How is media language used on the front cover of MOJO?

Comparison of media language in MOJO and We Love Pop

The layout of MOJO is clean and isn’t image-heavy (just 2 photographs and 1 graphic), which connotes a more mature target audience. By contrast, the layout of We Love Pop is busy with many images which connotes the vibrancy and exuberance of youth. It gives you so much to look at and draws the eye to catch the attention of the tween-market.

The typography of MOJO is stylised to the issue (1967-1970’s music) and is sleek, with the logo part-hidden, which connotes that the readers will seek out the magazine because the brand has a strong identity and a loyal readership. By contrast, the typography of We Love Pop is cartoon-like with several different fonts and colours which connotes a younger audience.

The colour palette of MOJO is limited to black (which is prominent) followed by white and pink. Even the main cover image has been adjusted to suit the palette, which connotes simple, stylishness.

By contrast, the colour palette of We Love Pop is bubble gum pinks and blues which makes it seem aimed at older children / teens as it mirrors the colours of candies.

The language of MOJO emphasises the main headline (The Rolling Stones) and only uses one exclamation mark (the free CD offer) whereas the language of We Love Pop is less under-stated. Five exclamation marks are used to generate a feeling of excitement and interest to captivate the attention of the young readers.

What is a police procedural drama?

Police procedural drama is a detective fiction. It investigates the procedure of one or multiple police officers (the protagonists). The main purpose of a police crime drama is to aim to display the law enforcement profession.                                                                                                                                 In order to try to accurately depict what the profession entails, procedures such as autopsies, forensic science and interrogations are used within the dramas.                                                                                                                                    

Many police procedurals hide the criminals identity until the crime is solved at the narrative climax, and some reveal the criminals identity just to the audience earlier, which makes it an inverted detective story. 

It is thought that police procedurals date back to around mid-1800s, with the novel ‘The Moonstone’ by Wilkie Collins being the earliest example of the genre. 

Police procedural increased in popularity mainly after the second world war. ‘The Street with No Name’ (1948) and ‘T-Men’ (1947) are just two examples of police procedurals from around that time. 

This genre has continued to grow in popularity and still holds great entertainment value today. A commonly known modern example of police procedural is the series ‘Brooklyn Nine Nine’. 

Why do we enjoy watching this genre?

Police procedural dramas can be quite addicting to watch. I think that this is because it gives the audience an insight into the world of law enforcement, commonly in a more comedic way. 

Also, when the audience knows that someone had committed a crime, it is very satisfying to see them get locked up and for justice to be served. 

The fact that police procedural dramas are fiction means that investigations can go on that are far more interesting than what we see in real life. We get a detailed look at the way the protagonists handle certain situations and it hooks the audience in. 

Analysis of Avengers clip

Audiences enjoyed watching the relationship between John Steed and Emma Peel. In the clip, they have a flowing dialogue of repartee back and forth, which is mirrored in the fencing match. It is very entertaining and would have been escapism for the viewer as everything about the show was fantasy. From their job to their relationship (the suggestion that they could become more than colleagues) to Emma Peel’s black catsuit, the clip is clearly not based in reality. 

Emma is presented as confident and able. She is skilled at fencing and challenges Steed to a duel. She mentions that she has just finished writing an article for Science Weekly, which suggests that she is well-educated. During the duel, despite Emma getting the upper hand and backing Steed into a chair, she is very quickly made to appear less of an equal by Steed tapping her backside with the fencing sword. This is symbolic of the 1960s, where women were not represented as equals to their male counterparts. When Steed is discussing a beach trip, Emma says that she won’t carry his bucket and spade. This was Emma asserting her authority and suggesting that she wants to be seen as more of an equal. 

Steed is dressed like a gentleman and even addresses Emma as Mrs Peel. This is very formal and a total contrast to the flirtatious way he behaves with her. He comes across as an expert and authoritative and immediately offers ‘friendly advice’ on her fencing technique. This is, again, a 1960’s view of men knowing best and needing to be in charge, as Emma clearly looks as though she is a skilled fencer. In spite of being so well-spoken, wearing a suit and carrying a cane, Steed also comes across as cheeky in the way he speaks to Emma, and he clearly adores her and respects her (to a degree). 

Cuffs Cast