1. “Media texts will never be successful unless they are carefully constructed to target pre-established
audience needs or desires” Evaluate the ways that you constructed a media text to target a specific
audience.
Through the construction of my media text, in this case my music video, was deliberately created
with the specific target market of young female adults age 16-24 in mind. This is primarily evident
through the use of a female artist which allowed a manipulated star image to be created which the
target audience would be comfortable in receiving. In addition, the artist fell within the target
audience age category, aged 23, which the audience can identify with in social terms; thus building a
rapport more easily with them and more likely to continue reading the text. Hartley's (1987)
suggestion that 'institutions... must also enter relations with the audience' is applicable in this case
as with the artist fitting in with the same target market requirements it is easier for the audience to
see them as a 'real person' and continue to interact with them.
The production of the media text was established to appeal further to the target audience. For
example, the misé-en-scene reflects the 1950s era which incorporated a 50s A-line polka dot dress
with heavy make-up and rollers in her hair. This unique styling, challenging modernist looks, may be
seen as more desirable and exclusive by the audience which they may want to replicate in order to
fit in with 'popular culture'. This is compliant with the Passive Audience Theory, as through the
media the artist has an arguable powerful effect on the audience as they may be influenced to dress
in a similar way but passively. Therefore this agrees with the statement that media texts, in order to
be successful, must be carefully constructed to target pre-established needs or desires, as the
female audience may desire the same aesthetic as the artist's star image to feel accepted in society.
However, this may promote the sexualisation of women to become the object of desire to the
secondary male audience, also complying with Laura's Mulvey's 'Male Gaze' theory.
On the other hand, the Active Audience Theory, the idea that the audience have an 'active' role to
play in the understand of, and creation, of meaning within a media text can be applied. For example,
continuous mid-shots of the artist lip-syncing whilst on the telephone may be interpreted that she is
going through a break up and other person on the line is her ex-boyfriend. Although because of the
diversity within the target audience, such as the varying age ranges, it may also be interpreted that
she doesn't care, such as high angled shots of her throwing roses at the camera which connotes her
disregard for the need for 'love' (of which the roses symbolise). The audience therefore can apply
whichever belief is most applicable to them and the music video is providing them with what they
'want' to believe rather than a direct command on the 'correct' interpretation of events. Again, my
media text adheres to the above statement as the media need to please the audience and reflect
values, such as social values of relationships in this case, that are predominant in society.
Parkin's and Hall's Audience Readings Theory of 'Negotiated Reading', in addition, can be applied to
my music video. This is evident as the audience will be able to decode the distress in the artist's
behaviour, such as throwing the roses and looking away unhappily from the camera, and then the
happiness in some shots. However, this change in disequilibrium to equilibrium does not directly
imply as to why this is. As previously mentioned, the audience may assume she is going through a
break-up and singing to the person on the other end of the telephone, but this can be debated.

2. My music video was also constructed to target a specific audience through the means of escapism.
This was most evident in the use of a black and white effect during a certain verse of the songs,
establishing mid-shots and close-ups of my artist as in a state of equilibrium (by laughing and smiling
etc.). This combination of post-editing connoted a safe and serene environment that my artist was
in. Therefore McQuail's Uses and Gratification Theory (1972) can be applied to my music video as it
allows the audience to escape the real world and enter an entirely hyper real world that they desire.
In order to appeal to my target audience feedback was gained from individuals that fitted into the
social demographic in order to receive and build upon their opinions. For example, an audience
profile was carried out where one individual was chosen, analysing her age, occupation background
and ambitions in order to know what would best appeal to them. I also created a pitch before the
initial construction of the music video to my audience to ensure that the idea would appeal
effectively by suggesting a song and theme. In this sense I complied with Hartley's (1987) Theory
that institutions must produced 'invisible fictions of the audience which allow them to get a sense of
who they must enter into relations with". Therefore, without carrying out systematic feedback or
planning to target my audience my media text may not have been as successful without it.