Media and Identity

Model Answers

Section B (46/48)
We are defined by the Media we use. How does your case study
suggest that audiences use the media to construct their own identity?
Focus : The Male (hero)
Texts:
Locke
The Double
Theories
Audience theory
Patriarchy
Hegemony
Spectatorship
John Berger
David Buckingham

Identity is the way we see ourselves and in turn the way different groups in
society see us. I will be using the representation of the male hero in film as a
case study platform to develop a response to this question while also
exploring notions of audience active and passive consumption of media,
important in understanding how Hollywood male action heroes are consumed
as a media representation. Key texts that I will be exploring reflect the
changing nature of cultural identity in how we construct our own identity in
relation to the other but also linking with patriarchal ideology. Hollywood
films reflect mainstream culture and as such are more likely to evidence
hegemonic cultural stereotypes, perhaps within a framework of evolving
liberal pluralism. The key texts I will be exploring are Locke and The
Double both from 2013 but within a wider framework of film culture.
Spectatorship is important for both films. We have contrasting characters in
the aspirational but fundamentally broken Ivan Locke whose dominant brand
of masculinity unravels as the films narrative progresses while Simon in The
Double seems weak and passive allowing for him to be dominated by his
doppelganger, James. While Ivan on the surface conforms to John Bergers
historical but relevant theory men act, women appear his masculinity can be
analysed using David Buckinghams theory of identity fragmentation as
this stereotype falls apart during his journey. Locke is a film about
masculinity. Simon does not conform to any stereotypical collective identity
and can be studied as a pluralistic representation while James conforms
much more to a familiar cultural identity of a professionally successful witty
man who is also successful with women. Audiences would see Ivan as an
aspirational role model, in terms of reflecting their own cultural identity he is
hyper masculine, a successful site engineer with a stable happy family and

two sons who worship him. The secondary persona of Tom Hardy would also
contribute to this identity from rumours of a Bond role to previous
performances playing dominant male characters e.g. in Bronson (2009);
however, his identity in this film is escapist not realist.
Simon in The Double is a character that audiences would identify as a more
realist representation and as such would have closer links to their own
identity, perhaps empathising with his vulnerability in terms of his lack of
progression in the workplace and lack of success with the opposite sex.
James is deliberately placed, using Levi Strauss theory, in binary opposition
to Simon, serving to empathise further his emasculation. Ivan and Simon are
complex and contradictory suggesting to audiences there is not one fixed
identity they must have and that media representations are more diverse in
film texts, which is dependent on a number of factors and variables. This
conforms to David Gauntletts much used but relevant statement in his book
Media, Gender and Identity: Identity is complicated, everyones got one
suggesting an argument against collective identity. However, cultural identity
in relation to masculinity must be understood as more stereotypical in
mainstream Hollywood film texts like Escape Plan (2013) with Arnold
Schwarzenegger and Sylvester Stallone reprising their action hero
representation and roles from the 1980s or as in Man of Steel and Iron Man
3 again both from 2013. David Gauntlett again can provide a framework for
understanding this often repeated and circulated hegemonic mainstream
representation with his suggestion that the media: offers narrow
interpretations of certain roles or lifestyles. Examining this statement
Gauntlett is basically saying that it is in the interests of certain mainstream
media to do so.
The key difference is in how audiences use these texts and the relationship to
their own identity. Using Blumler and Katzs Uses and Gratifications
framework, audiences would reference personal identity in terms of their
expectations of cultural identity and representation in genre pieces like Man
of Steel and the Iron Man franchise while understanding and expecting a
dominant male representation in relation to Schwarzenegger and Stallone
using their cultural capital. The same could be said of Bronson as
audiences expect Hardy to play a specific role whereas Jesse Eisenberg who
plays Simon and James in The Double played the enigmatic Facebook
founder Mark Zuckerberg in the 2010 film The Social Network. Arguably,
Eisenberg is cast to ensure audiences recognise the geeky stereotype of
masculinity and working in information technology (Simon is an office bound
worker). Personal relationships, again referencing the Uses and Gratifications
model, ensure gendered roles in film culture provide an interactive viral
platform using social networking and micro blogging. Audiences have the
ability to reflect on their own identity as much as discuss it. Convergence
culture offers a surveillance aspect with enhanced information available
across digital platforms, assisting is helping to develop what John Ellis
would describe as the male action heros secondary persona. Finally
diversion or escapism can be applied to ensure audiences can differentiate
between a realist and non-realist construction of identity with obvious
links to passive consumption in terms of the representation.
In turn, cultural identity and the construction of ones own identity has a direct
link to ideological constructs, particularly in film culture. Dominant male

