Magazines Pack

A-Level Media Studies NEA
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Non-Exam
Assessment
Brief Two
2021
Name: ……………………………………………………………………………………………
Deadline: Friday 16th
April 2021

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Assignment Brief
You are to create the front page, contents page and double-page spread of a new gaming
magazine. With the main task, all images, graphics and text used must be original and
produced by the candidate.
As well as the magazine, you have to create three full-page adverts that are suitable and
appropriate to the content of the magazine.
See the NEA Student Booklet for more details, and for the comprehensive guidelines.
NOTE: All work must be saved in PDF format and sent electronically to the teacher by the given
deadline.

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Contents
Topic Page Number
Research & Planning and Construction
Initial Ideas
Research Techniques
Questionnaire
Media Pack
Target Reader Profile
Textual Analysis
Maslow’s Hierarchy of Needs
Representation and Stereotypes
The Male Gaze
Flat Plan
Photographic Techniques
Front Cover
Front Cover Template
Front Cover Design Guidelines
Contents Page
Double-Page Spread
Writing Skills
General Design Principles
Marking Criteria
Overview
Statement of Intent
Media Language
Media Representation
Industries and Audiences
Miscellaneous
Magazine Terminology
Checklist
Recommended Reading List
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Research and
Planning
and
Construction

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Initial Ideas
Your initial ideas will be the starting point for the foundations of your new gaming
magazine. Therefore, your first task will be to brainstorm some ideas relating to your
magazine. This can be done as a mind map or as a simple write-up. You should do this for
three different potential magazines, as you should look to pitch your ideas to others, who
could then give you feedback on which idea they think is the best out of the three. The
points that you must consider for your new magazine are:
- Genre and, if applicable, sub-genre.
- Target audience (demographics and psychographics).
- House style (colour scheme, fonts, language style, layout and design).
- Features to include (a day in the life of, biography, interview, review, etc.).
- Images and graphics to include (magazine pages and adverts).
These ideas must then be put into a slideshow format, so that you can present them to
your peers for constructive feedback. Your presentation must contain the following slides:
- Name and title
- Aim and purpose of slideshow
- Idea one
- Idea two
- Idea three
- Magazine title ideas (with a variation of font styles)
- Peer feedback (which must be added after the presentation to your peers)
- Final decision
It would also be advisable to create a company name and logo for your publishing house.
This should appear on all of your formal designs (all presentations, questionnaires, media
packs, final designs, etc).

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Research Techniques
Audience Research
Effective and successful media products target the right audience and communicate to
them in an effective way. As the media industry becomes more fragmented, the
competition for a share of the audience becomes more intense. Therefore, knowing who
your target audience is, and what makes them ‘tick’, is extremely important. Audience
research involves conducting investigations into:
- Statistical data about the size and profile of the audience for a particular media product.
- The extent to which a potential audience is aware of a particular product or service.
- What people think about particular products and services, and their patterns of behaviour
and potential use of particular products.
Segmenting the audience into different categories makes it easier for media producers to
identify and target groups of people with the same needs and wants. Those undertaking
research within media organisations look for categories they can use to divide the potential
audience. Common classifications include age, gender, culture and ethnicity (ethnographic
classification) and income and social class (socio-economic classification).
There are three main forms of research undertaken by the media industries. These are audience
research, market research and production research.
Audience research is the collection and analysis of information about the target audience for a
particular text or product.
Market research is the collection and analysis of information about the market within which a
particular product will compete with other products for an audience and revenue.
Production research is related to the production process itself. It is a form of marketing
research that generates information about desired characteristics of the product or service.
Media Production is a complex process and research is the starting point for productions of any
scale. The films and television programmes that we watch, the radio programmes and
podcasts that we listen to, the newspapers and magazines that we read and the websites and
computer games that we interact with have all been thoroughly researched and planned in the
pre-production stages.
Primary Research is research used to obtain new and original data, using methods such as
interviews, questionnaires, surveys, focus groups and observations.
Secondary Research is research based on the use of existing data and information that has
already been gathered by other people or organisations. It is often available in books, journals,
CD-ROMs or via the Internet.
Quantitative Research is research that is based on measurable and quantifiable facts and
information, producing numerical and statistical data. This data is often presented in the form
of tables, charts and diagrams.
Qualitative Research is research that is based on opinions, attitudes and preferences, rather
than hard facts.

