Paper 2 : (Television ) postmodernism in Life on Mars

EXAM QUESTION  

  To what extent can S1 episode 1 of  Life on Mars be seen as a postmodernist text ?  ( 15 )




Which of the following   postmodernist techniques and attitudes does it use , refer to or follow in its narrative , mise-en-scene, performance, visual/audio codes etc. ?



Intertextuality ( explicit specific reference to another media product or genre )

Parody and pastiche ( whole scene or settings in the style of another media product or genre)


Bricolage ( the idea that the entire meaning of a media text is  totally created by  the fragments and references that make it up)


Irony ( less serious in tone, moral/social issues not explicitly discussed in text)

Ambiguity ( no single meaning or message )


Reflexivity ( drawing attention to itself as a media text , deliberately artificial, breaking the fourth wall)


Hyper reality ( an artificial reality made up of layers of media representations that Baudrillard claimed we are all now  living in )

Simulacra ( the artificial objects, people and  settings that make up an artificial hyperreality )





Does it also use more traditional established techniques to connect with its audience , such as follow established genre conventions, create original characters, follow a linear narrative etc. ? Briefly summarise these.

EXAM QUESTIONS

EXAMPLE PAPER 2 with mark scheme and guidance 


All questions  30 marks ( 50 minutes ) if both texts or 15 marks ( 25 minutes) if one text only. 

You must revise Media Language, Representation, Audiences, Industry and relevant Theory for all sections as the questions can be mostly applied to every text.

Life on Mars/The Bridge

1 How significant are economic factors in the television industry? Refer to Life on Mars and The Bridge in your answer

2 Identify how meaning is created through symbolic and technical codes in both Life on Mars and The Bridge, through a sequence of your choice for each text. Apply Barthes semiotic theory to illustrate your points.

3 To what extent do you agree that female characters in both Life on Mars and The Bridge go against stereotype? Apply the theories of hooks and Van Zoonen to your points.

4 Compare how narrative techniques are used in both Life on Mars and The Bridge to create tension and conflict. Apply Todorov’s narratology theories to support your points

5 Account for the global appeal of both Life on Mars and The Bridge

6 According to Claude Lévi-Strauss, texts convey their meanings through a system of binary oppositions. Evaluate this structuralist theory. Refer to the set episodes of Life on Mars and The Bridge in your response.

Life on Mars

7  To what extent can the set episode of Life on Mars be considered a postmodernist text?

The Bridge  

8 Television production takes place within an economic context. 
   Discuss the influence of economic factors on The Bridge.

Vogue/Big Issue

1 How significant are economic factors in the magazine industry? Refer to Vogue and The Big Issue in your answer

2 Identify two contrasting audiences for the set editions of Vogue and The Big Issue and how each would appeal to that target audience.

3 How far do the choice of advertisements in each of the set editions of Vogue and The Big Issue reflect the values of their target audiences and model their response? Apply Bandura’s Media Effects Theory to support your points.

4 How might individuals represented in the set editions of both Vogue and The Big Issue conform or subvert Hall’s theory regarding stereotypes.

5 Compared with the past, David Gauntlett argues that in the media today ‘we no
longer get singular, straightforward messages about ideal types of male and female
identities.’
Evaluate the validity of this claim with reference to the set editions of Vogue and The
Big Issue and the historical contexts in which they were produced.

6  How far do you agree that both Vogue and The Big Issue are representative of the historical and social contexts they are produced in. Refer to the set texts of both magazines to support your response.

Zoella/Attitude

1 How far might Butler’s Gender Performativity theory and Hall’s Representation theory be applied to both Zoella and Attitude with regards to gender stereotypes?

2  How significant are economic factors for both Zoella and Attitude ?

3 Account for the audience appeal for both Zoella and Attitude due to the use of digital convergence. Apply Shirky’s End of Audience theory to support your points.

4 How far do you agree that both Zoella and Attitude might be considered examples of hyperreality? Use Baudrillard’s Postmodern theory to support your points.