roles like Ivan Locke reflect a more historical patriarchal concept that sees
the man in control in work based situations (Ivan is a construction worker
overseeing the biggest concrete pour in Europe), in control as a husband and
father (his wife and sons are at home, waiting for him in their football shirts to
come home and watch the match) and also in control in terms of the decision
making process. Ivan is fanatically wishing to control everything and
referencing a male stereotype thinks he can fix every problem . To anchor
this representation he is rugged and muscular, sports a heavy masculine
beard and has a deep Welsh accent. However, this ideological construct
splinters during the film as his wife leaves him, he loses his job and he keeps
having hallucinations of his weak alcoholic father sitting in the back seat of
his BMW 4x4. The filmmaker shows him as losing almost everything by the
end of the film and turning his back on what is seen as an archaic oldfashioned brand of masculinity. The decision is then left up to the spectator
how to interpret meaning. Using Stuart Halls theory, the dominant preferred
meaning suggests a fragmentation of his cultural identity while an
oppositional reading would suggest he maintains this patriarchal tradition by
continuing to be on top of the decision making process, albeit with negative
narrative outcomes.
Representation of masculinity in film through the male action hero can be a
force for progress or an agent for change but is dependent on commercial or
cultural priorities. Independent film suggests a range of diverse
representations targeting an educated culturally aware audience who are
less likely to be victim to passive consumption and pride themselves on their
individualism whereas mainstream film has more power to influence the
construction of ones own identity. Different media produce a different identity
for different audiences.

Section B (40/48)
Social Media has only served to reinforce existing values and
ideologies. Does your case study suggest social media has played a
positive or negative role in the construction of identities?
Identity is the way we see ourselves and in turn, the way different groups in
society see us while social media, despite its iconic status, is a relatively
new concept that allows audiences the luxury of digital social interaction as
well and importantly the ability to produce and distribute media via peer to
peer sharing. The key question in the essay title is, has social media
reinforced or liberated values and ideologies and to answer this question I will
be exploring the representation of celebrity culture in the media. The
construction of identity in social media is an interesting concept as sites like
Facebook and Twitter suggest a form of self-identity within the framework of
the identity of others. Social media, whether referencing blogging culture, file
sharing sites like YouTube, general social media like Facebook, photo sharing
sites like Flickr, film social media like MUBI or even the online sharing
pinboard Pinterest, has widened media consumption across a range of
convergent platforms. Using celebrity culture as a case study, this arguably
has meant more celebrity culture, more constructed memes, more ways of
accessing celebrity and the ability to create and originate celebrity. With this,
constructing an identity on these platforms has become commonplace. David
Gauntletts prosumer evidences this concept as the boundaries of media

