Practice IOC

https://sites.google.com/site/eruditemedia/mp3

Where do we see evidence of linguistic imperialism in the Anglophone world?

Nowadays, we can clearly see that linguistic imperialism is widespread in the Anglophone world.  The two major forces which spread English throughout the world are British colonialism from the 17th to the 19th and American capitalism in the 20th century. In his book, Linguistic Imperialism (1992), Phillipson describes the spread of English as 'a post-colonial endeavor of core English-speaking countries to maintain dominance over periphery (in many cases developing) countries.' From history, we can see that the dominance of English is asserted and maintained by establishing continuously, 'structural and cultural inequalities between English and other languages.' 

Well-known scholar, Max Weinreich said "A language is a dialect with an army and navy". This is true;, a language has traditionally become and international language for one main reason: the power of its people-especially their political and military power. It can be seen throughout history. It takes military power to establish it but it takes economic power to maintain and expand it. English could operate on a global scale with the introduction of new technology. This helped foster English into mass entertainment, international marketing and advertising, and even pop culture.

Why do we learn English? Individuals want access to scientific and technological information, international organizations, global economic trade and higher education. English makes this all possible. English provides linguistic power.Many countries now see English as key to their economic survival. It has an ideological function of modernity and efficiency. Even among parents, there's been pragmatic realizations that their children's lack in English could mean a marginalization of their children. It would deny them access to extensive resources. The growth of English into a 'lingua franca' certainly increases efficiency as an international medium for communication.

However, despite the advantages of such a universal language, there are damaging impacts on individuals and the community. We associate English with power which makes other languages seem 'unrefined' or 'primitive' in comparison. People who write up their research or scientists who write their reports in languages other than English, will have their worked ignored by the international community. English is now seen as a skill that educated and cultured people must have. This can be seen in many of the education systems we establish today. For example, there is now a standard English Language Testing System. Many students have to take the IELTS or TOEFL to gain acceptance into university or work in a country. Without these qualifications, it is rather difficult to maintain a stable economic lifestyle. 

If you go further, you have to ask yourself, will the emergence of a global language hasten the disappearance of minority languages and cause widespread language death? Well, statistics show that at least 50% of the world's 6,000 or so living languages will die out withing the next century. When a language dies, so much is lost. It is similar to the conservation of the species and the environment. 

Language is a tool of knowledge, it's how we communicate ideas. We see the history and the culture people. We see their identity. Language is a chief means of showing where we belong, and of distinguishing one social group from another. All over the world, we continuously see evidence of linguistic divergence rather than convergence.  

However, in recent times, the rising dominance of English has actually stimulated a stronger response in support of local languages. Movements for language rights have played an immense role in many countries like the Maori in New Zealand or the Aboriginal languages in Australia. This is because of people's need for identity and language provides this. 

Paper 1 Text 2 Analysis

The article titled "Food Crisis in Sahel" is an online piece released December 2011 on the Oxfam International Website, informing the reader on the predicted food crisis across West and Central Africa and Oxfam's contributions. At first glance, this article may seem like the typical charity piece yet during closer inspection, we see that it is merely an advertisement for the Oxfam charity foundation.

The author's outlook on Western and Central Africa is seen through their language and structure. He refers to them as places to be 'helped' and 'vulnerable'. The lack of personal terminology suggests that the audience is not from the same region. In fact, it would infer that the audience would originate from more economically developed countries. The purpose would be to inform their readers of the situation in Sahel and subtly persuade them to donate towards Oxfam, in support of their efforts in the region.

The article begins with a picture of a woman riding a donkey in a desolate, dry and vast land. This sets the tone of the text and gives us a face, a person to identify with. It also gives us an idea of the conditions they are living in, making it easier to imagine what the author is saying. The text begins with a general introduction that discusses the possibility of an upcoming food crisis in the Sahel region of West and Central Africa and directly indicates the issue. Saying that if effective action is not taken, the consequences will be severe. They support this with the experiences of past food crisis going on to say it 'affected more than 10 million people'. This immediately puts a number and image in your head, tugging on your emotional strings, urging you to read on. It goes on supporting their claims with the suggestion of a well-thought-out strategy and the claim 'we can work to break the hunger cycle', again pulling the reader into the situation.