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Market Research
The Media marketplace is highly competitive and, therefore, media producers often
undertake detailed market research into the target market, including research on:
- What the market looks like.
- The other competitors and their texts or products.
- Economic factors.
- Potential revenue.
There are various organisations whose main role is to undertake market research on media
audiences and media products.
Production Research
This type of research is related to the production process itself. When planning a new
media product, the company making the product will need to undertake a great deal of
product research. This is in order to:
- Provide content and gather material to allow them to write and develop the new product.
- Research the commercial viability of actually making the product.
- Investigate the technology and personnel available
- Assess suitable recording and production locations.
- Thoroughly research and plan the production and post-production stages to ensure that it
all runs as smoothly as possible.
The amount of information that is gathered during production research can often be huge.
Therefore, it is important that all of the information is carefully logged, organised and
stored to ensure it is secure, as well as allowing easy access and cross-referencing.
The National Readership Survey (NRS) provides information to the industry on who reads
what publication.
The Audit Bureau of Circulation (ABC) provides circulation information to the newspaper and
magazine industry.
The Broadcasters’ Audience Research Board (BARB) provides estimates of the number of
people watching television programmes.
The Radio Joint Audience Research Limited (RAJAR) provides estimates of the number of
people listening to radio programmes.

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Undertaking your own research
You will gain a greater understanding of the different research methods and techniques by
applying them to your own research projects. Planning your research well in advance is an
important factor, particularly when undertaking primary research. When planning primary
research, it is important to:
- Think carefully about what you are trying to find out.
- Choose an appropriate sample.
- Decide upon an appropriate research technique.
- Be aware of the size, scope and timescale of the task.
With secondary research, there is a wealth of information and research data available in
books, CD-ROMs, journals, magazines, newspapers and the Internet. You will need to
undertake some form of secondary research in order to support your own primary
research. Any information that you print from the Internet or photocopy from a book needs
to be read and understood, perhaps even annotated, and then used to inform or
supplement your own primary research. When undertaking secondary research, it is
important that you clearly understand what the original purpose of the research was, who
commissioned it and when it was conducted. Not every piece of research that you come
across will necessarily be reliable or valid.
Interpreting Your Results
Once you have collected all of your primary and secondary research data, you need to sort
through it and collate it. Ensure that you collate your research material into relevant and
logical categories. Bar graphs and pie charts are the best form of visual aid when collating
the results. Once you have sorted out the information that you require, and discarded the
inessential information, you will need to log, organise and store the necessary data in order
to keep it secure and accessible.
Presenting Your Results
After you have collated the responses, you will need to present the findings and results.
The content of your presentation should include the following key elements:
- A title, with your name.
- An introduction to your research, in which you outline the purpose and aims.
- An explanation of your methods and techniques, with justification.

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- The research data itself, presented in a suitable form, with a summary of the results. You
can separate your results into groups, such as audience profiling, media purchasing habits
and personal preferences.
- The conclusions that you have made as a result of these findings.
- Any proposals that you have made based on the conclusions.
- A bibliography of any sources accessed or used.
- Photographs of you posing questions.
- Screenshots of your handwritten results.
It is important that you list any external sources of information in an appropriate way and
that all quotations and references are clear and unambiguous.

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Questionnaire
Following your initial ideas for a new gaming magazine, you will need to design a
questionnaire for your target audience (you can use your initial ideas as points for possible
questions). A key point to consider is that those answering your questionnaire will want to
see options, with some space for detailed answers (or, you could fill it in for them).
For example, you may wish to use the following method...
Age
Under 16 16-20 21-25 26-30 31-35 36-40 41-45 46-50 Over 50
What would you like to see as the main feature for the new gaming magazine?
(Please circle two)
A day in the life of… Album review Awards night review Biographical account
Gig review History of genre Interview News feature What happened to…?
Other (please state) ...........................................................
Your questionnaire for the main task needs to include information and questions on...
- Aim / purpose of questionnaire.
- Target audience info (age, gender, employment status, town of residence,
hobbies / interests).
- Typical magazine buying and reading habits (including similar products
consumed).
- Favourite consoles and videos games (from specified genre).
- Typical places / methods of purchase.
- Recommended frequency of release, price, gifts / offers with new issue.
- Colour scheme, image, design and layout idea feedback (using images of
existing magazines.
- Types of features preferred (main feature for double-page spread, minor
features for contents page).
The questionnaire can be posed to a random sample or via a focus group (see page 32).
Whichever format you choose, ensure that the majority of those questioned are from your
intended target audience.

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Media Pack
A media pack is a portfolio of information about a specific publication, which is issued by
the publishing company to potential advertisers.
It includes information such as…
- Mission statement
- Target reader profile (see next page)
- Audience demographic identification (based on the NRS grading (below))
Social Grade Social Class Occupation
A Upper middle class Higher managerial, administrative or professional.
B Middle class Intermediate managerial, administrative or professional.
C1 Lower middle class
Supervisory or clerical, junior managerial, administrative
or professional.
C2 Skilled working class Skilled manual workers.
D Working class Semi and unskilled manual workers.
E
Lowest level of
subsistence
State pensioners, widows, casual or lowest grade
workers, state income dependents.
- Average circulation and average readership per issue
- Average age of reader, with a male to female ratio
- Typical editorial content
- Brand extensions

