The document provides information about an exam on key media concepts related to TV drama. It outlines the structure and requirements of the exam, which has two sections. Section A focuses on textual analysis and representation through analyzing an unseen TV drama extract. Section B examines institutions and audiences within the music industry. The document provides details on the types of questions that may be asked in each section and the key areas of focus for analysis, such as camera work, editing, sound, and mise-en-scene in Section A.
Introduction to tv drama and representation g322 ocr media studiesalevelmedia
The document provides information about an exam for a media studies course. It will be a 2 hour exam with two compulsory questions. Section A focuses on textual analysis of an unseen TV drama extract, examining aspects like camera work, editing, sound, and representation. Section B examines institutions, audiences, and case studies of specific media industries. Students are expected to analyze representations, technical elements, and context in TV drama extracts. They should also research genres like teen drama, period drama, and examples like Skins, Downton Abbey, and Holby City.
This document provides guidance for students taking a critical perspectives exam focusing on analyzing a media production in relation to media concepts. It discusses the concept of "media language" and how to analyze elements like mise-en-scene, camera work, editing, sound, and textual elements. Semiotics, or the study of signs and how meaning is constructed through codes and conventions, is a key way to deconstruct media language. Indexical, symbolic, and technical codes are explained for analyzing horror genre conventions in a student's own production and trailer.
Introducing tv drama_and_representation_for_g322_ocr_media_studiesibz10
This document provides information about the exam requirements and structure for the G322: Key Media Concepts (TV Drama) exam. It discusses the two sections of the exam - Section A focuses on textual analysis and representation of an unseen TV drama extract, while Section B focuses on institutions and audiences through a case study. It provides details on the requirements and focus of each section, including focusing on technical aspects like camerawork, editing, sound, and mise-en-scene in Section A and production, distribution and audiences in Section B. It also provides examples of topics that could be covered in the case study, like specific films and genres.
This document outlines key concepts in media language and production including denotation, connotation, mise-en-scene, camerawork, continuity and non-continuity. It emphasizes the importance of understanding how media texts use codes and conventions to create meaning and preferred readings. Micro-level elements like location, characters, cinematography and layout are discussed as part of mise-en-scene. Shot types, composition, movement, and angles are covered as aspects of camerawork, along with continuity techniques and non-continuity transitions. Students are prompted to discuss their own use of media language in one of their products.
This document provides guidance for students preparing to answer an exam question on applying the concept of genre to one of their coursework productions. It defines genre and discusses key genre theorists. It also outlines the expectations for the exam answer, including identifying the genre and subgenres of the production, discussing how it fits genre conventions, and analyzing how genre affects the work using genre theory. Students are given tasks to practice identifying genres and themes in films and planning a sample exam response. The document aims to equip students with the tools to categorize their work by genre and evaluate it using genre theory in their exam answer.
The document discusses film genres, subgenres, and hybrids. It defines genres as categories that films can be grouped into, and provides examples of common genres like drama, comedy, and horror. Subgenres are more specific categories that combine two main genres, such as romantic comedies. Hybrids combine three or more genres. The document emphasizes identifying conventions for each genre and subgenre. Students will complete a genre exploration assignment demonstrating their understanding of genres, subgenres, conventions, and providing film examples.
The document provides instructions and materials for a lesson on analyzing representations of gender in film through technical elements like mise-en-scene (MES) and cinematography. It includes definitions of key terms, a timeline of gender roles throughout history, example essay structure and notes, and discussion prompts about gender stereotypes to analyze in a video clip. The goal is for students to understand how technical features combine to construct representations of gender or other topics.
The document provides an introduction to analyzing camera work in media texts. It defines various camera techniques including shot types (such as close-up, medium shot, wide shot, etc.), camera angles (such as low angle, high angle, canted angle), and camera movements (such as panning, zooming, tracking). Examples are given of each technique along with potential meanings and effects. The document instructs readers to identify these techniques in an unseen media clip and discuss the intended effects on the audience and reasons for their use by the director.
Introduction to tv drama and representation g322 ocr media studiesalevelmedia
The document provides information about an exam for a media studies course. It will be a 2 hour exam with two compulsory questions. Section A focuses on textual analysis of an unseen TV drama extract, examining aspects like camera work, editing, sound, and representation. Section B examines institutions, audiences, and case studies of specific media industries. Students are expected to analyze representations, technical elements, and context in TV drama extracts. They should also research genres like teen drama, period drama, and examples like Skins, Downton Abbey, and Holby City.
This document provides guidance for students taking a critical perspectives exam focusing on analyzing a media production in relation to media concepts. It discusses the concept of "media language" and how to analyze elements like mise-en-scene, camera work, editing, sound, and textual elements. Semiotics, or the study of signs and how meaning is constructed through codes and conventions, is a key way to deconstruct media language. Indexical, symbolic, and technical codes are explained for analyzing horror genre conventions in a student's own production and trailer.
Introducing tv drama_and_representation_for_g322_ocr_media_studiesibz10
This document provides information about the exam requirements and structure for the G322: Key Media Concepts (TV Drama) exam. It discusses the two sections of the exam - Section A focuses on textual analysis and representation of an unseen TV drama extract, while Section B focuses on institutions and audiences through a case study. It provides details on the requirements and focus of each section, including focusing on technical aspects like camerawork, editing, sound, and mise-en-scene in Section A and production, distribution and audiences in Section B. It also provides examples of topics that could be covered in the case study, like specific films and genres.
