Chi (2021) in your answer. (Explicitly about convergence.)
  2. How have changes in audience consumption habits affected the ways in which films are distributed and exhibited? Make specific reference to Snow White (1937) and Shang-Chi (2021) in your answer. (Encourages discussion of convergence.)
  3. How has globalisation influenced the strategies used by the film industry to reach international audiences? Make specific reference to Snow White (1937) and Shang-Chi (2021) in your answer

Question 3: LFTVD SYNOPTIC - ONLY ONE QUESTION TO REVISE/PREPARE

‘Long form television dramas challenge rather than reinforce dominant ideologies.’ How far do you agree with this statement?

Question 4: LFTVD EVALUATION

- Evaluate the usefulness of one of the following theories in understanding long form television drama.

  • Neale - Language 
  • Butler - Representation
  • Hesmondhalgh - Industry
  • Jenkins - Audience

SYNOPTIC MARK SCHEME

USE THIS MARK SCHEME TO EVALUATE ANY PARAGRAPH YOU PREPARE, BUT BE AWARE THAT IS IS DESIGNED TO APPROACH A WHOLE ESSAY.

1. ANSWER THE QUESTION [0,1,2,3,4,5]

Fluent, flowing and focused answer that repeats the language of the question.

2. ADDRESS CONTEXT [0,1,2,3,4,5]

Explicitly approaches the significance of context in a meaningful and perceptive way. 

3. APPLY THEORY [0,1,2,3,4,5]

Uses a wide range of theorists. Characterises them clearly and correctly. Applies them thoughtfully.

4. USE EXAMPLES [0,1,2,3,4,5]

Makes thorough and judicious use of examples, either from the episode or wider industrial context.

5: ANALYSE EXAMPLES [0,1,2,3,4,5]

Takes the opportunity to analyse the significance of ALL examples, with reference to the question.

6: COMPARE [0,1,2,3,4,5]

Makes clear, perceptive and frequent comparisons between the texts. 


0 - Not at all  .  1 - Vaguely  .  2 - Limited  .  3 - Adequate  .  4 - Good  .  5 - Excellent

Tuesday, 27 January 2026

Intertextuality Question

The next type of question related to The Big Issue is an Intertextuality question. 

It would likely look something like this...

How does The Big Issue use intertextuality in extract A?

Extract A: Front Cover No. 1214

This front cover was release in July of 2016. The all female remake of the popular movie The Ghostbusters was released in this same month along with Donald Trump receiving the official Republican Party nomination for his first run for U.S. president. Here his face has been placed onto the body of Slimer, one of the more iconic ghosts from the Ghostbusters franchise. The heads of the ghostbusters have been replaced with the heads of (From left to right):

Hilary Clinton - The Democrat Party nominee running against Trump.

Theresa May - The new UK Prime Minister, only the second woman to hold that office.

Taylor Swift - According to Forbes magazine, the highest paid celebrity in the world. 

Serena Williams - The highest paid female athlete in the world. 




























Definition:

Intertextuality is when a media text references, copies, or echoes another media text (such as a film, TV show, celebrity, artwork, slogan, or genre) so that the audience recognises it and brings their existing knowledge to the meaning.

In short: Texts gain meaning through their relationship with other texts.

Magazines use intertextuality to:

  • Engage the audience quickly – familiar references are instantly recognisable

  • Create humour or irony – especially through parody or pastiche

  • Add depth and meaning – one reference can communicate complex ideas fast

  • Position the reader as “in the know” – making them feel clever or included

The Big Issue often uses intertextuality to:

  • Connect with a broad, mainstream audience by referencing well-known films, celebrities, artworks, or cultural moments

  • Challenge stereotypes by placing homeless or marginalised people within familiar, high-status cultural imagery

  • Create empathy – recognisable references make serious social issues feel more relatable and human

  • Blend activism with popular culture, making political or social messages more accessible and less confrontational

For example, when The Big Issue references iconic film posters or famous figures, it invites readers to rethink social issues through a familiar cultural lens, helping the message feel relevant rather than distant.

Introduction:

Intertextuality helps magazines like The Big Issue engage audiences by using familiar cultural references to communicate social messages quickly, challenge assumptions, and create a sense of shared understanding with the reader.


Task 1: As you can see, this introduction is very vague. Rewrite it so that it relevant to the extract. You should include something about the messaging of the extract and you may wish to include something about the audience demographic. 