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Target Reader Profile
An example of two readership profiles…
You will need to create your own media pack, with a readership profile, so that you and
potential advertisers are aware of the publication’s potential.
Title Bliss PlayNation
Age 15 15 – 17
Gender Female Male
Lifestyle
The Bliss reader is a 15-year-old
dreamer and an optimist. She longs to
be famous and is passionate about
currents issues. She is mad about
Dawson’s Creek and Hollyoaks. She’s
had a few dates, but no serious boyfriend
yet. She loves her friends and spends
Saturdays hanging out with them in Top
Shop and Accessorize, trying to get her
Buffy look just right. The Bliss reader’s
role models are Britney Spears, Katie
Holmes, Sarah Michelle Gellar and Geri
Halliwell. The Bliss girl fancies Michael
Owen, Josh Jackson and Freddie Prinz Jr.
PlayNation’s target readers are 15 – 17-
year-old males who use PlayStation as a
boredom buster. They’re into games
enough to read about them before
buying, but they’re not nerdy and hate
being called hardcore gamers. They like
PlayNation because it doesn’t talk down
to them, but rather, it gives them the
buying information they need in a
humorous and entertaining way. It’s a
mainstream lad’s magazine for gamers –
computer games are placed in the
context of the interests of these young
male readers: women, cars and going
out.
A successful magazine must have a clear sense of its audience. The launch of a new magazine is
very expensive, so a great deal of research is carried out to make sure that:
- Enough readers will buy it.
- The right sort of readers will buy it.
- Advertisers will be persuaded to buy space in it for their products.
For magazines to make money, they need two sets of audiences – readers and advertisers. They
need readers to buy copies of the magazine, but equally important, they need the income from
advertisers who buy space in the magazine to promote their products. To attract that income,
they provide advertisers with detailed profiles of their target readers (media packs), so that
advertisers can place the right product in the right magazine to be read by the right readers.

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Textual Analysis
Using the table below as a template, conduct a textual analysis on two video games
magazines (front cover, contents page and double-page spread) that are similar to your
proposed magazine. Ensure that you are analysing the magazine as a WHOLE, rather than
page by page. You can write up your findings straight into your blog, via a Prezi or using a
presentation format, which must then be embedded into the blog. Whichever format you
choose, make sure that you include the following information…
- A task title, your name and the titles of the two chosen magazines, with images.
- Circulation information / readership information.
- The magazines’ mission statements.
- The magazines’ reader profiles.
- Information about the publishers.
Textual Analysis Elements
Colour
Colours can have different associations and connotations. What mood or impression do the colours
create…? Why are these colours used…?
Layout and design
How well do the words and images fit together…? What fonts and styles of lettering have been
used, and what do they suggest…? Describe the house style. Does the layout and design use the
rule of thirds…?
Images
The main image(s) usually represents the target reader, or the ideal that the target reader would
like to aspire to. Who or what is featured, and what does it represent…? Do the images reflect the
content…?
Pose, style, hair, make-up
What impressions do they create for the reader…? What does the pose tell you about how the

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model feels…? Is the pose natural or staged…?
Composition and framing
Close-up, long shot, cropped or digitally manipulated…? What’s in the background and why…?
What do you notice first…? How do your eyes move across the pages…?
Written codes – How words are used
Titles, straplines, cover lines – what do they suggest about what’s inside…? How do they suggest
the interests of the readers…? Size and layout – are they big enough to be read from a distance…?
Will they stand out on a shelf…?
Language
How does it address the reader and grab his / her attention…? What language features can you
identify…? Explain the style of language, in particular, the language used in the double-page
spread. Does the language aim to exclude certain people, as well as include?
Overall impression
Evaluate the magazine as a whole. What are its strengths…? What are its weaknesses…? How can
the magazine be improved…? Explain any influences – what existing elements could you use in
your own magazine.
Following the above analysis, you will need to apply certain theories. Those theories being
Maslow’s Hierarchy of Needs, Branston and Stafford’s stereotypes theory and Mulvey’s Male
Gaze theory. These can be found on the next few pages.
You can also include and apply other relevant theories, such as:
- Adorno and Horkheimer’s Cultural Industry (1944)
- Hall’s Encoding/Decoding (1973)
- Blumler and Katz’s Uses and Gratifications (1974)
Don’t write essays Do write short, sharp points
Don’t use whole magazine pages during analysis Do use screenshots of parts of pages during analysis

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The Hierarchy of Needs
According to sociologist and psychologist Abraham Maslow’s Hierarchy of Needs (1954),
human behaviour reflects a range of needs, ranked in order from basic needs to higher
aspirations. When one need has been fulfilled, the next need emerges. The unsatisfied
needs are what motivate our behaviour.
Magazines and advertisements promise to fulfil many of our needs to be accepted into
social groups and our need for self-esteem and self-respect. This theory offers a useful
insight into the reasons why we are attracted to certain products and advertisements.
Maslow stated that the hierarchy was dynamic and reversible – the needs are not
necessarily present in the same order in everyone. Maslow also acknowledged that
behaviour can be influenced by a whole range of motivations and external pressures.