This document outlines key concepts in media language and production including denotation, connotation, mise-en-scene, camerawork, continuity and non-continuity. It emphasizes the importance of understanding how media texts use codes and conventions to create meaning and preferred readings. Micro-level elements like location, characters, cinematography and layout are discussed as part of mise-en-scene. Shot types, composition, movement, and angles are covered as aspects of camerawork, along with continuity techniques and non-continuity transitions. Students are prompted to discuss their own use of media language in one of their products.
This document provides guidance for students preparing to answer an exam question on applying the concept of genre to one of their coursework productions. It defines genre and discusses key genre theorists. It also outlines the expectations for the exam answer, including identifying the genre and subgenres of the production, discussing how it fits genre conventions, and analyzing how genre affects the work using genre theory. Students are given tasks to practice identifying genres and themes in films and planning a sample exam response. The document aims to equip students with the tools to categorize their work by genre and evaluate it using genre theory in their exam answer.
The document discusses film genres, subgenres, and hybrids. It defines genres as categories that films can be grouped into, and provides examples of common genres like drama, comedy, and horror. Subgenres are more specific categories that combine two main genres, such as romantic comedies. Hybrids combine three or more genres. The document emphasizes identifying conventions for each genre and subgenre. Students will complete a genre exploration assignment demonstrating their understanding of genres, subgenres, conventions, and providing film examples.
The document provides instructions and materials for a lesson on analyzing representations of gender in film through technical elements like mise-en-scene (MES) and cinematography. It includes definitions of key terms, a timeline of gender roles throughout history, example essay structure and notes, and discussion prompts about gender stereotypes to analyze in a video clip. The goal is for students to understand how technical features combine to construct representations of gender or other topics.
The document provides an introduction to analyzing camera work in media texts. It defines various camera techniques including shot types (such as close-up, medium shot, wide shot, etc.), camera angles (such as low angle, high angle, canted angle), and camera movements (such as panning, zooming, tracking). Examples are given of each technique along with potential meanings and effects. The document instructs readers to identify these techniques in an unseen media clip and discuss the intended effects on the audience and reasons for their use by the director.
This document provides guidance on preparing for the G322 TV Drama and Representation exam section. It outlines the structure and requirements of the exam questions on camera work, sound, mise-en-scene, editing, and representation. Key terminology is defined for each technical area. Example drama genres and potential clips are listed. Guidance is also provided on the video games section, including discussing the processes of production, distribution, and exhibition with reference to a case study.
The document discusses various techniques used in analyzing media, including camera shots, angles, movement, and composition; editing techniques; mise-en-scène elements like setting, props, costumes, makeup, movement, and visual effects; and sound elements like diegetic and non-diegetic sound, sound effects, soundtracks, and dialogue. It provides examples of different shot types, angles, movements, editing transitions, mise-en-scène components, and sound elements. It also outlines success criteria for analyzing how these technical elements work together to create meaning in a film sequence or product.
This document provides an overview of approaches to teaching film language. It introduces various macro and micro elements of film language like genre, cinematography, editing, mise-en-scene, sound, and special effects. For each element, it describes techniques like camera shots, camera movements, editing techniques, uses of sound, and types of special effects. It emphasizes having students practice identifying and analyzing these techniques by watching and discussing film clips in order to develop their understanding of how film language is used and its impact on narrative.
This document discusses media representation and stereotypes. It provides definitions for key terms like archetype, countertype, and stereotypes. It explains that media uses stereotypes as a visual shortcut for audiences to instantly understand groups. However, stereotypes can be derogatory and limit understanding, potentially leading to prejudice. The document also discusses continuity techniques for moving images, including match on action, shot reverse shot, and the 180-degree rule. Maintaining continuity is important for the audience to feel immersed in what they are watching.
The document provides an introduction to answering exam questions about media concepts. It discusses the concepts of genre, narrative, representation, audience and media language that exam questions may be based on. It also provides examples of past exam questions, tips on how to structure a response, and focuses on explaining the concept of narrative. Key aspects of narrative discussed include its structure, the role of characters and time. Theories of narrative from theorists like Propp, Todorov and Levi-Strauss are also summarized.
The document provides guidance on analysing media representations using technical terminology. It outlines success criteria for learners to analyze how camerawork, mise-en-scene, editing, and sound work together to create meaning. Learners should offer a holistic analysis of a sequence or product, providing accurate examples of how technical elements convey meaning. For instance, analyzing how a news program's neutral camera angles and shots, blue color scheme, and calm voice work together to establish an impartial tone.
This document provides guidance on teaching film language to students. It outlines both macro and micro elements of film language to analyze, including genre, narrative, cinematography, editing, sound, mise-en-scene, and special effects. For each element, it discusses how to identify and discuss the techniques, and how they impact elements like genre and narrative. It emphasizes having students practice applying their knowledge by analyzing film clips both individually and in groups.
This document provides guidance for answering Section A of a media studies exam. Question 1(a) asks students to discuss the development of their skills from AS to A2 in relation to aspects like digital technology, creativity, research and planning, or using conventions from real media texts. For 1(a), students should spend 30 minutes answering, discuss both their AS and A2 coursework, demonstrate progress, and refer to specific examples. Question 1(b) asks students to analyze one of their coursework products in relation to a specified theoretical concept like narrative, audience, genre, or representation. For 1(b) as well, students should spend 30 minutes answering, demonstrate their understanding of theory, and relate it to specific examples from
Media Language Lesson 1 - intro and camera shotsElle Sullivan
This document provides an overview of key concepts in media studies related to textual analysis. It defines media texts and various production elements like camera shots, angles, and movement that can be analyzed. Examples are given of different shot types like close-ups, establishing shots, and angles like high and low angles. Camera movement techniques such as panning, tilting, zooming, and tracking are also outlined. The purpose is to introduce students to the technical codes that will be examined in their media studies course and mock exam.
