Body Image and Size Zero debate - AS media issues MS1 (Student work)
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The document discusses the debate around size zero models in the fashion industry. It notes that while the British Fashion Council will still allow size zero models in London Fashion Week, doctors and women's groups are concerned this encourages eating disorders. Evidence suggests being size zero is very unhealthy, as models have died from anorexia and heart failure after extreme dieting. Hospital admissions of young girls with anorexia have also risen 80% in the last decade as size zero became prominent. Jennifer Lawrence is cited as a celebrity example of being sexy without being size zero.
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This document discusses two comedy channels and their differences in terms of being public service broadcast or commercial, their target audiences in terms of size, demographics, and socioeconomic factors. It also covers scheduling techniques for each channel including any differences in appeal based on weekday versus weekend as well as primetime versus post-watershed content. Specific programming examples are provided for each channel.
Lesson 9 - TV Comedy Q4b mark scheme
The document provides guidance for answering a question about how two television programs provide different audience pleasures, noting that higher levels require detailed examples from both programs for multiple pleasures discussed, while lower levels may cover fewer pleasures or only one program but still require some understanding of pleasures; it also provides two sample student answers with examiner comments on why they received the marks awarded.
Lesson 8 - TV Comedy Q4a mark scheme
This document provides the mark scheme for a question asking students to discuss the scheduling of two TV comedies. It outlines four levels of response with criteria for level of knowledge, use of terminology, understanding of industry contexts and channels, and quality of writing. It provides examples of student answers and explains why they would receive certain marks based on the level descriptors. The document is intended to help students understand what is required to achieve different marks for this question.
Lesson 7 - TV Comedy - Question 4b case study
This document provides guidance for a case study assignment on TV comedy programs. Students are instructed to photocopy and complete a handout comparing the different pleasures offered by two comedy programs, citing specific examples and episodes. The document outlines what higher, middle, and lower level answers should include, such as identifying and contrasting a range of pleasures like humor, narrative elements, and audience gratification. Students are advised to discuss pleasures, provide examples from episodes, and demonstrate understanding of how the programs differently please audiences.
Lesson 6 - TV Comedy audience pleasures
The document contains information about assignments that are due, including coursework, posters, evaluations, and homework. It discusses which students need to submit which assignments and provides instructions for the homework assignment, which involves analyzing two TV comedy programs in terms of their scheduling and how they provide different audience pleasures. The document contains sample questions and criteria that could be used to evaluate the homework.
Lesson 4 - TV Comedy audience
Here are 3 key terms I have learned today and could explain to the class:
1. Demographics - The classification of individuals or groups by age, gender, income, location and other socio-economic factors used to identify audience segments. Demographics provide basic attributes about a population but do not capture beliefs, values or motivations.
2. Maslow's Hierarchy of Needs - A theory developed by Abraham Maslow proposing that people are motivated to fulfill basic needs before moving on to other needs. The hierarchy typically displays these needs as physiological, safety, love, esteem and self-actualization needs that must be satisfied sequentially. This theory is used in advertising to appeal to different needs.
3. Young & Rubic
Lesson 3 - TV Comedy - Channels and scheduling
E4's branding emphasizes being "beautifully random, joyously daft and generally not taking things too seriously." OFCOM regulates all broadcasting channels in the UK to ensure they follow guidelines. Public service broadcasting (PSB) channels like the BBC are required to provide quality programming that reflects UK diversity and mixes genres, while avoiding repeated shows. Commercial channels primarily aim to attract large audiences to sell expensive advertising slots. Television scheduling strategies carefully plan what programs air when to target specific audiences.
Lesson 1 - TV Comedy idents
This document provides guidance and instructions for a media studies exam section on TV comedy. It outlines that Section B is worth 30 marks and will have two questions: 4(a) discusses the scheduling of one or two comedy programs on channels and 4(b) how the programs offer different pleasures to audiences. Students should be prepared to contrast two texts or discuss one text in detail using media key concepts. They should choose comedy programs from contrasting broadcasters like BBC1 and E4 to discuss how the programs link to the channel branding and audiences. The homework assigns watching two comedy programs, one from a mainstream channel and one from a younger channel, to use as case studies in the exam.
Lesson 2 - TV Comedy PSB
The document discusses different types of broadcasters in the UK including the BBC, Channel 4, and commercial stations. It explains that the BBC and Channel 4 have a public service broadcasting (PSB) remit where they aim to inform, educate, and entertain the public, while commercial stations solely aim to attract audiences to sell advertising. The BBC is publicly funded through television license fees, Channel 4 is publicly owned but commercially funded through advertising, and commercial stations are solely funded by advertising. There is ongoing controversy around funding models and whether the television license fee should continue.
Lesson 12 - Question 3 exam practice
The document provides a mark scheme for evaluating responses to a question about representation of characters in an extract. It outlines four levels of performance from 1 to 4, with level 4 being the highest. For level 4, the response would explore at least one representation issue thoroughly with examples from the text and clearly expressed ideas. Level 3 requires identification of one issue with understanding of representation and use of evidence. Level 2 describes representation aspects with some understanding and evidence. Level 1 shows minimal understanding of representation without using the concept of stereotyping and offers little evidence.
