KEYS: UNIT 2

Lesson 1

Exercise 1 The Beano - A comic The Oxford Mail - A local newspaper The Express - A daily newspaper Woman’s Realm - A woman’s magazine The Independent on Sunday - A Sunday newspaper TV Quick - A TV guide Vanity Fair - A monthly magazine

Exercise 2 a. editor; b. proof-reader; c. publisher; d. columnist; e. reporter; f. typesetter; g. subscriber; h. reviewer

Exercise 3 1. edits out; 2. editorial; 3. edited; 4. editorship; 5. editorialise; 6. edition; 7. copy editor; 8. editor

Exercise 4 1. press secretary; 2. press corps; 3. press release; 4. press barons; 5. press office; 6. press coverage; 7. press pack; 8. press gallery

Exercise 5 1. title; 2. headline; 3. reporter; 4. article; 5 column; 6. front page presented; predict; amazing figure; expect;

Exercise 6 1. F; 2. F; 3. T; 4. T; 5. F; 6. T; 7. F; 8. F

Exercise 7 Front page : exclusive; headline story Back page : a report on a football match Inside pages : a crossword; a TV page; a cartoon strip; a review of a film

Exercise 8 1e – 2d – 3b – 4c – 5f – 6g – 7i – 8a – 9h

Lesson 2

ELIMINATA Lesson 3

Exercise 1 1.B – 2.B – 3.A – 4.B – 5.B

Exercise 2 What do they have in common? Same date (July 8 2005); same leading story; they show people involved in the terrorist attack In what ways are they different? The Daily Mirror has a full-page image composed of two pictures (the one at the bottom of the page is a collage of the most dramatic images of victims) and a big headline in bold separating the two pictures; its headline uses the alliteration and assonance techniques; it gives impressive numbers of dead The Herald shows a usual front page with different articles (even though all linked to the same leading story) and an impressive picture at the centre (the newspaper has chosen one victim to give a sense of the slaughter), the main headline is smaller. How does the physical layout of the pages effect the way in which readers approach the newspaper? The former exploits the power of images to give more dramatic emphasis to the news and uses a sequential-narrative image technique by putting the picture of the exploded bus at the top of the page and the disaster results at the bottom of the page. The latter has inserted the image at the centre of the page, surrounding it with text explaining and providing a context to the picture.

Exercise 3 The image is a spoof copy of a famous Abba’s one. The title on it uses rhyme to ironize Prince Harry’s succession in line.

The headline contains a pun played on intertextuality: remember the famous phrase from the Flintsones The titles of the spoof songs are all full of puns : The original ones are: 1 - Mamma Mia (Ma’am means lady) 2 - Dancing Queen 3 - Knowing Me, Knowing You 4 - The Winner Takes it All 5 - Money, Money, Money 6 - Take A Chance On Me 7 - Super Trouper (trooping means walking somewhere together as a group - After lunch we all trooped down to the beach. 8 - Thank You For The Music 9 - I Do, I Do, I Do, I Do… 10 - Chiquitita

Colloquial expressions : fab (stands for fabulous); boogying (to dance to fast pop music); knees-up (a noisy party, with dancing); bash (a large party or celebration); let your hair down (to relax and enjoy yourself, especially in a lively way) Exercise 4 1. F; 2. F; 3. T; 4. F; 5. T; 6. F; 7. F; 8. T

Exercise 5 true love; pop the question (2 times); bride; pair; affection; crush; dream; together; split; in each other’s arms; relationship (3 times); romance; engagement (2 times); dating; girlfriend (2 times); item; couple (2 times); wed

Exercise 6 “Waity Katie”; wealthy middle-class background; down-to-earth nature; mature outlook; strode confidently; pretty brunette; keen netball and hockey player; “level-headed and down-to-earth”; “absolutely phenomenal girl… popular, talented, creative and sporty”; A-grade pupil; all-rounder; popular; a joy to teach; not entirely a goody-two-shoes; her mother was criticised for chewing nicotine gum; took a back seat and sat patiently in the wings ( note the stark contrast between Williams’ commitment to his military career and the dissipation of her attempts to forge a career ).