This document provides lesson materials on the concept of representation for a media studies exam preparation. It includes two lessons on representation, with the second focusing on planning an essay question applying representation to a coursework production. The lessons define representation, discuss its importance, and provide examples of how it can be analyzed in media texts. Key theories and theorists on representation such as Laura Mulvey, Richard Dyer, and David Buckingham are outlined. Students are guided in identifying representational concepts in their own work and planning a structured essay applying representation theory.
This document outlines learning objectives and activities for a media language class. The class will explore conventions of print media like newspapers, magazines, and advertisements. Students will analyze CD covers, magazines, and film posters by commenting on aspects like color, font, images, and target audience. They will then present their analysis and write a 500-word homework assignment analyzing one media text. The learning objectives are to explore print media conventions and apply semiotics to print media.
This document provides an overview of various media language techniques used in advertising, including:
- Camera shots and angles like close-up, wide shot, and high/low angles
- Technical elements like focus, framing, lighting, and mise-en-scène
- Symbolic codes from images, colors, and other visual elements
- The use of language techniques like slogans, fonts, and word choice
The document uses examples and descriptions to explain how these different techniques can be analyzed and how they contribute to conveying meaning and shaping audience perceptions of brands.
A compilation of the presentations from the zoom presentation and meeting on June 24th covering a range of aspects about planning a GCSE Film Studies course.
This document provides guidance for a film studies exam that requires analyzing two films in relation to a key concept. Students must refer to and compare both films, explaining how technical elements like cinematography, editing, sound, and mise-en-scène construct the specified concept. It outlines frameworks for analysis including representation, messages/values, genre, narrative, theme, style, and authorship. It also defines micro-technical elements that can be analyzed like shots, lighting, editing techniques, diegetic/non-diegetic sound, and production design. Finally, it specifies that a foundation portfolio essay must compare two contemporary English language films in relation to one or more key concepts, with one film allowed to be Hollywood, both
This document provides an overview of the GCSE Film Studies course, outlining the key areas of study, assessment objectives, coursework requirements, and exam structure and content. The course is divided into three study areas - film language, film organizations, and film audiences. Students will complete four pieces of coursework worth 50% of the grade, focusing on topics like textual analysis, film pitching, pre-production, and film production. The remaining 50% comes from two exams, one exploring disaster films and the other exploring a non-Hollywood film through character analysis, sequence analysis, and a creative response.
The document discusses different types of relationships between lyrics and visuals in music videos, including illustration, amplification, and disjuncture. It then provides tasks and concepts for creating a music video section matching visuals to lyrics in various ways, and exploring these relationships between lyrics and visuals.
This document provides guidance on answering an essay question about how meaning is constructed through media language in a coursework production. It discusses media language and the purpose of trailers. It instructs the student to consider audience appeal, distribution, and themes when analyzing their work. Examples from the student's production demonstrating how camera work, editing, sound, and mise-en-scene create meaning must be discussed. Outlining how the essay will be structured is also covered.
This document provides an introduction to key concepts in film studies. It outlines objectives for a lesson on film studies concepts and frameworks for analyzing films. These include representation, messages and values, genre, narrative, theme, style, and authorship. It also lists micro-technical elements of films like cinematography, editing, sound, and mise-en-scene. The document provides guidance on analyzing film extracts using these concepts and technical elements. It introduces two contemporary English language films that could be analyzed and compared in a foundational portfolio on a key concept using examples from the films.
This document discusses genre theory and its application to analyzing media works. It provides definitions of genre from theorists like Chandler, who see genres as consisting of conventions around themes, settings, and style. It also discusses theorists like Altman who view genres as defined by media codes and narratives, and Culler who sees genres establishing expectations for creators and audiences. The document then prompts applying these genre theories to analyzing one's own thriller film and music video works, considering how they do or do not conform to genre conventions. It suggests genre provides benefits to producers, distributors and audiences by providing templates and expectations but also can evolve over time as societies change.
The document discusses terminology for different types of sound sources used in films. It defines diegetic sounds as those originating from within the film's world, including dialogue and ambient sounds, while non-diegetic sounds come from outside the film's world, such as voiceovers and scores. It provides examples of how different sound sources like Darth Vader's breathing, scores in Jaws, and songs on soundtracks can be used to characterize figures, set tone, and convey meaning. The document encourages analyzing how sound sources work together to tell a story.
Introducing tv drama and representation for g322 ocr media studiesSianField81
This document provides information about an upcoming exam on media representation in TV dramas. It will be split into two sections. Section A focuses on analyzing representation in an unseen TV drama extract. Students will watch a 30-minute extract and then answer an essay question analyzing how representations of categories like class, gender, ethnicity are constructed through techniques like camerawork, editing, sound design. Section B covers questions about media institutions, audiences, and a pre-prepared case study. The document outlines the skills and concepts students need to understand to succeed in this exam, including representing, realism, and deconstructing TV dramas using formal analytical techniques.
This document provides information about genre theory and analysis. It discusses different approaches to genre analysis, including the semantic approach of identifying common elements across genres and the syntactic approach of examining the relationship between genre elements and society. It provides examples of how the semantic and syntactic approaches can be applied to the zombie film genre and the gangster film genre. The document also summarizes theories from scholars like Rick Altman, Steve Neale, and Bordwell and Thompson on genres, conventions, audience expectations, and the use of iconography in film genres.
