This document provides information from the exam board on the G325 Critical Perspective in Media exam, including details on the structure, requirements, and assessed topics.
The exam consists of two sections - Section A focuses on evaluating candidates' production work, requiring them to describe their skills development and critically analyze one production using a media concept. Section B requires candidates to answer one question from a choice of six topics on contemporary media issues, demonstrating understanding of the topic through case studies and debates.
The document lists the production practices, media concepts, and contemporary media issues that exam questions may address. It provides guidance on preparing responses for Section B, emphasizing a historical, contemporary and future perspective using at least two media. Overall,
This document provides information and guidance about the exam for G325 Critical Perspectives in Media from the exam board.
The exam consists of two sections - Section A focuses on evaluating the candidate's own production work, answering two compulsory questions about skills development and applying a theoretical concept. Section B requires answering one question from a choice of six topics on contemporary media issues, demonstrating understanding of the topic through case studies and debates.
For Section A, Question 1(a) requires describing and evaluating skills development over productions, focusing on areas like technology, research, or post-production. Question 1(b) requires selecting one production and evaluating it in relation to concepts like genre, narrative or representation.
For Section B
This document discusses creativity and how it relates to media coursework. It defines creativity as thinking imaginatively and generating something original. It notes that creativity is often influenced by social and cultural factors. When evaluating their own coursework, students should consider elements like composition, representation, narrative, language, and how technology may have enabled creative expression. There is no absolute definition of creativity; it depends on social comparison. Students should reflect on whether their work was a creative "knowledge object" or "art object" and how they communicated their purpose and ideas through stylistic techniques.
Human: Thank you, that is a concise 3 sentence summary that captures the key points about how the document discusses creativity and how students can reflect on
This document contains questions, prompts, and guidance for answering questions about media skills, concepts, and collective identity in three main areas:
1. Questions 1a and 1b address skills/processes and concepts respectively, prompting analysis of conventions, creativity, research/planning, post-production, digital technology, media language, genre, narrative, and audience in relation to four coursework productions.
2. Section B addresses media and collective identity, asking how contemporary media represent nations, regions, and social/collective groups through stereotypes, dominant ideologies, and heterogeneity/homogeneity.
3. Guidance is provided on applying relevant media theories and concepts to the representations, such as those relating to gender,
Gaming Media Campaigns: Achieving Consistency Across Media Varying Forms. Graveney School
The document provides guidance for creating a case study on the marketing campaign of a video game. Students are instructed to:
1. Research recent successful gaming marketing campaigns that demonstrated consistency across different media forms like posters, trailers, websites, and social media.
2. Explain in an exam the importance of consistency across different media in planning an effective gaming marketing campaign.
3. Demonstrate knowledge of common media platforms used in gaming campaigns and understand the strengths and limitations of each platform for reaching audiences and influencing game purchases.
The task is to work in pairs to create a case study on the assigned marketing campaign for one of the listed games. The case study should describe and evaluate the consistency of the campaign
The document discusses various technologies and processes used in constructing a music video or other media product. It lists examples of research activities conducted using new media technologies, such as searching for similar films online and looking at album release posters. Planning activities are also discussed, including uploading schedules, storyboards, and filming locations. The construction and evaluation process involved uploading various works-in-progress and final versions to YouTube and Flickr. New media technologies allowed referencing and comparing other works online.
Video Games Marketing: Representations Across a CampaignGraveney School
This document discusses representation in video game marketing campaigns and provides tasks for analyzing representations of gender in Grand Theft Auto V. It begins with defining representation and stereotypes. It then discusses the large budget for GTA V's marketing and some facts about the game. Next, it asks the reader to take notes on how female characters are represented in comparison to males in GTA V's marketing materials, specifically three character trailers. It provides a link to further information on stereotypes and asks the reader to write a 1-3 paragraph analysis of any common media representations found and explain why media stereotypes exist by referencing at least three theorists.
This document provides information from the exam board on the G325 Critical Perspective in Media exam, including details on the structure, requirements, and assessed content.
The exam consists of two sections - Section A focuses on evaluating candidates' production work, requiring them to describe their skills development and critically analyze one production using a media concept. Section B requires candidates to answer one question from a choice of six topics on contemporary media issues, demonstrating understanding of the topic through case studies and debates.
The document outlines the specific criteria for questions in each section, including the production practices and media concepts assessed in Section A, and the six topic areas that will be the basis for questions in Section B. It emphasizes applying both historical and contemporary
Video games often rely on stereotypical character tropes including the gruff soldier, the wise elder, the sneaky thief, and the bubbly princess. These overused archetypes fail to represent the diversity of real people. While stereotypes can help drive familiar narratives, developers could explore new types of characters that resonate with more players.
This document provides information and guidance about the exam for G325 Critical Perspectives in Media from the exam board.
The exam consists of two sections - Section A focuses on evaluating the candidate's own production work, answering two compulsory questions about skills development and applying a theoretical concept. Section B requires answering one question from a choice of six topics on contemporary media issues, demonstrating understanding of the topic through case studies and debates.
For Section A, Question 1(a) requires describing and evaluating skills development over productions, focusing on areas like technology, research, or post-production. Question 1(b) requires selecting one production and evaluating it in relation to concepts like genre, narrative or representation.
For Section B
This document discusses creativity and how it relates to media coursework. It defines creativity as thinking imaginatively and generating something original. It notes that creativity is often influenced by social and cultural factors. When evaluating their own coursework, students should consider elements like composition, representation, narrative, language, and how technology may have enabled creative expression. There is no absolute definition of creativity; it depends on social comparison. Students should reflect on whether their work was a creative "knowledge object" or "art object" and how they communicated their purpose and ideas through stylistic techniques.
