Class and age Flashcards
(20 cards)
What are common positive stereotypes of children in the media?
According to Headliners (1998), the media uses 7 stereotypes: the cute child (feel-good factor), little devils, brave angels, modern kids, child genius, kids as victims, and accessories. These often appear in adverts and dramas, portraying children as innocent, endearing, or exceptional. However, these representations vary significantly depending on gender, ethnicity, and class—e.g., Islamic vs. white British children.
How do Marxists view children’s media representation in adverts?
Marxists argue media socialises children into active consumers, using “pester power” to pressure parents. Evans & Chandler found advertising creates family tension and can drive poorer families into debt. Platforms like TikTok amplify this by targeting children with algorithmic consumer content, reinforcing capitalist values from an early age.
How are children portrayed engaging in positive behaviours?
Heintz-Knowles found American media often shows children performing pro-social actions like telling the truth or helping peers. These portrayals focus on friendships and sports, though rarely show children facing structural issues like racism. Most research is US-based, limiting its generalisability to UK children. Still, such portrayals support moral development and social norms.
How does the media treat children who don’t conform to stereotypes?
The media can vilify children who deviate from “acceptable” stereotypes. After the 1993 James Bulger murder, The Sun called for harsher sentences for the young killers. This shows how non-conforming children are demonised, contrasting with idealised portrayals. Media framing here reflects moral panic and emotional public responses.
What do postmodernists say about stereotyping based on age?
Postmodernists argue it’s increasingly hard to generalise about age. Identities are now fragmented: middle-aged adults may dress or act like teenagers, and childhood is commercialised. Age is no longer a fixed identity but fluid and hybrid, reflecting diverse lifestyles and choices across age brackets.
How are teenagers portrayed through moral panic narratives?
Since the 1950s, youth have been labelled as deviant or problematic. Cohen identified how youth, especially working-class and Black teens, are scapegoated during societal anxieties (e.g., hoodies, binge drinking). They’re presented as anti-authority “folk devils,” reinforcing a narrative of breakdown and threat.
How are teenagers marginalised and blamed in the media?
Wayne et al. analysed 2000 news items: 82% showed youth as victims or perpetrators of crime, with only 1% giving their opinion. This fuels stereotypes while ignoring real issues like housing or mental health. The media distracts from structural problems by framing youth as dangerous or immature.
How are the elderly symbolically annihilated in the media?
Elderly characters make up just 1.5% of roles on US TV (Cuddy & Fiske), often minor or impaired. Age Concern (2000) found media portrayals to be ageist, showing old people as grumpy, dependent, or burdensome. These representations reflect society’s obsession with youth and beauty, stigmatising ageing.
What is the double standard of ageing in media representation?
Susan Sontag noted that older women are often shown as passive, while older men are given high-status roles. News shows pair elderly male anchors with young female co-hosts, reinforcing gendered ageism. This highlights how both age and gender shape media visibility and value.
How has the ‘grey pound’ influenced elderly media representation?
Older consumers have increasing economic power—the grey pound. Adverts now target elderly viewers with portrayals of “golden agers”—active, independent, and affluent. Though Lee et al. found only 15% of adverts feature elderly people, most portray them positively to tap into their disposable income.
How are representations of age changing in digital and new media?
: New media platforms (e.g., YouTube, TikTok) give voice to younger and older groups, shifting away from ageist portrayals. Media conglomerates now pursue elderly consumers rather than marginalising them. Fragmented identities and increased representation across platforms suggest more inclusive trends
How does the media reinforce admiration for the upper class through representations of hierarchy and tradition?
Neo-Marxists argue that the media promotes elite status through shows like Downton Abbey and royal events. Naim (1988) claims the monarchy has co-opted modern media to promote national unity. This reinforces cultural hegemony by encouraging admiration of wealth and tradition.
How are lavish lifestyles used in the media to sustain consumer capitalism?
Traditional Marxists argue that media glamorises wealth and luxury as aspirational. Newman (2006) shows the focus on upper-class consumption encourages ‘keeping up with the Joneses’, creating false needs and supporting capitalist ideologies.
Why are middle-class values and concerns overrepresented in media content?
Marxists argue that media is dominated by middle-class producers, leading to shows like Doctor Foster reflecting middle-class life. This frames their experiences as ‘normal’, marginalising the working class and reinforcing class bias.
How is the middle class portrayed as aspirational and culturally dominant in the media?
Postmodernists like Lawler argue taste is now a symbol of class. Owen Jones says media makes society appear middle class, reinforcing the idea that middle-class lifestyle is ideal, while devaluing working-class identity.
How are working-class lives symbolically annihilated in mainstream media?
Marxists argue working-class stories are ignored. Gerbner and Newman note few dramas or non-fiction works focus on working-class realities, portraying them mainly in soaps or in crisis. This erases working-class voices from public discourse.
How does the media promote false class consciousness among the working class?
Curran & Seaton argue tabloids target the working class with celebrity and entertainment news, avoiding serious political content. This distracts them from structural inequalities and helps maintain capitalist dominance.
In what way is poverty symbolically annihilated in media narratives?
Neo-Marxists like McKendrick et al. (2007) found poverty is underrepresented in news and drama. The lack of coverage of its causes and consequences maintains myths about meritocracy and prevents public awareness.
How does media language stigmatise the poor and underclass?
Macdonald and Lawler argue terms like ‘chav’ or ‘white trash’ are used to mock the working class. This reduces sympathy and frames poverty as a result of personal failings rather than structural inequality.
How does entertainment media misrepresent poverty and the underclass?
Marxists like Lawler and Weltman argue shows like Benefits Street portray the poor as lazy or deviant. These biased portrayals reinforce middle-class superiority and encourage mockery rather than understanding of poverty.