Exercise 7 Some examples : held out; met; were studying; switched; considered; caught; arrived; forked out; strode; revealed…

Exercise 8 1. took 2. didn’t enjoy 3. didn’t disturb 4. left 5. didn’t sleep 6. flew

Exercise 9 1. he’s just gone out 2. I haven’t finished, yet 3. I’ve already done it 4. Have you found it yet? 5. I haven’t decided, yet

Exercise 10 1. had gone 2. went 3. had gone 4. broke 5. saw – had broken – stopped

Lesson 4

Exercise 1 1. advertising; 2. advertising; 3. advertisement; 4. advertising; 5. advertisement; 6. advertisement; 7. advertising

Exercise 2 1) American Journal of Nursing; Parent’s Magazine 2) Our Navy, Men’s Health 3) Cosmopolitan, Good Housekeeping 4) American Journal of Nursing, Parent’s Magazine, Vogue 5) Cosmopolitan, Saturday Evening Post, Good Housekeeping, Vogue

Exercise 3 1 f; 2 a; 3 e; 4 b; 5 d; 6 c.

Exercise 4 a 3; b 7; c 5; d 8; e 1; f 2; g 4; h 6

Exercise 5 1 b; 2 a; 3 c; 4 c; 5 a.

Exercise 6 a) a 7; b 1; c 2; d 5; e 8; f 3; g 4; h 6. b) i 10; j 12; k 13; l 9; m 11.

Exercise 7 (possible answers) 1. Britain’s best business bank (Allied Irish Bank) alliteration; assonance; hyperbole 2. Dream. Dare. Do. (Girl Guides) alliteration; asyndeton; climax 3. Don’t dream it. Drive it. (Jaguar) alliteration; asyndeton; ellipsis 4. Nothing fitz like a Ritz (Ritz crackers) rhyme 5. Tic Tac. Surely the best tactic (Tic Tac candies) alliteration; pun 6. If it’s on, it’s in (Radio Times) ellipsis; anadiplosis 7. How refreshing. How Heineken. (Heineken beer) alliteration; anaphora, asyndeton 8. The World’s biggest little station (KFPM radio station) oxymoron; hyperbole 9. The spirit of Ireland (Bayleys) metaphor, personification, pun 10. Money talks (American Express Card) personification 11. Everywear (Burton men’s wear) coined word, misspelling, pun 12. City linking. Smart thinking (City Link) rhyme, asyndeton

Lesson 5

Full Audio text from BBC Learning English - London Life: Brand Museum Yvonne : Now whatever we think of advertising and branding or about the effect that it has on shoppers, we’ve got to admit that it’s clever - and it’s big business! But why does it work? You’re listening to bbclearningenglish.com – I’m Yvonne Archer. Welcome to London Life! Why are we convinced that we’ll look and feel like the happy model in the advert if we buy that new shampoo? And look, the bottle’s so pretty! Of course, we know what the advertisers are doing – but we still reach for our wallets . Why? We left London’s busy shoppers for The Museum of Brands, Packaging and Advertising to find some answers. The museum’s director, Robert Opie, has been collecting brands and packaging for the last 30 years so he was happy to tell us how it all began. As you listen, try to catch the three types of products that Robert mentions; they were sent to the ‘grocers ’, the individual shop keepers, ‘in bulk’. What does Robert mean by ‘in bulk’? Robert Opie , Director, Museum of Brands, Packaging and Advertising Well if you go back to say the middle of the 19th century, virtually all the products being produced at that time were sent to the grocer in bulk. And he would make up and blend his own specific teas or he would dole out the dried fruits or the sugar or whatever it was. And it would be prepared in front of you and you could see what the product was. Yvonne : Up until around 1850, the middle of the 19th century, the products that grocers sold were sent to them ‘in bulk’. Did you work out what that means? Yes, things like tea, dried fruit and sugar - the three products we were listening out for - were sent to them in large amounts or quantities, often in large sacks. So shoppers could see what they were getting when they paid for a pound in weight of tea, for example. Now as we know, packaging is bad for our environment and makes shopping more expensive. So can’t we go back to our old ways and why the big change? Robert Opie , Director, Museum of Brands, Packaging and Advertising Come the packaging revolution, that all disappeared and why was that? Well, people were getting a bit wary about what the grocer was putting into his tea and so on. He was making up weights of that pound that you ordered with little bits of spurious… hmm, perhaps the sawdust from the floor even! Yvonne : Yuck – sawdust?! That’s certainly ‘spurious’ - shavings of wood instead of pure tea?! It was the dishonest grocer who brought on the packaging revolution. Of course, the people who made the products – the ‘manufacturers ’- soon realised that packaging could mean new publicity opportunities, as Robert puts it ‘a whole new publicity angle’. And customers got a few extras too! Listen out for two examples – the soap package that Robert talks about is from the 1880s… Robert Opie , Director, Museum of Brands, Packaging and Advertising Once the manufacturer had control over his product, he could put recipes on, he could say this is the same quality as the time before. So the whole thing took on a whole new meaning and a whole new publicity angle… I’m looking here at a Sunlight Soap package – a brand that went right around the world. And the great way that they attracted customers to this was they offered a £1,000 reward if you could find anything wrong with the product. I mean that was a huge enticement . Yvonne : OK, free recipes are quite useful but the soap product wins hands down for me! No wonder it was so ‘enticing’ – tempting people worldwide. Imagine how many people kept on buying packages of that soap to try to find a bar that wasn’t perfect! After all, a thousand pounds in the 1880s would have been a huge amount of money and it still is today. Of course, branding and packaging is still about selling products but it’s also about another sales message that will keep on changing… Robert Opie , Director, Museum of Brands, Packaging and Advertising If you buy my brand, you become a hip kinda, cool kinda person. That’s the kind of person you want to be. And of course, that’ll continually change as our perception and our ideals change as society changes. Yvonne : Can buying the latest product really make people and even children feel better about themselves? And is it OK to try to make us believe that? Why not talk about it in English before our next London Life? Exercise 1 1. Selling products 2. In the 1850s (mid 19 th century) 3. Recipes and assurances about the quality of the product