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Representation and Stereotypes
The media give us ways of imagining particular groups, identities and situations. When
these relate to people, they are sometimes called stereotypes. These imaginings can have
material effects on how people expect the world to be and, subsequently, how they would
expect to experience it. Stereotyping is a key concept in media studies and is now often
taken for granted. Mistakes are easily made when using the term. Stereotyping does not
describe actual people or characters. For example, Brad Pitt is not a stereotype. However,
the way his image is constructed does carry some stereotypical assumptions about
‘masculinity’. Stereotypes are widely circulated ideas or assumptions about particular
groups.
Branston and Stafford claim that stereotypes (and the process of stereotyping) have the
following characteristics:
1. They involve both a categorisation and an evaluation of the group being stereotyped.
2. They usually emphasise some easily grasped or perceived feature(s) of the group in
question and then suggest that these are the cause of the group’s position.
3. The evaluation of the group is often, though not always, a negative one.
4. Stereotypes often try to insist on absolute differences and boundaries (‘us’ and ‘them’),
whereas the idea of a spectrum of differences is more appropriate.
Stereotyping is the process of categorisation or framing. This is necessary to make sense of
the world, and the flood of information and impressions we receive minute by minute. In
order to make our way through any situation, we are prejudiced – that is, we are ‘pre-
judging’. We make mental mind maps of our worlds and the people we meet in order to
navigate our way through them. Moreover, maps only ever represent parts of the real
world, at a distance, and in particular ways.
Branston G and Stafford R
(2010) The Media Student’s
Book (5th
edition),
Routledge, London.

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The Male Gaze
In her 1975 report Visual Pleasure and Narrative Cinema, Laura Mulvey suggested that
women have learned to see themselves as being ‘looked at’. This is known as ‘the male
gaze’. One of the fundamental aims of the report was to criticise the way that the dominant
system in media, particularly within film, presents only certain types of pleasure. She
thought that the narrative of fiction film created images of women that were used for the
gratification of men, rather than the women being a subject of the action.
However, since the 1970s, a lot has changed within the media in terms of representation.
From the 1980s onwards, advertisers, in an attempt to expand consumption, sought to
make men feel they should take an interest in appearance-related consumer goods, which
were previously defined as ‘feminine’. In order to do this, advertisements needed to display
desirable male bodies, an increased display that has arguably legitimised not only women
looking with desire, but also male-on-male looking and same-sex desire.
A supporting statistic of this new ‘male gaze’ theory is the UK sales of Men’s
Health overtaking the UK sales of FHM in 2009.
Examples of the ‘gaze’ as featured on the front covers of contemporary magazines.

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Flat Plan
At the heart of the editorial production process is the magazine’s flat plan. This a one-
dimensional diagram of the magazine laid out on a sheet of paper, with a square to
represent each page. It enables the editorial team to see what is to appear on any given
page and, therefore, see how the sequence of features and advertisements will run.
Advertisers regard some positions in a magazine more highly than other positions and will,
therefore, pay higher rates for those spaces. The obvious example is the back cover, which
gives the advertisement greater visibility than an inside page. Other prime slots include the
inside front cover and the first available right-hand page. Some advertisements are placed
next to features that relate to the product or service being advertised.
An example of a [student’s] music magazine flat plan

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Photographic Techniques
Be aware that the main task requires you to use a minimum of four original images. This
means that the images must be your own, and not taken from the Internet or from
somebody else’s stock of images. However, you can instruct another individual to take a
photograph for you if you wish to be in the image yourself (aim to take some images
yourself in order to demonstrate your photographic skills and techniques).
Here are some simple tips to consider before and during your photographic shoots:
1. Look at existing [popular] consumer magazines for inspiration.
2. Use the rule of thirds. This will help you frame and compose your images appropriately.
Some cameras have a setting that allows the use of the guidelines whilst shooting.
3. Capture in colour. You can adjust your colour settings later using Adobe Photoshop.
4. For the front cover’s main image, try not to shoot further than a medium long shot, as
you want the reader to see the model’s facial expressions.
5. For the front cover’s main image, leave some head room for the title, unless the title will
be behind your main image.
6. For the front cover’s main image, leave some room on the side(s) for your coverlines.
Head room for masthead area
Space on the sides for coverlines
Clear expressions, emotions and
body language

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7. If you are not using a plain background or setting for the images, make sure that you
use the appropriate costumes, props and locations when shooting, as this will allow the
readers to engage more with the subjects. For easier digital manipulation using adobe
Photoshop, use a plain white background in your photo shoots.
8. Ensure that there is a good level of natural or artificial light, especially on the facial
features.
9. Take control of your shots! Direct your models and / or your designated photographer,
ensuring that everybody and everything is set up how you want it. If you are taking natural
images (i.e. an artist or band performing live), shoot first and ask questions later!
10. Finally, take as many photographs as your camera memory allows! You can never have
enough choice!

