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This document outlines the requirements for a media studies unit on media production processes. Students must complete three linked pieces of work: a pre-production outlining research and planning, a production developed from the pre-production, and a 1200-1600 word report. The pre-production and production can cover areas like magazine covers, websites, or film trailers. Students may work individually or in groups of up to four for productions. The report will discuss research, target audiences, and evaluate strengths and weaknesses of the production. The unit assesses planning, production, and evaluation skills and is internally assessed and externally moderated.

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This document summarizes the assessment components for the GCE A Level Media Studies qualification. It outlines three components: Component 1 involves a written exam assessing media language, representation, industries and audiences through analysis of various media forms. Component 2 is another written exam exploring media forms and products in depth through questions on television, magazines, and online media. Component 3 requires students to complete an individual cross-media production applying knowledge from the theoretical framework and digital convergence. The qualification will be awarded starting in summer 2019.

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The document discusses key points around answering exam questions about cross-media convergence and synergy in relation to the film industry. It provides advice on how to structure a response, including stating whether you agree or disagree with the given statement. It defines cross-media convergence and synergy and discusses their potential advantages and disadvantages when used in film marketing. Keywords to focus on in the question like audience, marketing, and distribution are also highlighted.

WJEC Media Studies - Specification MS1

The document provides an overview of the GCE AS/A Media Studies specification. It outlines the key features, including analyzing a range of media with an emphasis on representation and how audiences respond. The Advanced Subsidiary unit focuses on media representations and audience responses. Students will analyze genre, narrative, technical codes and language used in texts. They will also explore how media represent groups and issues, and how audiences can interpret texts differently based on their background. A variety of media formats may be examined, including advertisements, magazines, films and websites. The exam consists of analyzing an audio/visual extract and answering questions about representation and audience issues based on the student's own case studies.

The document provides examiner comments on student responses to a question about how digital distribution affects the marketing and consumption of media products. The examiners note that most students addressed digital distribution and marketing more than production or audiences. The best answers were able to create a debate around the strengths of different distribution practices and marketing strategies used by media institutions. Strong responses also drew contrasts between mainstream and independent producers. The comments then provide more specific feedback on student answers relating to the film industry. Examiners observed that common approaches involved comparing major US studios to UK producers, though some assumptions about UK cinema were flawed. The best answers engaged thoroughly with new media forms and technologies in discussing case studies. To achieve high marks, appropriate terminology

Critical Perspectives in Media

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This document provides guidance for a media studies exam assessing students' knowledge of contemporary media issues and ability to evaluate their own practical work theoretically. The exam is divided into two sections - the first requires students to describe and evaluate their skills development and analyze one of their productions using a media concept. The second asks students to answer one question from a choice of topics related to a contemporary issue such as how online media has developed. The document provides details on what students need to cover for each section, including lists of production practices and media concepts for Section 1, and prompts for each topic area in Section 2. Centers are advised to guide students in ongoing reflective evaluation of their work and ensure topics are studied with historical, contemporary,

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This document provides an overview of the AS Media Studies course for 2015-2016, including assessment details, schedules, resources and policies. The course consists of two units - MS1 on media representations and responses, assessed via exam; and MS2 on media production processes, assessed via coursework. Key deadlines and topics are outlined week-by-week across the academic year. Resources for independent study and the completion of assessed work are also highlighted.

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This document summarizes the structure and content of the G325 Critical Perspectives in Media unit. The unit is split into two sections - Section 1 focuses on a theoretical evaluation of students' media production skills and projects, while Section 2 examines contemporary media issues. For Section 1, students must complete two exams evaluating their skills development and analyzing one of their productions using a media concept. Section 2 requires students to write an exam answering a question on either media and collective identity or media in the online age. The document provides details on the requirements and focus of each section.

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The document provides feedback on student responses to a question about the significance of increasing hardware and content proliferation for media institutions and audiences. It notes several common errors made by students, including a lack of specific examples and outdated statistics. It also lists several key points that should have been considered in the response, such as how increasing hardware has positively and negatively impacted institutions and audiences. It emphasizes the need for case study examples that demonstrate how increasing content in terms of platforms, user-generated content, and multi-platform strategies have impacted both media companies and consumer behavior.