This document provides guidance on preparing for the G322 TV Drama and Representation exam section. It outlines the structure and requirements of the exam questions on camera work, sound, mise-en-scene, editing, and representation. Key terminology is defined for each technical area. Example drama genres and potential clips are listed. Guidance is also provided on the video games section, including discussing the processes of production, distribution, and exhibition with reference to a case study.
The document discusses various techniques used in analyzing media, including camera shots, angles, movement, and composition; editing techniques; mise-en-scène elements like setting, props, costumes, makeup, movement, and visual effects; and sound elements like diegetic and non-diegetic sound, sound effects, soundtracks, and dialogue. It provides examples of different shot types, angles, movements, editing transitions, mise-en-scène components, and sound elements. It also outlines success criteria for analyzing how these technical elements work together to create meaning in a film sequence or product.
This document provides an overview of approaches to teaching film language. It introduces various macro and micro elements of film language like genre, cinematography, editing, mise-en-scene, sound, and special effects. For each element, it describes techniques like camera shots, camera movements, editing techniques, uses of sound, and types of special effects. It emphasizes having students practice identifying and analyzing these techniques by watching and discussing film clips in order to develop their understanding of how film language is used and its impact on narrative.
This document discusses media representation and stereotypes. It provides definitions for key terms like archetype, countertype, and stereotypes. It explains that media uses stereotypes as a visual shortcut for audiences to instantly understand groups. However, stereotypes can be derogatory and limit understanding, potentially leading to prejudice. The document also discusses continuity techniques for moving images, including match on action, shot reverse shot, and the 180-degree rule. Maintaining continuity is important for the audience to feel immersed in what they are watching.
The document provides an introduction to answering exam questions about media concepts. It discusses the concepts of genre, narrative, representation, audience and media language that exam questions may be based on. It also provides examples of past exam questions, tips on how to structure a response, and focuses on explaining the concept of narrative. Key aspects of narrative discussed include its structure, the role of characters and time. Theories of narrative from theorists like Propp, Todorov and Levi-Strauss are also summarized.
The document provides guidance on analysing media representations using technical terminology. It outlines success criteria for learners to analyze how camerawork, mise-en-scene, editing, and sound work together to create meaning. Learners should offer a holistic analysis of a sequence or product, providing accurate examples of how technical elements convey meaning. For instance, analyzing how a news program's neutral camera angles and shots, blue color scheme, and calm voice work together to establish an impartial tone.
This document provides guidance on teaching film language to students. It outlines both macro and micro elements of film language to analyze, including genre, narrative, cinematography, editing, sound, mise-en-scene, and special effects. For each element, it discusses how to identify and discuss the techniques, and how they impact elements like genre and narrative. It emphasizes having students practice applying their knowledge by analyzing film clips both individually and in groups.
This document provides guidance for answering Section A of a media studies exam. Question 1(a) asks students to discuss the development of their skills from AS to A2 in relation to aspects like digital technology, creativity, research and planning, or using conventions from real media texts. For 1(a), students should spend 30 minutes answering, discuss both their AS and A2 coursework, demonstrate progress, and refer to specific examples. Question 1(b) asks students to analyze one of their coursework products in relation to a specified theoretical concept like narrative, audience, genre, or representation. For 1(b) as well, students should spend 30 minutes answering, demonstrate their understanding of theory, and relate it to specific examples from
Media Language Lesson 1 - intro and camera shotsElle Sullivan
This document provides an overview of key concepts in media studies related to textual analysis. It defines media texts and various production elements like camera shots, angles, and movement that can be analyzed. Examples are given of different shot types like close-ups, establishing shots, and angles like high and low angles. Camera movement techniques such as panning, tilting, zooming, and tracking are also outlined. The purpose is to introduce students to the technical codes that will be examined in their media studies course and mock exam.
This document provides lesson materials on the concept of representation for a media studies exam preparation. It includes two lessons on representation, with the second focusing on planning an essay question applying representation to a coursework production. The lessons define representation, discuss its importance, and provide examples of how it can be analyzed in media texts. Key theories and theorists on representation such as Laura Mulvey, Richard Dyer, and David Buckingham are outlined. Students are guided in identifying representational concepts in their own work and planning a structured essay applying representation theory.
This document outlines learning objectives and activities for a media language class. The class will explore conventions of print media like newspapers, magazines, and advertisements. Students will analyze CD covers, magazines, and film posters by commenting on aspects like color, font, images, and target audience. They will then present their analysis and write a 500-word homework assignment analyzing one media text. The learning objectives are to explore print media conventions and apply semiotics to print media.
This document provides an overview of various media language techniques used in advertising, including:
- Camera shots and angles like close-up, wide shot, and high/low angles
- Technical elements like focus, framing, lighting, and mise-en-scène
- Symbolic codes from images, colors, and other visual elements
- The use of language techniques like slogans, fonts, and word choice
The document uses examples and descriptions to explain how these different techniques can be analyzed and how they contribute to conveying meaning and shaping audience perceptions of brands.
A compilation of the presentations from the zoom presentation and meeting on June 24th covering a range of aspects about planning a GCSE Film Studies course.
