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.
Monday, 2 December 2019
Monday, 10 June 2019
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
8 Television production takes place within an economic context.
Discuss the influence of economic factors on The Bridge.
1 How significant are economic factors in the magazine industry? Refer to Vogue and The Big Issue in your answer
2 How significant are economic factors for both Zoella and Attitude ?
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
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.
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.
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.
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
Thursday, 6 June 2019
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
2 page knowledge organisers and revision guides that cover the paper 2 texts. I can highly recommend them . Good luck !
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
Saturday, 25 May 2019
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.
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.
Tuesday, 21 May 2019
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.
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 ?
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 ?
Tuesday, 14 May 2019
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
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
Sunday, 12 May 2019
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
Tuesday, 30 April 2019
ZOELLA : Analysis
Eduqas resources and activities
Full revision pack
Use the above resources and the class notes to create a written analysis about Zoella and wider issues in online media. This should cover the following :
Text : " Zoella "
This should include her blog, youtube accounts and any other channels.
Technical codes, content , purpose and how income is generated ( if relevant)
How does Zoella produce income ?
Representation
gender, age and other elements such as class or ethnicity
Use of stereotypes and performativity
Audience
What is Zoella's audience ? Are they passive consumers or part of an active online community ? Have they changed over the years ?
How producers construct target , attract , maintain and interact with their audiences
Industry
The impact on technological changes ( i.e internet ) on production, regulation , profit , advertising, maintaining or controlling an online identity, interacting with and maintaining your audience.
Related theories :
Hall : Stereotypes
Gauntlett : Identity
Gerbner : cultivation theory
Jenkins : Fandom
Sharkey : end of audience
Baudrillard : hyper reality and simulacra
Livingstone and Lund : regulation
Hesmonhalgh : cultural industries
Barthes : Semiotics
Levi-Strauss : Structuralism
_
Full revision pack
Use the above resources and the class notes to create a written analysis about Zoella and wider issues in online media. This should cover the following :
Text : " Zoella "
This should include her blog, youtube accounts and any other channels.
Technical codes, content , purpose and how income is generated ( if relevant)
How does Zoella produce income ?
Representation
gender, age and other elements such as class or ethnicity
Use of stereotypes and performativity
Audience
What is Zoella's audience ? Are they passive consumers or part of an active online community ? Have they changed over the years ?
How producers construct target , attract , maintain and interact with their audiences
Industry
The impact on technological changes ( i.e internet ) on production, regulation , profit , advertising, maintaining or controlling an online identity, interacting with and maintaining your audience.
Related theories :
Hall : Stereotypes
Gauntlett : Identity
Gerbner : cultivation theory
Jenkins : Fandom
Sharkey : end of audience
Baudrillard : hyper reality and simulacra
Livingstone and Lund : regulation
Hesmonhalgh : cultural industries
Barthes : Semiotics
Levi-Strauss : Structuralism
_
Monday, 29 April 2019
ONLINE Exam questions
8. 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. [30]
You should refer to relevant academic theories in your response.
8 (a). Explain how social and cultural contexts influence responses to online media products. Refer to Zoella to support your response. [15]
(b). Explore how the representations on Attitude’s website position audiences. [15]
online media? Discuss, with reference to Zoella and Attitude. [30]
You should refer to relevant academic theories in your response.
