Discuss the audience appeal of your 3 main texts?

Discuss the audience appeal of your 3 main texts?

The representation of mad men in my chosen scene from the Jaguar Pitch is from the 1960s you are able to determine this by the way women are treated and the behavior of the men, for example the men have more authority and the women are undermined and dress very sexual for example low cut and fitted dresses. Also the mise en scene creates a setting from the 1960s with the use of type writers which you can hear through the diegetic sound in the background and the intake of alcohol in work settings and smoking at work. A scene i am particularly referring to is when the man throws money in to peggys face this makes her out to be a prostitute who sells her body for money, which manipulates her and breaks her confidence as he is controlling her, also when he walks in to the office he is drinking alcohol which would be obscene in this day and age. This would appeal to a range of audiences such as people who lived in the 1960s as they feel they can relate to them and have an understanding of what is going on, also it may appeal to people who did not live in the 1960s as it may interest them on the behavior of people from the 60s and how things have changed over the years.
It also appeals to a niche audience because of its authentic views and attitudes from the 1960s. A lot of enigma codes are put in to place however because it is more of a niche audience you are having to work out the answers to the questions yourself which can leave it very open and can be interpreted in lots of different ways. Parallel editing is also used which makes you thinks that 2 different scenes are happening at the same time. There is also no non diegetic sound as which makes it seem more realistic as there is no added effects on the TV program. The way the men talk about the jaguar pitch 'curves, you can have the jaguar' ' if it weren't pretty or temperamental' it is as though they are talking about the women and belittling them as if they are an object.

"If they weren't out of our reach, beyond our control, would we love them like we do?" - Don Draper
This was an epic episode with a thoroughly disquieting tone. It is sometimes said that none of the characters in Mad Men are likeable. Such thoughts were borne out spectacularly in this hour. The weight of obnoxiousness falls exclusively on male shoulders too. If every plot event this week wasn't set off by a misogynistic act, then you could have fooled me. This was an epic episode with a thoroughly disquieting tone. It is sometimes said that none of the characters in Mad Men are likeable. Such thoughts were borne out spectacularly in this hour. The weight of obnoxiousness falls exclusively on male shoulders too. If every plot event this week wasn't set off by a misogynistic act, then you could have fooled me.
Cutting the pitch (I love it when they take us along on pitches) with the scenes of Joan’s reluctant hotel room transaction made things nicely unambiguous. “Built like a B52”, Joan (and later, Megan during a theatre audition that seemed more peep show than anything else) was coveted as a possession. She was the hot red, the out-of-reach prize, the head-turner, anything but a person with thoughts and feelings. Her mother raised Joan to be admired, she told Don last week, but objectified is the word.
The orange couch - 'all women are given 2 options wife's or mistresses and view-ix or jaguar,  these give men objects to use but all of the women don't want to be objects. This TV program does not have a formula.'
Don draper is the ruler but fails at it every time.
Basket of kisses - ' The Other Woman may be the most disturbing episode of Mad Men we’ve ever seen. We’ve seen bad things happen to characters we love, some of their own doing. ' Ginsberg’s line, “At last. Something beautiful you can truly OWN”, reflects Don’s life. He probably feels that he really truly “owns” nothing at the moment. He doesn’t “own” Megan who’s turning up to be less dependent on him than he imagined, he doesn’t “own” Peggy who’s leaving him, he doesn’t “own” Joan because he wasn’t able to dissuade her to spend the night with the guy, he doesn’t “own” the agency because the partners decide against his will.'
I can’t tell the difference between something that’s good and something that’s awful.
— Peggy Olson, The Suitcase