WJEC - A2 Film Studies FM4 specimen exam questionsElle Sullivan
This document provides an examination paper for the GCE AS/A Film Studies qualification. It contains three sections with multiple choice questions about world cinema, spectatorship topics, and a close critical study of a single film. Students must answer one question from each section, with the questions in Sections A and B carrying 35 marks and questions in Section C carrying 30 marks. The paper tests understanding of aspects studied throughout the AS and A levels.
A2 Film A-Level Film Studies FM4 Spectatorship RevisionIan Moreno-Melgar
A PowerPoint that collates a range of key ideas for the FM4 Spectatorhship area of A2 Film Studies. There may be some formatting issues with the presentation as it was created using Keynote and there are often compatibility issues. The contents of this presentation is a mix of original work and ideas and words taken from a multitude of various sources. I haven't credited anyone directly and if you have any objection to your content appearing in this presentation, please get in touch and I'll be more than happy to accomodate your needs.
The document provides information about the WJEC GCE Film Studies exam, including the structure and timing of the exam. It examines the topics of Urban Stories focusing on films about power, poverty and conflict. Sample exam questions and advice for answering are provided, along with background on relevant films like City of God, La Haine, and Bicycle Thieves that may be discussed.
WJEC - A2 Film Studies FM4 mark scheme & guidanceElle Sullivan
This document provides marking guidelines for a GCE AS/A Film Studies exam. It outlines the assessment objectives, mark allocations, and level descriptors for evaluating exam responses. Section A focuses on national cinemas and film styles, Section B focuses on spectatorship, and Section C focuses on applying knowledge to critical issues. Responses are judged on knowledge of film concepts and ability to analyze films critically. Higher levels demonstrate thorough knowledge, developed arguments, and sophisticated writing.
La norma ANSI/EIA/TIA-606 establece especificaciones para la administración y documentación del cableado de telecomunicaciones en edificios e instalaciones. Requiere marcar y registrar la ubicación y función de cada cable mediante códigos de color para facilitar su identificación y mantenimiento. Además, clasifica los sistemas de cableado en 4 niveles según su complejidad, desde edificios sencillos hasta entornos multicampus.
This document provides a detailed analysis of the narrative structure, plot, characters, and cultural context of the 1999 film Fight Club. It analyzes the story, plot, plot structure including inciting moment, key scene, turning point and climax. It examines the main conflict lines in the film around illusion vs reality, order vs chaos, human vs society, human vs god, and past vs future. It also analyzes the characters of Jack, Tyler Durden, Marla, and the Boss. Overall, the document provides a concise yet comprehensive summary and analysis of key elements of the narrative and themes of Fight Club.
This document provides past paper questions for an exam on the topic of urban stories – power, poverty and conflict as seen through film. The questions from 2010 ask about the impact of film techniques and the analysis of social issues presented in the films. The 2011 questions ask about the portrayal of poverty, the representation of urban experiences through stylistic choices, and the importance of cinematography/editing in communicating issues of power, poverty and conflict or how the films challenge audiences.
Consecuencias de usar cables UTP de mala calidadTrielec S.A.
Muchas empresas comercializan cables UTP de baja calidad y a un precio mucho más bajo del normal. En Trielec sostenemos la premisa de trabajar en la calidad de los productos que comercializamos, por esto es que en nuestra empresa vendemos FURUKAWA, marca líder por excelencia.
WJEC - A2 Film Studies FM4 specimen exam questionsElle Sullivan
This document provides an examination paper for the GCE AS/A Film Studies qualification. It contains three sections with multiple choice questions about world cinema, spectatorship topics, and a close critical study of a single film. Students must answer one question from each section, with the questions in Sections A and B carrying 35 marks and questions in Section C carrying 30 marks. The paper tests understanding of aspects studied throughout the AS and A levels.