8 (a). Explain how social and cultural contexts influence responses to online media products. Refer to Zoella to support your response. [15]
(b). Explore how the representations on Attitude’s website position audiences. [15]
Thursday, 25 April 2019
ONLINE : ZOELLA Social and cultural contexts
Responses will demonstrate knowledge and understanding of the influence of social and cultural contexts on responses to the set online product by referring to some of the following:
cultivation theory (Gerbner) – the idea that repeated, long-term exposure to blogs and vlogs may influence the ways that users see the world
the interrelationship between media technology and patterns of consumption and response - the context of online culture: more time spent online within target audience age group
how audiences interact with the media and can be actively involved in media production - the context of audience participation and interactivity
how audiences use media in different ways, reflecting demographic factors as well as aspects of identity and cultural capital
how audience responses to and interpretations of media representations reflect social and cultural circumstances, e.g. millennial audience
Fandom (Jenkins)
‘End of audience’ theory (Shirky)
In discussing the influence of social and cultural contexts on responses to Zoella, answers may, for example, explore some of the following:
the Zoella advent calendar 2017 controversy – interpreted as too expensive by many in current economic climate
the context of current attitudes to gender –the context of social attitudes and body image – “Who Run the World” – positive responses to “girl power” message
the context of popular culture –‘Should’ve Gone to Specsavers’ – intertextuality provokes response of recognition and creates humour
the context of social trends – e.g. baking, fizz, enables audience to feel on trend
the context of ‘selfie’ culture, self-representation and social identity – audiences share their own constructed identities
aspirational consumer culture and lifestyle – the cult of the home – Dreamy Bar Cart; audiences respond by purchasing products online
the social context of raising awareness of mental health – in Panic Attacks, Anxiety: The Update. Responses are supportive and share experiences
the cultural context of rituals such as Halloween, Valentine’s Day, Christmas: Nala’s Christmas Photoshoot, Booella tag on Twitter. Responses illustrate sense of shared community and greater acceptance of authenticity of constructed lifestyle
cultivation theory (Gerbner) – the idea that repeated, long-term exposure to blogs and vlogs may influence the ways that users see the world
the interrelationship between media technology and patterns of consumption and response - the context of online culture: more time spent online within target audience age group
how audiences interact with the media and can be actively involved in media production - the context of audience participation and interactivity
how audiences use media in different ways, reflecting demographic factors as well as aspects of identity and cultural capital
how audience responses to and interpretations of media representations reflect social and cultural circumstances, e.g. millennial audience
Fandom (Jenkins)
‘End of audience’ theory (Shirky)
In discussing the influence of social and cultural contexts on responses to Zoella, answers may, for example, explore some of the following:
the Zoella advent calendar 2017 controversy – interpreted as too expensive by many in current economic climate
the context of current attitudes to gender –the context of social attitudes and body image – “Who Run the World” – positive responses to “girl power” message
the context of popular culture –‘Should’ve Gone to Specsavers’ – intertextuality provokes response of recognition and creates humour
the context of social trends – e.g. baking, fizz, enables audience to feel on trend
the context of ‘selfie’ culture, self-representation and social identity – audiences share their own constructed identities
aspirational consumer culture and lifestyle – the cult of the home – Dreamy Bar Cart; audiences respond by purchasing products online
the social context of raising awareness of mental health – in Panic Attacks, Anxiety: The Update. Responses are supportive and share experiences
the cultural context of rituals such as Halloween, Valentine’s Day, Christmas: Nala’s Christmas Photoshoot, Booella tag on Twitter. Responses illustrate sense of shared community and greater acceptance of authenticity of constructed lifestyle
Monday, 22 April 2019
PAPER 2 : Television : THE BRIDGE
Using the resources on the blog, class notes and your own research , plan and explain the key points about the following areas related to The Bridge :
Media Language
Genre : Nordic Noir
Series 3 episode 1 : technical codes
binary oppositions
Narrative structure and resolution
Representation
Gender
National identity
Audiences
Nationality
Mainstream/niche
Positioning
Audience pleasures
Industry
Production and distribution
Funding
UK Broadcast and scheduling
Other global remakes or broadcasts
Relate to genre, content of programme and possible issues
ESSENTIAL THEORY
Media language
Neale : Genre
Todorov : narrative stages
Levi Strauss : binary oppositions
Representation
Hall : stereotypes
Van Zoonen : representation of women
bell hooks : feminism as political ideology
Butler : Gender performativity
Industry
Livingstone and Lund : regulation issues
Hesmondhalgh : cultural industries
Possible questions :
To what extent can Neale’s Genre Theory be applied to the set episode of The Bridge ? ( 15 Marks)
Television production takes place within an economic context. Discuss the economic factors on The Bridge ( 15 marks)
Monday, 4 February 2019
CASE STUDY COMPONENT 1 : Riptide
Analyse the music video for Riptide by Vance Joy focusing on the following elements. Refer to contextual information and technical codes to support your points.