This document provides guidance for a film studies exam that requires analyzing two films in relation to a key concept. Students must refer to and compare both films, explaining how technical elements like cinematography, editing, sound, and mise-en-scène construct the specified concept. It outlines frameworks for analysis including representation, messages/values, genre, narrative, theme, style, and authorship. It also defines micro-technical elements that can be analyzed like shots, lighting, editing techniques, diegetic/non-diegetic sound, and production design. Finally, it specifies that a foundation portfolio essay must compare two contemporary English language films in relation to one or more key concepts, with one film allowed to be Hollywood, both
This document provides an overview of the GCSE Film Studies course, outlining the key areas of study, assessment objectives, coursework requirements, and exam structure and content. The course is divided into three study areas - film language, film organizations, and film audiences. Students will complete four pieces of coursework worth 50% of the grade, focusing on topics like textual analysis, film pitching, pre-production, and film production. The remaining 50% comes from two exams, one exploring disaster films and the other exploring a non-Hollywood film through character analysis, sequence analysis, and a creative response.
The document discusses different types of relationships between lyrics and visuals in music videos, including illustration, amplification, and disjuncture. It then provides tasks and concepts for creating a music video section matching visuals to lyrics in various ways, and exploring these relationships between lyrics and visuals.
This document provides guidance on answering an essay question about how meaning is constructed through media language in a coursework production. It discusses media language and the purpose of trailers. It instructs the student to consider audience appeal, distribution, and themes when analyzing their work. Examples from the student's production demonstrating how camera work, editing, sound, and mise-en-scene create meaning must be discussed. Outlining how the essay will be structured is also covered.
This document provides an introduction to key concepts in film studies. It outlines objectives for a lesson on film studies concepts and frameworks for analyzing films. These include representation, messages and values, genre, narrative, theme, style, and authorship. It also lists micro-technical elements of films like cinematography, editing, sound, and mise-en-scene. The document provides guidance on analyzing film extracts using these concepts and technical elements. It introduces two contemporary English language films that could be analyzed and compared in a foundational portfolio on a key concept using examples from the films.
This document discusses genre theory and its application to analyzing media works. It provides definitions of genre from theorists like Chandler, who see genres as consisting of conventions around themes, settings, and style. It also discusses theorists like Altman who view genres as defined by media codes and narratives, and Culler who sees genres establishing expectations for creators and audiences. The document then prompts applying these genre theories to analyzing one's own thriller film and music video works, considering how they do or do not conform to genre conventions. It suggests genre provides benefits to producers, distributors and audiences by providing templates and expectations but also can evolve over time as societies change.
The document discusses terminology for different types of sound sources used in films. It defines diegetic sounds as those originating from within the film's world, including dialogue and ambient sounds, while non-diegetic sounds come from outside the film's world, such as voiceovers and scores. It provides examples of how different sound sources like Darth Vader's breathing, scores in Jaws, and songs on soundtracks can be used to characterize figures, set tone, and convey meaning. The document encourages analyzing how sound sources work together to tell a story.
Introducing tv drama and representation for g322 ocr media studiesSianField81
This document provides information about an upcoming exam on media representation in TV dramas. It will be split into two sections. Section A focuses on analyzing representation in an unseen TV drama extract. Students will watch a 30-minute extract and then answer an essay question analyzing how representations of categories like class, gender, ethnicity are constructed through techniques like camerawork, editing, sound design. Section B covers questions about media institutions, audiences, and a pre-prepared case study. The document outlines the skills and concepts students need to understand to succeed in this exam, including representing, realism, and deconstructing TV dramas using formal analytical techniques.
This document provides information about genre theory and analysis. It discusses different approaches to genre analysis, including the semantic approach of identifying common elements across genres and the syntactic approach of examining the relationship between genre elements and society. It provides examples of how the semantic and syntactic approaches can be applied to the zombie film genre and the gangster film genre. The document also summarizes theories from scholars like Rick Altman, Steve Neale, and Bordwell and Thompson on genres, conventions, audience expectations, and the use of iconography in film genres.
This document provides information about how to analyze a TV drama for a media studies exam. It begins with definitions of key concepts like TV drama and representation. It then explains that the exam focuses on analyzing techniques like camerawork, editing, sound, and mise-en-scene to understand how they create representations. It provides details on different shot types, editing techniques, and how to discuss representation. The document is meant to prepare students to analyze an unseen TV drama clip and discuss its representations in an exam.
Lesson one intro to tv drama and representationlou80
This document outlines an assessment for a course on key media concepts related to TV drama. It describes two sections of an exam: Section A focuses on textual analysis and representation of a short unseen TV drama clip, examining elements like camerawork, mise-en-scene, editing and sound. Section B addresses institutions and audiences within the film industry. The document provides definitions of TV drama genres and their conventions, and how representation of social groups is depicted and can be analyzed. Students are tasked with researching representation within specific drama subgenres and sharing findings.
This document provides guidance on analyzing representations in TV drama through close analysis of film techniques. It outlines the exam structure, with 30 minutes to watch a clip and make notes and 40-45 minutes to write a response. It emphasizes using examples to analyze how camera shots, angles, movement, composition, editing, mise-en-scene, and sound construct representations of characters. It provides tips on note-taking and relating techniques to narrative, genre and representations. Key terms are defined to aid analysis, such as protagonists, antagonists and binary oppositions.
The document provides information about genre in film. It discusses how audiences use genre to identify films they like and compare films. It also explains how genre is important for filmmakers, using the example of Roland Emmerich who is known for disaster films. The document also defines what genre means, noting that genres are not static and involve negotiation between audiences and the film industry. Genres offer familiarity to audiences while also closing down complexity. The document lists several common film genres and includes tasks for discussing genres and creating a film poster in a different genre.