A2 Film A-Level Film Studies FM4 Spectatorship RevisionIan Moreno-Melgar
A PowerPoint that collates a range of key ideas for the FM4 Spectatorhship area of A2 Film Studies. There may be some formatting issues with the presentation as it was created using Keynote and there are often compatibility issues. The contents of this presentation is a mix of original work and ideas and words taken from a multitude of various sources. I haven't credited anyone directly and if you have any objection to your content appearing in this presentation, please get in touch and I'll be more than happy to accomodate your needs.
The document provides information about the WJEC GCE Film Studies exam, including the structure and timing of the exam. It examines the topics of Urban Stories focusing on films about power, poverty and conflict. Sample exam questions and advice for answering are provided, along with background on relevant films like City of God, La Haine, and Bicycle Thieves that may be discussed.
WJEC - A2 Film Studies FM4 mark scheme & guidanceElle Sullivan
This document provides marking guidelines for a GCE AS/A Film Studies exam. It outlines the assessment objectives, mark allocations, and level descriptors for evaluating exam responses. Section A focuses on national cinemas and film styles, Section B focuses on spectatorship, and Section C focuses on applying knowledge to critical issues. Responses are judged on knowledge of film concepts and ability to analyze films critically. Higher levels demonstrate thorough knowledge, developed arguments, and sophisticated writing.
La norma ANSI/EIA/TIA-606 establece especificaciones para la administración y documentación del cableado de telecomunicaciones en edificios e instalaciones. Requiere marcar y registrar la ubicación y función de cada cable mediante códigos de color para facilitar su identificación y mantenimiento. Además, clasifica los sistemas de cableado en 4 niveles según su complejidad, desde edificios sencillos hasta entornos multicampus.
This document provides a detailed analysis of the narrative structure, plot, characters, and cultural context of the 1999 film Fight Club. It analyzes the story, plot, plot structure including inciting moment, key scene, turning point and climax. It examines the main conflict lines in the film around illusion vs reality, order vs chaos, human vs society, human vs god, and past vs future. It also analyzes the characters of Jack, Tyler Durden, Marla, and the Boss. Overall, the document provides a concise yet comprehensive summary and analysis of key elements of the narrative and themes of Fight Club.
This document provides past paper questions for an exam on the topic of urban stories – power, poverty and conflict as seen through film. The questions from 2010 ask about the impact of film techniques and the analysis of social issues presented in the films. The 2011 questions ask about the portrayal of poverty, the representation of urban experiences through stylistic choices, and the importance of cinematography/editing in communicating issues of power, poverty and conflict or how the films challenge audiences.
Consecuencias de usar cables UTP de mala calidadTrielec S.A.
Muchas empresas comercializan cables UTP de baja calidad y a un precio mucho más bajo del normal. En Trielec sostenemos la premisa de trabajar en la calidad de los productos que comercializamos, por esto es que en nuestra empresa vendemos FURUKAWA, marca líder por excelencia.
The document provides guidance for writing a critical analysis of the film "Fight Club". It outlines theoretical concepts to discuss such as representations of modern life, masculinity, and gender. It also lists stylistic elements to analyze like color, editing, and performances. Students are instructed to construct an argument using film theory to support their own interpretation of the film's meanings and responses it has received.
This document outlines 8 critical approaches for analyzing the film Fight Club, including analyzing the star/performer, genre, auteur, social/cultural messages, gender issues, ethnicity, the film's institution, and its use of technology. It poses questions about the main stars (Brad Pitt, Edward Norton, Helen Bonham Carter), the genre, the auteur or director's style, and what the film says about society, politics, and values through lenses of Marxism, nihilism, and postmodernism. It also prompts considering how the film represents men and women and the institution of its production.
Fight Club Marxism (political critical approach)Naamah Hill
Fight Club contains Marxist themes and can be analyzed through a Marxist lens. The film criticizes capitalism by portraying the main character as a disenchanted consumer whose life lacks meaning. He finds liberation in joining a fight club created by Tyler Durden that rejects consumerism. Tyler seeks to destroy the established social order and corporate control over people's lives. However, the film also shows the dangers of Tyler's anarchism and desire for violent revolution. In the end, the narrator stops Tyler's plans, but not before significant damage is done.