The structure is a close resemblance of the Problem/Benefit technique that many advertisers use to persuade people. This can be seen by the sub-headings; 'The situation in the Sahel' and 'What Oxfam is doing'. The first part, is mainly to inform the reader. Using Logos, it states the current status of the situation, basing it on facts and statistics. Moving on to 'What Oxfam is doing', the purpose becomes to introduce the possible solutions. Notice how the author does not say what the reader can do to help. It is implied repeatedly through the tones of urgency and language such as 'early response', 'action' and 'support'. Furthermore, the article only presents Oxfam's solutions. It does not give any space for other charities or even suggest other actions. Almost, as if subtly forcing you to focus on what Oxfam is doing. This implies that they are only trying to persuade you to donate to Oxfam. Despite this being a good cause, it does imply that there is not as much care for the situation in Sahel, in comparison with Oxfam. Although, being quite informative, the article only provides us with one action they've started, the rest are goals. Thus the majority of the work is 'so what?' claims. We don't see any evidence of effect or change or even the possibilities. Combining these two sections, portrays Oxfam in a positive light as the noble and ethical organization.

The mood of the article is urgent using words such as 'crisis', 'insecurity' and 'erratic'. Yet, the mood is also surprisingly neutral since it does not demand sympathy but rather allows the reader to focus on the message. The tone is serious and maintains the level of professionalism needed for such a large organization. The large bold quote jumping at you first is "the humanitarian response must tackle the underlying causes of crises like this to prevent them recurring." The mood is immediately set as critical with words such as 'crises' and 'must tackle'. Also appealing to Ethos with words such as 'the humanitarian response', effectively implying that if you don't do this, how can you be a human?
Yet despite this, the tone also seems to be didactic. We see the use of many statistical facts and how the straight-forward claims leaves an air of confidence and security despite the magnitude of change that they are implying. Similar to what we analysed in the introduction.

The main literary devices utilized in the article are logos, pathos and ethos. Ethos is persuading people with ethics, reputation and credibility. This is done using words such as 'humanitarian aid', 'protect' and etc. It provides us with a sense of urgency, pushing us to support Oxfam. The introduction gives us the responsibility to take action and prevent more lives lost. It uses ethos to encourage us to do the right thing. Logos is spread throughout the article, especially in the statistical analysis of the current situation in the Sahel.  This gives an internal consistency to the message. To make sense to the audience. It assures legitimacy to the article and thus to Oxfam as well, sealing their reputation.
Pathos is an appeal to the audiences' sympathies and imagination. This is seen especially when the author combines image and language. For example, the final passage with the line; "300,000 children dies from malnutrition-related diseases in a 'non-crisis' year". Pathos is being used with the claim of using children, we associate this with innocence and thus we feel more for them. As the last sentence, this leaves us with this image as our final thought as thus are more likely to help.

In conclusion, we can see how Oxfam has employed a variety of advertising techniques and literary devices to persuade the audience.

Generation Like

The Frontline documentary “Generation Like” explores the relationship between Internet users and corporate marketers. In the film, Douglas Rushkoff explain how in our generation the consumer turns into the marketer by reaching out to their peers through social media, in turn selling the product for the company.

Rushkoff explain how teens are spending more and more time in digital spaces they know nothing about, eventually creating a demographic profile about themselves and thus voluntarily handing out information about themselves to companies.This is because the value of companies such as Facebook and Twitter aren't based on profit, but based on the volume of likes they can generate. Now here we see the game of likes.

Through social media platforms, teens can participate in something bigger than themselves and engaging with figures that they idolize is what keeps them continuing to like and engage via social media. However, what is really occurring is that corporations are employing kids to sell their product, making them work for free without knowing the role they are playing in the marketing process. In our generation any ordinary kid has the opportunity to cultivate an online fan base. Kids feel validated by the number of likes they receive, skewing their notion of success and creating a meaningful impression. New world marketing is where it's no longer "the medium is the message" and more of "you are the medium".

How powerful is the connection between the effect of social media and the structure of the Hunger Games? 

In “Generation Like” companies profit by selling out identities. Teens are victim of manipulation by marketers and large corporations and playing into a system they aren't aware of. Teens feel empowered and like they part of a meaningful social community when really they are just “players in a corporate version of The Hunger Games.”