This document provides guidance for students on analyzing conventions from real media texts and applying them to their own coursework. It defines conventions as established rules or practices in a genre or medium. Students are instructed to consider conventions in terms of representation, genre, technical aspects, and narrative. Examples of conventions for film openings, thrillers, and music videos are listed. The document emphasizes understanding how knowledge of conventions has helped improve students' work over time from AS to A2 level. Students are given tasks to identify conventions and apply them to their own projects with notes. The goal is for students to be able to evaluate how their skills and application of conventions has developed during the course in order to answer exam questions.
The document discusses various technical aspects of TV dramas, including definitions, conventions, and analysis. It begins by asking the reader to define a TV drama with a partner and then discusses textual analysis and representation through techniques like camera shots, camera angles, editing, sound, and mise-en-scene. It also covers exam structure, key representation areas, genres of TV drama, and macro and micro elements of film language.
This document discusses genre in media. It defines genre as a type or category of media that shares similar characteristics. Genres are identified by their codes and conventions, such as characters, settings, narratives, and ideologies. Audiences enjoy genres because of their familiarity and ability to predict elements, while producers benefit from the commercial success of proven genres. However, genres avoid becoming boring by combining familiar and unexpected elements in each new text. The document also discusses genre hybrids that combine conventions of multiple genres.
The basic conventions of TV drama revolve around characters, narrative, sets and setting, camerawork, dialogue, sound, and music. These conventions are perceived by audiences and used by producers. Theoretical perspectives that can provide insight into how TV dramas are constructed include analyzing character roles and oppositions, as well as representations of gender, race, class, and other attributes. Characters are constructed through casting, performance, screenplay, and direction to make them believable.
This document provides tasks and theory related to analyzing music videos and genres for a media studies course. It includes tasks to analyze codes and conventions in different music video genres, examine narrative and performance approaches in sample videos, explore representation of social groups in various genres, and conduct a close analysis of a music video using relevant theory. The document also discusses theories related to genre from scholars like Robert Stam, Rick Altman, and Andrew Goodwin. Students are asked to apply these theories to their own video productions and examine how genres may be defined, conventions established, and meanings negotiated between text and audiences.
This document provides an overview of key concepts related to analyzing media language. It defines media language as the codes, conventions, and techniques used to generate meaning in media texts. These include technical elements like camerawork, editing, and mise-en-scène as well as symbolic and written elements. The document also discusses several theorists and how concepts like denotation/connotation, realism, and McLuhan's "the medium is the message" can be applied when analyzing media language. Students are advised to use terminology around signs, codes, and conventions when evaluating how meaning is constructed through media language in different texts.
The document provides information about Section A of a Media Studies exam, including:
- Question 1(a) asks students to discuss the development of their skills from AS to A2 in relation to aspects like digital technology, creativity, etc.
- Question 1(b) asks students to analyze one of their coursework products in relation to theoretical concepts like narrative, audience, genre, or representation.
- It provides advice on how to spend time on each question and how to do well, such as demonstrating progress, using examples, and terminology.
- It also includes sample exam questions and brief explanations of genre and narrative theory concepts to help students prepare.
This document provides an overview of the topics and elements that will be covered in an exam on TV dramas. It discusses various filmic elements like camera shots, angles, movement, composition, editing, sound, and mise-en-scene that students will need to analyze in an unseen exam extract. It also lists common representation topics that may be covered, such as social class, gender, ethnicity, and disability. The exam format will involve close analysis of an unseen 5-7 minute extract based on its filmic techniques and how they create meaning.
This document provides an overview of the topics and elements that will be covered in an exam on TV dramas. It discusses various filmic elements like camera shots, angles, movement, composition, editing, sound, and mise-en-scene that students will need to analyze in an unseen exam extract. It also lists common representation topics that may be covered, such as social class, gender, ethnicity, and disability. The exam format will involve close analysis of an unseen 5-7 minute extract based on its filmic techniques and how they create meaning.
Film WorksheetArt Education 1600 Art and Music since 1945For tChereCheek752
Film Worksheet
Art Education 1600
Art and Music since 1945
For this assignment, you are to see a film this semester and fill out your worksheet. Use the skills you learned for the Art Worksheet, but now you have to analyze the combination of sound and moving images.Step 1 Select a Film
Selecting a film to watch is more than picking a movie with favorite actors or a genre you like (science fiction, superheroes, detective mysteries, romance). The film you pick should have enough interesting content to write about. It helps to inform yourself with two kinds of film reviews. First, professional critics have seen many movies and write from a well-informed point of view, but theirs is just one point of view. Beyond the perspective of Professional critic, there are the reviews from moviegoers, like yourselves, who post their responses on blogs and theater websites. Viewer reviews can be just as valid as professional reviews, so long as they explain why they feel the way they do about a film. Both kinds of reviews can help you narrow your choice of a film, and in the end, pick a film you feel like writing about.
11 pts: State the title of the film you chose and a write brief synopsis of the film in your words (90 to 100 words):
Citations and References
If you decide you use ideas from the film reviews or any source, write the name of the source here AND Cite the source(s) where you use them:
REMEMBER
1. You must view the film for this worksheet personally and you must see it in a theater this semester. (Free screenings at the Union also count as a theater). Even if you choose an older film made in 1945 or later, we want you to see the film in a theater. At a theater, you sense the effects of the sound and moving images as they were intended. Films reproduced for television or on DVD on a home system lose the effect you sense in a theater.
2. Connect your review of the film with the cultural and social ideas we address in class. How do you think audiences relate the narrative on screen with other narratives in the press or entertainment media? Superheroes, for example, save the day when complicated agencies of government and military fail.