Post you response in the comments section below... 

Friday, 23 January 2026

SYNOPTIC QUESTION 1: INTERTEXTUALITY

SOME RESOURCES

Chatham and Clarendon Media Studies Blog: LFTVD: INTERTEXTUALITY - ECONOMIC CONTEXT

Chatham and Clarendon Media Studies Blog: LFTVD - INTERTEXTUALITY - SOCIAL CONTEXT

Chatham and Clarendon Media Studies Blog: LFTVD - INTERTEXTUALITY - CULTURAL CONTEXT

Chatham and Clarendon Media Studies Blog: LFTVD: INTERTEXTUALITY - HISTORICAL CONTEXT

Chatham and Clarendon Media Studies Blog: LFTVD - INTERTEXTUALITY - POLITICAL CONTEXT

PREPARE YOUR RESPONSE TO THIS QUESTION

2026 Question: “Economic contexts are more influential on the way that programme makers use intertextuality than social, cultural or historical contexts." How far do you agree with this statement?

2026 Question: "To achieve success, intertextuality must reflect dominant values and ideologies within both global and national markets." How far do you agree with this statement?


Let's start by watching these youtube essays.

Intertextuality: Hollywood's New Currency




QUESTION 1: 

Firstly, ask yourself, what it the question really asking?

“Economic contexts are more influential on the way that programme makers use intertextuality than social, cultural or historical contexts.”

You are being asked to:

  • Evaluate this claim (not just agree)

  • Compare economic contexts with social, cultural, and historical contexts

  • Focus specifically on intertextuality (references, influences, homage, genre borrowing)

  • Apply this to both Stranger Things and D83. 

NB: This is not a “describe intertextual references” question. It is a judgement question about why intertextuality is used.

Secondly, be crystal clear about what you understand by Intertextuality and how it is used in media texts.

Intertextuality = how media texts reference, echo, borrow from, or respond to other media texts.

This includes:

  • Genre conventions
  • Homage / Pastiche / Parody
  • Narrative tropes
  • Visual style
  • Music
  • Character archetypes
Thirdly, plan the structure of your essay. 

Introduction: 
  • Briefly define intertextuality
  • Acknowledge the debate: economic contexts vs social/cultural/historical
  • Name your texts
  • Offer a balanced argument (e.g. economic contexts are crucial, but not more influential than cultural and historical contexts)
Paragraph 1: Economic Contexts - Stranger Things - Paragraph 2: Economic Contexts - D83



Paragraph 3 & 4: Social (Cultural) and Historical Contexts

Here is where you challenge the statement, asking if these areas are at least as important or possibly more important than Economic contexts. 

 


One possible line of argument might be:

Economic contexts strongly influence the use of intertextuality in Stranger Things, where nostalgia and recognisable references function as a commercial strategy in a risk-averse streaming market. However, Deutschland 83 demonstrates that historical and cultural contexts can be more influential, as its intertextual references prioritise authenticity, national identity and political memory over commercial appeal. Therefore, the statement is only partially valid.




Friday, 16 January 2026

Brief 4: Promotional Package

Brief: You work for an independent media production company. You have been given a music video (Brief 3 - Element One) and a 'behind the scenes documentary' (Brief 3 - Element Two) and tasked with producing a promotional package for an up and coming artist that is featured in the video.

The package must include:
The homepage and one hyperlinked page for a website promoting the artist.

The homepage must contain at least 
  • A promotional gallery of the artist. 
  • A latest videos section
  • A news section.
  • An interactive section encourage fan response.
The hyperlinked page will be titled - In other media - and must contain at least.

  • A still of the artist being interviewed on Breakfast T.
  • An account of their experience being interviewed.
  • A front cover of The Big Issue featuring the artist.
  • An account of their interview including extra photographs from their cover shoot.

The package is targeting an audience of 16 - 25 years old, but could include a wider range of ages. 

NB: You will be graded on the quality of your production and the way that you have addressed your audience.

Thursday, 15 January 2026

Viewpoints and Ideologies Questions

One of the question types you may be asked when analysing The Big Issue is a viewpoints and ideologies question. The question would look something like this:

QUESTION 5: How does The Big Issue used Media Language to construct viewpoints and ideologies in Extract A?