This document discusses theories of emotional response to film. It addresses how film generates emotion through techniques like mise-en-scene, music, and character identification. It also discusses how contextual factors like a viewer's background can influence their response. The document outlines Stuart Hall's concept of how viewers are "positioned" by filmmakers through techniques that encourage certain interpretations. It suggests viewers may have preferred, negotiated, or oppositional readings depending on social and cultural factors. Finally, the document discusses the involuntary psychological process of "emotional contagion" whereby viewers mimic characters' emotions due to film techniques like close-ups of faces.
This document provides hints to name an actor born in 1942 in Berlin who starred in the 1995 James Bond film GoldenEye. The hints are the birth year and place of 1942 and Berlin along with the movie GoldenEye but do not explicitly name the actor.
Support Tresya, innovative startup on blueocean, to promote women in executive workplace through presentation skill and executive presence - thanks for sharing and contributing, as private or corporate donators.
The document contains a film quiz with multiple choice and short answer questions about film theory, specifically regarding gender and the gaze. It addresses the works of Laura Mulvey, Jackie Stacey, and other theorists who analyze how gender is constructed and perceived in cinema. Key topics covered include the male gaze, objectification/identification of characters, how audiences are positioned, and theories about gender as a social construct or performance.
The document analyzes Michael Jackson's 1991 music video for "Black or White" and discusses how it conveyed deeper messages about race in America at the time. It notes that the video was released during debates around the Civil Rights Act of 1991 and the Rodney King beating. While portraying a message of racial unity on the surface, an analysis of the lyrics and imagery suggests Jackson intended to pass commentary on ongoing social and political issues regarding race. Certain scenes and symbols, like the appearance of black panthers, represented resistance and empowerment for black communities. The video demonstrated that artistic works could communicate an artist's views on important social and political issues of the day.
Michael Jackson - Black or White analysisBelinda Raji
Michael Jackson's "Black or White" music video from 1991 was groundbreaking for its special effects and simultaneous global premiere across 28 countries reaching an audience of 500 million people. The video begins by transporting a white father through his suburban home and across the globe as Jackson dances with various ethnic groups, representing his message of unity across racial and cultural divides. While celebrating diversity, the video also deconstructs racial stereotypes by revealing the constructed nature of the multicultural scenes.
Vladimir Propp studied hundreds of Russian folktales and identified common narrative structures and character types that appear across stories. He observed that narratives are shaped by specific character functions and actions, and identified 31 possible stages or "functions" that stories may include in a fixed sequence, such as a hero, villain, dispatcher, donor, and helper. Todorov also analyzed narrative structure and proposed stories begin with an equilibrium, experience a disruption, and conclude with the restoration of a new equilibrium.
This document provides discussion questions about the films To Kill a Mockingbird (1962) and A Time to Kill (1996), both of which are lawyer films based on novels. Students are asked to compare the main protagonists Atticus Finch and Jake Brigance, other important characters, and key themes between the two films. They are also prompted to research the historical contexts of 1930s America during TKAM and 1960s America when it was filmed. Finally, students are given conventions of lawyer films and asked how each film fulfills or does not fulfill these conventions through slides and their own analysis.
This section of the exam assesses students' ability to compare and contrast two American films from the same genre or dealing with a specific theme. Students must demonstrate knowledge of film as an audio-visual medium, understand how films communicate messages and contexts of production, and apply different critical approaches to analyzing narrative, style, and ideological messages. The question will require comparing and contrasting aspects of the two films' narratives in relation to their genres or themes, with one question focusing on narrative and the other on historical context. Issues of representation must be discussed.
The document provides details for a proposed action film called "The Heist". It summarizes the genre as action and lists common elements like danger, revenge, and urban settings. It then describes the narrative structure with the beginning introducing two cops, the middle involving a terrorist plot they must stop, and the end resolving the plot and revealing corruption. It recommends Samuel L. Jackson and Will Smith as protagonists, Alan Rickman as the antagonist, and others for supporting roles. John McTiernan is proposed as director due to his experience. The film is pitched as comparable to "Bad Boys" and "Die Hard" but with its own twists. A 200-word pitch is provided that covers all elements.