3. Look over the Film Worksheet before you attend the film, so you know what to look for in the film. Taking notes during the film is usually a problem, but you can make your notes afterward. You might be surprised at how much you will recall about the film and your experience of viewing it.
Late Paper Policy:
You will lose points for assignments turned in late after the final deadline.
1 day late: 20%
2 days late: -40%
3 days late: -60%
4 days late: -80%Step 2 Organize your data
This step is about your experience of viewing the film and how the director kept you engaged.
Step2.1: The audience and the space, and you
Your experience as a moviegoer is as important as the film itself.
State where you saw the film.
Analyze and describe the environmental conditions in the theater and how your circumstances ...
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This lesson aims to analyze representations of gender within TV drama extracts. Students will watch an extract from Primeval four times, analyzing it using a worksheet to discuss how camera shots, editing, sound, and mise en scene construct gender representations. They will discuss camera techniques, editing, sound, and visual elements and how they represent gender without notes on the first viewing, and with notes for subsequent viewings.
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1. AIM: By the end of the lesson, you will…
• Understand the requirements of your exam
•Distinguish TV Drama from other genres
•Be able to analyse representation in a range of media texts.
2. ASSESSMENT
G322: Key Media Concepts (TV Drama)
The exam is 2 hours (including 30 mins for viewing and making notes on the
clip) .
Candidates are required to answer two compulsory questions - each question is
marked out of 50.
There are two sections to this paper:
Section A: Textual Analysis and Representation (50 marks) AD
Section B: Institutions and Audiences (50 marks) - The Music Industry AM
3. SECTION A – TV DRAMA
Section A: Textual Analysis and Representation
You will watch an ‘unseen’ TV extract from a TV drama (a one-off drama series or serial
drama programme scheduled on British TV, including some sourced from other
countries).
You will answer one compulsory question dealing with textual analysis of various
technical aspects of the languages and conventions of moving image media. Candidates
will be asked to link this analysis with a discussion of some aspect of representation
within the sequence:
Camera Angle, Shot, Movement and Composition
Mise-en-Scène
Editing
Sound
4. SECTION B – Music Industry
Section B: Institutions and Audiences
A study of a particular record label within the contemporary music industry
that targets a British audience, including its patterns of production,
distribution, marketing and consumption by audiences. This should be
accompanied by study of the strategies used by record labels to counter the
practice of file sharing and their impact on music production, marketing and
consumption.
Candidates should be prepared to understand and discuss the processes of
production,distribution, marketing and exchange as they relate to
contemporary media institutions, as well as the nature of audience
consumption and the relationship between audiences and institutions.
5. What is TV Drama?
YOUR TASK - Starter
1. Write a list of the TV Dramas that you know!
2. Put them into groups and label them appropriately.
3. How have you decided to group them? Why?
6. TV Drama is…
A story that is presented in a dramatic way and
explores a range of genres
Dramatic programming that is scripted and
normally fictional
7. TV Drama Sub-genres
A ‘sub-genre’ is where genres are subdivided into even more
specific categories.
What sub-genres can you think of?
8. Remember
It is rare to find a TV Drama that fits all.
Audiences like choice and different audiences find
appeals in different types of media texts (Uses and
Gratifications, Blumler and Katz)
What is in each TV programme has been constructed
to appeal to those audiences.
Representation is constructed – your task is to
deconstruct how it has been created using technical
language.
9. Representation
The process by which the media present to us the
‘real’ world.
Okay, that’s harsh –
I’m stereotyping!!
10. Representations can change over
time…
The Sun, 1998
Headline ‘Banished
Beckham’
The Sun, 2001 Headline
‘Glorious Golden Balls’
11. Other factors that affect
representations:
Audience positioning – consider how different
categories of audiences will react to you.
Interaction between other groups (important when
looking at characterisation within TV Drama).
Cultural ideology – we hall have expectations about
how certain characters and groups should react,
behave and operate within society.
Exam spec has changed – no longer is the extract
exclusive to UK but can be an imported TV drama
shown in the UK. How does the above affect this?
12. Key points
For many of us, the media are the key source of our
understanding of the world.
For example, what is it like to live in Australia? If you
have not been there, how do you know this?
Many people believe that the media are a powerful
means of shaping our attitudes and beliefs – what does
this mean?
13. 7 groups of representation
Class
Sexuality
Disability
Regional identity
Age
Ethnicity
Gender
14. How accurate is the media?
Can we trust the representation that is being made
to be an ‘accurate’ portrayal?
15. STEREOTYPING
What does ‘stereotyping’ mean?
“The portrayal of people or places through a few
obvious characteristics”
What is the stereotype of British youths?
16. YOUR TASK
Look at the images on your table.
Answer the following questions on the images.
You will be required to feed back your answers!
17. Things to think about…
How accurately do they represent young people in
Britain?
Are the images a positive or negative
representation?
18.
19. YOUR TASK
1. Research examples of the following TV Drama sub-genres:
•Teen Drama
•Period/Costume drama
•Police/crime drama
•Medical/hospital drama
2. Look for representations of the following within each genre:
•Class, Sexuality, Disability, Regional identity, Age, Ethnicity, Gender
YOU WILL FEED BACK YOUR FINDINGS TO THE REST OF THE
CLASS!
20. Homework/independent study
Choose a TV Drama to watch before next lesson
(Monday)
Choose a specific representation to analyse
Make notes and be ready to feed back to the class on
Monday about what you have found!
END OF SESSION 1
21. AIM: By the end of the lesson, you will be
able to deconstruct a TV Drama extract.
STARTER: Watch the following extract…
(Put your homework on your desk ready for collection)
22. Deconstructing
What is it?
