3. representation of age 1
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The document discusses representations of age in TV drama and outlines stereotypical portrayals of youth and old age. It provides terminology for analyzing mise-en-scene, cinematography, sound, and editing and asks how these technical elements construct superior or inferior qualities in represented social groups. Students are instructed to analyze a video clip through these four micro elements and discuss how they represent age in the form of a Point-Evidence-Explain response.
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Representation of age jb[1]
The document discusses how age is typically represented in TV drama through the micro elements of mise-en-scene, cinematography, sound, and editing. It provides examples of both positive and negative stereotypes used to portray youth and old age. Students are instructed to analyze how a TV drama clip represents age through these four technical elements and consider whether the representations conform to or subvert common stereotypes.
Representation of Age
The document discusses various stereotypical representations of age in television drama, including both youth and old age. Youth are often portrayed as reckless, rebellious, and carefree, while the elderly are frequently depicted as frail, lonely, and dependent. The document also analyzes how technical elements like mise-en-scene, cinematography, sound, and editing can construct and reinforce these age representations on screen.
OCR Representation/TV Drama Representation of age
The document provides revision tips and guidance for analyzing representation of age through micro elements in TV drama. It includes dos and don'ts for the exam, terminology to review, an explanation of the PEE structure for answering questions, examples of strong and weak responses, and feedback on common mistakes in analyzing editing, sound, mise-en-scene, and cinematography. The purpose is to help students understand how technical elements construct representations of age and effectively answer questions on a timed exam.
TV Drama - Age
1. Verisimilitude. Techniques like location shooting, handheld camerawork, natural lighting and diegetic sound help create a sense of realism.
2. Frail, lonely, dependent
3. Rebellious, energetic, naive
Representation of Age
The document discusses the representation of age in television drama through four micro elements: mise-en-scene, cinematography, sound, and editing. It provides examples of both positive and negative stereotypes of youth and the elderly that are commonly portrayed. These include portraying youth as reckless and the elderly as frail. It then prompts analyzing a television sequence using these four elements to understand how they construct representations of age that may conform to or subvert stereotypes.
TV Drama - Class & Status
Here are two example sentences from the exemplar essay on the Merlin extract:
The low-angle shot of Merlin looking up at Arthur constructs Arthur as powerful and dominant, representing his high social status and position of authority over Merlin.
The close two-shot of Merlin and Arthur sitting side by side at a similar eye level challenges this hierarchical representation by positioning them as equals.
Representation status v sympathy
The document introduces concepts for analyzing representations, status, and stereotypes in a video clip. It provides a grid with categories like status, sympathy, and representation to structure the analysis. Students should be able to use the simple grid but also analyze beyond the obvious. The examiners report that candidates were generally able to discuss differences in status and how the audience is positioned, and stronger candidates commented on how the clip may challenge typical representations.
'Knocked Up' - Key Scene Analysis
This document provides analysis tasks for three scenes from the film "Knocked Up". The tasks require analyzing verbal, non-verbal and technical codes that establish characters, representations, and narrative elements. For the first scene, codes are identified that show Alison's superiority over Ben through her facial expressions in a high angle shot and Ben's carefree lifestyle through his dialogue in another high angle shot. Technical codes are also noted that construct Ben as the "new man" and confirm his status as a "loveable loser". Similar analysis is provided for two additional scenes regarding establishing Ben's immaturity, the central couple's antagonism, generating audience laughter, and conforming to romantic comedy genre tropes about tears and suffering.
Recommended
Representation of age jb[1]
The document discusses how age is typically represented in TV drama through the micro elements of mise-en-scene, cinematography, sound, and editing. It provides examples of both positive and negative stereotypes used to portray youth and old age. Students are instructed to analyze how a TV drama clip represents age through these four technical elements and consider whether the representations conform to or subvert common stereotypes.
Representation of Age
The document discusses various stereotypical representations of age in television drama, including both youth and old age. Youth are often portrayed as reckless, rebellious, and carefree, while the elderly are frequently depicted as frail, lonely, and dependent. The document also analyzes how technical elements like mise-en-scene, cinematography, sound, and editing can construct and reinforce these age representations on screen.
OCR Representation/TV Drama Representation of age
The document provides revision tips and guidance for analyzing representation of age through micro elements in TV drama. It includes dos and don'ts for the exam, terminology to review, an explanation of the PEE structure for answering questions, examples of strong and weak responses, and feedback on common mistakes in analyzing editing, sound, mise-en-scene, and cinematography. The purpose is to help students understand how technical elements construct representations of age and effectively answer questions on a timed exam.
TV Drama - Age
1. Verisimilitude. Techniques like location shooting, handheld camerawork, natural lighting and diegetic sound help create a sense of realism.
2. Frail, lonely, dependent
3. Rebellious, energetic, naive
Representation of Age
The document discusses the representation of age in television drama through four micro elements: mise-en-scene, cinematography, sound, and editing. It provides examples of both positive and negative stereotypes of youth and the elderly that are commonly portrayed. These include portraying youth as reckless and the elderly as frail. It then prompts analyzing a television sequence using these four elements to understand how they construct representations of age that may conform to or subvert stereotypes.
TV Drama - Class & Status
Here are two example sentences from the exemplar essay on the Merlin extract:
The low-angle shot of Merlin looking up at Arthur constructs Arthur as powerful and dominant, representing his high social status and position of authority over Merlin.
The close two-shot of Merlin and Arthur sitting side by side at a similar eye level challenges this hierarchical representation by positioning them as equals.
Representation status v sympathy
The document introduces concepts for analyzing representations, status, and stereotypes in a video clip. It provides a grid with categories like status, sympathy, and representation to structure the analysis. Students should be able to use the simple grid but also analyze beyond the obvious. The examiners report that candidates were generally able to discuss differences in status and how the audience is positioned, and stronger candidates commented on how the clip may challenge typical representations.