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The document is an assessment record for a student named Elfie Cheetham. It summarizes 5 tasks completed as part of a Media studies course focusing on analyzing media products and audiences. For each task, the document provides the assessment criteria, teacher feedback, and grades for elements assessed at Pass, Merit, and Distinction level. The tasks included a case study of Disney Studios, an analysis of the film Star Wars: The Force Awakens, audience research about the film's target demographic, an investigation of the film's production and distribution process, and a report on legal and ethical considerations in its creation. The student received a overall grade of Pass for the assessment.

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The continuing development of digital media technology has significant impacts on both media institutions and audiences. For institutions, new technologies have changed production, distribution and exhibition processes, allowing the use of advanced visual effects and new marketing avenues through social media. However, technological changes require large investments which present financial risks if profits are not achieved. Audiences have generally responded positively to improved quality but are mixed toward 3D/4D formats due to issues like increased ticket prices and potential sickness.

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This document summarizes three design cases from students in a graduate-level message design course. The course focuses on applying communication theory, cognitive psychology, and design skills to instructional messages. For their final project, students designed visual materials for the university library to promote resources and policies. The design cases provide reflections from three students - Jennifer LaVanchy, Trina Kilty, and Dillon Stone - on their experiences designing flyers and social media posts based on client specifications. Each student chose three topics and drafted multiple designs, revising based on feedback. LaVanchy discusses challenges moving between design tools and seeking outside feedback to reduce bias. The instructor comments reflect on strategies to help novice designers progress, such as assigning

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The document outlines past exam questions and focus areas for a media studies course over multiple years. It provides examples of question topics for section A, which often involve describing the development of skills like using digital technology, research, and applying conventions from real media. Section B questions typically involve analyzing a coursework production in relation to concepts like genre, narrative, representation, audience, and media language. The document also provides definitions and advice for preparing answers addressing the common skills and concepts.

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This document discusses the focus of a unit on institutions and audiences in the British film industry. It will examine the industry in terms of production, distribution, and consumption, comparing case studies of large studios like Disney and smaller, more independent producers. It will also discuss the impact of new digital technologies such as 3D, downloading, and Blu-ray on production companies and their ability to target audiences. Students will be expected to answer vague questions on these topics by drawing on their case studies of different institutions.

Critical perspectives in media

Sawtry Community College

This document outlines the requirements and marking criteria for two sections of an exam on critical perspectives in media: Section A requires students to describe and evaluate their skills development over two coursework productions, and select one production to evaluate in relation to a media concept. Section B requires students to answer one question from six topic areas, demonstrating understanding of contemporary issues, industries and debates within the chosen topic. Marking criteria assess explanation, use of examples, and use of terminology.

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This document provides instructions and questions for a GCE Media Studies exam. It contains: - Instructions for candidates on what to write and where, as well as information about the structure of the exam. - Section A contains two questions about applying coursework knowledge to analyze media productions and narratives. - Section B contains 11 essay questions across various media topics, from which candidates must choose one. The topics include media regulation, globalization, identity, new media, postmodernism, and democracy. - Candidates have 2 hours to answer questions from both sections of the exam, using the provided answer booklet. They are advised to divide their time equally between the two sections.

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The document provides guidance for students taking an exam on critical evaluation of media production work. It discusses how to structure responses for two different exam questions: 1a) and 1b). For question 1a), it recommends teaching students to structure their evaluation of skills development across different areas of production using a three-stage process: pre-production, production, and post-production. It provides examples of how to structure an answer for some specific areas. For question 1b), it suggests teaching students to introduce the theoretical concept, outline the production piece, and discuss how it supports or challenges ideas within the concept. It also breaks down guidance for evaluating productions using specific theoretical concepts like genre, narrative, representation, etc.

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This document provides an assignment brief for an understanding the creative media sector unit. Learners will produce a blog with three posts on the structure and ownership of the media sector, ethical and legal constraints, and regulations. They will research companies and issues, working individually and in groups. The tasks are assessed based on grading criteria mapping understanding of the media sector, communication skills, and ability to review work.