The document discusses elements that define film genres, including iconography, setting, characters, narrative, style, theme, and audience response. Iconography refers to recurring images that identify a genre, like machine guns in gangster films. Settings are also important, as genres are associated with distinct time periods and locations. Different genres feature characteristic hero and villain characters. Narrative refers to a genre's story structure and devices. Style considers camera work, lighting, color, and tone. Themes often involve binary oppositions. Audience response associates some genres with targeted demographics.
The document lists examples of binary opposites, including good vs evil, black vs white, peace vs war, democracy vs dictatorship, conqueror vs conquered, domestic vs foreign, young vs old, man vs nature, protagonist vs antagonist, motivated vs observer, empowered vs victim, man vs woman, strong vs weak, decisive vs indecisive, east vs west, humanity vs technology, and ignorance vs wisdom.
The document discusses key concepts related to media ownership and distribution, including:
- Monopolies exist when a single firm dominates a market, allowing it to control prices. Oligopolies involve a small number of firms having significant influence over an industry.
- Vertical integration refers to one firm controlling different stages of production, while horizontal integration involves consolidation across different but related industries.
- Major media companies have grown into multinational conglomerates through horizontal and vertical integration, owning properties across film, television, publishing and more.
- Franchises allow original creative works to expand across multiple forms of media through licensing, while globalization and concerns over cultural imperialism reflect conglomerates' international reach
The Walt Disney Company is an American mass media and entertainment conglomerate founded in 1923 and headquartered in Burbank, California. It is the world's second largest media conglomerate in terms of revenue. The company's mission is to be a leading producer and provider of entertainment and information worldwide. Walt Disney Company is publicly owned by millions of shareholders and generates revenue through its assets and products. Robert Iger has served as CEO since 2005 and focuses on generating creative content, innovation, and expanding into new markets. The company has cross-media ownership of assets across film, television, music, publishing, and parks and resorts.
The document discusses key concepts related to media ownership structures and distribution, including:
- Monopoly and oligopoly market structures, with examples of companies dominating certain markets.
- Vertical and horizontal integration, where companies consolidate operations across different parts of the production or distribution process, or across different types of media.
- Multi-national media conglomerates that own multiple companies across different media segments in a vertically integrated structure to control large portions of the entertainment industry.
- Franchises that expand original creative works across multiple forms of media through licensing agreements.
- The role of globalization and concerns about cultural imperialism as media ownership becomes concentrated worldwide.
The document discusses the 1975 British film Pressure, which portrayed racial tensions in Britain during the 1970s and 1980s. It addressed issues like police harassment, racism in employment, and the experiences of second-generation black British youth. The film conveyed a sense of collective black identity through themes like its portrayal of food, fashion, language, and the urban environment. It presented a more militant perspective that differed from mainstream representations of black Britons at the time.
Between 1948-1962:
- Large numbers of migrants from West Indies and Asia arrived in Britain to fill labor shortages.
- Racial tensions rose as attacks against black people occurred.
- Politicians and white Britons grew concerned about issues like housing shortages and job availability due to immigration.
- Laws were passed in 1962 that introduced immigration restrictions targeting non-white Commonwealth citizens, marking the beginning of explicitly racist immigration policies in Britain.
Pressure notes and screening questionsBelinda Raji
1) Racial tensions erupted across British cities in the 1970s and 1980s, as seen in events like the Brixton Riots.
2) Pressure was made to represent the experiences of black British youth coming of age during this time of social and political change.
3) Pressure represents examples of racism like police harassment and discrimination in the job market experienced by black British people.
Exam lessons 3 (audiences) Section A A2 Media Exam Belinda Raji
The document discusses media audience theory, focusing on concepts like the hypodermic needle model, uses and gratifications theory, and reception theory. It provides details on each concept, including critiques of the hypodermic needle model which sees audiences as passive, and examples of how uses and gratifications theory and reception theory see audiences as more active in making meaning. It also discusses audience segmentation models and provides quotes related to understanding audiences and conducting audience research.