As seen in the clip above, Rushkoff uses the Hunger Games as a metaphor and makes a direct comparison between advertisers and the game makers from The Hunger Games, the ones who create arenas where teenagers fight each other to the death for sponsorships and the viewing pleasure of adults. It's where hidden game masters set the rules that you need to follow, and where the only way to receive benefits from sponsors is to get as many people to like you as you can. Jar of miraculous healing ointment anyone? This inclusion of profound parallels between the subject-matter and the plot of The Hunger Games, and its incorporation of clever transition methods, helps to convey a story that’s tackling a heavy subject matter into a simple and cohesive structure for the audience to enjoy.

The connection between the effect of social media and the structure of the Hunger Games is a profound message. For today’s young adult audience, a world of instability is just the norm. When young adults read these books, stories about teenagers who must fight for their lives and fight for their freedom in a world that a previous generation has wrecked, they are reading a metaphorical representation of their own world. Today’s kids have been handed a world their elders mismanaged, used up, polluted and wrecked. 

The relationship with the games being just like social media, gives the audience something to relate to. They understand the issues with the games, not only from the character's point of view but with their interpretation of it as well, Associating this to social media gives them a further understanding and makes them question the social media game.

We Need To Talk About Lily Allen

The Internet exploded when iconic British pop star Lily Allen released the music video for her long-awaited comeback single “Hard Out Here”. It is incredibly ambitious and catchy as hell. "Hard Out Here" has Allen referencing everything from the sexual double standard for women to the glass ceiling. It's a feminist pop anthem you can blast at parties.

At first, we find Allen stretched out on an operating table, undergoing liposuction while silently protesting criticism about her wright from her old white manager. “How do people let themselves get like this?” Her gross white middle-aged manager asks. “Um, I've had two babies,” she responds. This aptly captures the pressure woman in the music industry must feel. She aptly instills the idea of female empowerment, cleverly discussing the objectification of women, sexism in the media and the fallacy that sexism no longer exists. She introduces the concept of the glass ceiling and her attempt to expose and break it. This is probably the most effective scene because she liberates herself from the revolting sexism it creates by getting up and singing.

The lyrics aim to ridicule common tropes perpetuated about women in pop music, and are supported in the video by clever references to other music. The repetition of the refrain “hard out here for a bitch,” is a reclamation of “bitch” as a term of power and a reference to Three 6 Mafia’s “It’s Hard Out Here for a Pimp”. This actually contrasts with the ideology that "males are active and females are passive" within media texts.

She also satirizes the standard "Robin Thicke and Miley Cyrus" approach to Top 40 by adding an inter-textual reference to Thicke's video "Blurred Lines" and Cyrus' "We Can't Stop" video and performances. As a widely recognized gesture, this became a successful satiric statement. She replicates this to show how insignificant the assertion was to the the actual narrative of his song and making a point of how ridiculous the content of pop videos have gotten and how the 'patriarchal society' allows this.

The only problem with Allen's video though, is that it undermines its own message.

Lily Allen uses a satiric approach to her music video. In trying to make a comments about the sexism and materialism in hip-hop video and pop music, Allen's video was interpreted by many as perpetuating racism The problem was that for satire to have a real effect, mere imitation is not enough. In her attempt to satirize, Allen still manage to alienate.

The video cuts to black women twerking, an obvious parody of the use of black women as props in music videos. While Allen may not have intended to dehumanize and objectify the women of color twerking in her video, she succeeded in many ways. But even when she’s dancing with them, it seems she’s still kind of making fun of them, or at least keeping her distance. We get the message yet the entire video is laden with half-naked ladies twerking. We see women licking various objects as phallic symbols and spraying themselves with champagne; there are gratuitous close-ups that reduce women to jiggly butts and crotch shots. Further to that point, Allen is the only three-dimensional woman in this video yet the dancers never stop playing up the bottle-popping, booty-shaking roles they've been assigned—roles she’s already condemned and rejected. Meanwhile she sings, "No need to shake my ass for you cause I’ve got a brain.” Exacerbating this is Allen demonstrating her own superiority by being a clothed white woman parading amongst semi-naked women of colour.