Human: Thank you, that is a concise 3 sentence summary that captures the key points about how the document discusses creativity and how students can reflect on
This document contains questions, prompts, and guidance for answering questions about media skills, concepts, and collective identity in three main areas:
1. Questions 1a and 1b address skills/processes and concepts respectively, prompting analysis of conventions, creativity, research/planning, post-production, digital technology, media language, genre, narrative, and audience in relation to four coursework productions.
2. Section B addresses media and collective identity, asking how contemporary media represent nations, regions, and social/collective groups through stereotypes, dominant ideologies, and heterogeneity/homogeneity.
3. Guidance is provided on applying relevant media theories and concepts to the representations, such as those relating to gender,
Gaming Media Campaigns: Achieving Consistency Across Media Varying Forms. Graveney School
The document provides guidance for creating a case study on the marketing campaign of a video game. Students are instructed to:
1. Research recent successful gaming marketing campaigns that demonstrated consistency across different media forms like posters, trailers, websites, and social media.
2. Explain in an exam the importance of consistency across different media in planning an effective gaming marketing campaign.
3. Demonstrate knowledge of common media platforms used in gaming campaigns and understand the strengths and limitations of each platform for reaching audiences and influencing game purchases.
The task is to work in pairs to create a case study on the assigned marketing campaign for one of the listed games. The case study should describe and evaluate the consistency of the campaign
The document discusses various technologies and processes used in constructing a music video or other media product. It lists examples of research activities conducted using new media technologies, such as searching for similar films online and looking at album release posters. Planning activities are also discussed, including uploading schedules, storyboards, and filming locations. The construction and evaluation process involved uploading various works-in-progress and final versions to YouTube and Flickr. New media technologies allowed referencing and comparing other works online.
Video Games Marketing: Representations Across a CampaignGraveney School
This document discusses representation in video game marketing campaigns and provides tasks for analyzing representations of gender in Grand Theft Auto V. It begins with defining representation and stereotypes. It then discusses the large budget for GTA V's marketing and some facts about the game. Next, it asks the reader to take notes on how female characters are represented in comparison to males in GTA V's marketing materials, specifically three character trailers. It provides a link to further information on stereotypes and asks the reader to write a 1-3 paragraph analysis of any common media representations found and explain why media stereotypes exist by referencing at least three theorists.
This document provides information from the exam board on the G325 Critical Perspective in Media exam, including details on the structure, requirements, and assessed content.
The exam consists of two sections - Section A focuses on evaluating candidates' production work, requiring them to describe their skills development and critically analyze one production using a media concept. Section B requires candidates to answer one question from a choice of six topics on contemporary media issues, demonstrating understanding of the topic through case studies and debates.
The document outlines the specific criteria for questions in each section, including the production practices and media concepts assessed in Section A, and the six topic areas that will be the basis for questions in Section B. It emphasizes applying both historical and contemporary
Video games often rely on stereotypical character tropes including the gruff soldier, the wise elder, the sneaky thief, and the bubbly princess. These overused archetypes fail to represent the diversity of real people. While stereotypes can help drive familiar narratives, developers could explore new types of characters that resonate with more players.
The document contains questions about media concepts and skills used in media coursework productions. It asks the student to discuss concepts like media language, genre, audience, narrative, and representation in their work. It also prompts the student to reflect on how they developed skills like research and planning, digital technology use, post-production techniques, and creativity over the course of their AS and A2 studies. The student is asked to provide examples from their productions and evaluate how these concepts and skills were applied and developed.
This document provides guidance on concepts that could be discussed for a media production assignment, including audience, narrative, representation, genre, and media language. It gives examples of questions students may be asked to answer about how their media product engages with these concepts. For the concept of audience, it provides questions about defining the target audience, appealing to them, and gathering audience feedback.
This document provides guidance for students on summarizing their progress in media production skills from Advanced Subsidiary (AS) to Advanced (A2) level. It outlines key areas for critical reflection including research and planning, creativity, use of digital technology, post-production, use of conventions, and analyzing their own work. Students are encouraged to apply media theories to their work and discuss genre, representation, audience, narrative, and how meaning is constructed through media language. The document aims to help students structure reflective evaluations of their creative practice and production outcomes.
This document provides guidance for students on summarizing their progress in media production skills from Advanced Subsidiary (AS) to Advanced (A2) level. It outlines key areas for critical reflection including research and planning, creativity, use of digital technology, post-production, use of conventions, and analyzing their own work. Students are encouraged to apply media theories to their work and discuss audience impact. The document emphasizes concise analysis over lengthy explanations of theory.
This document provides guidance for students on answering questions about reflecting on and analyzing their media productions from AS to A2 levels. It discusses filling out forms to evaluate productions in terms of hardware, software, research, planning, creativity, conventions, editing, sound, effects, theories, language, audience and narrative. Students are asked to rewatch one of their past productions and analyze it using these concepts, treating it as if it was not their own work. The document aims to help students thoughtfully summarize and critique their own creative process and technical skills development.
The document provides guidance for answering exam questions on media studies. It discusses potential topics that could be covered, including digital technology, creativity, research and planning, and post-production. It also provides examples of questions and suggests how to structure answers. Theorists that could be referenced are mentioned, such as Barthes, Levi-Strauss, and Propp. Examiners' reports are included that address what makes a successful response, such as relating digital technologies used to the development process and final product, including a range of examples, and comparing AS and A2 work.