The document provides guidance for writing a critical analysis of the film "Fight Club". It outlines theoretical concepts to discuss such as representations of modern life, masculinity, and gender. It also lists stylistic elements to analyze like color, editing, and performances. Students are instructed to construct an argument using film theory to support their own interpretation of the film's meanings and responses it has received.
This document outlines 8 critical approaches for analyzing the film Fight Club, including analyzing the star/performer, genre, auteur, social/cultural messages, gender issues, ethnicity, the film's institution, and its use of technology. It poses questions about the main stars (Brad Pitt, Edward Norton, Helen Bonham Carter), the genre, the auteur or director's style, and what the film says about society, politics, and values through lenses of Marxism, nihilism, and postmodernism. It also prompts considering how the film represents men and women and the institution of its production.
Fight Club Marxism (political critical approach)Naamah Hill
Fight Club contains Marxist themes and can be analyzed through a Marxist lens. The film criticizes capitalism by portraying the main character as a disenchanted consumer whose life lacks meaning. He finds liberation in joining a fight club created by Tyler Durden that rejects consumerism. Tyler seeks to destroy the established social order and corporate control over people's lives. However, the film also shows the dangers of Tyler's anarchism and desire for violent revolution. In the end, the narrator stops Tyler's plans, but not before significant damage is done.
This document discusses theories of emotional response to film. It addresses how film generates emotion through techniques like mise-en-scene, music, and character identification. It also discusses how contextual factors like a viewer's background can influence their response. The document outlines Stuart Hall's concept of how viewers are "positioned" by filmmakers through techniques that encourage certain interpretations. It suggests viewers may have preferred, negotiated, or oppositional readings depending on social and cultural factors. Finally, the document discusses the involuntary psychological process of "emotional contagion" whereby viewers mimic characters' emotions due to film techniques like close-ups of faces.
This document provides hints to name an actor born in 1942 in Berlin who starred in the 1995 James Bond film GoldenEye. The hints are the birth year and place of 1942 and Berlin along with the movie GoldenEye but do not explicitly name the actor.
Support Tresya, innovative startup on blueocean, to promote women in executive workplace through presentation skill and executive presence - thanks for sharing and contributing, as private or corporate donators.
The document contains a film quiz with multiple choice and short answer questions about film theory, specifically regarding gender and the gaze. It addresses the works of Laura Mulvey, Jackie Stacey, and other theorists who analyze how gender is constructed and perceived in cinema. Key topics covered include the male gaze, objectification/identification of characters, how audiences are positioned, and theories about gender as a social construct or performance.
The document analyzes Michael Jackson's 1991 music video for "Black or White" and discusses how it conveyed deeper messages about race in America at the time. It notes that the video was released during debates around the Civil Rights Act of 1991 and the Rodney King beating. While portraying a message of racial unity on the surface, an analysis of the lyrics and imagery suggests Jackson intended to pass commentary on ongoing social and political issues regarding race. Certain scenes and symbols, like the appearance of black panthers, represented resistance and empowerment for black communities. The video demonstrated that artistic works could communicate an artist's views on important social and political issues of the day.
Michael Jackson - Black or White analysisBelinda Raji
Michael Jackson's "Black or White" music video from 1991 was groundbreaking for its special effects and simultaneous global premiere across 28 countries reaching an audience of 500 million people. The video begins by transporting a white father through his suburban home and across the globe as Jackson dances with various ethnic groups, representing his message of unity across racial and cultural divides. While celebrating diversity, the video also deconstructs racial stereotypes by revealing the constructed nature of the multicultural scenes.
Vladimir Propp studied hundreds of Russian folktales and identified common narrative structures and character types that appear across stories. He observed that narratives are shaped by specific character functions and actions, and identified 31 possible stages or "functions" that stories may include in a fixed sequence, such as a hero, villain, dispatcher, donor, and helper. Todorov also analyzed narrative structure and proposed stories begin with an equilibrium, experience a disruption, and conclude with the restoration of a new equilibrium.