Looking at the choices made in production. Picking
them apart. We will ‘deconstruct’ the text.
What should we look at?
Camera (angles and movement)
Sound (dialogue, effects, music)
Editing (pace, transitions)
Mise en scene
23. YOUR TASK
Time to deconstruct another extract!
You will be either a 1, 2 or 3…
If you are a 1, you will focus on camera (angles and
movement).
If you are a 2, you will focus on editing (pace,
transitions).
If you are a 3, you will focus on sound (dialogue,
effects, music).
FEEDBACK
24. Future Focuses
There are more areas to focus on. You
should also be looking at shot types, special
effects, props, costume, hair and make-up,
setting, colour, and lighting.
See other presentations on editing, camera
and sound.
25. AIM: By the end of the session, you will understand realism
and apply this to extracts from a range of TV dramas.
STARTER: Complete the terminology test!
26. CAMERA
Let us recap what we know about camera.
ACTIVITY: Match the camera shots, angles and
movements to the definitions. Write the correct
term above each definition.
Now tell me, what shot is this?
27.
28. CAMERA: ACTIVITY
Watch the following clip from 24.
Note down (in a list) every camera shot, angle and movement
you see!
Now, in pairs, discuss the use of these shots and answer the
following questions:
WHY was that shot used?
What effect does it have?
Write an account for the significance of each shot (and
sequence of shots used) in explaining the setting/location and
social context.
This slide assumes you’re a 24 fan or can have access to any of
the amazing episodes.
29. REALISM
WHAT IS IT?
A style that attempts to represent the real
world.
TASK:
Read the extract on your worksheet, then
watch the following clip. Consider how the
narrative, mise-en-scene, camera and sound
are constructed to represent reality.
34. MISE-EN-SCENE (RECAP)
What is mise-en-scene?
Everything that appears before the camera.
What can be included in ‘mise-en-scene’?
Set, props, actors, costumes, composition, lighting.
ACTIVITY: Watch the following extract and describe
the mise-en-scene of the scene.
GIVE AS MUCH DETAIL AS POSSIBLE!
35. Answer the following question…
Discuss the ways in which the following extract from
Shameless constructs the representation of social
class using the following:
• Camera shots, angles, movement and composition
• Editing
• Sound
• Mise-en-scène
37. AIM: By the end of the lesson, you will have analysed the
representation of gender within a range of TV drama extracts.
STARTER: Complete the terminology test.
38. ACTIVITY
Using the worksheet, analyse the following
extract from Primeval.
As in the exam, you will see the extract four
times.
During the first viewing, you will not be able to
make notes.
41. ON YOUR OWN
Discuss the ways in which the extract constructs the
representation of gender using the following:
Camera shots, angles, movement and composition
Editing
Sound
Mise en scene
42. AIM: By the end of the lesson, you will create your own character representation.
STARTER:
Look at the still images from TV dramas and answer these questions:
•What sub-genre of TV drama does it belong to?
•How do you know?
•Who is being represented?
•How are they being represented in this image?
43. ON YOUR POST-IT NOTE…
Write YOUR definition of representation (and your name) and go and
stick it on the whiteboard.
Watch the following video and be ready to discuss.
44. Stuart Hall – Key Points
Hall emphasises the importance of visual representation –
the image seems to be the prevalent sign of late modern
culture.
Representation – to present/to depict.
The word suggests something was there already and has
been represented by the media.
Representation is that which stands in for something else.
Representation is the way in which meaning is given to
the things which are depicted that stand in for something.
45. REPRESENTATION
What questions do we need to ask ourselves when we
look at representation within an image (or an extract)?
WHO is being represented?
IN WHAT WAY are they being represented?
WHO is representing them in this way?
WHY are they being represented in this way?
In the representation FAIR & ACCURATE?
ACTIVITY: Go back to your still images sheet – answer
all of the above questions about each image.
46.
47.
48.
49. QUESTION
Representation is not present just in people… it’s
in places and ideas too.
Does representation in media texts alter how we
see the real world around us?
50. SEMIOTICS
WATCH THE FOLLOWING
VIDEO…
The study of signs.
Developed by Ferdinand de Saussure (1974).
We make meaning through the creation and
interpretation of signs.
Signs can be words, images, sounds, odours, flavours,
acts, objects.
The word sign is used to describe anything that
carries meaning - whether it’s a word, a
symbol/image, or a sound.
51. SIGNS
Because of their nature, we have to view signs as
having two distinct parts:
The signifier - the physical sign itself
The signified - the meaning carried by the sign
Alternatively, we can think in terms of the denoted
meaning (what the thing is), and... the connotations
carried by the thing.
It is important to remember is that signs are
polysemic: open to many interpretations.
52. ACTIVITY
Look at the following images and make a note of:
The Signifiers
The Signified
53. YOUR TASK
You will be given a character from the list. You must create a storyboard (minimum 5
slides) to tell the story of them taking a trip to the shops. How would you represent them?
Use all the technical codes to add understanding to your storyboard.
Characters:
Things to think about:
•A teenager
•How would they get to the shops? Technical
codes:
•What might they buy?
•Middle class,
middle aged man •What would they wear? •Camera work
•Elderly person •How would you frame it? •Editing
•A disabled person •How would you edit it? •Mise en scene
•Housewife •What would we hear? •Sound
•Doctor •Would they go on their own?
55. You should continue to look at TV
Drama clips and practise analysing
them.
Presentations on the other key areas are on a separate
presentation.
Visit www.alevelmedia.co.uk for more ideas and
suggested activities.