Exercise 2 1c – 2c – 3b – 4a

Exercise 3 1) T; 2) F; 3) F; 4) T; 5) T; 6) F; 7) F; 8) T

Exercise4 1. a) informative; b) worrying; d) warning; 2. Public interest/social issue/non commercial issue ad etc. 3. The addresser is a health network composed by the Canadian Association of Cardiac Rehabilitation, the Canadian Diabetes Association, and The Canadian Lipid Nurse Network. The addressees are especially women 50 years or older, men 40 years or older, people with heart disease or diabetes, people with family history of heart disease or high cholesterol or who are one or more of the following: overweight, physically inactive, smokers, men or women with high blood pressure 4. A test to check cholesterol and keep it under control 5. The question involves the reader (“you”), implying a predictable answer from him/her. In some ways it is a rhetorical question. Note the vocabulary definitions of test and exam : An exam may be a medical test of a particular part of the body, just like a test, which is a medical examination to see what is wrong with you or to check the condition of your health (a test for AIDS, an eye test… ). But note that exam : is the usual word for a written, spoken, or practical test at school or college, especially an important one while a test is sth that students might be given in addition to, or sometimes instead of, a regular exam, to see how much they have learned. The final exam in the ad means something definitive, the test something provisory. The visual clarifies the textual suggestion by showing the feet of a corpse laid down on a mortuary bed and waiting for a post-mortem examination (autopsy) with a label containing details of a potential victim. 6. Open answer.

Exercise 5 (possible answers): 1. Elegance, refinement, conviviality, romanticism, lightness. Relax and calm induced by alcohol 2. In the first, a good night with friends or guests, in the second the assurance that we’ll have the best product on the market (note THE isolated from the rest) and will gain a well-off status. 3. Well-off people or people desiring a prosperous way of life.

Adbusters anti-alcohol advertisements ß Open answer ß Open answer ß Humour; subversion through the disruption of cultural collocations and association: the worldwide known collocation “absolut vodka” with “absolut impotence” and the substitution of an ice cubes bed with a mortuary frozen bed. ß In common: the second original ad and the first fake ad have almost the same layout and a very similar image, but the fake one suggests a worrying disease. The second fake ad is very similar to the Canadian cholesterol test ad, showing the extreme consequences of drinking. The association with death is emphasized by the corpse foot reminding us of the bottle shape.