'Knocked Up' - Key Scene Analysis
This document provides analysis tasks for three scenes from the film "Knocked Up". The tasks require analyzing verbal, non-verbal and technical codes that establish characters, representations, and narrative elements. For the first scene, codes are identified that show Alison's superiority over Ben through her facial expressions in a high angle shot and Ben's carefree lifestyle through his dialogue in another high angle shot. Technical codes are also noted that construct Ben as the "new man" and confirm his status as a "loveable loser". Similar analysis is provided for two additional scenes regarding establishing Ben's immaturity, the central couple's antagonism, generating audience laughter, and conforming to romantic comedy genre tropes about tears and suffering.
Mark Scheme for TV Drama 2015
The document provides guidance for students on how to structure their exam answers to maximize their scores. It explains that examiners will be looking at explanation/analysis/argument, use of examples, and use of terminology. It then outlines the scoring levels and criteria for each level, with higher levels requiring more complex ideas, clear structure, and few errors. Finally, it provides examples and tips on how to discuss technical film areas or stereotypes using a clear Point-Evidence-Explanation paragraph structure.
Codes and conventions of interviews
The document outlines codes and conventions for filming interviews, including using the rule of thirds composition, mid shots, eye level camera placement on a tripod with shallow focus. It discusses lighting, actors' movement and expressions, makeup, props, and relevant settings for mise-en-scene. Graphics should include the interviewee's name and relevance in different sized fonts. Editing involves using cutaways of relevant footage or archives under 30 seconds to maintain interest and transition between speakers, and questions must be edited out.
Suggested Activites Tv Drama (Ameena Khan)
The document provides suggestions for classroom activities to help students analyze techniques used in TV drama, including cinematography, editing, sound, and mise-en-scene. Some of the suggested activities involve having students annotate still frames to identify shot types and their meanings, analyze clips with and without sound/dialogue to understand editing pace, and match audio dialogue excerpts to characters to examine how language and tone represent social identities. Students are also encouraged to recreate scenes and discuss how visual elements in still images construct representations of characters.
AS level exemplar candidate work unit g322 2015
The extract from Treme constructs representations of ethnicity through camerawork, editing, sound, and mise-en-scene. It begins with an establishing long shot of a run-down trailer park where two characters, a Mexican man and black American man, are shown to be living in poor conditions. A scene then cuts to these men visiting a doctor who says the Mexican man is depressed. Another scene shows a white upper-class family in a nicely lit, large home drinking, in contrast with the darker scenes of the minority characters, representing differences in class and wealth along ethnic lines.
The basic conventions_of_tv_drama
The basic conventions of TV drama revolve around characters, narrative, sets and setting, camerawork, dialogue, sound, and music. These conventions are perceived by audiences and used by producers. Theoretical perspectives that can provide insight into how TV dramas are constructed include analyzing character roles and oppositions, as well as representations of gender, race, class, and other attributes. Characters are constructed through casting, performance, screenplay, and direction to make them believable.
Terminology Log (Terms used so far)
This document provides definitions and examples of various filmmaking and media terminology related to camera shots, angles, editing, sound, and semiotics. It defines common shot types like close-up, medium shot, and long shot. It also defines camera angles, movements, and techniques like Dutch angle, tracking shot, and push/pull focus. Additionally, it covers terminology around editing, sound, narrative, and semiotics/audience analysis. Key terms defined include transition, diegetic/non-diegetic sound, exposition, and primary/secondary audiences.
Introducing tv drama and representation for g322 ocr media studies
This document provides information about an upcoming exam on media representation in TV dramas. It will be split into two sections. Section A focuses on analyzing representation in an unseen TV drama extract. Students will watch a 30-minute extract and then answer an essay question analyzing how representations of categories like class, gender, ethnicity are constructed through techniques like camerawork, editing, sound design. Section B covers questions about media institutions, audiences, and a pre-prepared case study. The document outlines the skills and concepts students need to understand to succeed in this exam, including representing, realism, and deconstructing TV dramas using formal analytical techniques.
Media Studies Revison
The document provides an overview of key concepts in media studies, including genre, representation, audience, narrative, ideology, institution, technology, audio codes, technical codes, editing, camera shots, camera angles, and camera movement. It defines these concepts and provides examples to illustrate them. The concepts are interlinked, with some concepts like representation and narrative linking to other concepts in the explanations.
Ethnicity and tv drama new
This document discusses representing ethnicity in media and television drama. It addresses stereotypes, challenges producers face, and how fairer representation can be achieved. Students are asked to analyze clips from "Hotel Babylon" and "Indian Summers" by considering elements like editing, camerawork, sound and mise-en-scene. They must also discuss representation of an ethnic group in another drama in terms of whether it is positive, stereotypical, and how it was created through technical elements. The goal is for students to understand ethnicity representation and how media language is used to explain it.
Codes and conventions
This document provides an overview of key concepts in media studies, including genres, representation, narrative, ideology, institutions, technology, and audience. It discusses conventions such as camera shots and angles, editing techniques, and visual and audio codes. Genres covered include action, adventure, comedy, crime, drama, and sci-fi. Representation focuses on age, ethnicity, gender, and disability. The roles of institutions, audiences, and evolving technologies are also summarized.
Sitcom revision
The exam consists of two sections worth 40% total: Section A analyzes an unseen film clip, and Section B analyzes a TV sitcom. For Section B, candidates must compare two sitcoms, discussing aspects like target audiences, narrative structures, types of humor, and characterization. They should consider how these elements engage audiences and are influenced by broadcasting institutions. The summary should analyze and compare key elements of two sitcoms using appropriate media terms.
Lesson 1 exam section a intro
This document provides an overview and instruction for Section A of the G322 Exam on TV Drama. It discusses:
1. The purpose of Section A is to analyze technical aspects of a TV drama extract and discuss representations. It will include analysis of camerawork, mise-en-scene, editing, and sound.