This document provides guidance on answering questions for an A2 media evaluation. Question 1 addresses how the student's media product used, developed, or challenged conventions of real media genres. Key concepts addressed are genre and media language. Question 2 asks about the effectiveness of combining the main product with ancillary texts. The key concept is audience. Question 3 asks what was learned from audience feedback. This relates to the audience concept. Finally, Question 4 addresses the student's use of media technologies in production and evaluation, rather than key concepts. The document provides suggestions for using relevant media theories to analyze and justify answers.
This document provides guidance and planning materials for answering potential exam questions about digital technology, creativity, and conventions of real media texts. It includes:
1. Suggested essay structures and examples to compare work from AS and A2 years.
2. Discussion of relevant theories and theorists for each topic.
3. Charts and templates to plan examples for pre-production, production, and post-production stages.
4. Prompts to analyze one's own use of genre conventions and how they compared to inspirational real media.
The document aims to help the student strategically plan strong essay responses that demonstrate knowledge of their coursework processes and integration of relevant production concepts.
This document provides guidance on analyzing media concepts and productions for a school assignment. It lists five key media concepts - genre, narrative, representation, audience, and media language - and provides prompts for evaluating how a student addressed each concept in a media product they created. The concepts can be used to analyze elements like narrative structure, audience targeting, representations of social groups, genre conventions, and use of media language techniques. Students are instructed to choose one media concept and one of their past productions to evaluate in detail for the assignment.
This document provides guidance for a student to analyze one of their coursework productions in relation to genre by evaluating how they conformed to or challenged genre conventions through their creative choices and by applying genre theory and terminology. The student is instructed to consider how genre informed their production decisions and how their work fits within or diverges from the expectations of the genre.
Your evaluation must be submitted electronically and address 7 questions related to how your media product used or challenged conventions, represented social groups, and would be distributed. It should also discuss what you learned about technologies and the progression from your preliminary work. The evaluation is an opportunity to showcase your learning in a creative format using images, audio, and video.
This document provides guidance for answering a question about progression in digital technology skills and media production from AS to A2 level. It instructs the student to:
- Provide examples from each production that demonstrate progression in the use of software, creativity, research/planning, and post-production skills.
- Discuss how software was used at each level and how skills improved, citing specific examples from each piece.
- Explain how conventions from other media texts were both repeated and made unique in each of their productions.
The document then provides similar guidance for answering a question about representing a key concept through one of the student's productions, instructing them to analyze representation, narrative, genre, audience and media
This document contains sample exam practice questions for a critical perspectives course. Question 1A contains 4 sub-questions about how a student's creativity and skills have developed through digital media production coursework, including research, planning, post-production, and use of conventions. Question 1B contains 5 sub-questions about narrative approaches, media representation, genre conventions, and audience needs in one of the student's productions. Question 2 contains 7 sub-questions about representation of collective identity in the media, how representation changes over time, analysis of how media represents social groups, and effects of media representation on society.
The document provides guidance for evaluating a student's media production project. The evaluation must be in an electronic format and include audience feedback. It must address how the project uses or challenges real media conventions; how it represents social groups; what type of media institution might distribute it; who the target audience is and how they were attracted. The evaluation should also reflect on what was learned about technologies, improvements from preliminary work, techniques for fulfilling genre expectations or subverting them, and audience pleasure. It should analyze representation of people and ideas, and use of elements like mise-en-scene to construct realism. It should discuss managing resources, locations, actors and time as well as using technology creatively or where it obstructed the process
OCR media A level - genre, section 1 examhasnmedia
The document provides guidance for answering exam questions relating to media coursework productions. It includes potential topics for two questions:
Question 1a asks the student to discuss the development of their skills and creative decision making.
Question 1b provides options to analyze a coursework production using various critical concepts, including genre, narrative, representation, audience, and media language. The document advises analyzing one production in relation to one of these concepts, applying relevant theory and terminology.
This document provides revision guidance for Section A of an A2 Media Studies exam. Section A focuses on evaluating a student's coursework productions through a theoretical lens. For question 1(a), students discuss the development of their skills such as digital technology use, creativity, research/planning, and post-production from AS to A2 level. For question 1(b), students analyze one of their coursework pieces using concepts like narrative, audience, genre, representation, or media language. The document provides sample questions and theories to help students structure their exam responses.
The document provides guidance for writing a response analyzing the role of audience in a soap trailer or music video production piece. It outlines key areas of focus, including audience research conducted to identify the target audience and their consumption trends, as well as the modes of address implemented to appeal to that audience. Feedback on audience response to the final product is also identified as important to analyze, such as how effectively the intended audience was reached and what uses and gratifications the product provided viewers. Theorists like Gerbner and Hall are referenced to aid in analyzing how the media socializes audiences and how audiences interpret media texts based on their own experiences and beliefs.
The document outlines the requirements for the evaluation portion of a Media Studies foundation portfolio. Students must analyze their own media product in terms of conventions, representation, audience, and use of technology. The evaluation must be presented digitally and answer 7 questions that assess the student's understanding of these key concepts as demonstrated through their media product. Questions address how the product uses or challenges conventions; represents social groups; would be distributed; attracts its intended audience; and how the student's skills and knowledge have progressed over the course of the project.
The document outlines four questions that must be addressed in the evaluation:
1. How the media product uses, develops or challenges conventions of real media.
2. The effectiveness of combining the main product with ancillary texts.
3. What was learned from audience feedback.
4. How media technologies were used in construction, research, planning and evaluation.
The evaluation must be creative and demonstrate understanding of media products.
Students are assigned to complete either a short film sequence, website, or other ancillary production task as part of their media studies coursework. They must follow specific requirements and deadlines for planning, filming, editing, and completing their assignments. Failure to attend lessons or meet deadlines will result in marks being deducted. Students are expected to work a minimum of 3 hours per week outside of lessons to successfully finish all coursework assignments.
