Big Issue Part 1
In Bob we Trust
You will create an essay:
You will analyse the media language and media representation of the xxx issue of the Big Issue “In Bob we trust”. To what extent does the Magazine diverge from mainstream/rightwing depictions of the poor/homeless. Why are the magazines remit an important factor in the way the magazine represents homelessness? Discuss the social and political context of homelessness…Discuss the impact of homelessness in Britain today from your research.
The big issue's "In Bob we Trust" is very different viewpoint on the homeless person demographics, as it describes the main character, James Bowen, as a person who needs help and is, lucky enough to be chosen by Bob. He is then shown to redeem himself and make his life better because he has something to focus on.
The general idealisms for right-wing views on homelessness is that they are people who should be avoided and that they are the rejects of society. That, however, they got themselves in the situation they are now in, is their fault. They do not deserve any help or sympathy. This coincides with Shildrick and McDonald's theory but is not how the big issue portrays James.
However, the image on the front cover of the Big Issue (above) is also very important for this depiction. The colours of the image, for example, are important. The yellow of the words "In Bob We Trust" is important because yellow represents the emotion of happiness and joy. The red of Bob's scarf, the blue background. They are all saturated colours and help to depict James and Bob as a hero and someone who can be looked up to. The unfocused light around Bob's feet as well as the white floor and the fact that the direction of the light on Bob, they all make him look like a saviour and make him look divine. This links back to the words "In Bob We Trust", which is a play on the words "In God We Trust".
The shot of the cat is, well a full cat shot really, and the angle is looking slightly up at him. This gives him a position of power and makes him look important. Again the focus is on Bob, as he is the only entity on the page, but the focus is directed to him, by the lighting. This contradicts the general right-wing view to the homeless - that they should be ignored. This makes it impossible. The depth of field is very focused on Bob mainly with the background out of focus and blurry.
There are many elements of mise-en-scene. These include Body language, Props, Location and Lighting (which I have already covered above). Body language, I cannot really cover as Bob is a cat and I cannot read cat body language. But I guess the props could include the scarf that Bob is wearing, which is saturated red that is bright and vibrant. This could also contradict the general stereotype of the homeless and what they would wear, what they can afford etc, but not much else can be said about that. The Location, however, is key. Bob is in a street, which is where James and Bob would be and is where they are in the book and film. However, it is not as bad as the general media depicts the street to be. It is well lit, clean and free of litter. Also, the white floor is a link to divinity once more and the street lamps light is shining down on Bob like a halo.
There is very little to no perceived realism in this but in the book and film as people do not expect a cat to behave in this way. However, in actual fact, this was based entirely, on a true story so there are, in actual fact, very high levels of realism. Generally, this does not have an impact on the right-wing, left-wing view of a homeless person. But this real story is directly contrasted to the right-wing view of the homeless person demographic.
The narrative is "In Bob We Trust", which is a play on words from the phrase, "In God We Trust". This makes Bob seem like someone who can be trusted, and ties in with the lighting, making him seem more divine and angelic. The caption underneath reads "lessons from Britan's favourite streetwise street cat". This gives the impression that he is well known, and that he is clever and "street wise".
All in all, this also contradicts the right-wing stereotype as homeless people are portrayed to be untrustworthy and not the brightest.
The layout is simple with Bob in the middle, the text below him which draws the eye to him and the text. This has no impact on the right-wing view of homeless people. The mode of address, however, is more important, as it is a direct focus on the reader, which is common when any media is shown in any relation to homeless people.
In conclusion, the image of Bob is not very aligned with right-wing views. The colours, mode of address, narrative, realism and mise-en-scene is a testament to that, and in several cases contradicts the right-wing view. Instead, homeless people are portrayed as people who are, yes, in need of help. But also people who can be trusted and people who, are clever and, generally are people who are just like regular people and should not be ignored.
The narrative is "In Bob We Trust", which is a play on words from the phrase, "In God We Trust". This makes Bob seem like someone who can be trusted, and ties in with the lighting, making him seem more divine and angelic. The caption underneath reads "lessons from Britan's favourite streetwise street cat". This gives the impression that he is well known, and that he is clever and "street wise".
All in all, this also contradicts the right-wing stereotype as homeless people are portrayed to be untrustworthy and not the brightest.
The layout is simple with Bob in the middle, the text below him which draws the eye to him and the text. This has no impact on the right-wing view of homeless people. The mode of address, however, is more important, as it is a direct focus on the reader, which is common when any media is shown in any relation to homeless people.
In conclusion, the image of Bob is not very aligned with right-wing views. The colours, mode of address, narrative, realism and mise-en-scene is a testament to that, and in several cases contradicts the right-wing view. Instead, homeless people are portrayed as people who are, yes, in need of help. But also people who can be trusted and people who, are clever and, generally are people who are just like regular people and should not be ignored.