celebrity and self identity are blurred across digital platforms, arguably making
the notion of celebrity identity more abstract.
Celebrity culture is historical, promoted in tabloids like The Sun and the Daily
Star, gossip magazines like Heat, Closer, Reveal, Now and Take a Break
and also through television genres. Reality TV has reinforced celebrity appeal
with commercially successful programmes like The X Factor creating a
production line of celebrities. Social media is another platform that has
allowed for audiences obsession with celebrity identity to be maintained and
extended using a range of rich media. Social media has indeed played a
positive role in the construction of identities but for commercial reasons
perhaps rather than artistic. Comedy programmes like The Mighty Boosh
and Black Mirrors 15 Million Credits have offered postmodern parodies
and pastiches of celebrity obsession as theorist Fredric Jameson would
argue. Social media has acted like an opinion leader using Katz and
Laserfelds Two Step Flow model by acting as a conduit for the creation of
celebrity identity. Users of social media have the ability to engage in
interactive participation in terms of discussing celebrity lifestyles but also
having the ability to offer opinion and pass it on via file sharing.
Examples of memes in recent years that support the argument that celebrity
identity has become abstract are Sy and his video Gangnam Style but also
the song One Pound Fish that on YouTube has received nearly 14 millions
hits with the performer securing a record contract with Warner Music Group
on the strength of the interest and popularity from social media. This
evidences the positive impact of social media in constructing identity but again
for commercial reasons. Celebrity identity always had been a commodity to be
bought and sold with social media acting as a distribution platform.
Facebook also promotes celebrity identity through file sharing and is a
platform where users create their own online identity using categories
including name and profile. Anthony Giddens would argue the concept of
Facebook and Twitter ensures self reflexivity and the ability to construct and
develop ones own biographical narrative or identity. Identity is created as a
reflection of society and in many ways, using the work of Zygmunt Bauman,
this identity can be problematic. Facebook is frequently used as a vehicle for
vehement criticism of anything from media products and celebrity identity to
political ideological doctrine.
Celebrity identity tends to be associated with mainstream media with
magazines like Heat and Reveal having a stable circulation with the primary
objective of directing readers to their websites. On social media, fans often
own constructions and fake celebrity sites are common media as followers
seek to possess part of the identity of a celebrity. Celebrity identity positions
audiences through association with popular culture and ideas of the fake
are not restricted to fan based social media. Twitter has been a social media
site that for some time has allowed celebrities to create and maintain the
myth of personal relationships with their fans. Twitter has allowed the
construct of celebrity to have more longevity as performers/artists etc. who
may previously have been replaced with newer versions by a fickle public
have managed to maintain a presence in social media. Social media has also
promoted a culture of nostalgia that has been positive for the representation
of celebrity identity.

I agree with the statement that social media has reinforced existing values
and ideologies. In terms of celebrity identity, social media has promoted the
construction of an identity in a culture that frequently constructs identity in
other media like Reality TV, print and online newspapers and magazines. For
celebrity identity, social media has had a significant positive impact but of
course with the ability, as in some traditional media, to rapidly disseminate
information and gossip that is not always positive in its reflection of celebrity
culture.

Does the Media Control the Construction of

Identity?
Exemplar A Grade Essay 40/48 (more on the role of
digital media needed)
Before answering this question, the concept of identity needs to be explained
I will be focusing on British National Identity but identities and the media can
include self representation (how British you perceive yourself), collective
identity in terms of how Britishness can be categorised in homogenous
ways, dominant and marginalised representations of British national
identity but also audience responses to identity suggesting a shared
ideology. A well-known David Gauntlett quotation suggested: Identity is
complicated, everyones got one signposting a less hegemonic approach to
identity in favour of more fragmented, individualistic representations.
Schools, for a relatively short period of time have been under instruction from
the Department for Education to promote British values these include
democracy, the rule of law, liberty, respect and tolerance. The topic of British
National Identity is much discussed and scrutinised, but no better illustrated
than from within the media. The Daily Mail is a mid market Tabloid that
promotes what is seen to be more traditional British values while satirist
Charlie Brooker promotes a more diverse brand. Within political parties there
exists a diverse brand of British National Identity while sitcoms like
Outnumbered presents audiences with a not untypical, middle class family
unit and at the same time Al Murray: Pub Landlord offers deeply ironic
representations. As Zygmunt Bauman suggests, this conflict as a reflection
of identity is problematic.
British film has been obsessed for many years with representation of British
National Identity, in part through representations of social class but as Jill
Nelmes argues, it is impossible to talk about British National Identity in film
without focus on regional identity films like Fish Tank (2009) and Selfish
Giant (2013) represent east London/Essex and Yorkshire identity from the
perspective of the underclass - the oppressed with narrative focus being on
difficult children from problematical backgrounds. The problem here for
identity is that the specific brand of identity that is being promoted is open to
stereotyping and passive consumption by audiences. Identity construction
is a combination of both the individual and society and is in a constant
process of negotiation. Mia in Fish Tank constructs her own individual identity
but in negotiation with societal norms; an audience judges her.
Traditional media represents British National Identity as a more hegemonic