5 How far can aspects of identity be seen to affect the way in which audiences use
online media? Discuss, with reference to Zoella and Attitude. [You should refer to relevant academic theories in your response.

Zoella

6  Explain how social and cultural contexts influence responses to online media products. Refer to Zoella  to support your response.

Attitude

7 Explore how the representations on  Attitude’s website position audiences

PAPER 2 FINAL REVISION DOCUMENTS

As well as looking at the texts themselves and the resources in the pagesabove, I've found some
2 page knowledge organisers and revision guides that cover the paper 2 texts. I can highly recommend them . Good luck !

e.g

Life on Mars 1
Life on Mars 2

The Bridge 1
The Bridge 2



Vogue 1
Vogue 2

Big Issue 1
Big Issue 2 



Zoella  1
Zoella  2

Attitude 1
Attitude 2



Zoella/Attitude revision sheet

ECONOMIC FACTORS IN MAGAZINES

In demonstrating knowledge and understanding of, and making judgements and drawing conclusions about, the significance of economic factors to the magazine industry, responses may refer to some of the following:


 the significance of ownership within the magazine industry in relation to major publishing companies and independent publishers outside the commercial mainstream
 the nature of the magazine industry in the 1960s, dominated by a small number of publishers, a limited number of titles available, sales of women’s magazines reached 12 million copies per week.
 the nature of the contemporary magazine industry, still dominated by major publishers, but a much wider range of titles available and much greater competition for readers, declining print sales and the impact his has had on the way media organisations produce and circulate content to audiences. Independent publishers need to find a unique selling point to appeal to audiences.
 the different sources of funding/ revenue for magazines
 the significance of advertising as a source of funding for magazines, the requirement for magazines to ‘deliver’ audiences to advertisers, the symbiotic relationship between magazine producers and advertisers
 the way in which production values are shaped by economic factors
 the economic context of magazine production in the 1960s and the present day
 historical context - national/international economy– post-war recession/austerity gives way to new consumer boom in 1960s
 power and media industries (Curran and Seaton)


Vogue and The Big Issue

 the significance of ownership by Conde Nast - global company – international editions. Conglomerates are profit/power driven
 niche audience (Contents Page - art, travel, entertaining) – limited circulation – advertisement dependent
 contract with Sun Engraving printers - high quality colour advertisements
 advertising reflects more wealthy/aspirational audience – Imperial Leather, Rayne shoes on Contents Page (By Royal Appointment)
 quality glossy at higher price – monthly release at 3/-
 increased financial stability leads to innovation – more prepared to take risks - originality of cover styling – marvellous mad midsummer…
 economic stability – expenditure on quality product – high production values – major Hollywood cover star (Sophia Loren); Picnics Probable and Improbable - exotic location fashion shoots - Egypt; more expensive designer fashion – Kurt Geiger, Jaeger; celebrity contributors (Antonia Fraser, Robert Carrier)
 limited choice and viewpoints for audiences– marginalised representation of black culture in Picnics Probable and Improbable shoot
 Risk-averse parent company stifles creativity and limits diversity of opinion (Curran and Seaton)
 How advertising reinforces the brand identity of The Big Issue, demonstrating the symbiotic nature of the relationship between advertising and magazines, for example some advertising for consumer goods but also a high proportion of charity and public information advertising.
 The Big Issue as an independent, not-for profit magazine. Now published in conjunction with Dennis.
 Unique street vendor model of distribution (vendors buy the magazine and sell to the public).
 The lower cover price reflects more modest production values with a focus on social issues as well as entertainment features to appeal to the audience.
 The use of Zinio (online newsstand) to generate additional sales and revenues to support the social enterprise aspects of the organisation’s work.


Candidates may argue that economic factors are less significant than other factors – e.g. audience, context or agenda. Some candidates may suggest that economic factors are more or less important now than historically. Candidates may argue that economic factors either limit or offer opportunity for greater creativity and diversity of viewpoint. These approaches are all valid and assessors should mark on the quality of the response, validity of examples and coherence of the argument.