This document provides discussion questions about the films To Kill a Mockingbird (1962) and A Time to Kill (1996), both of which are lawyer films based on novels. Students are asked to compare the main protagonists Atticus Finch and Jake Brigance, other important characters, and key themes between the two films. They are also prompted to research the historical contexts of 1930s America during TKAM and 1960s America when it was filmed. Finally, students are given conventions of lawyer films and asked how each film fulfills or does not fulfill these conventions through slides and their own analysis.
This section of the exam assesses students' ability to compare and contrast two American films from the same genre or dealing with a specific theme. Students must demonstrate knowledge of film as an audio-visual medium, understand how films communicate messages and contexts of production, and apply different critical approaches to analyzing narrative, style, and ideological messages. The question will require comparing and contrasting aspects of the two films' narratives in relation to their genres or themes, with one question focusing on narrative and the other on historical context. Issues of representation must be discussed.
The document provides details for a proposed action film called "The Heist". It summarizes the genre as action and lists common elements like danger, revenge, and urban settings. It then describes the narrative structure with the beginning introducing two cops, the middle involving a terrorist plot they must stop, and the end resolving the plot and revealing corruption. It recommends Samuel L. Jackson and Will Smith as protagonists, Alan Rickman as the antagonist, and others for supporting roles. John McTiernan is proposed as director due to his experience. The film is pitched as comparable to "Bad Boys" and "Die Hard" but with its own twists. A 200-word pitch is provided that covers all elements.
The document discusses elements that define film genres, including iconography, setting, characters, narrative, style, theme, and audience response. Iconography refers to recurring images that identify a genre, like machine guns in gangster films. Settings are also important, as genres are associated with distinct time periods and locations. Different genres feature characteristic hero and villain characters. Narrative refers to a genre's story structure and devices. Style considers camera work, lighting, color, and tone. Themes often involve binary oppositions. Audience response associates some genres with targeted demographics.
The document lists examples of binary opposites, including good vs evil, black vs white, peace vs war, democracy vs dictatorship, conqueror vs conquered, domestic vs foreign, young vs old, man vs nature, protagonist vs antagonist, motivated vs observer, empowered vs victim, man vs woman, strong vs weak, decisive vs indecisive, east vs west, humanity vs technology, and ignorance vs wisdom.
The document discusses key concepts related to media ownership and distribution, including:
- Monopolies exist when a single firm dominates a market, allowing it to control prices. Oligopolies involve a small number of firms having significant influence over an industry.
- Vertical integration refers to one firm controlling different stages of production, while horizontal integration involves consolidation across different but related industries.
- Major media companies have grown into multinational conglomerates through horizontal and vertical integration, owning properties across film, television, publishing and more.
- Franchises allow original creative works to expand across multiple forms of media through licensing, while globalization and concerns over cultural imperialism reflect conglomerates' international reach
The Walt Disney Company is an American mass media and entertainment conglomerate founded in 1923 and headquartered in Burbank, California. It is the world's second largest media conglomerate in terms of revenue. The company's mission is to be a leading producer and provider of entertainment and information worldwide. Walt Disney Company is publicly owned by millions of shareholders and generates revenue through its assets and products. Robert Iger has served as CEO since 2005 and focuses on generating creative content, innovation, and expanding into new markets. The company has cross-media ownership of assets across film, television, music, publishing, and parks and resorts.
The document discusses key concepts related to media ownership structures and distribution, including:
- Monopoly and oligopoly market structures, with examples of companies dominating certain markets.
- Vertical and horizontal integration, where companies consolidate operations across different parts of the production or distribution process, or across different types of media.
- Multi-national media conglomerates that own multiple companies across different media segments in a vertically integrated structure to control large portions of the entertainment industry.
- Franchises that expand original creative works across multiple forms of media through licensing agreements.