Big Issue Part 2
Why are Uk veterans homeless?
When they leave the armed forces, they often leave with certain disabilities, such as mental health issues, physical disabilities and a lack of people skills. There is now a lack of support for these people, and they are described as being left to"rot". This means that veterans are becoming homeless, depressed and out of work because they do not have the financial support they need, the mental health or the people skills they need to get a job and support themselves.
The law is to blame here, as the people in power say that the veterans "should" be offered housing, but not "must". There are some charities that support these people but this alone is not enough as they often receive no funding from the government. This leaves the veterans with no job, no support and no hope. Many of them are wounded or are missing limbs. This can make them seem like freaks of society and are often ignored.
The Big issue draws attention to the fact that war veterans are homeless. They did this ultimately because they want to make money, but there are other motivators. For example, it was around remembrance day that this was written, also the big issue focuses on homelessness, these veterans in question are homeless. This is important for their audience because these are people who need help. This ties in with the fact that these people are portrayed as deserving poor people, as they did sacrifice themselves for their country, and now it is our job to sacrifice for them.
At least 13,000 of our war heroes are homeless after leaving the military, a Sunday People probe reveals.
“Homelessness among the veterans community is getting worse by the month. The youngest we have dealt with is an 18-year-old and the oldest is 97. And we helped people of every age in between.”
At least 13,000 of our war heroes are homeless after leaving the military, a Sunday People probe reveals.
“Homelessness among the veterans community is getting worse by the month. The youngest we have dealt with is an 18-year-old and the oldest is 97. And we helped people of every age in between.”
“From our experience, the problem of homeless veterans has never been greater. I’d say 13,000 is a minimum – it could be far higher.”
Charity bosses say the problem has been made worse by cuts to the armed forces, which has led to almost 30,000 troops losing their jobs since 2010.
Most media studies on poverty point in the direction of a recurring observation that usually the poor are presented in one of two contrasting frames: the ‘deserving poor’ and the ‘undeserving poor’.
While the frame of deserving poor employs a sympathetic treatment of the poor, the frame of the undeserving poor is built upon the rhetoric of deficiency in individuals who are portrayed as a burden on the taxpayer due to their dependency on welfare policies
(see also, scroungerphobia, Golding & Middleton, 1982)
Theory: Cultivation theory states that high-frequency viewers of television are more susceptible to media messages and the belief that they are real and valid. Heavy viewers are exposed to more violence and therefore are affected by the Mean World Syndrome, the belief that the world is a far worse and dangerous place then it actually is. According to the theory-heavy viewing of television is creating a homogeneous and fearful populace, however, so many studies have been done in this area that really no one knows how or even if violence on TV or in film negatively or positively affects its audience.
Now cultivation theory has taken on a more general definition in regards to mass media. It now extends to encompass the idea that television colours our perception of the world. For example; if someone stays inside and watch news about crime all day, they might be inclined to believe that the crime rate is far higher than it actually is and they might easily become the victim of a crime. Or in another sense heavy viewership of any media can perpetuate stereotypes both positive and negative. It really comes down to the question of to what extent does reality shape TV and vice versa.
Charity bosses say the problem has been made worse by cuts to the armed forces, which has led to almost 30,000 troops losing their jobs since 2010.
Most media studies on poverty point in the direction of a recurring observation that usually the poor are presented in one of two contrasting frames: the ‘deserving poor’ and the ‘undeserving poor’.
While the frame of deserving poor employs a sympathetic treatment of the poor, the frame of the undeserving poor is built upon the rhetoric of deficiency in individuals who are portrayed as a burden on the taxpayer due to their dependency on welfare policies
(see also, scroungerphobia, Golding & Middleton, 1982)
Theory: Cultivation theory states that high-frequency viewers of television are more susceptible to media messages and the belief that they are real and valid. Heavy viewers are exposed to more violence and therefore are affected by the Mean World Syndrome, the belief that the world is a far worse and dangerous place then it actually is. According to the theory-heavy viewing of television is creating a homogeneous and fearful populace, however, so many studies have been done in this area that really no one knows how or even if violence on TV or in film negatively or positively affects its audience.
Now cultivation theory has taken on a more general definition in regards to mass media. It now extends to encompass the idea that television colours our perception of the world. For example; if someone stays inside and watch news about crime all day, they might be inclined to believe that the crime rate is far higher than it actually is and they might easily become the victim of a crime. Or in another sense heavy viewership of any media can perpetuate stereotypes both positive and negative. It really comes down to the question of to what extent does reality shape TV and vice versa.
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