Lesson 11 - Action Adventure ethnicity and buddy movies
This document provides a rubric for assessing responses to questions about representation in media extracts. It outlines four levels of response with varying criteria for understanding, evidence, and writing quality. The highest level demonstrates thorough understanding of representation issues, offers a range of evidence, and is written clearly with few errors. The lowest level shows minimal understanding, minimal evidence, and ideas obscured by errors. Sample questions are provided about characters, genres, and technical elements used to create effects.
Lesson 10 - Female representation in Action Adventure films
The document discusses female representation in films and provides examples of how female characters can be categorized as empowered, sexually objectified, or stereotyped. It also includes a marking scheme for assessing answers on female representation with four levels of achievement.
Lesson 9 0 Action Adventure Representation
This document discusses representation and gender roles in action-adventure films. Traditionally, these films are aimed at male audiences and depict exaggeratedly masculine male heroes and stereotypical female characters. Women are often shown as damsels in distress or empowered but still sexually objectified. The camera will linger on women's bodies to gratify the male audience in what is called the "male gaze." However, some films now feature stronger female leads, though representation of men and women still tends to rely on stereotypes that enforce patriarchal expectations of gender roles.
Lesson 8 - Action Adventure archetypes
This document discusses the concept of an anti-hero in storytelling and asks the reader to identify which of several characters could be considered an anti-hero. It defines an anti-hero as a protagonist who lacks traditional heroic traits like idealism, courage, and morality. It also prompts the reader to name 3 archetypal heroes and explain why they fit that category.
Lesson 7 - Action Adventure jeopardy analysis
This document discusses key techniques used in action adventure films to create spectacle, jeopardy, and suspense. It outlines various special effects like models, makeup, stunts, and CGI. Conflict and combat scenes are examined, including fist fights, martial arts, and realistic portrayals of violence. Speed and motion are achieved through editing techniques and diegetic/non-diegetic sound. Jeopardy and suspense are generated by placing likeable characters in threatening situations and ending scenes on cliffhangers. The reader is tasked with providing examples of films that exemplify these concepts and analyzing how film techniques fit the action adventure genre in a sample clip.
Lesson 6 - Action Adventure jeopardy and suspense
The document discusses several key concepts related to narrative structure and genre analysis for action adventure films. It includes definitions of hybrids and sub-genres. It lists the 5 stages of narrative structure developed by Vladimir Propp and the 7 common character types identified by A.J. Greimas. It notes that Claude Levi-Strauss identified the key term "conflict" which drives narratives. Finally, it prompts analysis of how elements like soundtrack, camerawork, editing, and mise-en-scene are used to create effects fitting the action adventure genre.
Lesson 3 - Action Adventure Sub genres
The document discusses six sub-genres of action adventure films: fantasy, disaster, historical, quest, thriller, and swashbuckler. For each sub-genre, it provides examples of movies, common narrative conventions, and codes/iconography. Key information provided includes common elements of fantasy films like imaginary worlds and creatures, disaster films involving impending catastrophes, historical films set in real time periods, quest films involving searches, thriller films with suspense and deception, and swashbuckler films with sword fighting. The document encourages adding to a table summarizing each sub-genre.
Lesson 2 - Action adventure films intro
Here is a thriller sub-genre development of the blurb:
An elite team of CIA agents track a terrorist bomber in Antarctica in a race against time, because the sun is about to set for six months, leaving the killer in total darkness. With the bitter cold and harsh conditions working against them, the agents must use all their espionage skills to find the killer before he disappears without a trace. Iconography of the thriller sub-genre is evident with the focus on suspense as the agents work to outwit the terrorist in a remote icy location before the killer can vanish in the darkness, keeping vital information secret from the audience. It's a high stakes game of cat and mouse as the countdown to nightfall begins.
Lesson 1 Action Adventure Films - Exam requirements
This document outlines the course structure and content for a film studies course. It discusses that the course consists of three parts: an individual portfolio, an exam, and a production portfolio. It provides details on the exam, including that it will focus on action adventure films and TV comedy, last 1 hour and 45 minutes, and contain questions testing knowledge of genre, textual analysis, representation, institutions, and audience. It also introduces some key concepts to be covered, such as defining the action adventure genre and examining genre codes and conventions.
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MS4 - Paddington - Genre, Narrative and Representation
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Lesson 11 - Action Adventure ethnicity and buddy movies
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- 1. Size zero (is silly) By Mikey and Craig
- 2. • Ultra-thin models who have been barred from fashion shows in Milan and Madrid will be allowed on the catwalks during London Fashion Week, it emerged yesterday. • The British Fashion Council has defied the Government by resisting a ban on "size zero" women taking part in its shows. Instead, it wants designers to use only "healthy models" aged 16 and over and is creating a task force to come up with new guidelines for the industry. Doctors and women's groups are concerned that the use of underweight models encourages anorexia in the industry and sends a dangerous signal to girls. • Size Zero is the equivalent to a British size 4 in women's clothing — a 31.5in bust, a 23in waist and 34in hips. The average waist size of a British eight year old is 22 inches. Is it necessary for models?
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