Behind the shades and make up i am a real person with a brain

'I would rather be holding the knife instead of being under it'

'In my spare time i like to be useful and help in hospitals'

Car advert for women

This advert shows a role reversal, as the male is sitting in the passenger seat while the female drives. This represents females to be strong, confident and most importantly -in control. The male asks her things but she doesnt seem to be listening, and only looks at her car- the idea that materials are more important to females. It also represents females to be in their own world.

Galaxy choclate

This represents females to be the 'home makers' because the woman in the advert is shown to be at home relaxing. The choclate is assosiated with falling in love, this represents females to have a sweet tooth.

Veet advert

The advert reinforces the idea of feminity due to the females costume. It represents females as sex objects as well as 'normal', because she is shown to be looking quite average with glasses etc yet she transforms herself. She transforms herself in order to please the male which reflects a patriarchal society as the man is shown to be dominant. The fact that she changes fast and makes it seem efforless in the males viewpoint represents females to be adaptable.

Samsung UltraMusic and Beyonce

This advert represents females as strong, independent as well as down to earth. The fact that Beyonce is used to appeal to women shows that primary audience to be women and the idea that women talk a lot is hinted in the advert. It reflects how times have changed and the fact the females have a variety of roles -such as the professional career women and others.

women in advertisements

Commercial: Betty Boop - 409 Cleaner (1960's)

This advert represents females as houswivies. Betty is shown to be happily cleaning away and this domestic labour is shown to be fun for her. The advert reinforces gender roles and conjugal roles.

Director of BBC Vision-she heads the largest multi-media production, She is also a member of the BBC's Executive Board.

She has creative and leadership responsibility for BBC One, BBC Two, the digital channels BBC Three and BBC Four, as well as overseeing content on the UKTV channels and BBC America.

She oversaw the growth of BBC Four and interactive television and launched BBC Three, BBC Two's broadband offering and the first BBC high definition broadcasts in the summer of 2006

She became an award-winning producer of Panorama in 1986, and co-authored the book The Disappeared: Argentina's Dirty War with the BBC's diplomatic editor John Simpson.

With Jana Bennett in charge, there’s been an emergence of cross-genre, channel and platform events such as Africa Lives; The Big Read; Great Britons; Springwatch and Flashmob.

She’s also revived Saturday nights on BBC One, with entertainment shows Strictly Come Dancing, Strictly Dance Fever, Fame Academy and family drama like the new Doctor Who and Robin Hood.

BBC Two widened its appeal to include more drama and factual entertainment such as the business show The Apprentice.

BBC Three strengthened its comedy line-up with shows such as Little Britain.

Murdoch buys Wall Street Jounal

Murdoch makes mark at Wall Street Journal Stephen Brook, press correspondentMonday October 8, 2007MediaGuardian.co.uk
Murdoch: has already made several visits to the WSJ to meet staff.
Rupert Murdoch has not yet taken ownership of the Wall Street Journal, but has already been putting his stamp of authority on the financial newspaper.
Although his company News Corporation's $5bn (£2.5bn) deal to buy WSJ publisher Dow Jones is not expected to complete until December, Mr Murdoch has made several visits to the company's New York headquarters to meet with executives and staff.
Last week Mr Murdoch - who vowed to safeguard the Journal's editorial independence - paid a visit to its headquarters and apparently did a "classic Murdoch number", one source told MediaGuardian.co.uk.
Mr Murdoch is understood to have met with editorial executives on the WSJ and Dow Jones wire service and critiqued the paper's coverage for that particular day. "He basically got out his red felt-tip pen," the insider added.
Mr Murdoch also "spent hours" in meetings with Marcus Brauchli, the paper's managing editor, the Financial Times reported today.
"First of all we don't own the paper yet. We're getting in there and trying to understand it," Peter Chernin, the News Corporation chief operating officer, told the Financial Times.
As part of ownership negotiations before agreeing to buy Dow Jones in August, News Corp made a number of concessions designed to safeguard editorial independence, include the formation of an editorial committee.
News Corp also offered Dow Jones' controlling shareholders the Bancroft family a seat on its board. Mr Murdoch has promised extra investment and wants the Journal to carry more US national news to take on the New York Times, focus more on luxury advertisers, expand the WSJ.com website and possibily dismantle its pay wall.
WSJ.com is one of the few newspaper websites worldwide to operate profitably with a subscription-based business model.
At an investor conference last month, Mr Murdoch said News Corporation had indentified $100m of potential savings at Dow Jones.

Bollywood Clips (h/w)

Within the older clip, the female is shown to be an entertainer as she’s dancing while all the males watch her. In both clips, the female is represented as a sex object who is there to be looked at yet within the newer clip, the female is wearing a more revealing costume which demonstrates the effects of globalization. Moreover, all the characters seemed to have become more westernized as this is not only reflected via their costumes, but also because the actual video is more like a music video. Whereas, in the first clip, the mise-en-scene is the same throughout the song, the second clip has shots of the female dancing interweaved with the males and the action. The second clip also reflects how important technology has become and it reflects how advanced we have gotten, as the clip has special effects added and a variety of different types of shots have been used. Although the genre has changed some of the ideology has remained the same, as both clips promote a patriarchal society and both show females to be passive, as neither seems to have an important role which helps to move the narrative along.

How is Emap responding to the 'new media' age?