The Crime Channel is launching a new television crime drama writing competition. Entrants are asked to submit an idea for a pilot episode of a new crime drama series aimed at a family audience. The pilot episode should have an engaging storyline, realistic settings, and interesting characters. If the pilot is popular, the winner will have their series commissioned and screened next year. Entries are due by June 14th and should be suitable for pre-watershed viewing. Promotional materials and marketing strategies for the new series should also be proposed. The competition aims to find new original crime drama ideas to engage family audiences.
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The document contains questions about media concepts and skills used in media coursework productions. It asks the student to discuss concepts like media language, genre, audience, narrative, and representation in their work. It also prompts the student to reflect on how they developed skills like research and planning, digital technology use, post-production techniques, and creativity over the course of their AS and A2 studies. The student is asked to provide examples from their productions and evaluate how these concepts and skills were applied and developed.
This document provides guidance on concepts that could be discussed for a media production assignment, including audience, narrative, representation, genre, and media language. It gives examples of questions students may be asked to answer about how their media product engages with these concepts. For the concept of audience, it provides questions about defining the target audience, appealing to them, and gathering audience feedback.
This document provides guidance for students on summarizing their progress in media production skills from Advanced Subsidiary (AS) to Advanced (A2) level. It outlines key areas for critical reflection including research and planning, creativity, use of digital technology, post-production, use of conventions, and analyzing their own work. Students are encouraged to apply media theories to their work and discuss genre, representation, audience, narrative, and how meaning is constructed through media language. The document aims to help students structure reflective evaluations of their creative practice and production outcomes.
This document provides guidance for students on summarizing their progress in media production skills from Advanced Subsidiary (AS) to Advanced (A2) level. It outlines key areas for critical reflection including research and planning, creativity, use of digital technology, post-production, use of conventions, and analyzing their own work. Students are encouraged to apply media theories to their work and discuss audience impact. The document emphasizes concise analysis over lengthy explanations of theory.
This document provides guidance for students on answering questions about reflecting on and analyzing their media productions from AS to A2 levels. It discusses filling out forms to evaluate productions in terms of hardware, software, research, planning, creativity, conventions, editing, sound, effects, theories, language, audience and narrative. Students are asked to rewatch one of their past productions and analyze it using these concepts, treating it as if it was not their own work. The document aims to help students thoughtfully summarize and critique their own creative process and technical skills development.
The document provides guidance for answering exam questions on media studies. It discusses potential topics that could be covered, including digital technology, creativity, research and planning, and post-production. It also provides examples of questions and suggests how to structure answers. Theorists that could be referenced are mentioned, such as Barthes, Levi-Strauss, and Propp. Examiners' reports are included that address what makes a successful response, such as relating digital technologies used to the development process and final product, including a range of examples, and comparing AS and A2 work.
This document provides guidance on answering questions for an A2 media evaluation. Question 1 addresses how the student's media product used, developed, or challenged conventions of real media genres. Key concepts addressed are genre and media language. Question 2 asks about the effectiveness of combining the main product with ancillary texts. The key concept is audience. Question 3 asks what was learned from audience feedback. This relates to the audience concept. Finally, Question 4 addresses the student's use of media technologies in production and evaluation, rather than key concepts. The document provides suggestions for using relevant media theories to analyze and justify answers.
This document provides guidance and planning materials for answering potential exam questions about digital technology, creativity, and conventions of real media texts. It includes:
1. Suggested essay structures and examples to compare work from AS and A2 years.
2. Discussion of relevant theories and theorists for each topic.
3. Charts and templates to plan examples for pre-production, production, and post-production stages.
4. Prompts to analyze one's own use of genre conventions and how they compared to inspirational real media.
The document aims to help the student strategically plan strong essay responses that demonstrate knowledge of their coursework processes and integration of relevant production concepts.
This document provides guidance on analyzing media concepts and productions for a school assignment. It lists five key media concepts - genre, narrative, representation, audience, and media language - and provides prompts for evaluating how a student addressed each concept in a media product they created. The concepts can be used to analyze elements like narrative structure, audience targeting, representations of social groups, genre conventions, and use of media language techniques. Students are instructed to choose one media concept and one of their past productions to evaluate in detail for the assignment.
This document provides guidance for a student to analyze one of their coursework productions in relation to genre by evaluating how they conformed to or challenged genre conventions through their creative choices and by applying genre theory and terminology. The student is instructed to consider how genre informed their production decisions and how their work fits within or diverges from the expectations of the genre.
Your evaluation must be submitted electronically and address 7 questions related to how your media product used or challenged conventions, represented social groups, and would be distributed. It should also discuss what you learned about technologies and the progression from your preliminary work. The evaluation is an opportunity to showcase your learning in a creative format using images, audio, and video.
This document provides guidance for answering a question about progression in digital technology skills and media production from AS to A2 level. It instructs the student to:
- Provide examples from each production that demonstrate progression in the use of software, creativity, research/planning, and post-production skills.
- Discuss how software was used at each level and how skills improved, citing specific examples from each piece.
- Explain how conventions from other media texts were both repeated and made unique in each of their productions.
The document then provides similar guidance for answering a question about representing a key concept through one of the student's productions, instructing them to analyze representation, narrative, genre, audience and media
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The document provides guidance for evaluating a student's media production project. The evaluation must be in an electronic format and include audience feedback. It must address how the project uses or challenges real media conventions; how it represents social groups; what type of media institution might distribute it; who the target audience is and how they were attracted. The evaluation should also reflect on what was learned about technologies, improvements from preliminary work, techniques for fulfilling genre expectations or subverting them, and audience pleasure. It should analyze representation of people and ideas, and use of elements like mise-en-scene to construct realism. It should discuss managing resources, locations, actors and time as well as using technology creatively or where it obstructed the process
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The document provides guidance for answering exam questions relating to media coursework productions. It includes potential topics for two questions:
Question 1a asks the student to discuss the development of their skills and creative decision making.