Exercise 6 Grammar (prepositions) 1. by; 2. for; 3. at; 4. of; 5. in; 6. at; 7. to, on; 8. on; 9. at; 10. In Lesson 6

Exercise 1: 1. F; 2. T; 3. F; 4. F; 5. F; 6. T

Exercise 2:

Copywriters Purists colourful thoughts grammatically correct freshness educated elite vernacular literary allusions word mechanics pretentious phrases unconventional vocabulary stilted style catchy phrases guardians of correct English imaginative standard new ideas preserve skilled professionals conservative succinct and eye-catching vitality different

Exercise 3 (Homework): a) In; for; about; for; on; after; At; of; for; to; of; out; with; about; on; to; In; to; of; at; of; with; of; to. b) phrasal verbs

Targets and techniques

Mercedes ad Possible answers : - Target : rich, well-off people; possibly single, daredevil kinds of men; aged 35-40 - Language : the imperative mode in the headline urges men not to be satisfied with little and not to save money when it’s a question of appearances (cars are usually shown, socks can be hidden). The language is colloquial (anything less would be, well, less...); it involves the reader by directly addressing him/her (‘you’) and, thus, making him/her think he/she can acquire a new status (looking richer, stronger, cooler and envied) by buying the car. Notice the alliteration and assonance between socks and SUVs, and the asyndeton. - Open answer.

Renault ad Possible answers: [this time, remember to use also the information about “use-value/exchange-value” and about the audience ‘hot buttons’ (a sense of “lack” and the consequent need to have “more” and provoke envy) contained in the two paragraphs about cars advertisements’ strategies] - Target : the ad is likely aimed at people who love space (inside the car - for a family - and outside it, as it cab nee seen from the visual) and safety. - Language : it is extremely colloquial (go on, tell yourself...) and ironic (the truth is that, even though you say the car is for your family, you like it very much and appreciate its technical features). In the headline, notice the alliteration of the consonant sound, evoking the fluid sonority of the French word “espace ”. - Strategies : the ad involves the reader by the continuous use of the pronoun “you”. The main keyword is “safety”, but other words related are “responsible”, “parenting”, “owe”. The association is with “family”.

Exercise 4: a 5; b 3; c 8; d 7; e 11; f 2; g 1; h 9; i 6; j 4; k 10

Exercise 5: This exercise is open and individual, but here are some tips.

Porsche ad Example of possible answers: - Target: well-off men needing the glamourous status of the well established Porsche brand; - Techniques: the ad urges men to change perspective and so, to transform themselves by buying a powerful and aggressive car. “Hairpin bends” in the headline finds echoes in the phrase “a different perspective” (if you bend your head you can see things from a different point of view), in the copy (“twists and turns” is one of them) and in the visual (the car is positioned diagonally). It can also be seen as an invitation made to the loyal users of Porsche to change model and “turn” to this new one (which offers a completely different “essence” of the brand and so needs a new vision). - Language: confident and safety are repeated instead of speed and aggressiveness; asyndeton in the headline.

Ford ad Notice the double meaning of “Drive for”: the first is “guidare per, verso”, the second [ drive (for sth)| ~ (to do sth)] refers to an organized effort by a group of people to achieve sth: a recruitment / export / economy drive a drive for greater efficiency the government’s drive to reduce energy consumption. Notice also the repetition of the words “value” and “free”. The car is surely for savers, but savers who want a reliable car, promising value (material and intangible) also in the long distance. Techniques: the offer “Now with an extra £500 off until March 7th ” is an example of pressure technique. Saab ad Notice the idiom in the headline [ ‘A sting in the tail’ (informal)= an unpleasant feature that comes at the end of a story, an event, etc. and spoils it]. Remember that the ‘tail’ of a car is its ending. In the payoff (“move your mind), “move” also alluded to the movement of the car, so the message might be a play on words: if you drive this car you are ahead with your mind. Look also at the essential visual in black and white. Everything is plain and transparent about this car, no sting in the tail (no bad surprises). Toyota ad Notice the colour of the car (red) and the name of the car AYGO (I go). The iPod is named, so the targeted audience is necessarily young. Notice the repetition of the number 3 (perfect number), echoed by the layout divided into 3 sections. Notice the alliteration of the ‘t...’ sound and also the climax “Today, Tomorrow, Toyota” (Toyota corresponds to the future=young people). It uses an associative technique by associating the car to youthfulness and a bright (red) future.

In general: in all of the ads the language is informal (full of contractions and colloquialisms) and makes a large use of imperatives.