For our tabloid, Neale’s genre theory was particularly relevant,
as we adhered to the typical conventions of a tabloid newspaper, specifically The Sun. The informal headline, written in bold
sans-serif typography, aligns with the playful, unserious tone of a tabloid.
The use of large images and minimal text also fits the tabloid format.
Additionally, Todorov’s narratology theory is applicable here, as the main
story introduces a disruption to the equilibrium and the disturbing and
horrific nature of the headline sets the tone. The equilibrium is then somewhat
restored by the resolution: the house is found and Gein is arrested.
Furthermore, we aimed to create a sense of hyperreality in this tabloid, which
ties into Baudrillard's postmodernist theory. The headline, "Lights are on but bodies are home," sounds more like the title of a horror
movie than a real news report. The bold layout, dramatic imagery, and dramatic
language amplify the shock of the real event, blurring the line between fiction
and reality. Although Ed Gein is a real historical criminal, we present him in
a way that makes him appear almost fictional, which is typical of The Sun’s style.
The reference to the song "Welcome
to the Jungle" further
displays postmodernist themes. Barthes' semiology theory is evident throughout
the front page. The headline, images, colours, and copy all act as signs that
convey meaning. For example, the red word “bodies” connotes danger and violence, while
the image of Gein evokes the look of a horror villain. The stark contrast of
black and white adds to the shock factor, intensifying the impact of the story.
Additionally, the image of Kemi Badenoch, with her frustrated expression,
paired with the bold pun, conveys connotations of anger, conflict, and drama.
Her body language further amplifies the sense of political struggle, portraying
her as losing control. Finally, Levi-Strauss' theory of binary opposition is
also at play here. By contrasting elements like normality and horror in the
headline, we create a dramatic effect that makes the story more appealing. The
phrase “lights
are on” suggests
normalcy, while “bodies
are home” evokes
horror, increasing the shock value of the story.
For the broadsheet, most of the theories have been applied in
similar ways to the tabloid. This is due to broadsheets going through
tabloidisation, in order to meet changing consumer wants. This refers to
Neale’s genre theory by following the conventions of a traditional broadsheet,
while having small features of a tabloid. The layout is formal, featuring
columns, a serious masthead, and serif fonts. The stories are those you would
expect in a broadsheet, focusing on politics and global news, and the long
paragraphs and detailed writing contribute to a sense of seriousness and
trustworthiness. The Ed Gein story in the broadsheet follows Todorov’s theory
more closely, as it recounts the exact events in a straightforward, factual
manner, in contrast to the tabloid's dramatised version. Baudrillard's
postmodernism theory is also reflected in the broadsheet, particularly through
the black-and-white image of the crime scene. This stark, serious imagery is
what audiences associate with a true crime story, further reinforcing the
broadsheet’s conventions. Barthes theory of semiotics can be applied to the
different politicians shown on the cover. The denotation would be that they all
appear serious and professional despite their political affiliation which is a
feature of The Guardian. As for Levi strauss’ theory of opposition, a binary
opposition is shown through the political stance. The guardian is a Left
leaning paper, while Kemi Badenoch is on the front page (the leader of the
Conservative party). This could cause audiences to be intrigued by what this
newspaper has to say about the opposing side.