2. Marks are awarded for explanation, use of examples, and terminology. The representation topic may change but often includes gender, age, ethnicity, etc.
3. Candidates must be familiar with various TV drama genres from both British and American shows to understand different representations. Preparation involves watching shows and taking detailed notes on the technical elements during repeated viewings of extracts.
Gender Representation Lesson 4
This document outlines how to analyze representations of gender and stereotypes in media texts using representation theory. It discusses analyzing the denotations and connotations of mise-en-scene elements like setting, costumes, lighting, props, and body language. It also discusses applying theories like the male gaze and dismemberment to identify how stereotypes of masculinity and femininity are reinforced or subverted. Students are instructed to analyze a music video using these concepts and terminology and provide peer feedback on analyzing representations of gender.
Last minute tips and advice
This document provides tips for answering exam questions about film analysis. For question one, discuss character types, events in the film, and how it achieves its purpose of entertaining audiences. For question two, analyze examples of camera work, editing, sound, and mise-en-scene, and how they create specific effects. For question three, discuss how different groups are stereotyped in the film. For question four A, discuss when and why the program airs, the channel's mission, its target audience, and relevant media terms. For question four B, discuss specific pleasures audiences gain from sitcoms and why they are important.
Media notes 17 9-17
The document provides guidance on analysing media representations using technical terminology. It outlines success criteria for learners to analyze how camerawork, mise-en-scene, editing, and sound work together to create meaning. Learners should offer a holistic analysis of a sequence or product, providing accurate examples of how technical elements convey meaning. For instance, analyzing how a news program's neutral camera angles and shots, blue color scheme, and calm voice work together to establish an impartial tone.
Narratiev & audience theory
This document outlines learning objectives and outcomes for understanding and applying audience and narrative theory to films. It discusses Vladimir Propp's 8 character roles and how they apply to the film Tsotsi. It also summarizes Tzvetan Todorov's narrative theory of equilibrium and disequilibrium, and how the five stages of a narrative progress. Students are tasked with applying these theories to Tsotsi and The City of God, and considering the director's intentions. The document also covers the hypodermic needle theory of audience effects, passive and active audiences, and how audience positioning is used in Tsotsi and The City of God.
Representation of youth theories
The document summarizes several theories about media representations of youth:
- Giroux and Acland argue that media representations are created by adults without understanding youth reality, portraying them in stereotypical ways to control behavior.
- Hebdige says media limits representations of youth to "trouble" or "fun" without showing diversity.
- Cohen describes how media can create "moral panics" by portraying youth as "folk devils" when they challenge social norms.
- Gramsci discusses how media upholds norms of the middle class as the standard.
- Philo and Gerbner explain how media cultivates perceptions, with Philo arguing lower classes are portrayed as "
Area of study 1 representation v 2
This document outlines key concepts related to media representation including how representations are constructed through processes of selection and omission, how audiences interpret representations using codes and conventions, and the skills of analyzing representations in context of values, history and institutions. It discusses representation as re-presenting reality through symbolic codes in various media forms and the relationship between representations and meaning making.
Area of study 1 representation v 4
Realism in media representations is complex with different notions and degrees of realism. The same media content can appear realistic to some but not to others, depending on their own experiences and points of view. Realism is often a matter of perspective rather than an absolute quality.
Area of study 1 representation v 3
Realism is a complex concept that depends on multiple factors. The same representation may appear realistic to some audiences or from some perspectives but not others. Realism is influenced by the intentions of the creator, the experiences and expectations of the audience, and the broader cultural and historical context. There is usually no single, objective answer to whether a representation is realistic.
Media presentation v2
The document discusses conventions used in music magazines that the author incorporated into their own magazine. It describes researching conventions like using one main artist image on the cover, placing cover lines and mastheads prominently, and consistent color schemes. The author aims to attract a young audience and represents them by including content they prefer like concerts and interviews. Technologies learned through the process include Photoshop, Macs, and Publisher for layout. Improvements from the preliminary task include a more professional design with researched fonts and layout.
As media studies-salimjeylanisaeed1
The document discusses the process of creating a magazine cover for a college publication. The author conducted research on magazine design conventions by analyzing existing covers. They then planned and designed their cover using Adobe Photoshop, with 13 layers including text, images, and shapes. The main image was a medium close-up photo of a student. The final cover included common magazine elements like a title, picture, headlines, and barcode. The author believes their cover successfully represented the conventions of a typical magazine cover and their college.
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Mark Scheme for TV Drama 2015
The document provides guidance for students on how to structure their exam answers to maximize their scores. It explains that examiners will be looking at explanation/analysis/argument, use of examples, and use of terminology. It then outlines the scoring levels and criteria for each level, with higher levels requiring more complex ideas, clear structure, and few errors. Finally, it provides examples and tips on how to discuss technical film areas or stereotypes using a clear Point-Evidence-Explanation paragraph structure.
Codes and conventions of interviews
The document outlines codes and conventions for filming interviews, including using the rule of thirds composition, mid shots, eye level camera placement on a tripod with shallow focus. It discusses lighting, actors' movement and expressions, makeup, props, and relevant settings for mise-en-scene. Graphics should include the interviewee's name and relevance in different sized fonts. Editing involves using cutaways of relevant footage or archives under 30 seconds to maintain interest and transition between speakers, and questions must be edited out.
Suggested Activites Tv Drama (Ameena Khan)
The document provides suggestions for classroom activities to help students analyze techniques used in TV drama, including cinematography, editing, sound, and mise-en-scene. Some of the suggested activities involve having students annotate still frames to identify shot types and their meanings, analyze clips with and without sound/dialogue to understand editing pace, and match audio dialogue excerpts to characters to examine how language and tone represent social identities. Students are also encouraged to recreate scenes and discuss how visual elements in still images construct representations of characters.
