The short film is indubitably designed to appeal to a mass British audience. This is created effectively with the intended stimulation of emotions as the narrative of the media text serves to evoke empathy from viewers. The equilibrium provokes audiences to feel appreciative of the joyful atmosphere portrayed, whereas the disequilibrium induces calamity to make the audience feel sympathetic as a result of the poignant feel of the short film. Effective;y, personal identity is formed with the characterised family, as a majority of viewers will rejoice in family bonding and be allured by the stereotypical representation of family values, thus becoming connected to the film emotionally.
Moreover, a British audience will be drawn by the shorthand stereotypes of the typical British/white family, and therefore be more inclined to fulfill the personal identity gratification derived from familiarisation with this media text. This resultantly creates a mass audience appeal and even more so due to the fact that there is no dialogue nor a language-specific focus to the communicated message. Alternatively, gestures, facial expressions and body language is used as the platform of communication to consequently widen the targeted appeal to a global extent.
Additionally, the film is also credible for its brevity and can therefore be positioned on video-sharing/social networking sites. This allows for a mass audience coverage, particularly in Britain due to the relentlessly excessive use of social media among the majority of the population. This film is also crafted for its impact on audiences of any age as even the child has a pivotal role in the disequilibrium of the narrative, thus indicating relevance to a wider audience classification.