Extract A: THE BIG ISSUE cover 07 June 2021.

The cover story features Margaret Thatcher (former British Prime Minister) who infamously removed free school milk from schools during her time as education minister, earning her the title 'Thatcher, Thatcher, Milk Snatcher.' Also pictured is Marcus Rashford,  who successfully campaigned for the UK government to extend free school meals and food support for vulnerable children during school holidays and the Covid-19 pandemic; his campaigning meant that more disadvantaged children would continue to receive meals when schools were closed.



In the comments section below, answer these two questions:

  1. What viewpoints are being expressed?
  2. What ideological positions are being expressed by the magazine?

Next, choose an aspect of Media Language to analyse. It is not always easy to decide on the perfect order, and some magazines will need different approaches. But, if you are not sure, use a similar approach as you do with newspapers.

  • Image
  • Text
  • Anything else
Write a paragraph about the use of image and post it to the comments section below. You should consider the following questions:

  1. What viewpoint/s is/are being constructed by the image/s?
  2. How have they used mise en scene, shot, type and colour?
  3. What ideological position are they taking?
MARK SCHEME

1. CLEAR AND COHERENT UNDERSTANDING OF VIEWPOINTS/IDEOLOGY [0,1,2]​   

2. ACURATELY ANSWERS THE QUESTION [0,1,2]​ 

3. SELECTS AND DESCRIBES EXAMPLES [0,1,2]​   

4. CAREFUL ANALYSIS OF EACH EXAMPLE [0,1,2]​

5. USES TERMINOLOGY CLEARLY AND PRECISELY [0,1,2]

0 - No
1 - Maybe
2 - Yes

EXAMPLE PARAGRAPH ON IMAGE
The image on the cover highlights the Big Issue’s viewpoint that Margaret Thatcher, despite being the former Prime Minister, is not worthy of our respect because she chose to disadvantage poor children while Marcus Rashford deserves out admiration because he has use his platform as a premiership footballer to campaign for disadvantaged children to receive free school meals during the Covid pandemic. The use of a low angel shot combines with facial expression (mise en scene) to construct the message that Dame Thatcher was austere and dismissive - the audience is positioned to feel like she is literally looking down on them and her facial expression is stern and cold - while Rashford is friendly and worthy of admiration - the audience is positioned to feel as if we are looking up to him and his facial expression is smiling happily. This contrast reinforces the left wing position of the magazine by rejecting her right wing values and respecting his left wing values. The proxemics also highlights the sense that the publication sees Dame Thatcher as behind, Rashford; she is far smaller in the shot, and position in the background, while he dominates the shot and is clearly in the foreground. This may connote the viewpoint that she is in the past, or perhaps that her policy is regressive, while his is progressive. Based on these expressed viewpoints we can infer that The Big Issue supports left wing collectivist ideology, which is likely to be shared by the readership, who are described by the publication as being ‘socially’ and ‘ethically’ conscious.’

BASED ON OUR MARKSCHEME THIS PARAGRAPH SHOULD NOW ACHIEVE 10/10

Final Task:
Write a paragraph about the text on the cover and post it to the comments section below. You should consider the following questions:

  1. What viewpoint/s are being constructed by the language and typography?
  2. How have they used typography (font, text size), language and colour?
  3. What ideological position are they taking?


Tuesday, 2 December 2025

REPRESENTATION QUESTION

Explain how music video producers use representation to promote their artist(s). 

Refer to one of the music videos you have studied to support your answer. [10] 

You should have studied two music videos: one from List A and one from List B below. 

List A

List B

Corinne Bailey Rae – Stop Where You Are 
Emeli Sandé – Heaven
Lil Nas X – Sun Goes Down

Radiohead – Burn the Witch  
David Guetta – Titanium  
Sufjan Stevens – Sugar


MARK SCHEME
The structure of the essay is:
None existent/random = 0      
Clunky but possible to follow = 1   
Clear and coherent throughout = 2

The answer is:
Not focused on the question = 0   
Somewhat focused on answering the question = 1
Consistently focused on answering the question = 2

The use of examples is:
Non existent or weak = 0
Clear but not detailed/consistent = 1
Clear, detailed and consistent = 2

Analysis is:
Non existent or unclear = 0
Follows most examples but may lack precision = 1
Clear, precise and follows every example = 2

The use of terminology is:
Non existent or weak = 0
Fairly secure but no consistent = 1
Excellent throughout = 2

SOME OPENING POINTS
  • A generic convention of most music videos is to promote the artist by representing them as a skilled and passionate performer.
  • One of the ways that music videos producers promote artists is by representing the artist as an aspirational figure.
  • Another of the way that music video producers promote artists is by constructing representations that encode value alignment with the target audience.
  • Another way that music video producers promote artists is by constructing narrative elements in which they are represented interacting positively with an avatar of the target audience.
LET'S TRY THE TOP ONE...