GENRE AND AUDIENCE
Research and summarise the indie genre : conventions, influences, audience and key artists.
What is the definition of " indie " and does the artist, video fit into this category ?
NARRATIVE AND ICONOGRAPHY
Linear , clear and resolved narrative , or fragmented montage based on the lyrics of the song ?
Analyse scenes for symbolic objects and the meaning they contain .
REPRESENTATION
How is gender represented in the video ? Look at stereotypes, repetitive motifs and how women and men are framed narratively and through iconography.
POSTMODERNISM
Which of the following postmodernist techniques are used in the video ?
How does this change how the audience responds to the messages, representations and other elements of the video ? Does it change the meaning ?
Monday, 28 January 2019
ANALYSING NEWSPAPERS : The Mirror and the Times
Analysing newspapers
A Analyse the following covers in terms of how the technical codes ( main image, headline, pull quote etc.) persuade the audience to buy the newspaper and how the audience is being persuaded to respond to the main news story.Consider issues of iconography, binary oppositions and semiotics.
Then analyse which factors that make up the news agenda ( threshold,unexpectedness, elite nations etc.) are being considered in the choice of cover story.
Then explain the following information about the Mirror and The Times.
Tabloid or broadsheet ? Explain the differences between these terms
Ownership : Who owns both newspapers ? An individuial or a corporation ? Do they own anything else ? What does Curran and Seaton's theory of power and media say are the risks of some media ownership structures ? Use the media theory resource here and the theory page on the blog to find it.
What are both newspapers' political bias ? Left or right wing ? What does that mean ?
B Research and find out which organisation is responsible for regulation of the content of British newspapers , and how you make a complaint about accuracy or offensive content in a newspaper. Summarise the regulation theory of Livingstone and Lund using the theory resource here
.
Then analyse which factors that make up the news agenda ( threshold,unexpectedness, elite nations etc.) are being considered in the choice of cover story.
Then explain the following information about the Mirror and The Times.
Tabloid or broadsheet ? Explain the differences between these terms
Ownership : Who owns both newspapers ? An individuial or a corporation ? Do they own anything else ? What does Curran and Seaton's theory of power and media say are the risks of some media ownership structures ? Use the media theory resource here and the theory page on the blog to find it.
What are both newspapers' political bias ? Left or right wing ? What does that mean ?
B Research and find out which organisation is responsible for regulation of the content of British newspapers , and how you make a complaint about accuracy or offensive content in a newspaper. Summarise the regulation theory of Livingstone and Lund using the theory resource here
.
Tuesday, 8 January 2019
MOCK EXAM preparation
Your mock examination is on Tuesday January 15 at 9 am.
Here is a link to some key resources for the Component 1 key media products you will be asked about in the exam.
Previous case studies can be found on the blog below, including this detailed analysis task some of you will have completed for Assassins Creed 3 : Liberation .
Here is a link to some key resources for the Component 1 key media products you will be asked about in the exam.
Previous case studies can be found on the blog below, including this detailed analysis task some of you will have completed for Assassins Creed 3 : Liberation .
Monday, 7 January 2019
SET PRODUCT : I, Daniel Blake film marketing
Analyse the visual codes, audio codes and moving image codes in the trailer and poster, as well as your own research, for the following information :
Production information ( director/writer/stars/funding/budget/distribution )
Text : themes, ideologies and social messages of film, genre, setting, representations, main target audience, secondary audiences, desired response from audience.
Reception : awards, reviews, critical response, political effects, etc.
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In demonstrating knowledge and understanding of, and making judgements and drawing conclusions about, the significance of economic factors ...
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EXAMPLE PAPER 2 with mark scheme and guidance All questions 30 marks ( 50 minutes ) if both texts o r 15 marks ( 25 minutes) if one te...