Question 1b provides options to analyze a coursework production using various critical concepts, including genre, narrative, representation, audience, and media language. The document advises analyzing one production in relation to one of these concepts, applying relevant theory and terminology.
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The document outlines four questions that must be addressed in the evaluation:
1. How the media product uses, develops or challenges conventions of real media.
2. The effectiveness of combining the main product with ancillary texts.
3. What was learned from audience feedback.
4. How media technologies were used in construction, research, planning and evaluation.
The evaluation must be creative and demonstrate understanding of media products.
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Students are assigned to complete either a short film sequence, website, or other ancillary production task as part of their media studies coursework. They must follow specific requirements and deadlines for planning, filming, editing, and completing their assignments. Failure to attend lessons or meet deadlines will result in marks being deducted. Students are expected to work a minimum of 3 hours per week outside of lessons to successfully finish all coursework assignments.
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The candidate discusses how they constructed meaning in their music video coursework production through the use of media language. They explain how they used conventions like illustrating the relationship between lyrics and visuals, employing close-ups of the artist as demanded by record labels, and establishing the mise-en-scene through mid shots and long shots. The candidate also discusses applying Carol Vernallis' four concepts of how music videos construct meaning - narrative, editing, camera movements/framing, and sound - through a love story narrative, frequent cuts between shots under 5 seconds, and a close-up of the artist singing followed by a mid shot of them walking.
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The candidate provides evidence of audience research and planning for a music video production. Comparable media products were analyzed and generic conventions considered to help inform production choices. Feedback was gathered from audiences and used to refine elements of the three related products created - the music video, website, and digipak. The candidate demonstrates knowledge of production technologies and digital skills. Overall planning and use of audience input was thorough, though could have been more detailed in discussing the combined finished products and audience reception.
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The document provides feedback on how a student can improve their performance and earn additional marks on an assessment. It recommends the student:
1) Upload drafts of their film poster and provide textual analysis of other film posters to show planning and research.
2) Discuss how feedback impacted their group's plans for their media production with specific examples.
3) Provide evidence of sketching ideas and researching comparable media products before constructing their own.
4) Evaluate their work in comparison to real media examples and identify successes and limitations.
The document provides examples of excellent coursework from candidates evaluating their final products for a media studies course. It notes that the examples demonstrate key moments from their own work and others' to support their arguments. They also show excellent use of specialist terminology and references to academic theory. Each presentation was produced with care and genuine critical reflection.
Gcse contolled trainers assessment evaluation Dec 2016 Graveney School
The document provides guidance for evaluating a student's advertisement for "Streets" trainers. It lists 8 questions the student should answer to reflect on the effectiveness of their ad, including what images and design elements they used and why, how well it appeals to the target audience, and how it compares to real ads. The summary emphasizes using media language and explaining choices, with the goal of showing understanding of how the ad appeals to its audience.
G324 excellent examples of research and planning Graveney School
The document provides examples of research and planning for a level 4 coursework on media production. It includes several slides analyzing magazine advertisements for indie rock bands such as The Enemy, Kaiser Chiefs, and Stereophonics. The slides examine the advertisements' design elements, references to the bands' album covers and music videos, and how they target a young adult audience through their imagery, fonts, and intertextual references in order to appeal to fans of indie rock music.
Sci fi mise en scene presentation: student collectionGraveney School
The mise en scene in science fiction films commonly features futuristic settings like outer space or alien planets. Props often showcase advanced technology through weapons, vehicles, and computers. Costumes may indicate a character's role and can feature bright colors for heroes or dark colors for villains. The lighting is typically low-key and uses colors like blue to set a futuristic tone. Settings establish the narrative and technological progression through their depictions of space, dystopian worlds, or alternate versions of the past and future.
This document summarizes an exemplar script for a GCSE Media Studies exam on action adventure films. The script received full marks across its four tasks. It demonstrated knowledge of genre conventions and audience appeal. The pitch created an imaginative idea for a family action adventure film. The rationale explained the film's universal appeal. The storyboard confidently utilized conventions to promote the film through a trailer. Overall, the script showed creativity and a strong grasp of how to analyze and design media texts.
The document provides feedback on a student's film trailer storyboard. It notes that the storyboard successfully utilizes a variety of techniques within its ten frames, including different camera shots, edits, and sound effects. This demonstrates the student's excellent knowledge of how to construct an action-adventure film trailer based on their pitch. The storyboard is seen as persuasive in its promotion of the film to audiences through techniques like the integration of voiceovers with film clips. Overall, the feedback commends the student's strong understanding of how to design a film trailer that follows genre conventions and markets the film effectively.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
-------------------------------------------------------------------------------
Find out more about ISO training and certification services
Training: ISO/IEC 27001 Information Security Management System - EN | PECB
ISO/IEC 42001 Artificial Intelligence Management System - EN | PECB
General Data Protection Regulation (GDPR) - Training Courses - EN | PECB
Webinars: https://pecb.com/webinars
Article: https://pecb.com/article
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For more information about PECB:
Website: https://pecb.com/
LinkedIn: https://www.linkedin.com/company/pecb/
Facebook: https://www.facebook.com/PECBInternational/
Slideshare: http://www.slideshare.net/PECBCERTIFICATION
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
2. Conventions of real media texts
Explain how you have used, developed
or challenged conventions of real media
products.
Evaluate how you creatively drew upon
and/ or developed conventions of real
media products.