AS level exemplar candidate work unit g322 2015
The extract from Treme constructs representations of ethnicity through camerawork, editing, sound, and mise-en-scene. It begins with an establishing long shot of a run-down trailer park where two characters, a Mexican man and black American man, are shown to be living in poor conditions. A scene then cuts to these men visiting a doctor who says the Mexican man is depressed. Another scene shows a white upper-class family in a nicely lit, large home drinking, in contrast with the darker scenes of the minority characters, representing differences in class and wealth along ethnic lines.
The basic conventions_of_tv_drama
The basic conventions of TV drama revolve around characters, narrative, sets and setting, camerawork, dialogue, sound, and music. These conventions are perceived by audiences and used by producers. Theoretical perspectives that can provide insight into how TV dramas are constructed include analyzing character roles and oppositions, as well as representations of gender, race, class, and other attributes. Characters are constructed through casting, performance, screenplay, and direction to make them believable.
Terminology Log (Terms used so far)
This document provides definitions and examples of various filmmaking and media terminology related to camera shots, angles, editing, sound, and semiotics. It defines common shot types like close-up, medium shot, and long shot. It also defines camera angles, movements, and techniques like Dutch angle, tracking shot, and push/pull focus. Additionally, it covers terminology around editing, sound, narrative, and semiotics/audience analysis. Key terms defined include transition, diegetic/non-diegetic sound, exposition, and primary/secondary audiences.
Introducing tv drama and representation for g322 ocr media studies
This document provides information about an upcoming exam on media representation in TV dramas. It will be split into two sections. Section A focuses on analyzing representation in an unseen TV drama extract. Students will watch a 30-minute extract and then answer an essay question analyzing how representations of categories like class, gender, ethnicity are constructed through techniques like camerawork, editing, sound design. Section B covers questions about media institutions, audiences, and a pre-prepared case study. The document outlines the skills and concepts students need to understand to succeed in this exam, including representing, realism, and deconstructing TV dramas using formal analytical techniques.
Media Studies Revison
The document provides an overview of key concepts in media studies, including genre, representation, audience, narrative, ideology, institution, technology, audio codes, technical codes, editing, camera shots, camera angles, and camera movement. It defines these concepts and provides examples to illustrate them. The concepts are interlinked, with some concepts like representation and narrative linking to other concepts in the explanations.
Ethnicity and tv drama new
This document discusses representing ethnicity in media and television drama. It addresses stereotypes, challenges producers face, and how fairer representation can be achieved. Students are asked to analyze clips from "Hotel Babylon" and "Indian Summers" by considering elements like editing, camerawork, sound and mise-en-scene. They must also discuss representation of an ethnic group in another drama in terms of whether it is positive, stereotypical, and how it was created through technical elements. The goal is for students to understand ethnicity representation and how media language is used to explain it.
Codes and conventions
This document provides an overview of key concepts in media studies, including genres, representation, narrative, ideology, institutions, technology, and audience. It discusses conventions such as camera shots and angles, editing techniques, and visual and audio codes. Genres covered include action, adventure, comedy, crime, drama, and sci-fi. Representation focuses on age, ethnicity, gender, and disability. The roles of institutions, audiences, and evolving technologies are also summarized.
Sitcom revision
The exam consists of two sections worth 40% total: Section A analyzes an unseen film clip, and Section B analyzes a TV sitcom. For Section B, candidates must compare two sitcoms, discussing aspects like target audiences, narrative structures, types of humor, and characterization. They should consider how these elements engage audiences and are influenced by broadcasting institutions. The summary should analyze and compare key elements of two sitcoms using appropriate media terms.
Lesson 1 exam section a intro
This document provides an overview and instruction for Section A of the G322 Exam on TV Drama. It discusses:
1. The purpose of Section A is to analyze technical aspects of a TV drama extract and discuss representations. It will include analysis of camerawork, mise-en-scene, editing, and sound.
2. Marks are awarded for explanation, use of examples, and terminology. The representation topic may change but often includes gender, age, ethnicity, etc.
3. Candidates must be familiar with various TV drama genres from both British and American shows to understand different representations. Preparation involves watching shows and taking detailed notes on the technical elements during repeated viewings of extracts.
Gender Representation Lesson 4
This document outlines how to analyze representations of gender and stereotypes in media texts using representation theory. It discusses analyzing the denotations and connotations of mise-en-scene elements like setting, costumes, lighting, props, and body language. It also discusses applying theories like the male gaze and dismemberment to identify how stereotypes of masculinity and femininity are reinforced or subverted. Students are instructed to analyze a music video using these concepts and terminology and provide peer feedback on analyzing representations of gender.
Last minute tips and advice
This document provides tips for answering exam questions about film analysis. For question one, discuss character types, events in the film, and how it achieves its purpose of entertaining audiences. For question two, analyze examples of camera work, editing, sound, and mise-en-scene, and how they create specific effects. For question three, discuss how different groups are stereotyped in the film. For question four A, discuss when and why the program airs, the channel's mission, its target audience, and relevant media terms. For question four B, discuss specific pleasures audiences gain from sitcoms and why they are important.
Media notes 17 9-17
The document provides guidance on analysing media representations using technical terminology. It outlines success criteria for learners to analyze how camerawork, mise-en-scene, editing, and sound work together to create meaning. Learners should offer a holistic analysis of a sequence or product, providing accurate examples of how technical elements convey meaning. For instance, analyzing how a news program's neutral camera angles and shots, blue color scheme, and calm voice work together to establish an impartial tone.
Narratiev & audience theory
This document outlines learning objectives and outcomes for understanding and applying audience and narrative theory to films. It discusses Vladimir Propp's 8 character roles and how they apply to the film Tsotsi. It also summarizes Tzvetan Todorov's narrative theory of equilibrium and disequilibrium, and how the five stages of a narrative progress. Students are tasked with applying these theories to Tsotsi and The City of God, and considering the director's intentions. The document also covers the hypodermic needle theory of audience effects, passive and active audiences, and how audience positioning is used in Tsotsi and The City of God.