A generic convention of most music videos is to promote the artist by representing them as a skilled and passionate performer. 

EXAMPLE ESSAY

Music videos have existed for around fifty years, acting as advertisements for the song and artist. Initially, performance footage took precedence and is still a convention of many music videos, but increasingly there is an attempt to build a representation of the artist as someone with whom the audience can identify, either as an aspirational figure or someone with whom their socio-political values align.
 
While the music video to Stop Where You Are (SWYA) does not include the convention of representing the performer using concert footage or performing a choreographed dance routine, it does use direct mode of address with the artist lip syncing direct to camera. Corinne Bailey Rae’s (CBR) performance is impassioned and emotive and the use of low angle shots may be intended to position the audience to feel as they would at a concert, encouraging them to want to see her live.  However, the halo effect created by the backlighting, and the use of shallow depth of field construct a representation of the artist as an ethereal/angelic figure; perhaps the intention is less about presenting the artist as a performer and more about promoting spiritual value enlightenment with the audience.
 
Another convention used by music videos producers is to construct a representation of the artist as an aspirational figure. Within a capitalist western paradigm, this type of representation is often encoded using mise en scene that connotes a lavish lifestyle: wearing expensive clothing, driving expensive cars or partying in luxurious locations. The second shot of SWYA features a low angle close up on Corinne Bailey Rae’s (CBR) expensive designer shoes; she is also wearing a designer dress, a possible signifier of her wealth. However, it seems unlikely that the producers intend this to be aspirational in a capitalist sense because the location is neither lavish or luxurious, and the socio-political messaging of the video is not about aspiring to wealth but rather aspiring to spiritual contentment. Again, it seems that value alignment is the most important element of promoting the artist.

The anti-capitalist socio-political messaging is obvious in one set piece which features a homeless woman interacting with a male white-collar professional. Applying Hall, their first encounter seems to fix a hegemonic preferred meaning; the mise en scene constructs her gender nonconformity, and the lighting draws attention to her aggressive facial expression. hooks may point out that the indifferent way she is treated by the male white-collar worker, encodes a message of white supremacist capitalist patriarchy. However, after a shot of CBR seemingly looking down at the event the sequences cuts back to the white-collar worker returning with a drink then sitting down in a two shot medium closeup that emphasises their equality by using eyeline matching. This short narrative promotes CBR’s progressive moral perspective on homelessness by constructing a narrative that features a counter typical relationship between homeless people and the middle classes, establishing socio-political value alignment with her younger, left-wing target audience.

We can apply Hall again when examining the messaging around the representation of stereotypes. In one sequence, CBR is shown walking through a dark alleyway; the forbidding mise en scene is emphasised by the combination of back lighting and low-key lighting that literally cuts the shot in two, building a binary opposition between CBR as the innocent protagonist and what appears at first to be a representation of a young black thug. Hall would point to the way that black men are consistently stereotyped as violent criminals and this sequence uses the same narrative shorthand, framing CBR as the potential victim.  However, a series of subsequent shots establishes that he is a breakdancer who goes on to perform for and with the CBR. This short narrative typifies the progressive value transfer between the artist and her audience as it challenges stereotypes about race by establishing a counter typical representation of young black males.

So, as we can see, the music video to SWYA uses several generic conventions around the use of representation to promote its artist, but central to the process is encoding socio-political and spiritual value alignment that promotes identification between the artist and the target audience.

Monday, 1 December 2025

Paper 2: LFTVD Evaluation Question Mark Scheme

Theory (Opening)

0/1/2 - The opening paragraph demonstrates limited / adequate / excellent understanding of the theory.

Theory (Application)

0/1/2 - The essay demonstrates limited / adequate / excellent ability to apply the theory to both TV shows. 