In what ways have your productions
used or developed conventions adopted
from real media products?
In what ways have your productions
challenged or played with conventions
adopted from real media products?
In other words, is your work generic, or
experimental – or both?
Some media producers adopt a style
of working that is quite distinctive –
explore how your own favourite
producers/ directors/ designers/
publishers may have influenced work you
have produced. Do you have a ‘style’?
Are you an auteur?
Post-Production
Discuss the decisions you made during
post-production of all 4 media products
Research and Planning
How did your Research and Planning
inform your production? (GDS)
Discuss the ways in which you have
exercised creativity during postproduction?
Describe how you developed research
and planning skills for media production
and evaluate how these skills contributed
to creative decision-making. Refer to a
range of examples in your answer to
show how these skills developed over
time. (Jan10)
What did you do @ POST
PRODUCTION that you are particularly
proud of and how did you do it?
What was the impact/outcome on the
quality of media texts produced?
How specifically and to what extent
did your skills develop @ AS & A2?
If and how did a lack of access to PP
soft/hardware or of PP skills, impact
your work
How did your research into genre
contribute to your production work?
How did your research into audience
contribute to your production work?
How did your research into institutions
responsible for the production and
regulation of the media influence your
production work?
What pre-production planning
techniques did you employ (scripting,
storyboarding, shot-listing, flat-planning
etc.)? How effective was your planning –
how did it help you in the production
phase?
What did you learn from planning
your first production that helped you
to improve your planning for the
second?
How did you use audience feedback to
influence your production work while it
was in progress?
Digital Technology
How has digital technology aided your
creativity to during your coursework
productions? (GDS)
“Digital technology turns media
consumers into media producers”. In your
own experience, how has your creativity
developed through using digital
technology to complete your coursework
productions? (Exam board example)
How has digital technology helped you
to capture your ideas?
What benefits do digital technologies
offer over analogue? Are there any
disadvantages?
How did digital technology influence
your work in pre-production, production,
and post-production?
How have your skills with digital
technology developed, and how has
this influenced your productions?
What role might digital technology plan
in the distribution of your work?
How is digital technology changing
media production?
How much of your text was ‘created’ in
post-production?
What technologies did you use to
modify your raw material? How did this
What do you consider to be the
change the meaning of your work?
impact of having learnt and applied
What transitions/ effects did you apply
typical conventions AND why your
ability to apply this understanding has during post-production? How did you
manipulate narrative/ colours/ lighting/
improved over the course.
contrast/ brightness/ sound etc during
the edit?
What would Andrew Goodwin say
How much of your footage ended up
about your work?
‘on the cutting room floor’ (unused) and
why?
Creativity
You will not get a question on creativity on its own. Creativity is ONLY used in conjunction with one of the other key areas.
What features of your work would you say are original to you?
Which media texts and producers have influenced your creative decisions?
How successfully does your work engage its audience and provoke its interest?
Consider some of the creative choices you had to make during the course of your production – how to use cameras, lighting, dialogue, colour etc. How did you make these
decisions, and how did these contribute to the final production?
How did digital technology/ real media texts/ research and planning/ post-production give you an opportunity to express and stretch your creativity?
3. Question 1b – Concepts
Media Language
“Media is communication.” Discuss the ways that you
have used media language to create meanings in one of
your media products.
‘Media language’ means the language of the medium
you are working within. For example, there is a
language of film which is different to the language of
music video/ television drama etc. This is different to
genre: genre can cut across media (e.g. a sci-fi film/ TV
programme/ music video (!)).
How are you using the language of the medium?
How have you used the language of music videos/
film openings/ digipaks/ magazine adverts?
What would Andrew Goodwin say about your music
video?
Genre
“Media texts rely on audience knowledge of generic
codes and conventions in order for them to create
meaning.” Explain how you have used or subverted
generic conventions in one of your production pieces.
• How useful is the concept of genre in understanding
your work?
• How can genre be used to understand music videos,
and how is this different to genre and (thriller) films?
• How is your work intertextual? How does it fit in with
other music videos?
• How is your production conventional of the genre?
• Why is genre useful to you as a media producer/
useful to audiences?
• Genre theorists you have quotes from: Gunther
Kress, Denis McQuail, Nicholas Abercrombie, Christine
Gledhill, Katie Wales, John Fiske. Jacques Derrida: “A
text cannot belong to no genre, it cannot be without... a
genre. Every text participates in one or several genres,
there is no genreless text.”
• How could you use the theories to discuss genre and
understand your production?
• What would Andrew Goodwin say about your work in
terms of genre?
• Genres change and evolve (see Christian Metz and
David Buckingham). How is your production using/
developing the genre?
Narrative
“Media texts rely on cultural experiences in order for audiences to easily make sense
of narratives”. Explain how you used conventional and / or experimental narrative
approaches in one of your production pieces. (Exam Board Example)
• How useful is the concept of narrative in understanding your work?
• How is narrative and music videos different to narrative and film?
• How is your narrative structured? (convergent/ parallel/ circular/ linear/ non-linear/
interweaving/ fragmented/ impressionist…?) How did you use chapters/phases?
• What pleasure(s) does your narrative offer the audience?
• How do you use characters in your narrative? How have you used protagonists/
antagonists? Is Vladimir Propp useful to understand your production?
• Some theorists and theories you may be able to apply: Story versus plot; Tzetvan
Todorov (equilibrium etc); Claude Levi-Strauss (binary opposition); Roland Barthes
(Enigma code; Action code. Also, Open and Closed texts); Pam Cook; Noam
Chomsky (narrative is fundamental to human understanding)
• How does the narrative structure/ ending shape the meaning of your production?
