1. Examiners Report for
MS1: Media Representations and Responses
(Summer 2011)
This report has been written by the principal examiner at WJEC exam board.
The document has been compiled using the results of centres across the
country to identify strengths and weaknesses in exam answers.
You should use this document to help you develop a strong set of answers in
the MS1 exam. Note that question 1 refers to the material provided for the
summer exam in 2011 which was Saga and GQ magazine
Candidates clearly felt most comfortable with Question 1 and it was the one for which
they were most adequately prepared. For many candidates across the mark range,
this was their strongest answer. They were able to analyse the texts in detail
employing various degrees of relevant media vocabulary. They were generally
confident discussing the codes and conventions of magazines but for some
candidates there was a tendency to describe the visible features of the magazines
without analysing the purpose and effect of those features.
Several candidates made basic points about the design features, repeating the fact
that they made it 'stand out' and there was an over-elaboration regarding the use of
colour. It was of some concern that many candidates appeared not to have planned
their response in advance by making notes on the texts. This would have helped
candidates to produce more sophisticated and coherent answers in some instances.
However, there was generally a clear understanding of mode of address and the
more able candidates made some good points about the cover images, design and
language. References to intertextuality, masculinity and the ideology of age were
evident in the stronger responses. Those candidates who had a clear focus on the
bullet points produced a more structured and coherent response.
The range of points made included:
GQ Magazine
Visual codes
• Use of colour
• clothing and physical appearance
• pose, gesture, gaze and body language
Layout and design
• positioning of central image and gaze to readers
• recognisable masthead
• use of cover and sell lines
• font styles
• use of graphics
• text positioning/design
• colour design/graduated tint
Language and mode of address
• use of informal language e.g. 'badass'
• name recognition
• stories linked to target audience
3
Saga Magazine
Visual codes
• Use of colour
• clothing and physical appearance
• pose and staged setting
• gesture, gaze and body language

2. Layout and design
• positioning of central image and gaze to readers
• style of masthead
• use of cover and sell lines
• font styles
• use of graphics
• text positioning/design
• conservative colour design
Language and mode of address
• more formal mode of address appropriate to target audience
• name recognition
• stories linked to target audience
• hyperbolic claims
The responses to Question 2 (a) were confident and many gained full marks.
Candidates had clearly been guided well by centres as there were less instances of
over-writing and there were instead clear and concise justifications for the audience
targeted.
Suggestions included:
• Fans of Clint Eastwood
• Regular GQ readers
• Audiences attracted by special 'Men of the Year' issue
• Women
• Older and younger men with valid reasons
In Question 2 (b) the best answers were those that were able to make points that
were then backed up by examples from the text. These tended to focus on the cover
lines and the use of Michael Caine as an effective image to use for the target
audience. The use of 'older' stars was also commented on by many as an appeal.
There were, however, some simplistic responses reinforcing stereotypes of older
people e.g. large writing as older people won't be able to see well etc. More
discerning responses considered a broad range of appeals and offered a more
sophisticated understanding of the audience targeted by the magazine.
Some candidates effectively related audience targeting to theory e.g. uses and
gratifications and this allowed these candidates to demonstrate their broader media
knowledge. There were some perceptive comments regarding intertextuality and the
associations that Michael Caine would hold for the audience e.g. Harry Brown.
Responses included:
• Use of Michael Caine – audience familiarity
• Cover lines – issues of concern to audience
• 'calm' colour scheme
• Appeal to nostalgia of childhood
• Claim of quality
• Inclusion of extra items (Plus…)
Question 2 (c) -this question was designed to allow candidates to demonstrate their
understanding of how texts target audiences. There was a range of ways in which
candidates approached this question. It was answered well by some candidates who
understood the concept of audience, had studied it across a range of examples and
formats and could then apply this understanding to a range of appropriate examples.
There were very few examples of candidates using only the stimulus material.
However, there were some candidates who were answering a different question and
were focussing on how an audience would respond to a text rather than looking from
the text out. In preparation for this element of the paper, candidates must be aware of
a range of different responses to an audience question. Stuart Hall featured as a
theory and was effective when applied appropriately. However, there were still some
examples of candidates downloading theory with no examples and of very general
responses rather than specific texts e.g. 'television programmes'. There were some
responses that demonstrated an understanding of theory but referred to no examples

3. of specific media texts. Popular specific examples that tended to look at how one text
can target more than one audience were soaps, with references to a range of
characters and narratives and magazines including Sugar and Men's Health with a
focus on content and mode of address.
Some candidates chose examples from the same format e.g. television which
restricted their ability to offer a broader response to this question.
This question proved problematic for some candidates and it was evident that many
candidates were not prepared to discuss a range of appropriate examples in their
answer. Candidates must refer to their own detailed examples in this question –
some candidates offered more of a list of texts with limited analysis. The expectation
is that two or three key texts will be examined closely; other relevant texts may be
included in their discussion.
Some candidates produced simplistic and descriptive responses that were not
underpinned by a more sophisticated understanding of audience. It is apparent in
some cases that in their efforts to explore three examples, candidates are losing
some of their essay writing skills - few answers concluded or gave evidence of an
overview. Many candidates moved from one example to another without the
development of a point of view or exploration of differences.
Responses included:
• Construction of text and audience within the text
• Use of technical codes e.g. camera shots
• Relevant contexts
• Language and mode of address
• How texts position audiences and audience responses to that positioning
Question 3 was designed to be a broader, more open question whereby candidates
could use the examples studied in their centres to demonstrate their understanding of
representation. There are still problems with structure for this longer essay, as noted
in previous years. Very few candidates introduced the concept, demonstrated their
understanding of representation through the analysis of specific media texts and then
summed up their points in a conclusion. There were a range of different approaches
– some focussed on either youth or old age and some referred to examples of both,
all were acceptable responses provided the candidates referred to 2/3 key examples.
It was still the case that some responses contained no specific examples. Popular
examples included Skins, The Inbetweeners, The Misfits, Kidulthood, soaps, Harry
Brown etc. It is still of some concern that many candidates do not show any
awareness of the context or purpose of the text e.g. the representations in The
Inbetweeners are stereotypical to create humour because it is a sitcom.
The more simplistic responses tended to highlight negative and positive
representations with limited discussions of how they are achieved e.g. editing,
camera shots. Some candidates indulged in an opinion led response about
representations of young people e.g. 'hoodies' and other responses contained too
many examples which resulted in a lack of appropriate detail. Candidates must be
able to demonstrate a sophisticated understanding of the examples they choose to
use. Some candidates made the mistake of talking generally about age issues
centred around personalities without discussing specific media texts e.g. Arlene
Philips, the woman who stopped the jewellery thief.
The candidates who produced the best responses were able to discuss their chosen
examples in detail and to show a more perceptive understanding of representation as
a media concept incorporating: context, ideology, construction and mediation.