construct. The British Royal Family are frequent visitors to the running orders
of television news programmes e.g. narratives about Prince William, Kate
Middleton and the birth of their second child. This positive representation of a
British institution could be argued to be disproportionate and mythical in
comparison to the Royal Familys popularity in polls. Every time the England
football team play, whether in a friendly or competitive tournament again the
news item is normally high up in the news schedules. Conversely, digital
media suggests a more fragmented approach to identity with evidence of
more complexity and diversity and using the uses and gratifications model
as a framework, audiences more actively consume representations of British
National Identity. In this regard, David Buckingham would suggest that we
have increasingly fragmented identities that can no longer subscribe to a
hegemonic representation of British National Identity.
The media undoubtedly mediates identity but notions of control remain in the
realm of consumption passive audiences could watch BBCs flagship Six
Oclock News and think that there is not really much else happening around
the world as the running order is carefully selected and constructed to
represent the interest of British nationals. An active audience however could
question the narrative focus and seek more global news coverage on other
channels like CNN of Al Jazeera English. Newspapers as the fourth estate
however have come under the fiercest of criticism as institutions that promote,
and maintain a British hegemony in main the Daily Mail, Daily Express and
Daily Telegraph. While patriotism must clearly be defined from nationalism
there is often a lack of objective balance, seeking instead to promote through
subjective epistemologies, dominant preferred meanings using Stuart
Halls framework. Use of words like our, we and us help to encode this
shared identity.
British National Identity must also reference the increasing fragmentation of
the union, in part due to the recent Scottish Union referendum but also
increasing calls for devolved power from the National Assembly for Wales. It is
the medias response that is worth studying in attempting to analyse how
prevalent institutional control of identity is. Ironically, much media coverage
can be found commonly representing British identity in a negative way
teenage pregnancies, obesity and Broken Britain (focusing on youth crime
and deviancy amplification) as recurring moral panics which itself is an
identifiable identity stereotype negativity and self deprecation.
Heritage and tradition work to counteract this negativity with many media
institutions commonly representing the Britain of past with underlying
suggestions that things were better back in the day. ITV and Julian Fellowes
Downton Abbey is a critically and commercially successful period drama that
lavishly, in high production values represents British cultural heritage while
in binary opposition to this approach (favoured by a tradition itself of
heritage period drama films) is British social realism gritty dramas by
Directors like Ken Loach and Mike Leigh who offer more realist working class
representations of British National Identity. Hegemony and more liberal
pluralism exist often in equal measure the advertising industry for example
exploits the representation of British National Identity with John Lewis,
Yorkshire Tea and BT adverts aimed at an older, more traditional
demographic.

Currently the British government are contemplating using the media for a
range of anti British ads targeting potential immigrants from Romania and
Bulgaria images could focus on the poor weather, rude London, triple dip
recession and record levels of youth unemployment seeking to put people off
coming to the UK. Here the media would be controlling the construction of
identity but through added on governmental control. It is certainly in the
interests of certain groups to represent British National Identity in certain ways
but as Anthony Giddens suggested, this representation is constantly
updated as a result of social, political and cultural change. In contrast to this,
and despite his earlier quote that identity is complicated, Gauntlett recognises
that the media offers possibilities and celebrates diversity but in some
quarters, offers one-dimensional narrow interpretations.