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This document provides an assignment brief for an understanding the creative media sector unit. Learners will produce a blog with three posts on the structure and ownership of the media sector, ethical and legal constraints, and regulations. They will research companies and issues, working individually and in groups. The tasks are assessed based on criteria for understanding the media sector and communication skills.

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This document provides an assignment brief for an understanding the creative media sector unit. Learners will produce a blog with three posts on the structure and ownership of the media sector, ethical and legal constraints, and regulations. They will research companies and issues, working individually and in groups. The tasks are assessed based on criteria for understanding the media sector and communication skills.

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The document provides advice on how to structure an essay response about contemporary film regulation (CMR). It recommends beginning with an interesting point about CMR that engages the question. The response should identify key differences or similarities between past and present media regulation using specific case studies from film and press. Arguments should be developed paragraph by paragraph using the PEE structure of point, evidence, and explanation while balancing discussion of audience and institutional perspectives and referencing examples accurately. The conclusion should draw overall comparisons between case studies and comment on the significance to issues in CMR.

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The document discusses the concept of collective identity in media studies. It defines collective identity as an individual's connection to a shared social group and the cultural expressions of that identity, such as names, narratives and symbols. Collective identity is complex, as it can be represented by outsiders, but also self-constructed by members of a community through shared media use. The document uses the example of representations of Black Britain across film, television and music to explore these ideas of collective identity.

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This document discusses arguments for and against regulation of contemporary media such as film and press. Proponents of film regulation argue that observational learning theory shows that children may imitate inappropriate behaviors they see in films, and cite the Jamie Bulger case as an example. However, others argue that violence in films is purely for entertainment and there is no evidence it directly causes harm. Supporters of press regulation want to protect moral values and minorities from misrepresentation, while critics point to studies finding media effects are generally weak and inconclusive. Debates continue around balancing free expression versus protecting audiences.

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Contemporary media regulation compared to previous practice has changed due to shifting social attitudes. Regulators now take a classification rather than censorship approach, and guidelines are revised regularly to reflect social changes. While regulation aims to be effective, its ability to influence internet consumption is limited, and strict rules do not necessarily reduce crimes. Debates exist around the appropriate level of state control over media and whether regulation effectively protects audiences or restricts creative expression.

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This document provides an overview of key concepts for Section B of a media studies exam, including postmodern media, cultural studies, and the impact of broadband internet and Web 2.0. It discusses how the Cadbury Gorilla advert is postmodern, defines culture, and gives examples of how Volkswagen and Chanel No. 5 ads can be analyzed from a cultural studies perspective. It also explores how social groups interact with media, how Web 2.0 has empowered audiences, and examples of citizen journalism on YouTube and Twitter.

04. Contemporary Media Issues Intro to Section B Part 4

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The document discusses media regulation in Australia. It describes the system of self-regulation where industry bodies create codes of practice for television networks, radio broadcasters, subscription services, print media and advertisers. These codes govern areas like content classification, advertising standards and complaints handling. It also discusses the government regulator, the Australian Communications and Media Authority (ACMA), which oversees various areas of media operations, promotes self-regulation and handles complaints. The ACMA website provides information on making complaints and details past investigations into breaches of broadcasters' codes.

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Contemporary media regulation faces new challenges compared to previous eras. Regulatory practices must adapt to changing technologies and public expectations of privacy. While the Press Complaints Commission (PCC) responds to complaints, it lacks proactive enforcement and is not effective in regulating citizen journalism online. There are arguments both for and against the PCC - it supports a free press but complaints are only addressed after publication and apologies may come too late. Wider social issues include protecting press freedom while better defining the public's right to know, assessing regulatory models in other countries, and privacy in an era of globalization and new media technologies.

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The document outlines a lesson plan on contemporary media regulation, including suggested teaching activities, resources, and key points for various topics such as the press being self-regulated in the UK, the role and effectiveness of the Press Complaints Commission (PCC), arguments for and against increased regulation of the press, the role of advertising standards agencies, and using case studies like Benetton advertising to examine the need for regulation of advertising.

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This document provides guidance for a media regulation exam question worth 50% of the course. It outlines that students will answer a question comparing regulatory practices in two different media. The essay should: introduce the forms of media and regulators being discussed; provide a past example of regulation; and make arguments for and against regulation supported by case studies and theory. Each paragraph should engage with the question and support a point using examples and theory. The conclusion should summarize the argument and discuss the future of regulation.