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Front Cover
Nowhere in a magazine is the interaction of words and pictures more important than on the
front cover, as it has two key jobs for a magazine. These are to sell the general concept of
the publication and to reflect the intellectual level of the editorial content.
The front cover of a gaming magazine is distinguishable from other magazines, as the
specific image featured may attract particular readers and turn off others (this is not an
issues for magazines like Men’s Health, Nuts or Cosmopolitan where a generic approach to
cover models is taken). Increasingly, a giveaway is offered with some magazines, which is
another example of the mutually beneficial relationship between industry and media. The
most important design principle of a front cover is to avoid clutter – do not be afraid of
white space, as it allows some ‘breathing room’. On rare occasions, front covers may be
designed to represent or promote other recognisable products or concepts, such as the
Metal Hammer example below – it is evident that they have designed the front cover in the
style of a Sin City film poster.
You are required to use original images throughout the entire magazine. Therefore, for
the front cover, contents page, double-page spread and adverts, you may use images of
anything that you have taken or created.
When deciding on a title for the magazine, use a name that will work symbolically, perhaps
as a metaphor. The title will be a sign that will signal and connote various ideas in the mind
of the potential reader. The decisions that you make about the title’s font size and colour
will also be symbolic. Once you have decided these, you need to create the text that will
appear on the cover, which needs to have a narrative form, drawing the reader to the
contents page (with the most attractive material being signposted first).

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Front Cover Template
A4 portrait dimensions: Width = 21cm Height = 29.7cm
Main Image
Strapline
Masthead
(title, date, issue no.)
Coverline
Barcode
(price)
Strapline
Main Coverline Insert
Coverline
Coverline

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Front Cover Design Guidelines
- Use a strong image, though not necessarily a photograph. Sometimes type can
work just as well.
- Make sure that the title piece (masthead) is clearly identifiable. This does not
mean the whole word has to be visible, but enough of its distinctive lettering
should be there to make it clear to readers which title they are looking at.
- Cover lines should be legible from two to three metres. Some publishers refer to
this as the floor test. If you throw a magazine on the floor, you should be able to
read the cover lines without bending down.
- Create strong links to the contents page. Readers are irritated if the fascinating
story heralded on the cover is impossible to find in the contents list. This may be
the case if it is given a different title in the contents list.
- Put the emphasis on the left-hand side of the cover, as this is the part that will
show when the magazine is on the average newsagent’s shelf.
McKay J (2000), The Magazines
Handbook, Routledge, London.
(Contributing writer for this
chapter is Tim Holmes)

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Contents Page
We read magazines rather differently from the ways we have been taught to read books.
The whole structure of a magazine requires a different style of reading. Readers ‘flick’
through and stop at interesting features along the way.
The contents page is another method of drawing in a reader and enticing them to read on.
Readers come to know what to expect from a magazine and a contents page has to show
at a glance what goes where and why it is worth reading.
Most contents pages within magazines will divide the features into sub-heading so readers
will find it easier to locate the relevant article. All contents pages have headlines for the
features, and some magazines may have ‘blurbs’ under each feature headlines – that way,
readers can get a sneak preview of the feature. The main feature of a magazine is the
piece that pulls in the readers and should, therefore, be given the most exposure on the
front cover and on the contents page. Occasionally, a contents page may also include the
editor’s letter.

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Double-Page Spread
A double-page spread is a presentation of the main feature of a magazine over two or more
pages. Typically, it can include the following elements…
Body text, byline, captions, credits, crossheads, drop caps, headline, images, pull quotes,
stand first.
The double-page spread will need to relate to the main cover line featured on the front
cover and the contents page.
An example of a [student’s] double-page spread (example A).
An example of a [student’s] double-page spread (example B).

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Other examples of double-page spreads…

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Writing Skills
For the double-page spread feature, some journalistic skill is required. You should study a
little journalism and look at the blend of quotation, paraphrase and journalistic prose in the
features. You must ensure that spelling, grammar and punctuation are perfect. Do not
neglect this area of the work, as the words on the page are just as important as the
technical elements. You also need to ensure that the mode of address and language used
are appropriate for your target audience, as these types of ‘register’ will either engage your
readership or alienate them.
The features that magazines cover are varied – the purposes for which they are written are
diverse, and the readerships are tightly defined in terms of interest, class or age. This
means that magazines adopt a much more individual approach to the style of writing they
publish. Furthermore, there are magazines that intentionally use a style that acts as a way
of excluding those who do not understand it. Their aim is to give readers the sense of
belonging to a club, or at least that the magazine is read only by people that share the
same tastes and interests.
Orwell’s Six Rules
George Orwell, in his essay ‘Politics and the English Language’ (1946), offered these six
rules for writers of English for non-literary purposes…
1. Never use a metaphor, simile, or other figure of speech that you are used to
seeing in print.
2. Never use a long word where a short one will do.
3. If it is possible to cut a word out, always cut it out.
4. Never use the passive where you can use the active.
5. Never use a foreign phrase, a scientific word or a jargon word if you can think of
an everyday English equivalent.
6. Break any of these rules sooner than say anything barbarous.