Examples 

0/1/2 - The essay makes limited / adequate / excellent use of specific and detailed examples from both TV shows.

Evaluation

0/1/2 - The essay offers limited / adequate / excellent evaluation of the limitations of the theory. 

Terminology

0/1/2 - The candidate uses a limited / adequate / excellent range of Media Studies specific terminology.

Sunday, 23 November 2025

QUESTION 3: CULTURAL CONTEXT

On Wednesday, you will have 20 minutes to answer one of the following questions:

1. How do cultural contexts shape the way newspapers represent national identity and heritage? Refer to The Guardian/Guardian Online and The Daily Mail/Mail Online to support your answer. (This encourages students to examine how ideas of Britishness, tradition, or multiculturalism are reflected and constructed by different newspapers.)

2. In what ways do cultural values influence the editorial tone and content priorities of newspapers? Refer to The Guardian/Guardian Online and The Daily Mail/Mail Online to support your answer. (This invites discussion on how deep-seated cultural beliefs—such as views on monarchy, art, or education—shape what is covered and how.)


Below is an example answer to the following question...

How Do Newspapers Reflect and Negotiate Tensions Between Traditional Cultural Values and Contemporary Cultural Trends?

Newspapers function as both agents of representation and cultural institutions, negotiating between heritage and modernity. The Guardian constructs its identity through a liberal editorial stance and a historical commitment to holding power to account, often encoding progressive values within its content. In contrast, The Daily Mail maintains a populist editorial line, designed to position its largely middle-class, culturally conservative audience to favour tradition and national identity. Through their ideological framings, these newspapers reflect and mediate cultural tensions surrounding Brexit, LGBTQ+ rights, and globalised digital media, offering audiences differing preferred readings and inviting a variety of polysemic interpretations


Brexit and Cultural Division

The Brexit referendum became a powerful cultural flashpoint, dividing liberal internationalism from nationalist traditionalism. The Daily Mail’s “Enemies of the People” front page (4 Nov 2016), which vilified judges for ruling against the government’s unilateral triggering of Article 50, exemplifies sensationalist encoding. The paper’s representation of legal authority as treacherous reflects a right-wing ideological position, appealing to readers aligned with populist, anti-establishment views. The Guardian, by contrast, offered a counter-hegemonic narrative, upholding legal checks as vital to democracy. Its coverage offered an oppositional reading of the same event, positioning audiences to critique the government’s power grab and defend constitutionalism, while at the same time adopting a sober and matter-of-fact tone. These differences reveal how each paper reflects its ideological standpoint through framing strategies, shaping cultural meaning and reinforcing broader audience positioning within the Brexit debate. 


LGBTQ+ Rights and Shifting Morality

The representation of LGBTQ+ identities offers insight into each paper’s values and audience engagement. In April 2025, The Guardian reported on Judge Victoria McCloud’s appeal to the European Court of Human Rights after a UK Supreme Court ruling defined “sex” as biological in the Equality Act. The article was encoded to affirm legal protections for trans individuals, aligning with the paper’s progressive news values and inviting a preferred reading grounded in inclusion and diversity. The Daily Mail, however, often reinforces traditional moral codes. Its 2018 opinion piece opposing Tom Daley’s surrogacy choice reflects a conservative moral discourse, aligning with heteronormative family ideals. While such content may be read negotiatedly or oppositionally by more liberal readers, it clearly positions its core audience to resist shifting norms. These examples reveal how newspapers both reflect and shape cultural ideologies through mediated representations of gender and sexuality.


Social Media, Globalisation, and Cultural Consumption

The rise of platforms like TikTok marks a shift in how audiences access news and engage with cultural narratives. Ofcom’s 2023 report found that 28% of UK teens aged 12–15 access news primarily via TikTok (ITV, 2023). This shift towards user-generated content and participatory culture (Jenkins) signifies a break from traditional top-down models of communication. The Guardian has adapted by embracing convergent media practices, using interactive tools, live blogs, and mobile-optimised formats to position digitally literate users within a progressive news framework. Its editorial voice remains informed but accessible, encoding authority while encouraging community engagement. The Daily Mail, by contrast, has capitalised on the attention economy through Mail Online’s click-oriented model. Its use of soft news, clickbait headlines, and emotionally charged content reflects tabloid conventions and an emphasis on infotainment. While both papers operate within a globalised, digital culture, their contrasting media language and modes of address continue to reinforce distinct ideological alignments.


