ble to pass along the dominant ideas of the upper class (hegemony) while at the same time making an extra dollar. This hegemonic approach accounts for why representations of youth groups appear as they are, by linking the representations back to the social structure, which frames and produces them.Text Used:Taylor, Lisa and Willis, Andrew. Media Studies: Texts, Institutions and Audiences. Blackwell Publishers Ltd. Massachusetts, 1999. Pg. 48-56. Scarlet Futch9-27-00Response #1 to readingCh. 3, RepresentationYouth in Television have been portrayed in many different lights, anywhere from the criminal to the young at heart. With their resistance to the dominant culture, many studies have been done concerning the meaning of the political challenges to the social formation involving investigating cultural objects and media artifacts. Historically young people have fallen into distinct but dependent categories: youth-as-fun and youth-as-trouble. One might ask why any of this is pertinent to the study of television. However in the 1950's consumer boom, youth-as-fun became a major advertising strategy. Once advertisers identified teenagers as a valuable consumer, more and more positive images of youth became evident on TV. Photography of youth has been historically produced out of ideological interests, constructed by new markets in an attempt to gain financial resources young people had gained access to. Even still today it is amazing to view how television views and portrays youth for the benefit of making a sale.Youth-as-trouble have been seen in most aspects of the factual media such as the nightly news. These shows have the major impact of building images, which in turn are taken as examples of how young working- class people generally behave. This leads to an ideological regime of images, which serve to naturalize the media construction of youth-as-trouble (51)." Images of youth-as-trouble are not only limited to news medi...