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General Design Principles
- Make bottom margins wider than the top; the eye is more comfortable with this.
Also, keep pictures and text aligned – use guidelines to keep everything neat.
- Group components on your page to keep it neater and more professional. You
could use a box to separate the central story on the page or to link a caption with
a picture.
- Spend some time on cropping and resizing images until you have found the
appropriate ratio. Ensure that the images being used have a high resolution, as
enlarging images with a small resolution will cause them to become ‘pixelated’.
- Experiment with filtering and other effects to create impressions of motion, or
to soften focus. However, do not use these for the sake of it – only when the
effect is essential for the meaning you wish to suggest.
- Experiment with colour. For a greater level of contrast, you could use white on
black, or shades of grey if black seems too uncomfortable on the eye.
- Show awareness of the need for variety in fonts and text size. However, do not
use more than three fonts in a publication. Conventionally, one serif font is used
for the body text and two sans serif fonts for the titles. Make sure that there is a
clear contrast between the fonts.
- Ensure that the language, mode of address, layout and colour scheme (house
style) are right for the audience you have identified.
McDougall J (2008), OCR Media
Studies for AS (third edition),
Hodder Education, London.

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Marking
Criteria

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Total for the NEA is 60 marks.
* Statement of Intent = 10 marks
* Media Language = 15 marks
* Media Representations = 15 marks
* Industry and Audience = 20 marks
General Level Guidance
 Level 5: Both products within the cross-media brief are completed to an equal
standard.
 Level 4: Both products within the cross-media brief are be completed to a generally
equal standard, although one product may be slightly better than the other.
 Level 3: Both products within the cross-media brief are be completed, but one
product may be better than the other.
 Level 2: Both products within the cross-media brief are attempted, but one product
may be significantly better than the other.
 Level 1: Only one of the cross-media products may be attempted.
 If a student submits a Statement of Intent with no accompanying media products
then this should be awarded a mark of zero.
Approximate Grade / Mark Boundaries
Grade Marks
A 51 – 60
B 41 – 50
C 31 – 40
D 21 – 30
E 11 – 20
U 0 – 10

Page 31 of 40
Statement of Intent
Level Mark Description
5 9 – 10
 An outstanding, detailed statement that refers directly and effectively to
the intended uses of media language and representations and how these
will target the intended audience and reflect the appropriate industry
context.
 The intentions outlined in the statement are consistently appropriate to
the brief, target the audience in a direct way and articulate an excellent
concept for digitally convergent products.
 Excellent evidence of the application of knowledge and understanding of
the theoretical framework of media through extensive and sustained use
of subject specific terminology.
4 7 – 8
 A detailed statement that demonstrates the intended uses of media
language and representations and how these will target the intended
audience and reflect the appropriate industry context.
 The intentions outlined in the statement are almost always appropriate to
the brief, target the intended audience and articulate a good concept for
digitally convergent products.
 Good evidence of application of knowledge and understanding of media
through frequent use of relevant and accurate subject specific
terminology.
3 5 – 6
 A clear statement that demonstrates some intended uses of media
language and some intended aspects of representation and how these will
target the intended audience and reflect the appropriate industry context.
 The intentions outlined in the statement are generally appropriate to the
brief, target the audience in a general way and articulate a concept for
products that are linked though not, necessarily, digitally convergent.
 Satisfactory evidence of the application of knowledge and understanding
of the theoretical framework of media through some use of relevant
subject specific terminology.
2 3 – 4
 A statement making only occasional reference to the intended uses of
media language and/or occasional aspects of representation and how
these will target the audience or the industry context.
 The intentions outlined in the statement are inconsistently appropriate to
the brief, only sometimes target the intended audience and articulates
some straightforward links between the products.
 Basic evidence of the application of knowledge and understanding of the
theoretical framework of media through very little use of relevant and
accurate subject specific terminology.
1 1 – 2
 A statement has been submitted.
 The intentions outlined in the statement are unlikely to be appropriate to
the brief, have minimal sense of the intended audience and articulates
few, if any, links between the products.
 Minimal evidence of the application of knowledge and understanding of
the theoretical framework of media in which any attempt to use subject
specific terminology is likely to be inaccurate.
0 0  Nothing worthy of credit.