Audience
“Media texts will never be successful unless they are
carefully constructed to target established audience
needs or desires.” Evaluate the ways that you
constructed your media text to target a specific
audience.
• How useful is the concept of audience in
understanding your work?
• Who is your target audience? How did you develop
your target audience? How does your production appeal
to your target audience?
• How useful are various segmentation models to
describe your target audience? Demographics?
Psychographics? Findyourtribe?
• Consider theorists and theories such as: Stuart Hall:
Encoding and Decoding; Preferred/ negotiated/
oppositional readings; Denis McQuail – (Uses and
Gratification theory); Ien Ang - “Audiencehood is
becoming an even more multifaceted, fragmented and
diversified repertoire of practices and experiences.”;
Hypodermic Needle Theory
Representation
Analyse media representation in one of your coursework productions. (Jan10)
“Representations in media texts are often simplistic and reinforce dominant ideologies
so that audiences can make sense of them.” Evaluate the ways that you have used/
challenged simplistic representations in one of the media products you have
produced.
How does your video represent different social groups/ people/ places/ lifestyles?
What values/ ideologies are you representing/ promoting?
Does your production create a hegemonic representation/ does it represent and
reinforce the dominant ideology?
What positive/ negative/ stereotypical connotations and representations are you
constructing/ using/ challenging?
How are the representations in your production the products of your own cultural
experience/ background/ ideology/ values?
What would Laura Mulvey say about your production?
4. Section B: Media and Collective identity
There are four areas you need to understand in preparing for the exam:
1. How do the contemporary media represent nations, regions and ethnic / social / collective groups
of people in different ways?
a. How are young people/ males/ females/ gay people/ Northerners/ any social group represented?
Discuss how the representations use stereotypes; are the representations hegemonic/ reinforcing
dominant ideologies; do they challenge hegemony; are they represented as heterogenous/
homogenous; how could terms and phrases like Female solidarity/ teen solidarity/ male solidarity,
Constructed certitude, Consciously cultivated (fe)male bond/ teen bond, Socialisation, Binary,
Plurality, Femininities/ masculinities be useful in discussing the representations?; Who are these
representations aimed at, and how does this affect the way the group are represented?; Who is
creating these representations?; How are different social groups represented in the media industry, as
well as by the media?; What is the purpose of these representations?; How does the media construct
representations of groups of people?; How is collective identity constructed?
2. How does contemporary representation compare to previous time periods?
a. Compare recent texts (last 4 years) to past texts in terms of the ideas in question 1. What differences/
similarities are there?;
3. What are the social implications of different media representations of groups of people?
a. What impact does the media have on audiences’ sense of identity?; How do audiences respond to/
use media representations?; To what extent are audiences active in constructing their own sense of
identity?; How useful are Uses and Gratification theory/ Hypodermic Needle Theory/ Cultivation
theory in understanding audiences’ responses to media representations?; Does the media reflect or
shape our sense of who we are?
4. To what extent is human identity increasingly ‘mediated’?
a. Does the media reflect or shape our sense of who we are?; Is the media increasingly important in how
we shape our identity?; How powerful is the media in shaping/ helping us to shape who we are?
In the exam you:
b. have a choice of two questions
c. have 60 minutes to answer the ‘Collective identity’ question
d. MUST write about two media (e.g. film and magazines. It doesn’t need to be even between the two
media, so could be 90% on one and 10% on the other)
e. Must include theory or theorists and apply them to your case studies
f. Should be able to discuss past, present and future
We have looked at collective identity in terms of teen/ youth and gender. Other schools will have looked at all
sorts (e.g. Africans; Muslims; Northerners; the working class…). The exam question will be broad enough so
that you can write about whatever area you have studied.
_______________________________________________________________
These are the kind of questions you will be asked.
1. Discuss the contemporary representation of a nation, region or social group in the media, using specific
textual examples from at least two media to support your answer. (Exam Board Sample)
2. How far does the representation of a particular social group change over time? Refer to at least two
media in your answer. (Exam Board Sample)
3. Looking at two media, describe the ways in which a particular group of people are collectively
represented or provided for, using specific examples to support your response. (Textbook)
4. Analyse the ways in which the media represent one group of people that you have studied. (Jan 2010)
5. “The media do not construct collective identity; they merely reflect it”. Discuss. (Jan 2010)
A couple of bonus ideas:
6. To what extent do audiences use media to construct their own sense of collective identity?
7. “The media has replaced family, society and religion as the main source of collective identity.” Discuss.
5. G325 Critical Perspective in Media – Information from the Exam Board
The purpose of this unit is to assess candidates’ knowledge and understanding of media concepts, contexts and critical debates, through their understanding of
one contemporary media issue and their ability to evaluate their own practical work in reflective and theoretical ways.
The examination is two hours. Candidates are required to answer two compulsory questions, on their own production work, and one question from a choice of six
topic areas. The unit is marked out of a total of 100, with the two questions on production work marked out of 25 each, and the media theory question marked out
of 50.
There are two sections to this paper:
Section A: Theoretical Evaluation of Production (50 marks)
Section B: Contemporary Media Issues (50 marks)
Section A: Theoretical Evaluation of Production
Candidates answer two compulsory questions. The first requires them to
describe and evaluate their skills development over the course of their
production work, from Foundation Portfolio to Advanced Portfolio. The second
asks them to identify one production and evaluate it in relation to one theoretical
concept.
Question 1(a) requires candidates to describe and evaluate their skills
development over the course of their production work, from Foundation Portfolio
to Advanced Portfolio. The focus of this evaluation must be on skills
development, and the question will require them to adapt this to one or two
specific production practices. The list of practices to which questions will relate
is as follows:
Digital Technology
Research and planning
Post-production
Using conventions from real media texts
Creativity (will only be asked alongside one of the other categories)
Questions will be posed using one or two of these categories.