Representation of youth theories
The document summarizes several theories about media representations of youth:
- Giroux and Acland argue that media representations are created by adults without understanding youth reality, portraying them in stereotypical ways to control behavior.
- Hebdige says media limits representations of youth to "trouble" or "fun" without showing diversity.
- Cohen describes how media can create "moral panics" by portraying youth as "folk devils" when they challenge social norms.
- Gramsci discusses how media upholds norms of the middle class as the standard.
- Philo and Gerbner explain how media cultivates perceptions, with Philo arguing lower classes are portrayed as "
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Introducing tv drama and representation for g322 ocr media studies
Introducing tv drama and representation for g322 ocr media studies
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Area of study 1 representation v 2
This document outlines key concepts related to media representation including how representations are constructed through processes of selection and omission, how audiences interpret representations using codes and conventions, and the skills of analyzing representations in context of values, history and institutions. It discusses representation as re-presenting reality through symbolic codes in various media forms and the relationship between representations and meaning making.
Area of study 1 representation v 4
Realism in media representations is complex with different notions and degrees of realism. The same media content can appear realistic to some but not to others, depending on their own experiences and points of view. Realism is often a matter of perspective rather than an absolute quality.
Area of study 1 representation v 3
Realism is a complex concept that depends on multiple factors. The same representation may appear realistic to some audiences or from some perspectives but not others. Realism is influenced by the intentions of the creator, the experiences and expectations of the audience, and the broader cultural and historical context. There is usually no single, objective answer to whether a representation is realistic.
Media presentation v2
The document discusses conventions used in music magazines that the author incorporated into their own magazine. It describes researching conventions like using one main artist image on the cover, placing cover lines and mastheads prominently, and consistent color schemes. The author aims to attract a young audience and represents them by including content they prefer like concerts and interviews. Technologies learned through the process include Photoshop, Macs, and Publisher for layout. Improvements from the preliminary task include a more professional design with researched fonts and layout.
As media studies-salimjeylanisaeed1
The document discusses the process of creating a magazine cover for a college publication. The author conducted research on magazine design conventions by analyzing existing covers. They then planned and designed their cover using Adobe Photoshop, with 13 layers including text, images, and shapes. The main image was a medium close-up photo of a student. The final cover included common magazine elements like a title, picture, headlines, and barcode. The author believes their cover successfully represented the conventions of a typical magazine cover and their college.
Lifestyle magazines case study booklet
This article discusses the resurgence of the men's lifestyle magazine FHM, which saw declining sales but has bounced back with a circulation of 610,000. The magazine's managing director credits the turnaround to appointing a new editor who reverted FHM to focusing on short, punchy content for 20-30 year old men, and implementing distinctive themes for each issue like a "lingerie" or "pub-in-a-bag" issue. While FHM's circulation is still below its peak, the magazine has proven the critics wrong in declaring the demise of the men's magazine market, which remains an important way to reach younger male audiences.
Lifestyle magazines case study booklet
This document provides an overview of representations of gender in men's and women's lifestyle magazines. It discusses the emergence of men's magazines in the 1980s/90s to target "laddish" audiences, with examples like Loaded and FHM emphasizing sex, humor and stereotypical masculinity. In contrast, magazines like Cosmopolitan were aimed at women, both challenging and reinforcing patriarchal ideals through their content and advertisements. The document examines how magazines use gender stereotypes to appeal to readers while also perpetuating traditional notions of femininity and masculinity.
Media Institutions
This document discusses potential media institutions that could distribute a new media product focused on rock music. The author identifies Bauer Media and Future PLC as two large publishing companies that could effectively distribute the product due to their experience in the rock music magazine genre and wide reach. Distributing the product through a large institution would help the product gain popularity and dissolve competition from other established rock magazines.
Task 5 - Representation Analysis
This document contains summaries of various magazine cover images and articles. The summaries describe the visual elements and text used to represent different musical artists from a variety of genres in a way that would appeal to target audiences. Close-up shots and certain styles of dress, hair, background and facial expressions are used to convey information about the artist's personality, music and history in a stereotypical way for their genre. Quotes from interviews aim to intrigue readers and match the artist's public persona. Images of both new and established artists from different eras aim to attract a wide readership.
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Representation of age jb[1]
The document discusses how age is typically represented in TV drama through the micro elements of mise-en-scene, cinematography, sound, and editing. It provides examples of both positive and negative stereotypes used to portray youth and old age. Students are instructed to analyze how a TV drama clip represents age through these four technical elements and consider whether the representations conform to or subvert common stereotypes.
Age representation
Here are the answers to your questions:
1. Four sub genres of TV drama are: period drama, soap opera, science fiction, crime drama
2. Representation is the way something or someone is portrayed or shown
3. A stereotype is an oversimplified or exaggerated belief, image or portrayal of a particular type of person or group
4. Three words to summarize the typical representation of old age are: frail, dependent, wise
5. Three words to summarize the typical representation of youth are: energetic, adventurous, rebellious
Age
Here are the answers to your questions:
1. Medical drama, police procedural, soap opera, period drama
2. The construction of images or ideas about a person or group through media such as television
3. An oversimplified or exaggerated belief or idea about a type of person or thing
4. Frail, dependent, lonely
5. Rebellious, energetic, carefree
Representation of Age
The document discusses the representation of age in television drama through analyzing youth and old age stereotypes. It presents both positive and negative stereotypes of youth (active, sociable vs. lazy, rebellious) and old age (wise, authoritative vs. fragile, dependent). Specific stereotypes highlighted include youths seen as criminals, pensioners as grumpy, and the elderly as frail and lonely. The document also provides instructions for an activity where students will analyze how technical elements like camerawork, mise-en-scene, sound, and editing are used in a TV sequence to construct particular representations of age.