Page 32 of 40
Media Language
5 13 – 15
 Excellent application of knowledge and understanding of media language,
demonstrated by the consistently appropriate and effective selection and
combination of elements to communicate very clear meanings throughout
the products.
• An excellent cross-media production that constructs very effective
narratives and shows deliberate control of connotations and clearly and
purposefully constructs points of view that embody values and attitudes.
4 10 – 12
 Good application of knowledge and understanding of media language,
demonstrated by the frequently appropriate and effective selection and
combination of elements to communicate clear meanings throughout the
product.
 A good cross-media production that constructs effective narratives and
shows some deliberate control of connotations, though this may not be
throughout, and constructs points of view that reflect values and
attitudes.
3 7 – 9
 Satisfactory application of knowledge and understanding of media
language, demonstrated by the generally appropriate but inconsistently
effective selection and combination of straightforward elements to
communicate generally clear meanings throughout the product.
 A satisfactory cross-media production that constructs suitable narratives
and shows occasional control of connotations but rarely constructs points
of view.
2 4 – 6
 Basic application of knowledge and understanding of media language,
demonstrated by the occasionally appropriate selection and combination
of simple elements to communicate basic meanings.
 A basic cross-media production that constructs simple narratives and
shows little awareness of connotations.
1 1 – 3
 Minimal application of knowledge and understanding of media language,
demonstrated by little appropriate selection and combination of very
simple elements to communicate very limited meanings.
 A minimal cross-media production that shows little awareness of
narrative.

Page 33 of 40
Media Representations
5 13 – 15
 Excellent application of knowledge and understanding of media
representations, demonstrated by the consistently effective use or
subversion of stereotypes and/or stereotypical representations that are
highly appropriate to the audience, form and genre.
 Excellent use of media representations to communicate clear and highly
appropriate meanings throughout.
4 10 – 12
 Good application of knowledge and understanding of media
representations, demonstrated by the frequently effective use or
appropriate to the audience, form and genre.
 Good use of media representations to communicate appropriate meanings
throughout.
3 7 – 9
 Satisfactory application of knowledge and understanding of media
representations, demonstrated by the sometimes effective use or
generally appropriate to the audience, form and genre though there are
likely to be some inconsistencies.
 Satisfactory use of media representations to communicate generally
appropriate meanings though this is unlikely to be throughout the
products.
2 4 – 6
 Basic application of knowledge and understanding of media
representations, demonstrated by the rarely effective use of stereotypes
and/or stereotypical representations that are only occasionally
appropriate to the audience, form and genre.
 Basic use of representations to communicate only occasionally
appropriate meanings.
1 1 – 3
 Minimal application of knowledge and understanding of media
representations, demonstrated by a lack of appropriate use of stereotypes
and/or stereotypical representations that are very rarely appropriate to
the audience, form and genre.
 Minimal use of media representations to communicate very little
discernible meaning.

Page 34 of 40
Industry and Audience
5 17 – 20
 An excellent cross-media production that would successfully engage the
designated audience by employing a consistently effective and
appropriate mode of address throughout.
 An excellent cross-media production that reflects very clear knowledge
and understanding of the media industry through the consistent use of
highly appropriate codes and conventions for the specified form, genre
and industry.
 The opportunities for digital convergence are used in a very clear and
coherent manner throughout the cross-media production and are
consistently effective.
 Meets all the requirements of the brief and completes all of the tasks
fully.
4 13 – 16
 A good cross-media production that would interest the designated
audience by employing a frequently effective and appropriate mode of
address.
 A good cross-media production that uses generally relevant codes and
conventions for the specified form, genre and industry.
 The opportunities for digital convergence are used in a generally clear
manner throughout the cross-media production and are frequently
effective.
 Meets almost all of the requirements of the brief and almost all of the
tasks are completed.
3 9 – 12
 A satisfactory cross-media production that would be of some interest to
the designated audience by employing a sometimes effective and
appropriate mode of address throughout.
 A satisfactory cross-media production that uses some relevant codes and
conventions appropriate to the specified form, genre and industry, though
with some inconsistency.
 The opportunities for digital convergence are used in a reasonably clear
manner throughout the cross-media production and are sometimes
effective.
 Meets the main requirements of the brief and most of the tasks are
completed but some of the details are missing.
2 5 – 8
 A basic cross-media production that would only be of occasional interest
to the designated audience by employing a mode of address that is only
occasionally effective or appropriate.
 A basic cross-media production that uses codes and conventions of the
specified form, genre and industry inconsistently.
 The opportunities for digital convergence are used inconsistently
throughout the cross-media production and are only occasionally
effective.
 Meets some of the requirements of the brief but only a few of the tasks
have been completed and the products may fall below the specified
lengths/durations.
1 1 – 4
 A minimal cross-media production that would be unlikely to interest the
designated audience and has little sense of mode of address.
 A minimal cross-media production that only very rarely uses codes and
conventions of the form, genre and industry.
 The opportunities for digital convergence are used very rarely in the
cross-media production and are unlikely to be effective.
 Meets very few of the requirements of the brief and the products are
likely to fall well below the specified lengths/durations.