STRAIGHT OUTTA COMPTON case study

Analyse the marketing campaign and industry background for  Straight Outta Compton in terms of the following :




Summarise the  companies and brands  responsible for the funding, production and marketing of the film and any links to media industries  that would help maximise income and audience. How were the members of NWA ( Ice Cube,  Easy E, Dr Dre ) involved in production or marketing ?



Identify its target audience ( mainstream/independent , age ,gender etc. ) based on the following
( budget, genre, plot, characters, narrative, production values , marketability, role of stars/director, visual appeal/style etc)


How one of the official  film marketing posters  has targeted its target audience :  analyse the technical codes of the  poster ( use of  images, text, layout, colour. denotation/conotation, use of stars, promise of pleasure, mark of qulaity, expert criticism, genre indicators etc. ) 

How the  film marketing trailer  has targeted its target audience :  analyse the technical codes of the  trailer ( use of camera e.g closeups of star , editing , mis-en-scene, lighting and colour , sound and dialogue) and the use of reviews and expert criticism , promise of pleasure , stars and other techniques.

LINK : HERE

Analyse the  Straight Outta Somewhere viral marketing campaign  that was used to help publicise the film.   How did this campaign target and maximise  audiences and what techniques did it use to raise awareness of and interest in the film ?
More information here





Summarise the commercial reception of the film : how financially successful was it ? 
Were there any other media products linked to the film that would have also made money for the producers ?

 Give reasons why you feel the film was successful ( genre, producers,theme,audience , synergy with other media products/industries).



EXTENSION TASK :

Read this analysis of the regulation of the film by the BBFC and answer the following questions :

What age  certificate did the production company want for the film  ? Why ?

What age certificate was granted by the  BBFC ? Why ?

ECONOMIC FACTORS : TELEVISION INDUSTRY

Responses will demonstrate knowledge and understanding of the economic context in which
television production takes place by referring to some of the following:

 the significance of different ownership and/or funding models in the television
industry (i.e. whether media companies are privately or publicly owned, whether they
are publicly or commercially funded etc.)
 the growing importance of co-productions (including international co-productions) in
the television industry today
 the way in which production values are shaped by economic factors
 the impact of risk aversion on television production (e.g. in terms of the
commissioning and financing of programmes)
 the different sources of funding available to producers working in the television
industry today


 In discussing the influence of economic factors on The Bridge, responses
may, for example, explore some of the following:

 how the settings, cast and crew reflect the economic context in which The Bridge
was produced (e.g. the fact that the series was co-financed by Sveriges Television
and Danmarks Radio)
 the significance of the grant received from the Copenhagen Film Fund for the third
season of The Bridge (e.g. the fact that more Danish crew members were employed
on the third season than on the previous two because of the financial support of the
CFF)
 the importance of the €1 million grant received from Creative Europe MEDIA in terms
of supporting and maintaining the programme’s high production values (Creative
Europe provide financial backing for high quality, high budget European TV drama
series)
 the fact that some of the scenes set in Copenhagen were shot in Malmo in order to
minimise production costs

Research industry information for Life on Mars to ensure you know similar information in terms of funding, ownership, franchising , merchandising and fandom and how they affect Life on Mars

ATTITUDE : Analysis

Using these links , summarise the following elements about Attitude


Homepage




Powerpoint     Essential analyis and summary






Representation :   How is masculinity and sexuality represented in the website  ? Are certain stereotypes or elements foregrounded or given higher priority and focused upon more than others ?
If so, why ?

Target Audience :  Sexuality, gender, age, ethnicity, nationality , location , class ?


Industry:  How does  the website make money ?

                How closely linked is the website to the Attitude magazine in terms of ownership,
                  content and style  ?



THEORY TO USE : 

 Hall : stereotypes
Gauntlett : identity theory
 Butler : gender performativity
Shirky : End of audience