Representation of age
The document discusses the representation of age in television drama. It outlines both positive and negative stereotypes associated with youth and old age. Youth are often portrayed as reckless, rebellious, and dependent, while the elderly are depicted as frail, lonely, and a burden. The document also analyzes how technical elements like mise-en-scene, cinematography, sound, and editing are used to construct particular representations of age in television shows. It provides examples of both conforming to and subverting common stereotypes.
4. Representation of age 2
The document provides guidance on analyzing how age is represented through cinematography and sound in a TV drama clip. It defines key terminology like AMPS (angle, movement, position, shot), NoDSS (non-diegetic, diegetic, soundtrack, sound effects), and PEE (point, evidence, explain). Students are instructed to watch the clip four times, taking notes on cinematography in the second viewing and sound in the third. Their task is to analyze how age is represented through these technical elements and whether stereotypes are conformed to or undermined.
4. representation of age 2
The document provides guidance on analyzing how age is represented through cinematography and sound in a television drama clip. It defines key terminology like AMPS (angle, movement, position, shot), NoDSS (non-diegetic, diegetic, soundtrack, sound effects), and PEE (point, evidence, explain). Students are instructed to watch a clip four times, taking notes on cinematography in the second viewing and sound in the third. Their task is to analyze how age is represented through these technical elements and whether stereotypes are conformed to or undermined.
4. representation of age 2
The document provides guidance on analyzing how age is represented through cinematography and sound in a TV drama clip. It defines key terminology like AMPS (angle, movement, position, shot), NoDSS (non-diegetic, diegetic, soundtrack, sound effects), and PEE (point, evidence, explain). Students are instructed to watch the clip four times, taking notes on cinematography in the second viewing and sound in the third. Their task is to analyze how age is represented through these technical elements and whether stereotypes are conformed to or undermined.
4. Representation of age 2
The document provides guidance on analyzing how age is represented through cinematography and sound in a television drama clip. It defines key terminology like AMPS (angle, movement, position, shot), NoDSS (non-diegetic, diegetic, soundtrack, sound effects), and PEE (point, evidence, explain). Students are instructed to watch a clip four times, taking notes on cinematography in the second viewing and sound in the third. Their task is to analyze how age is represented through these technical elements and whether stereotypes are conformed to or undermined.
4. representation of age 2
The document provides guidance on analyzing how age is represented through cinematography and sound in a TV drama clip. It defines key terminology like AMPS (angle, movement, position, shot), NoDSS (non-diegetic, diegetic, soundtrack, sound effects), and PEE (point, evidence, explain). Students are instructed to watch the clip multiple times, taking notes on cinematography in one viewing and sound in another. Their analysis should focus on how technical elements construct representations of age that may conform to or undermine stereotypes.
MS1 terminology revision 2014
This document provides an overview of key technical codes, editing techniques, sound codes, lighting and cinematography styles, mise-en-scene elements, genre codes, and continuity editing techniques used in filmmaking. It also summarizes various film theories relating to representation, audience, narrative, and ideology. The document is intended as a revision guide, listing concepts and terminology that students have been introduced to over the academic year to help identify gaps in their knowledge. Students are advised to understand these elements in an integrated manner when analyzing media texts and relate them to their own examples, rather than viewing the concepts in isolation.
Tv dramas and the exam 2015
This document provides an overview of the topics and elements that will be covered in an exam on TV dramas. It discusses various filmic elements like camera shots, angles, movement, composition, editing, sound, and mise-en-scene that students will need to analyze in an unseen exam extract. It also lists common representation topics that may be covered, such as social class, gender, ethnicity, and disability. The exam format will involve close analysis of an unseen 5-7 minute extract based on its filmic techniques and how they create meaning.
Tv dramas and the exam 2015
This document provides an overview of the topics and elements that will be covered in an exam on TV dramas. It discusses various filmic elements like camera shots, angles, movement, composition, editing, sound, and mise-en-scene that students will need to analyze in an unseen exam extract. It also lists common representation topics that may be covered, such as social class, gender, ethnicity, and disability. The exam format will involve close analysis of an unseen 5-7 minute extract based on its filmic techniques and how they create meaning.
Approaches to TV Drama
This document provides guidance for students on exploring TV drama through practical activities and analysis. It outlines approaches for examining cinematography, editing, sound, and mise-en-scene to analyze how technical elements construct representations. Students are advised to study a wide range of TV dramas, use practical activities, and focus their analysis on how technical aspects shape representations of topics like age, gender, and ethnicity, rather than solely describing genres or plots. The document also offers marking criteria and recommendations for strong exam responses.
Miss berrys revision session
The document provides guidance for students taking a revision lesson exam on representing age, gender, ethnicity, social class, sexual identity, regional identity, and disability through micro elements in media texts. It lists dos and don'ts for the exam, terminology to use, example PEE answers, areas of representation and micro elements to focus on, and encourages practicing writing PEE responses with evidence and analysis.
Exam advice
This document provides exam advice for studying representations in television drama. It discusses the four micro-elements of mise-en-scene, cinematography, editing, and sound. For each element, it outlines the key technical aspects and terminology. It also evaluates example student responses, noting strengths like frequent terminology use and clear analysis, as well as weaknesses like an imbalance of focus across the elements. The document concludes with revision tips, emphasizing visual study aids, exemplar essays, practicing timed responses, and self-assessment.
Mark scheme for tv drama 2017
The document provides guidance for students on how to structure an effective response to an exam question about representation in media texts. It recommends using specific examples from the text, analyzing how production techniques construct representations and stereotypes, and linking examples to representation theories. Higher-level responses should demonstrate a clear understanding of the task, use terminology accurately, provide a range of relevant examples, and connect representations to their social implications and intended audience effects.
