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 Water Aid advert

 Initial tracking shot:












  • Initial tracking shot symbolic of lack of wealth - we follow Claudia as she collects water.
  • Mid Shot of Claudia walking directly in to camera, and framed by a dusty, empty landscape - connotative of bleakness and emptiness
  • There are polysemic readings of this advert because it is both bleak and depressing, but also hopeful and uplifting
  • low close up tracking shot of Claudia's shoes establishes that she must walk far to collect water. Positions the audience literally in Claudia's shoes, allowing the audience to empathise with her.
  • Close up of Claudia's smiling face, connotes a positive and optimistic ideological perspective - stereotypical representation of teenage girls being happy and enjoying themselves 
  • Low angle establishing tracking shot follows Claudia as she collects water positioning the audience with her. A positive and optimistic experience
  • Within the advert there are elements of diegetic sound and music as Claudia sings, initially alone, an angelic, innocent song, singing solo with no accompaniment. However, this also emphasises the lack of resources & opportunities in her life and her loneliness
  • Children rush to join Claudia's song in a series of closeups and mid shots, functions as a proairetic code, suggesting unity and togetherness.
  • Claudia's song functions as a symbolic code, signifying her confidence in face of adversity
  • Clear binary opposition created with rainy, miserable England and colourful, cheerful Africa - Atypical representation of Africa

Representation and identity


  • Young, working class black woman. Non-stereotypical representation of a sixteen year old girl.
  • non-stereotypical representation of black teenager - they are normally seen to be associated with crime and drugs within other media product 
  • Claudia challenges stereotypical representations of African people living in poverty. She is not constructed as being vulnerable, no stereotypical shots of flies swarming around eyes or bloated starving bellies.
  • Africa - scrubby trees, villagers carrying water pales, and the brightly coloured traditional clothing = stereotypical representation of Africa
  • Africa - presents a binary opposition between traditional, stereotypical representations, of slums, crying children, covered in dirt, eyes filled with tears and flies - gives the audience a more happy and uplifting advert
  • Claudia an atypical representation of teenage girls. No makeup, working hard!
  • Audiences now desensitised to charity adverts. The Claudia advert presents a resolutely positive ideology to it's target audience
  • African people are represented as cheerful, happy and carefree. Positive representation, yet also stereotypical
  • Claudia sings, an upbeat, catchy, positive song. As she reaches the village, the village joins in this song in chorus. Symbolises community, friendship, and working together
  • Costume - colourful costumes, with particular emphasis on bright yellows and pinks - connotes happiness and positivity.

Kiss of the Vampire



  • Historical context: the first stereotypical vampires are from the 1800's. Classical horror films ere often period dramas, and this is backed up through the mise-en-scene within the poster
  • Gesture and performance of the women reinforces their role within the film, and conform to hegemonic norms and standards - stereotypical representation - she is fearful
  • Woman on left takes the role of the 'damsel in distress' archetype, positioning the audience in the role of a heterosexual man
  • Lisbet Van Zoonen - Male gaze theory: mise-en-scene of the exposed skin, and combination with the stereotypical attractiveness of the women assumes a heterosexual male target audience, and reinforces ideas of patriarchy
  • mise-en-scene of darkness = the night setting is connotative of the horror genre and is highly typical. Positions the audience as fans of the horror genre
  • Iconography of the full hints at the supernatural elements of the film, positioning the audience through the use of hermeneutic codes - the stake 

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