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Media regulation

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Media regulation refers to government control over mass media to protect the public interest and restrict certain content. It aims to regulate press, television, and radio. Media regulation emerged due to issues caused by media exposure, such as theories linking violence in media to real-world violent behavior. It also aims to prevent offensive, demeaning, or immoral content. While technology has increased risks like hacking, media regulation still plays a role in restricting graphic or scarring content that could harm viewers, especially children. However, regulation must be implemented reasonably and not restrict important information the public has a right to access.

01. g325 contemporary media issues intro to section b - what is postmodernism

The document discusses postmodern media theories around concepts of reality, truth, and value in a media-saturated society. It provides three key ideas: 1) The distinction between media and reality has collapsed, leading to a state of "hyperreality" where it is impossible to distinguish between the two. 2) All ideas of "truth" are just competing claims or discourses, and what we believe is merely the dominant discourse. 3) Postmodern media rejects the idea that any media product is more valuable than another, reducing all judgments to mere taste and relativism. The document uses examples from reality television, celebrity culture, and art to illustrate these postmodern concepts and how they challenge traditional

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This document discusses arguments for and against regulation of different types of media in the UK by organizations such as OFCOM (broadcast media), BBFC (film), PEGI (video games), and PCC/IPSO (print media). The main points made are that media regulation aims to protect audiences, especially vulnerable groups, from inappropriate, exploitative, or misleading content, but can also be seen as restricting freedom of expression or becoming less effective in the modern media landscape where content is easily accessible online.

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sezpenfold

This document provides information and instructions for a media studies exam. It outlines that the exam will consist of two sections - a theoretical evaluation of the student's own media production work, and a question analyzing a contemporary media issue. For the first section, students must describe and evaluate their skills development and analyze one of their productions. For the second section, students must answer one question chosen from a list of six topics relating to contemporary issues in media such as regulation, identity, or online media. The document provides example questions and guidance for studying regulation as one of the topics.

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The document traces the history and evolution of music magazines in the UK from the 1920s to today. It discusses how magazines like Melody Maker and NME started as largely uncritical promotional tools for musicians but became more political and critical in the 1970s as genres like prog rock and punk emerged. In the late 1970s and 1980s, magazines experimented more with design and focused on style as videos and MTV influenced music consumption. Today, music coverage exists across daily newspapers, TV, blogs, and social media rather than dedicated music press.

Course outline

This course outline provides information on the Foundation Portfolio in Media coursework. Students will produce a media artefact by completing a preliminary exercise and a more developed main task from briefs in print, video, audio, and website formats. They will document their research, planning, and evaluation on a blog. The course aims to enhance students' enjoyment and understanding of media through both analyzing media representations and developing practical production skills.

The music press intro to a level

The document provides instructions for a foundation portfolio assignment to design the front page, contents page, and a double page spread for a new music magazine. Students must include a minimum of four original images and text. The assignment is intended to have students consider the role and influence of music magazines in shaping music trends and culture from the 1950s to today, and how digital media has impacted the industry.

Comparing print with online

1) Q Magazine uses sophisticated design and masculine representations to appeal to its target male audience. The covers feature predominantly male rock bands portrayed in a hyper-masculine style. 2) While focusing on rock music, Q Magazine aims to present artists in an original and independent way. However, female artists are often sexually objectified on covers to appeal to the magazine's male readers. 3) As a print magazine backed by a large publisher, Q Magazine has high production values but relatively low circulation. It maintains its brand through various platforms like a website and awards shows, relying on its established reputation from the print version.

A2 exam reports summary

The music press key concepts

The document provides an overview of key concepts for an exam on the music press, including language, institutions, audience, and representation. It discusses genres and conventions of print and online music publications and how their format, content, and design relate to their target audiences. It also addresses the ownership and financing of media institutions in the music industry, who comprises their audiences, and how the music press represents artists and influences listeners.