- The role of globalization and concerns about cultural imperialism as media ownership becomes concentrated worldwide.
The document discusses the 1975 British film Pressure, which portrayed racial tensions in Britain during the 1970s and 1980s. It addressed issues like police harassment, racism in employment, and the experiences of second-generation black British youth. The film conveyed a sense of collective black identity through themes like its portrayal of food, fashion, language, and the urban environment. It presented a more militant perspective that differed from mainstream representations of black Britons at the time.
Between 1948-1962:
- Large numbers of migrants from West Indies and Asia arrived in Britain to fill labor shortages.
- Racial tensions rose as attacks against black people occurred.
- Politicians and white Britons grew concerned about issues like housing shortages and job availability due to immigration.
- Laws were passed in 1962 that introduced immigration restrictions targeting non-white Commonwealth citizens, marking the beginning of explicitly racist immigration policies in Britain.
Pressure notes and screening questionsBelinda Raji
1) Racial tensions erupted across British cities in the 1970s and 1980s, as seen in events like the Brixton Riots.
2) Pressure was made to represent the experiences of black British youth coming of age during this time of social and political change.
3) Pressure represents examples of racism like police harassment and discrimination in the job market experienced by black British people.
Exam lessons 3 (audiences) Section A A2 Media Exam Belinda Raji
The document discusses media audience theory, focusing on concepts like the hypodermic needle model, uses and gratifications theory, and reception theory. It provides details on each concept, including critiques of the hypodermic needle model which sees audiences as passive, and examples of how uses and gratifications theory and reception theory see audiences as more active in making meaning. It also discusses audience segmentation models and provides quotes related to understanding audiences and conducting audience research.
Exam lessons 3 (representation) - Section A A2 Media ExamBelinda Raji
The document provides guidance on analyzing representations in media productions using the concept of representation and related theories. It discusses how representations construct versions of reality and ideology. It encourages focusing an analysis of a soap opera trailer on how gender, social groups and places are represented through media language tools and what ideological messages are communicated. Key theories discussed include those relating to cultural hegemony, stereotypes, feminism and the male gaze. The document suggests deconstructing the various production stages and choosing elements to focus on how representations were constructed and their intended effects.
The document defines representation as the mediated presentation of people, things, ideas, places, etc. by the media. It discusses how representation involves describing or depicting something to call it up in the mind. Representation is a constructed process that involves selection, organization, and focusing of content by the media to direct the audience's attention in a certain way. This process of mediation is how representations are formed to present a version of reality rather than reality itself.
This document provides information about Section B of the G325: Critical Perspectives in Media examination. Section B focuses on contemporary media issues and will require candidates to answer one question from a choice of six topic areas. For each topic area, candidates must demonstrate understanding of the historical, contemporary, and future aspects as they relate to at least two media forms and include references to relevant media theories and critics. The document provides examples of topic areas such as representations of Black Britain, prompts questions for each area, and suggests texts and theorists candidates could draw from to demonstrate their knowledge in the exam.
A2 G325: Critical Perspectives in the Media (Section A)Belinda Raji
This document provides guidance for students preparing for Section A of the A2 G325 Critical Perspectives in Media exam. Section A consists of two compulsory questions assessing students' theoretical evaluation of their practical production work. Question 1a requires students to reflect on the development of their skills over all their production work from AS to A2 levels. Question 1b requires analysis of one selected production in relation to a key theoretical concept. The document offers advice on preparing responses, including creating a timeline of all work and focusing answers on areas of the mark scheme. It also provides prompts for students to reflect on their creativity and use of digital technology in their practical work.
This document contains past exam questions for the G325 Section A exam from 2010 to 2014. The questions generally ask students to describe and analyze how their media production skills, such as research, planning, use of technology, understanding of conventions and genres, developed over time through their coursework. Students are asked to refer to examples from their past productions and apply concepts like representation, narrative, audience and genre to one of their courseworks. The questions also ask students to evaluate how their skills contributed to creative decision making in their media productions.