The biggest issue here isn't that Allen chose to satirize the twerking dancers in hip hop videos, but that she chose to satirize something that doesn't actually affect her, that she could stand apart from and present as a sort of oddity. That's ultimately the problem with Allen's brand of pop feminism, though. In order to empower women just like her, she's had to exclude and make a mockery of countless others.

Written Task 2 Practice

 How and why is a social group represented in a particular way?

In this article, I'll be answering the question above in relation to LGBT advertising.

There are 2 types of techniques marketers use to advertise to the LGBT community. Gay window advertising is one of the earliest and most common strategy targeting gays. It features “average” and straight-looking characters that can be read as buddies or roommates by straight audiences and as gay couples by gays. This advertising strategy tries to appeal to lesbian and gay consumers without offending, or even alerting, homophobic audiences. In addition, through the use of in-group language, gestures, and symbols of gay sub-culture, an ad is able to appear “innocuous” to heterosexual audiences and induce a gay reading from gay audiences simultaneously, thus creating a multivocal article. However, gay window advertising only secretly and ambiguously acknowledges and entertains gay audiences which may become a glass closet, or the “closet of connotation”.

Now, the gay message is beaming through more clearly these days.They now use LGBT families or LGBT individuals in campaigns that reach mainstream audiences. The LGBT community isn’t as ghettoized as it used to be. Gay marketing, like gay-everything, has seeped into the mainstream.

 

Despite this, we've changed tactics. Does sex still sell? More specifically, how are gay men depicted in gay men’s magazines? Is sexuality used to sell products in ways that are similar to the way sexuality is used to sell products in mainstream men’s magazines? Are gay men more sexualized than straight men?

The de-sexualization of LGBTQ media is often articulated in terms of an attempt to make “respectable” the gay civil rights movement.

FOA

The gay, lesbian, bisexual, and transgender community is a multi-billion dollar target audience, estimated to be worth around $835 billion.


AD 1:


The 1997 ad for the Volkswagen Golf, called "Sunday Afternoon," featured two guys (one white and one black) driving around. It's been called memorably ambiguous.


Now this ad is a basic textbook example of gay window advertising, one of the earliest and most common strategy targeting gays. It features “average” and straight-looking characters that can be read as buddies or roommates by straight audiences and as gay couples by gays. This advertising strategy tries to appeal to lesbian and gay consumers without offending, or even alerting, homophobic audiences. In addition, through the use of in-group language, gestures, and symbols of gay sub-culture, an ad is able to appear “innocuous” to heterosexual audiences and induce a gay reading from gay audiences simultaneously. Multivocal


The gay window advertising is a 1997 Volkswagen commercial which features two hip young men who salvage a discarded chair and place it in the back of their vehicle as they drive around aimlessly. Here we see subtle touching and physical proximity. Mainly, we can see the playful wrestling with the action figures. The characters could be read as roommates, or partners, especially considering the fact that it was first aired during the much publicized coming-out episode of Ellen, an expensive spot that charged advertisers twice the normal rate.


Some advertising meanings are deliberately opaque to induce higher involvement in the message. This indicates that consumers gain pleasure from decoding or making sense out of ads. This ad would cause controversy and further publicize the ads. The best communication is through the people.


However, gay window advertising only secretly and ambiguously acknowledges and entertains gay audiences which may become a glass closet, or the “closet of connotation”. LGBT are seen but not recognized by the mainstream society.






AD 2:


Within the last year we've seen advertising come out of the closet, and now use LGBT families or LGBT individuals in campaigns that reach mainstream audiences. The LGBT community isn’t as ghettoized as it used to be.


Many big brands are now using the out-of-closet technique; a daring strategy to target their gay consumers explicitly in the hope of winning their loyalty.
Ads Break During NBC's Coverage of Sochi Olympics Opening Ceremonies. Russia's stringent anti-gay laws have created an issue for sponsors and advertisers of the Sochi Winter Olympic Games, with some skirting the issue and others confronting it.





"While what it means to be a family hasn't changed, what a family looks like, has," notes the voiceover. "This is the new us." The spot ends with Chevy's tagline for the past year: "Find New Roads." With this ad, Chevrolet is making a big socio-politcal statement.