Year 12 lesson 1
This document provides an overview and requirements for a Year 12 Media course. It will cover key concepts such as representation over the first half of the year. Students will complete coursework and exams, including a thriller opening sequence portfolio and exams on TV drama and new technologies. Representation and how the media presents a mediated version of reality will be explored through mise-en-scene analysis of costume, lighting, production design, performance, and props. Students will analyze how characters are represented in clips and consider superiority and inferiority. They are asked to challenge stereotypes with photos that subvert expectations for a class blog.
Lesson 9 - Mediation
This document discusses how media representations are constructed to show a biased or subjective perspective of people and events. It explains that representations in media are not objective reality, but rather one person or group's selective portrayal designed to convey a particular message to the audience. Mediation, or how something is framed and presented through various techniques, shapes the interpretation and ensures the audience receives the intended meaning. Captions, camera angles, music and other elements are used to guide the audience's understanding of the representation.
Representation Revision: Age
This document outlines an activity to analyze representations of age in TV drama. Students will watch a scene four times and take notes on technical elements like camera work and editing. They will then analyze how age is constructed in an online video extract, focusing on how stereotypes of different age groups are conformed to or challenged through techniques like camera angles, soundtracks, and dialogue.
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Describe vs analyse
The document contains two summaries of a scene from a film. The first summary describes the scene by stating that a woman cannot afford a dress and the shop assistant treats her harshly, showing their difference in power. The second summary analyzes how cinematography is used to represent gender through the use of an high angle shot that connotes weakness for the female character in a stereotypical way.
11 describe vs analyse
This document provides guidance on writing strong Point, Evidence, Explanation (P.E.E.) paragraphs to analyze representations of gender in film. It instructs the reader to write P.E.E.s with an underline in colored pencil, defines what a point, evidence, and explanation are, and provides examples of stronger and weaker P.E.E. analysis with a focus on terminology, evidence, and explanation. The document also includes notes on areas to focus writing and criteria for marking P.E.E. analysis, focusing on use of examples, terminology, and clear analysis of how technical aspects construct representations.
10 vocab
The document discusses developing an understanding of regional identity stereotypes through analyzing the micro-elements in the TV show "Doc Martin". Students are asked to watch episodes twice and take notes on how various micro-elements either conform to or subvert stereotypes about rural/urban and country/city identities. Examples given include the rural production design conforming to stereotypes of sparse population, while Doc Martin's southern urban accent and impatience initially conform but may later be subverted.
09 final revision lesson
Okay teams, get into pairs and decide who goes first. Remember the rules - no mentioning the word or micro-element directly. Good luck!
08 final tv drama revision session
The document provides guidance for a final exam on TV drama revision. It includes sections on writing down dos and don'ts for the exam, discussing high and low camera angles through example slides, anagrams and microelements identification, editing techniques like stereotypes conveyed through shots, and sound design choices like diegetic and non-diegetic music. The document offers content for reviewing key concepts and techniques in television drama.
06 sexual identity in tv drama
This document discusses representing sexual identity in TV drama. It provides examples of stereotypical and non-stereotypical representations of gay men, straight men, lesbians, and straight women in TV shows. Students are instructed to analyze how sexual identity is portrayed through four micro elements: appearance, speech, occupation, and behavior. They will watch TV show clips and analyze the representations using these micro elements. The lesson aims to understand how sexual identity is commonly and alternatively depicted in media.
05 regional identity
This document discusses regional identity and stereotypes in the United Kingdom. It begins by defining regional identity as being connected to both the country and region one lives in, on a smaller scale than national identity. It then lists common stereotypes associated with different regions of the UK, such as Scots being money-obsessed and drinkers, Welsh people living rurally and being rugby fans, and Northerners being poorer and more working class than Southerners. The document encourages analyzing these stereotypes and considering where they come from and how individuals may subvert them.
04 ethnicity revision day
The document outlines rules for a game to be played in pairs where participants cannot say a specific word or micro-element and the pair with the most correct answers wins a prize. Each pair will play twice with a member from the other team observing to prevent cheating. The rules specify 30 seconds per pair and that the member observing should stand over the pair's shoulder.
03 editing disability
This document provides guidance for revising to improve analysis of representations of disability in TV drama. It includes focusing on using the PEE structure, improving use of terminology and evidence, and using more analytical language. It discusses stereotypes around physical, mental and able-bodied representations. Examples of characters with disabilities in TV are given. The document also provides guidance on analyzing micro-elements like cinematography, mise-en-scene, sound and editing in exam responses.
02 gender
This lesson aims to analyze representations of gender within TV drama extracts. Students will watch an extract from Primeval four times, analyzing it using a worksheet to discuss how camera shots, editing, sound, and mise en scene construct gender representations. They will discuss camera techniques, editing, sound, and visual elements and how they represent gender without notes on the first viewing, and with notes for subsequent viewings.
07 rep of social class
The upper class would typically be represented through editing, sound, mise-en-scene, and cinematography as follows:
Through editing, the upper class would be represented using techniques like graphic matches and eyeline matches to show their refined manners and lifestyle. Their dialogue would be represented through sound as being well-spoken and proper. Mise-en-scene would show their lavish homes filled with fine furnishings and their elegant clothing. Cinematography would frame them in wide shots set in expansive landscapes to depict their wealth and status through the environments they occupy.
Music intro lesson
The document discusses how digitalization has impacted the music industry. It provides context about Section B and the assessment requirements. Some key points:
1) Digitalization has both benefited and harmed the music industry by enabling portable music formats but also piracy.
2) Students will be assessed on their knowledge and analysis of contemporary issues in the music industry, use of examples and evidence, and industry terminology.
3) Important websites are listed to stay informed on current topics in music and digital media.
Student handout
The document discusses marketing and promotion of media products. It covers traditional marketing techniques, new digital marketing through technology and social networks, and how digital distribution has affected marketing and consumption. Target audiences and production are also mentioned as areas to cover.