Where candidates have produced relevant work outside the context of their A
Level media course, they are free to additionally refer to this experience.
Question 1(b) requires candidates to select one production and evaluate it in
relation to a media concept. The list of concepts to which questions will relate is
as follows:
Genre
Narrative
Representation
Audience
Media language
In the examination, questions will be set using one of these concepts only.
In some circumstances, candidates will be expected to select the production
that appears to relate most effectively to the specific concept that arises in the
exam question. However, the requirement for candidates to evaluate one of
their productions in relation to a concept does not assume that the concept will
necessarily always fit easily and in an orthodox way. Thus in some cases
candidates will be describing their productions in terms of them not relating
straightforwardly to the concept. For example, a candidate producing three
websites over their two portfolios might describe ways in which websites cannot
be understood easily through applying conventional narrative theory. Whether
the candidate applies the concept to the product or uses the production to
challenge the concept, it is essential that candidates are sufficiently
knowledgeable about the concept for either approach. Candidates may choose
to write about work undertaken at AS or A2, main task or preliminary/ancillary.
Section B: Contemporary Media Issues
One question to be answered from a choice of six topic areas offered by OCR.
There will be two questions from each topic area.
The topic areas require understanding of contemporary media texts, industries,
audiences and debates.
Candidates must choose one of the following topic areas, in advance of the
examination and, through specific case studies, texts, debates and research of
the candidates’ choice, prepare to demonstrate understanding of the
contemporary issue. This understanding must combine knowledge of at least
two media and a range of texts, industries, audiences and debates, but these
are to be selected by the centre / candidate. The assessment of the response
will be generic, allowing for the broadest possible range of responses within the
topic area chosen. Each topic is accompanied by four prompt questions, and
candidates must be prepared to answer an exam question that relates to one or
more of these four prompts. There should be emphasis on the historical, the
contemporary and the future in relation to the chosen topic, with most attention
on the present. The categories of contemporary media issues are:
Contemporary Media Regulation
Global Media
Media and Collective Identity
Media in the Online Age
Post-modern Media
‘We Media’ and Democracy
6. G325 Critical Perspective in Media – Information from the Exam Board
The purpose of this unit is to assess candidates’ knowledge and understanding of media concepts, contexts and critical debates, through their understanding of
one contemporary media issue and their ability to evaluate their own practical work in reflective and theoretical ways.
The examination is two hours. Candidates are required to answer two compulsory questions, on their own production work, and one question from a choice of six
topic areas. The unit is marked out of a total of 100, with the two questions on production work marked out of 25 each, and the media theory question marked out
of 50.
There are two sections to this paper:
Section A: Theoretical Evaluation of Production (50 marks)
Section B: Contemporary Media Issues (50 marks)
Section A: Theoretical Evaluation of Production
Candidates answer two compulsory questions. The first requires them to
describe and evaluate their skills development over the course of their
production work, from Foundation Portfolio to Advanced Portfolio. The second
asks them to identify one production and evaluate it in relation to one theoretical
concept.
Question 1(a) requires candidates to describe and evaluate their skills
development over the course of their production work, from Foundation Portfolio
to Advanced Portfolio. The focus of this evaluation must be on skills
development, and the question will require them to adapt this to one or two
specific production practices. The list of practices to which questions will relate
is as follows:
Digital Technology
Research and planning
Post-production
Using conventions from real media texts
Creativity (will only be asked alongside one of the other categories)
Questions will be posed using one or two of these categories.
Where candidates have produced relevant work outside the context of their A
Level media course, they are free to additionally refer to this experience.
Question 1(b) requires candidates to select one production and evaluate it in
relation to a media concept. The list of concepts to which questions will relate is
as follows:
Genre
Narrative
Representation
Audience
Media language
In the examination, questions will be set using one of these concepts only.
In some circumstances, candidates will be expected to select the production
that appears to relate most effectively to the specific concept that arises in the
exam question. However, the requirement for candidates to evaluate one of
their productions in relation to a concept does not assume that the concept will
necessarily always fit easily and in an orthodox way. Thus in some cases
candidates will be describing their productions in terms of them not relating
straightforwardly to the concept. For example, a candidate producing three
websites over their two portfolios might describe ways in which websites cannot
be understood easily through applying conventional narrative theory. Whether
the candidate applies the concept to the product or uses the production to
challenge the concept, it is essential that candidates are sufficiently
knowledgeable about the concept for either approach. Candidates may choose
to write about work undertaken at AS or A2, main task or preliminary/ancillary.
Section B: Contemporary Media Issues
One question to be answered from a choice of six topic areas offered by OCR.
There will be two questions from each topic area.
The topic areas require understanding of contemporary media texts, industries,
audiences and debates.
Candidates must choose one of the following topic areas, in advance of the
examination and, through specific case studies, texts, debates and research of
the candidates’ choice, prepare to demonstrate understanding of the
contemporary issue. This understanding must combine knowledge of at least
two media and a range of texts, industries, audiences and debates, but these
are to be selected by the centre / candidate. The assessment of the response
will be generic, allowing for the broadest possible range of responses within the
topic area chosen. Each topic is accompanied by four prompt questions, and
candidates must be prepared to answer an exam question that relates to one or
more of these four prompts. There should be emphasis on the historical, the
contemporary and the future in relation to the chosen topic, with most attention
on the present. The categories of contemporary media issues are:
Contemporary Media Regulation
Global Media
Media and Collective Identity
Media in the Online Age
Post-modern Media
‘We Media’ and Democracy