Level(s): Grades 10 - 12

Overview:

This unit helps students become more aware of the media's use of hype and its influence on them. This will be achieved through:

• class and group discussions of reactions to various examples and aspects of hype.
• a variety of oral and written responses
• a role-play scenario to investigate the ways in which hype shapes what we value in society.
• an examination of a media event.
• discussion and examination of our tendency to favor strong, emotional appeal over factual information.
• discussion and examination of the commercial aspects of hype.
• opportunities to talk about hype with a guest speaker from a marketing outfit or advertising agency.

Learning Outcomes

Students will:

• explore and reflect upon ways in which promotional techniques and marketing strategies determine the content of the media and the values it presents.
• appreciate the methods, strategies and techniques used by the media to create an atmosphere of excitement surrounding an event.
• understand how hype affects our relationship with, and interpretation of, the media.
• understand the commercial implications of media hype.

Preparation and Materials

• prepare a tape of Public Enemy's "Don't Believe the Hype" (If you have a classroom computer with an Internet connection, you can play this directly from the Net. Or, you can photocopy the lyrics to this song.)
• collect examples of political hype

Procedure

To set the mood for "hype", this unit could be preceded by a promotional campaign including posters, bulletin board displays and announcements.

Guided Discussion

Begin the lesson by playing or reading the lyrics to Public Enemy's "Don't Believe the Hype." Once the subject of "hype" has been introduced, ask and students the following questions:

• What is hype?
• What are some examples of hype in the media?
• What are some techniques or methods promoters use to hype their products? (List responses on the board.)
• Why should we not "believe the hype"?

The following activities appear in a suggested order, but need not all be attempted.

Activities

Activity 1

Decoding Hype: Conventions, Strategies and Aesthetics

In general, it can be said that the public no longer "discovers" movies - the public no longer makes a picture a hit. If the advertising for a movie doesn't build up an overwhelming desire to be part of the event, people just don't go. They don't listen to their own instincts, they don't listen to the critics - they listen to the advertising.          

- Pauline Kael, The New Yorker

Do students agree or disagree with this statement? Divide the class into groups and discuss the marketing strategies used for a recent film. Discussion could focus on how those involved with the film (directors, actors, public relations people) create the sense of "an event" surrounding its release. Ask students to consider the publicity created through:

• Talk shows
• Television advertising
• Newspaper and magazine advertising
• "Spin-off" products
• Songs or soundtrack albums
• Movie magazine profiles
• Entertainment programs on TV
• Reviews

Activity 2

Individual Writing Assignments

Students will investigate the promotional techniques used for a recent or current film, concert or sports event. After a week, they will hand in a brief report on their findings, along with comments on whether or not the media event lived up to its advertising.

Activity 3

Decoding Hype: Constructions of Reality

• Show some examples of hype in politics. (Material relating to party conventions, elections, debates, budgets, program announcements etc.)
• Students should begin by noting the promotional strategies that are used, as well as:
  • The quantity of hype
  • The party or candidate(s) involved
  • Whether the hype stresses issues or image

Ask your students:

• What is the definition of a "media event." (A media event is a reported event that appears to be news, but is actually staged by various groups or businesses. Often, it becomes a source of free advertising.)
• Discuss how a "media event" might be used by political parties.

Activity 5

Analysing Hype: Emotional Appeal vs. Factual Information

Superbowl media credentials were issued to 2,200 journalists in 1988 - or to 100 members of the media for each player on the field.

- Bruce Newman, Sports Illustrated

Many sports events, especially those with dubious intrinsic sporting value, are hyped by messages with tremendous emotional appeal. One only has to watch the advertisements during the week before the Super bowl or a major prizefight to observe these promotional techniques. With this in mind, students could analyse a promotional clip for any television sports show. They could begin by noting its length, editing, audio component, camera work, graphics and probable audience.