Conclusion

The Guardian and The Daily Mail illustrate how newspapers reflect and negotiate cultural tensions through their use of representation, ideology, framing, and audience positioning. Each uses distinctive media language and institutional practices to navigate shifts in cultural values—from Brexit nationalism to LGBTQ+ inclusion and digital globalisation. The Guardian offers a space for progressive, counter-hegemonic narratives, while The Daily Mail maintains a culturally conservative hegemonic discourse, appealing to its core readership. Their divergence not only mirrors Britain’s cultural divide but also highlights the complex role of the press in constructing and contesting meaning in contemporary society.


STUDENT EXAMPLE: NUMBER ONE

Cultural values form the way newspapers construct meaning, frame events and position audiences, the Dail Mail and the Guardian operate as ideological institutions shaped by historically embedded worldviews. These beliefs about the nation, the monarchy, multiculturalism, or Britain’s global role directly influence their tone, story selection, and representational strategies. A comparison of their coverage of Brexit, the death of Queen Elizabeth II, and post-2020 migration debates demonstrate how deeply cultural values inform editorial identity. 

The Daily Mails longstanding support of Brexit has reflected the papers conservative values and traditional identity, one of the clearest examples is the “Enemies of the People” front page (2016), which condemned High Court judges for ruling that Parliament, rather than the government alone. The papers Brexit coverage also consistently presented leaving the EU as the choice of “ordinary British people,” encouraging readers to see Brexit as a way of taking back control and standing up. In doing so, the Mail created a preferred reading that linked with patriotism reinforcing a worldview that valued tradition. The Guardian took a very different approach when discussing the subject their coverage consisted of economic risks, rights of EU citizens and threats. The Guardian encoded a message which prioritised global cooperation, using a factual tone appealing to centre left audiences who value openness.  

The Death of The Queen in 2022 was another culturally significant moment which presented both papers differently following their ideologies and position. The Daily Mail seemed to focus on nostalgia using the headline ‘Our Beloved Queen’ representing her as an emotional heart of British identity. This is continuing to represent the papers traditional values, using a sentimental tone to pay their respects and loyalty to her majesty.  The Guardian covered the event by acknowledging her significance with a tone reflecting mourning, using a small text of her reign dates. The contrasting approaches illustrate how newspapers reflect broader tensions between tradition. 

Migration is a cultural subject where editorial values strongly shape language and content. The Mail has been seen to use sensationalist fear-based language and framing and they tend to represent the migrants as ‘swarms’ and ‘waves’, stories prioritise crime, border control, and strain, reflecting a worldview grounded in cultural and social order. The Guardian’s coverage emphasises human rights challenging the rights and policies, their tone is compassionate rather than treating migrants as a single group, it often gives space to individual voices, showing their struggles.  This approach allows readers to understand migration as a complex issue.  

Overall whether reporting Brexit, the Queen’s death, or migration debates, both newspapers encode ideological positions that reflect wider cultural divisions in the UK. Their contrasting tones and narrative choices position audiences differently,  demonstrating how the press actively shapes  not just reports cultural meaning. 

Why is it good?

It is really clear and uses examples very well. Not too wordy, which means that it is easier to remember. It has three clear sections, which means if it ran out of time it could drop one of them.

What could be improved?

A few more references to the question stem (cultural values) would make it damn near perfect.


STUDENT EXAMPLE TWO

Cultural values shape how newspapers choose stories and set their overall tone. This is clear in how the Guardiam and TDM handled Brexit. TDM reflected nationalist, conservative values through a dramatic/confrontational tone of reporting. The “Enemies of the people” paper in 2016 criticised judges that challenged the government’s article 50 plan and framed said judges as obstacles to the majority’s will. This coverage style reflects the audience, which values national identity and nationalism/traditionalism. The Guardian took an opposing stance, focusing instead on democratic accountabiliy and constitutional checks. Their reporting used more selective language and presented the legal proceses as something to protect citizens rather than weaken the nation.