Critical perspectives exam

The document outlines the sections and requirements of a critical perspectives exam. Section 1a will focus on conventions and examine signs, semiotics, their use in media theory, and how the candidate used and challenged conventions in their research. Section 1b will focus on representation, including what it is, how it relates to other media concepts, and an analysis of the candidate's understanding and use of it with reference to relevant theorists. Section 2 will focus on We Media. The examiners will look for progression in examples, evaluation of progress over time, specific and relevant examples, excellent use of terminology, clear expression of complex issues, and well-structured writing.

The document provides information and instructions for an upcoming exam that has two sections: Section A focuses on critical perspectives while Section B is on we media. It discusses the skills that may be assessed in Section A and provides examples of questions that could be asked about developing skills from foundation to advanced projects. It also includes tasks for students to review each other's work and provide feedback using identified skills as a guide.

Analsysing film posters

Film cover and review2

Here are three examples of film magazine reviews with analysis: Example 1: Sight & Sound (British Film Institute) - Prestigious arts magazine focusing on critical analysis rather than promotion - Academic tone and language, assumes reader has in-depth knowledge of film theory/history - Long form essays and reviews dissecting themes, style and place within the director's body of work - Black and white layout emphasizes intellectual/artistic focus over entertainment Example 2: Empire (UK mass market magazine) - Accessible writing style aimed at general audience interested in popular/blockbuster films - Colorful layout with stills grabs attention of readers browsing newsstand - Strikes balance of critical analysis with entertainment

Film cover and review

Music press

1) Students must study the layout, format, design and content of both print and online music publications. 2) It's important to identify how web-based publications relate to and differ from print-based ones in terms of codes and conventions across front covers/home pages and the full range of content. 3) When researching a specific music genre, students should consider how the chosen print and online publications approach design, content, mode of address, and underlying ideology as it relates to that genre.

Magazine conventions and_terminology

Film art

According to the seminal book "Film Art" by Bordwell and Thompson, film language refers to the basic techniques of cinema and how they function together to create meaning within a film. The document discusses how understanding film language and genre conventions is essential for students to create their own short films and effectively analyze other films. Students are advised to research the history and techniques associated with the genre they choose and apply some conventions in their own work.

History of music consumption

This document discusses the history of music listening and how it has evolved over time from physical formats like records and cassettes to digital formats like MP3s and online streaming. It notes that while digital media has increased choice for audiences, the music industry has seen some institutions like print magazines decline in popularity among younger audiences. Overall, it outlines the shift from centralized media like magazines to a more fragmented digital music scene where bands now use the internet to promote themselves.

Feedback on essay

Digital technology has significantly impacted the UK film industry by making film production, distribution, and exhibition cheaper and more accessible. It has allowed for higher quality cameras and editing/special effects software to be used at lower budget levels. Distribution has benefited from digital formats that are cheaper and higher quality than physical film reels. Exhibition has expanded to smaller independent theaters and nontheatrical platforms like online streaming. However, piracy remains a major issue that costs the industry financially. The future may see further improvements and normalization of home viewing experiences, but major studios still rely on theatrical revenue from merchandise and concessions.

Narrative theory 2

The document discusses various narrative theories that can be applied to coursework in preparation for an exam. It explores definitions of narrative, narrative conventions put forward by Barthes, such as genre and character archetypes. It also examines different types of narratives like linear, non-linear, closed and open narratives. Temporal concepts like order, duration and frequency are outlined. Structures like Propp's character functions and Todorov's equilibrium model are summarized. Links to additional narrative theory resources are provided.

Representation

Reuters Institute for the Study of Journalism, Oxford University

This document provides an introduction to representation theory. It defines key concepts related to representation including denotation, connotation, anchorage, codes, ideology, signs, signification, realism, suspension of disbelief, intertextuality, and enigma codes. Examples are given for many of these terms. The document suggests exploring how these various concepts are used in advertisements and media texts to construct meaning. It encourages analyzing the technical, verbal, and symbolic codes at play in a provided advertisement, as well as the signs, signification, degree of realism, and any intertextual references or enigma codes.

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Course outline

The music press intro to a level

Comparing print with online

A2 exam reports summary

The music press key concepts

Critical perspectives exam

Analsysing film posters

Film cover and review2

Film cover and review

Music press

Magazine conventions and_terminology

Film art

History of music consumption

Feedback on essay

Narrative theory 2

Representation

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