Page 35 of 40
Miscellaneous

Page 36 of 40
Magazine Terminology
Term Explanation
Advertorial
Copy and images that are and prepared by (and paid by) advertisers. These
look similar to editorial content.
Banner A headline that extends across the hole of a page or spread.
Bleed When the print extends to the edge of the page.
Body copy The main text.
Byline The name of the author/journalist/writer of an article.
Caption The text that accompanies an image or illustration.
Circulation The number of copies of a magazine issue that have been sold.
Cover line A short phrase on the cover of a magazine describing key articles inside.
Cover mount A ‘free gift’ attached to the front cover of a magazine.
Crosshead A sub-heading placed over a body of text.
Double-page spread A story (or advertisement) that takes up two facing pages.
Drop cap
A capital letter (in a larger size than the body copy) that is used at the
beginning of a story to enhance the look of a page.
Editorial Material in a magazine generated by journalists, not by advertisers.
End blob A characteristic symbol used by a magazine to denote the end of a story.
Fact box
An insert that contains extra information or statistics relating to the feature
next to which it is placed.
Flatplan
The one-dimensional diagram of a magazine used in planning to show what
will appear on which page.

Page 37 of 40
Gatefold An additional page that folds out.
Gutter The vertical space between columns or two pages in the same spread.
Headline / Heading Text in a larger or distinctive font that attracts the reader to a story.
House Style
The collection of guidelines about language, layout, design and editorial
policy established for a publication as a way of ensuring consistency.
Insert
A specific shape or box with extra information placed inside it, relating to a
feature in a magazine.
Masthead
The area of the front cover that includes the title, date, issue number, price
and slogan.
Media Pack
A folder of information about editorial and advertisement content provided
by a specific publication.
Niche An area of the market specialising in one type of product or service.
Pagination The amount of pages in a magazine.
Pull quote
A short phrase taken from the body copy and emphasized by enlargement,
boxing or a colour background to highlight surrounding content.
Readership
The number of readers of a magazine. Different to circulation, which is the
amount sold.
Sans serif Fonts whose letters do not have serifs.
Serif A type of font that has small embellishing strokes at the end of letters.
Sidebar
A complementary story or additional material relating to the main text,
which is placed in a box or panel at the side.
Staffbox A list of a magazine’s staff members and contributors.
Standfirst
A broad introduction to a story that sits between the headline and body
copy.
Strapline
A subsidiary coverline on a front cover that expands upon the main
coverlines. Usually found at the top and / or bottom of a front cover.
Sub-heading A subsidiary headline.

Page 38 of 40
Checklist
No. Content Category Complete? Submitted?
1
Initial ideas
(including written ideas and a presentation)
Research and
Planning
2 Statement of Intent plan Research and
Planning
3 Media pack of own magazine Research and
Planning
4 Textual analyses of existing gaming magazines Research and
Planning
5
Mock up designs of front cover, contents page
and double-page spread
Research and
Planning
6 Mock up designs of adverts Research and
Planning
7 The photo-shoot plan(s) Research and
Planning
8 Final draft of Statement of Intent Research and
Planning
9
Final designs of front cover, contents page and
double-page spread
Research and
Planning
10 Final designs of adverts Construction

Page 39 of 40
Recommended Reading List
Connell B (2010), Exploring the Media (second edition), Auteur.
ISBN: 978-1-906733-47-6
* This book has a wealth of information about the magazine industry, with a few
case studies and general examples of publishing companies.
Try pages 211 – 228 (Magazines).
Frost C (2012), Designing for Newspapers and Magazines (second edition),
Routledge.
ISBN: 978-0-415-66654-1
* This book offers insight and guidance on how to produce attractive magazines
and how to tailor them to their target audience.
Try pages 53 – 78 (Designing Pages); 83 – 105, 160 – 177 (Design Masterclass);
137 – 144 (Using colour).
McDougall J (2008), OCR Media Studies for AS (third edition), Hodder Education.
ISBN: 978-0-340-95898-8
* This is the official companion book to the OCR AS Media Studies course and,
therefore, gives all-round reliable advice on how to succeed on both AS units.
Try pages 11 – 30 (Foundation Portfolio).
McKay J (2006), The Magazines Handbook (second edition), Routledge.
ISBN: 0-415-37137-6
* This book gives a great insight into the magazine industry, including how to
break into the industry, how to interview appropriately, tips on magazine design
and how to write stimulating features.
Try pages 60 – 73 (Writing: Where to Start); 83 – 97 (Features Writing); 161 –
171 (Magazine Design); 173 – 185 (Magazine Illustration and Picture Editing).
Morrish J and Bradshaw P (2012), Magazine Editing in Print and Online (third
edition), Routledge.
ISBN: 978-0-415-60835-0
* This book has useful and thorough advice on magazine design, as well as how
the magazine industries operate.
Try pages 162 – 190 (Pictures and Design).

Page 40 of 40
Notes

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