LGBT consumer demographic as a means to get "their message through the clutter to the buyer."






The spot blends real-life events, news clips, and social media to show, as Chevy put it, “that even though the world is constantly changing, the things that matter most remain the same.”


The ad is certainly heavy on depicting the constant change. It begins, Like the old love, the new love starts with a kiss, shifting from a shot of a heterosexual couple smooching at a race to the gay nuptials.


Like the old success, the new success still takes hard work, the ad continues, with a fast-moving stream of scenes depicting generational and ethnic diversity, family occasions, heroism and fun, social-media applications and technological innovation — and ending with a rat-tat-tat melange of new Chevrolet models.


The LGBT community tends to be more affluent. They spend more,” he said. “They’re more loyal to brands that use LGBT people in their ads and have LGBT-friendly policies. They also tend to be more influential — especially for certain products.


In the commercials explicitly targeting gays, no gay stereotypes such as sissy gay men are presented. Gays are not shown in peculiar settings, wearing flamboyant clothes or talking in a certain theatrical manner; gayness is a treated like a norm in the ad story.


Active portrayal: showing the person interacting directly with the product.


Affect Transfer: Supporting the LGBT and diversity is human rights. This activates thoughts of ethical goodness which extends to the evaluations of the product.


Participation in the mass market was equated to membership in mainstream society.


If you’re invisible in the media, then you’re basically invisible in society, and how the media portrays you is how society is going to see you.


It’s saying ‘We got money. We contribute to the corporation. We contributed to big business. We got families. We are part of the mainstream now.’


Targeted advertising was identified as an essential step in achieving social and political inclusion. ‘Consumer rights, citizenship, and civil rights are intricately connected in the United States. When we express our identity as a consumer that reinforces and strengthens our identity as a citizen.’


Here, not only does Chevrolet present an LGBT household, but it goes further and creates diversity with their choice to include multiple races.


AD 3:


It is crucial to note which group of gay people from the community is privileged to be presented in these ads—white, upper-middle class males, similar to the findings from previous studies concerning gay representations in print ads. The consequence of identity-based marketing has a tendency to focus on the prosperous white man as the representative homosexual since the social dominance of whiteness and maleness leaves the gay part of their identity as the most salient. Although the ads explicitly targeting gays can subvert stereotypes by portraying gays like “normal” people, (i.e. the heterosexual mainstream), those “positive” gay images have also been criticized for offering a counterproductive version of gay visibility that perpetuates the “dream consumer” stereotype.


Role-product congruity: advertising affective as can be increased when appropriate models are used. The Acceptable image. Reliance on stereotypes.


Some were willing to give up something of their sub-cultural identity for the sake of total acceptance in society. This stereotype is also implicated as it is with racism in the mainstream society as well as gay community which would hinder many gay people of colour from affirming their gay identity.


The de-sexualization of LGBTQ media is often articulated in terms of an attempt to make “respectable” the gay civil rights movement.


It can really have an impact on people's perceptions towards the community. Ads are something that people see every single day and truly do have an influence in our culture, and not only does the inclusion raise more awareness, but it gives the LGBT community more of a sense of acceptance. The media is broadcasting gay acceptance, the political climate indicates it, and advertisers are capitalizing on it.


AD 2 and 3:


These ads indicate a fantasy for gay people to be accepted by the mainstream as well as to escape from everyday discrimination, as scholars have suggested that escapism is one of the most common motivations attributed to users of the mass media.


They are associating acceptance with the product.


The intended function and meanings of advertising messages can change as they migrate from the textual context of their presentation to the context of social interactions.


Conclusion:


Double Edged Sword: Acceptance yet Stereotyping. Assimilating into the mainstream by representing them as average individuals.


However, the representations of LGBT people in advertising are further implicated with racism, sexism, and class bias in the LGBT community. Power conflicts are demonstrated in the filtered gay images in advertising so that a certain group from the queer community—white, middle-class, gender-normative, and mostly male—is found to dominate the advertising space.


Because these representations provide a mirroring function for LGBT people, they potentially have an effect upon gay subjectivity and agency, i.e., how gays and lesbians think of themselves and how they view marketing practices and consumption behaviours in relation to group interests.