These days, the buzz is all about "multi-platform futures". The theory behind it is that just having your content in "dead tree" format is little outdated. We need content on phones, PDAs, the web, digital TV - everywhere!
As has been blogged previously, Tridion, a new whiz-bang CMS, is coming to some divisions of the company. Emap is also responding by setting up a number of centralised "design factories"
This will mean the merging of some subbing, production and design jobs.Traditionally, individual magazines had their own dedicated production team, it now seems that many of these areas will be pooled.
Some jobs will definitely be axed. In my view, staff at Emap's main offices in Peterborough desperately need a union to defend them. Unfortunately, Emap has a poor reputation when it comes to negotiating with the NUJ.
Other staff will be retrained to deliver content across multi-platforms. This could lead to more jobs. Or it could mean a lot more work for existing staff and no more pay.
All of this bangs home the point that journalist students need to be "fully converged". It's now no longer possible just to build a career in "print" or "radio" - the journalists of the future must do it all and do it well.

Text produced by Emap

information about Emap's finances & income

Emap, the publisher of FHM, Smash Hits and owner of Kiss FM, has painted a gloomy picture for its radio businesses after admitting World Cup fever had bypassed its stations.
The media group said there was no sign of an upturn in the radio advertising market, and it expected a further fall in sales between April and June.
"There is little evidence of any real recovery in radio advertising, and airtime revenues are expected to show negative growth in the first quarter of the new fiscal year," said Emap.
Full-year turnover at the radio business, Emap Performance, fell 1% to £139m for the 12 months to March 2002, with radio advertising revenues falling 8%.
National revenues were down 14%, with local turnover slipping 2%. It said the downturn was distorted by a boom in government and telecoms spending in the previous year, making the revenue decline even steeper.
Emap Performance includes the Magic FM network, Key 103 in Manchester and Metro Radio in Newcastle. Kiss FM, the third largest commercial radio station in London, is Emap's biggest radio brand and one of the group's most coveted assets.
It is one of four radio groups jockeying for position in the anticipated shake-up following the relaxation of media ownership laws.
It will consider itself a predator but is also being seen as potential prey and a target of groups such as Capital Radio.
Elsewhere in the full-year results, Emap posted a pre-tax loss of £69m, due to a loss of £144m on the disposal of its US magazines business last year. In 2001 Emap made a loss of £527m on its disastrous foray into the US market.
However, total group turnover, excluding the US business, rose 3% to £938m, with revenues at the biggest division, Emap consumer media, rising 8% to £324m as Heat, FHM and Red continued to do well on newsstands.
But Emap said markets outside radio, such as consumer magazines and business-to-business display advertising, were either reasonable or improving and, overall, it had made a good start to its new financial year.
"Current trading patterns provide the board with cautious optimism for the year ahead," it said.
But the company added: "Although the last 12 months have proved to be a difficult trading environment for most media companies, there are signs that in the first quarter of the new fiscal year market conditions for certain of the group's businesses are improving."
The group has become a persistent target of break-up rumours. However the market remains fond of focused media groups, despite the woes experienced by Granada and United Business Media since they spun off non-core assets. But Emap was bullish about its prospects as a unified business.
"Emap's forward direction is simple - more of what we do, better and deeper. The group comprises four excellent divisions with good organic growth prospects and development potential, and it is management's intention to realise this potential to the full," said Emap.

History of Emap

Magazines:
1947= Emap was formed as a regional newspaper company, operating out of Peterborough (where the head office still is).
1953= Emap's first consumer magazine Angling Times was published
1956= Motor Cycle News was obtained for just £100.
1978=Smash!Hits was launched.




Radio:

1990: Emap's first achievement in radio was Kiss FM

1991= with Tim Schoonmaker in control, Emap's next foray into radio was buying Radio City in Liverpool, and taking over Owen Oyston's Trans World Communication group (Preston's Red Rose Radio, Manchester's Piccadilly Radio, and Leeds's Radio Aire).
1992= Kiss FM's Gordon Mac sold most of his shares to Emap and the station continued to have an arms-length relationship with their new owners for many years, finally moving from their studios in Holloway Road to Mappin House in 1999.

Mid 1990s= The Metro Radio Group was taken over by Emap, creating a problem for Emap executives. Bradford's The Pulse, and their AMer Great Yorkshire Radio, overlapped a large percentage of Aire FM and Magic 828 from Leeds, which blocked their purchase on regulatory grounds. The Pulse was disposed of, to a management buyout mostly formed out of ex Metro Radio Group management,The Radio Partnership.

Television

• Emap's first purchase in television was cable music channel The Box, which was purchased in 1996 - the year the group sold their newspaper business to Johnston Press .
• 'Middle youth women' were all the rage in 1997. Emap launched Red, a magazine aimed at 30-something 'feel-young' women; and a 1998 takeover of Melody FM was followed by its re-branding to a radio station aimed at a similar audience - Magic. The AM stations the group inherited in the northern cities were also re-branded. The 'less talk, more music' format was initially not too successful, replacing oldies stations.
• In 1998, Emap acquired Petersen, a publisher in the US - much to the concern of some staff, Petersen published such politically-correct titles as "Guns'n'Ammo" - and launched FHM there two years later. However, the US experience was not a good one. Emap ended up closing their USA operations in 2001: gaining £366m for the sale. (Petersen's purchase price was £1bn).
• 2000 to 2002 saw large expansion in music television and digital radio.
  Emap won its first analogue radio franchise in its own right in 2003, with Kerrang! 105.2 in the West Midlands.
  2004 saw Emap acquire 28% of shares in SRH from SMG; a full takeover of the company occurred the next year.
  
  
  

What is Emap?

• Emap is a large media institution which is mainly involved in radio, magazines and television


• In the UK it is the second largest consumer magazine publisher.


• In the UK it’s the second biggest commercial radio group.
  
  The name of the original company, which included newspapers until their sale in the late 1990s to Johnston Press, was 'East Midlands Allied Press'. This has been shortened to Emap.