The following questions might help focus further discussion:

• Does the clip involve many locations, or was it all shot in one place?
• Does it profile sport celebrities?
• Does it use well-known popular music? Does it look like a rock video?
• How many "jolts per minute" are there and what is their effect?
• What factual information do we receive?

Activity 6

Hype and Music Industry Economics: Group Presentations

• Study promotional campaigns for rock tours. What are the reasons for these tours?
• In groups, have students explore the promotion of recording artists and groups. For instance, where did they first hear about or see their favourite group?
• Have students simulate the job of a "PR" manager for a popular rock star. What information about the star would they release, plant, leak, suppress or control. The groups make oral presentations to the class justifying their decisions. The class then discusses and assesses the plan. (Allow at least a day for presentations)

Activity 7

Guest Speaker

• Invite a speaker in from a marketing outfit (International Management Group etc.) or an ad agency.
• It may be wise to prep the speaker on the objectives and content of unit so they may be able to focus their talk and/or answers to student questions.

Activity 8

Group Project: A Promotional Campaign

• In groups of three or four, students can compare their reactions to the promotional techniques they investigated in their written assignment. (See Activity 3)
• In the same groups, students are to create a promotional campaign for one of the following:
  • A varsity sports event
  • A student council presidential candidate
  • A movie about your media class
  • A school club, activity or special event

Students should consider the strategies they would use to create the sense of "an event."

• After several days preparation time, the groups of students will be expected to present an oral report complimenting and justifying the choices their group has made for their campaigns. (Both self and peer evaluation may be considered for the evaluation of this project in order to foster a greater sense of involvement during three to four days of presentations. Class questions may lead to peer evaluation as a portion of the group mark.)

Activity 9

Hype and Social Consciousness

In this activity, the class explores the phenomenon of "social conscience" events such as Live Aid, Farm Aid, the Amnesty International Tour, Our Common Future, Greenpeace Album, etc. Discussion may begin after reading the following:

The model for today's "cause concerts" isn't the rent party or Woodstock-type festival, but the rock 'n' roll commercial. The sponsors of both events recognize rock's power to motivate the masses, and television's power to direct that motivation. Through context, television shapes the meaning of the music. In one context, a rock song about idealized teen love sells soft drinks; in another, it beats down apartheid. The event also shapes the meaning of the audience's participation. Enjoying a performance becomes a gesture of political or humanitarian solidarity.

At cause concerts, the cause becomes a third party in the relationship between the audience and the performer, relegating each to its role. For the performers, the role is to be rock stars, denouncing profit in order to come together for a purpose. (That, after all, is what a cause concert is.) The role of the audience, therefore, is to make the performers rock stars, to bolster their sacrifices. In return, the stars' status validates the audience's involvement in the issue.

From Live Aid to the Amnesty tour, from Public Enemy to Sting, rock 'n' roll has launched a new, professional class of reformers. It has redefined, or at least questioned, the role of the artist in society. The new reformers attack a cause in the best Eighties fashion: they make it famous. All we have to do is support them.

- John Leland, Spin Magazine, September, 1988

Discussion may focus on the following questions:

• Is this activism? Is it enough for the public to support artists as they attack a cause by "making it famous", or does the public have other responsibilities?
• Is it the performer's responsibility to promote a cause? If so, where does this responsibility come from?

The class might also attempt a total music industry simulation, in which all members of the class are assigned roles. These would include people involved in the industry, special interest or "cause" organizers and the audience. All students are required to research their roles and to respond to the situation through both drama and writing. Through role-playing, students can explore ideas of hype and how hype can manipulate both our awareness and response to issues of social justice.

Activity 10

Summative Discussion

Students may compare their "most" and "least" favourite aspects of the unit, and discuss what they considered to be the most important ideas.

Evaluation

Marks for this unit will be awarded as follows:

• Participation in group and class discussions and role play 20%
• Group and oral presentations 20%
• Individual written report 30%
• Group project - promotional campaign 20%
• Group project - oral presentation 10%