Sony lesson 2012
This document provides an overview of the global music industry and Sony's role within it. The three main points are:
1) Sony is a major record label and conglomerate that dominates the global music industry through its network of subsidiary labels covering various genres and audiences.
2) As a conglomerate, Sony benefits from cross-promotion opportunities across its various media properties, allowing it to effectively market and distribute its music.
3) While digitalization has threatened Sony's dominance, its size and ownership of hardware/devices helps it maintain power, though independent labels have more opportunities in the shifting landscape.
Sony company
This document discusses the music industry and is organized into three main sections: production, distribution, and marketing/promotion. It examines the different aspects of the industry and how piracy has impacted various parts of the business model. Strategies for combating piracy are also mentioned.
Revision powerpoint
The document discusses four key areas of the music industry: production, distribution, marketing/targeting audiences, and consumption/exchange. It does not provide any details about each area. The areas are listed but the document consists only of headings and does not contain any explanatory text or examples about the music industry topics.
Planning stages anaswer
The document defines four stages of the music industry: production, which is the process of making and recording music using studios and software; marketing/targeting audiences, which is how music and artists are promoted to different target audiences; distribution, which is getting the music to audiences through physical CDs, downloads, or streaming; and consumption and exchange, which is how audiences access and share music through personal use, streaming, or downloading.
Piracy and mock
Here are some key ways that independent labels combat piracy:
- Focus on building relationships with fans through social media, live performances, etc. This encourages fans to support the artists directly.
- Release music digitally quickly after recording to minimize pre-release piracy. Quick releases satisfy demand legally.
- Partner with digital distributors like Tunecore to get music onto streaming platforms like Spotify, helping generate legal streams and sales.
- Educate fans about the importance of paying for music to support the artists they love. Fans are more likely to pay when they understand the impact.
- Watermark or fingerprint tracks to help identify sources of leaks, helping take legal action against large pirate sites.
Music week 3
The seating plan arranges students in rows with some listed individually and some in pairs or groups. Elaine, Jovan, and Dominic have individual seats while Lemar and Micheal as well as Luke, Chelsie, and Jordan are listed together. The rest of the students including Henry, Yan, Segun, Ellen, and Keano are grouped without being paired specifically.
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3. representation of age 1
- 1. REPRESENTATION OF AGE TV DRAMA Monday 31 st October 2011 LO: To micro analyse TV drama through the representation of age How is age represented in this image?
- 2. Q: What is a stereotype? A: An oversimplified representation of a social group
- 3. Positive and negative representations of youth and old age
- 4. YOUTH OLD AGE POSITIVES Active Sociable Innocent Strong Long future ahead Adventurous Fun Wise Authoritative Well educated Freedom Wealth Stability NEGATIVES Lazy Rebellious Rude Hormonal Vulnerable Naiive Dependent Weak Vulnerable Fragile Mentally incompetent Not in control of their own bodies Lonely Dependent Boring Unwilling to try new things
- 5. MISE EN SCENE CINEMATOGRAPHY SOUND EDITING
- 6. MISE EN SCENE Costume, make up Lighting - high key, low key, interior, exterior, artificial, back lighting Production Design Props Performance (body language, facial expressions) Space CINEMATOGRAPHY Close up, extreme close up/long shot, mid shot, two shot, POV, high/low/canted angle, over the shoulder,composition, framing, rule of thirds, power points, deep/shallow focus, depth of field, tracking, panning, zooming, tilting, craning SOUND Sound bridge, motif, non-diegetic/diegetic, ambient, instrumental, soundtrack, tone, tempo, dialogue, sound effects, foley, synchronous/asynchronous, incidental, music score EDITING Fast/slow pace, long/short takes, fade, dissolve, cut, transition, 180 degree rule, montage/continuity editing, match on action, eyeline match,cross cutting/parallel editing, simultaneous action
- 7. How would these represent Superior or inferior qualities? MISE EN SCENE Costume Lighting Production Design Props Performance (body language, facial expressions) Space CINEMATOGRAPHY Close up, extreme close up/long shot, mid shot, two shot, POV, high/low/canted angle, over the shoulder,composition, framing, rule of thirds, power points, deep/shallow focus, depth of field, tracking, panning, zooming, tilting, craning SOUND Sound bridge, motif, non-diegetic/diegetic, ambient, instrumental, soundtrack, tone, tempo, dialogue, sound effects, foley EDITING Fast/slow pace, long/short takes, fade, dissolve, cut, transition, 180 degree rule, montage/continuity editing, match on action, eyeline match,cross cutting/parallel editing, simultaneous action
- 10. Is this a typical representation of age?
- 11. How could age be represented through sound?
- 12. How could age be represented through mise en scene?
- 13. How could age be represented through cinematography?
- 14. How could age be represented through editing?
- 15. January paper - Section A TV DRAMA
- 19. Watch this clip: Analyse through the four micro elements for REP of AGE http://www.youtube.com/watch?v=NeDTh8IWthY
- 21. Editing Weakest area of analysis. Some candidates making no reference at all. Stronger responses discussed the use 180-degree rule and continuity editing. These candidates also referred to eyeline matches, shot reverse shot, simultaneous action and use of ellipsis. Also some discussed the pace of editing to represent age Sound Was tackled well by some but too much focus on dialogue. Clear distinction between diegetic and non-diegetic sound by some candidates. Need to address use of music in more detail-tempo, pace, sound bridges and link specifically to representation. Mise-en-scene Often very well discussed but at times too much focus on this area. Some entirely focused on mise-en-scene Concentration on clothing and props but little exploration of lighting. Must link to how it constructs representation. Cinematography Well handled by most with the most confident use of terminology in this area. Problems for some in just identifying camera shots/angle/position and not linking this to the construction of representation.