Cultural values also influence how each paper treats LGBTQ+ Rights. The guardian tends to prioritise inclusivity and social equality, meaning many reports from them often frame LGBTQ issues as matters of protection and fairness. It's 2025 coverage of Judge McCloud's appeal to the ECHR to address unfairness to transgender individuals and invited readers to consider the legal and social consequences. TDM, meanwhile, reflects more traditional values and focuses in stories that defend established norms. Its critical response to Tom Daley’s surrogacy in 2018 positioned non-traditional families as something controversial and encouraged readers to question shifting moral expectations. These choices show the way both news service's beliefs push certain narratives to their reader bases.

Another area where cultural values shape content is seen with both agencies’ reporting on the rise of social media cultures. The guardian tends to treat short-form content platforms like TikTok as part of a changing media, landscape and often reports on them with a focus on digital literacy and public responsoibility. Their coverage of Ofcom’s findings on teens using TikTok as a source of news treats the trend as something that needs careful consideration and encourages readers to think of how younger generations consume information. Meanwhile, TDM takes an alternate angle and often frames social media as a cultural threat or a sign of declining standards. Mail online in particular leans into click-driven stories that treat influencers and viral moments as entertainment over meaningful media. This reflects an underlying belief that traditional journalism is being undermined by online culture and audiences and readers shoud be wary. These contrasting views show how cultural attitudes towards technology and youth behaviour shape how papers present themselves to audiences.


Why is it good?

This essay is a thing of beauty. Again, this is very clear and has three clear sections. It deals with them very well and one could be shed if time was an issue. The final paragraph has really impressive potential.

What could be improved?

There are one or two spelling errors and places where cultural values could be used, but these don't detract from the essay. That said, always try to be perfect. I particularly like the way it deals with Tik Tok content, but there may be space there to use more specific evidence. 


Monday, 17 November 2025

REVISION QUESTION 19/11/2025

Source A Tabloid Web Article + Source B A Broadsheet Web Article

How far have media conventions been used to construct viewpoints and ideologies in Sources A and B?

In your answer you must:

  • outline the conventions of the tabloid vs broadsheet Web articles, including use and style of headlines and images

Mainstream online newspapers (both tabloid and broadsheet) use recognisable digital conventions but adapt them differently to suit their audiences. Tabloid sites often echo their print style with punchy, emotive headlines, bold images, and attention-grabbing thumbnails, while broadsheet sites prioritise clarity, neutrality, and more restrained visuals. However, both rely on search-optimised headlines, short standfirsts, and prominent images to compete for clicks. Broadsheets typically emphasise depth through longer articles, data visualisations, and contextual links, whereas tabloids favour shorter, faster-paced stories with stronger emotional hooks. Despite these contrasts, both formats use multimedia, hyperlinks, and structured navigation to maintain engagement across devices. In essence, online tabloids and broadsheets share core digital conventions but diverge in tone, visual style, and story selection, reflecting their different purposes: tabloids aim to entertain and provoke instant reactions, while broadsheets focus on informing readers through authority and depth.

  • analyse the contrasting use of symbolic, technical and written conventions in the sources
  • make judgements and reach conclusions on the way in which media conventions construct viewpoints on ideologies.

SOURCE A - Mail Online
SOURCE B - Guardian Online

EXAMPLE
Both articles feature use of images and anchoring text that is in keeping with the conventions of their respective type: The MailOnline is more obviously politically biased and uses an image charged with right-wing messaging, while the Guardian is gently left wing in its messaging while maintaining a level of political neutrality expected of a broadsheet publication. The MailOnline use a tabloid convention of reinforcing their stories with images, they feature an image of Starmer and the anchoring text reiterates their headline. The selected image shows Starmer with an open collar, perhaps indicating his lack of seriousness in the light of what they have already constructed as a crisis in need of "counter-terrorism style tactics." Directly below, the image of the migrants shows a range of non-white 'fighting age' men. The central figure is triumphant, hand in the air, connoting a sense of victory with a gesture that many right wing readers will see as co-opting Churchill's familiar symbol of victory against Nazi invasion. The chaos of the scene and the clear indication of the ethnic diversity of the group all combine to encode a sense of invasion by foreign migrants, eliciting anger in the right wing readership. By contrast, the image selected by the Guardian does not shy away from presenting the gender of the migrants, but the image connotes a far more orderly and encodes a message of control, symbolising the success of the UK border force. The fact that they are "brought into Dover" clearly constructs a very different preferred reading of the situation to the Mail as they are encodes more like guests than invaders; this is very much in keeping with the Guardian's more liberal messaging around immigration and small boat crossings.