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- 3. A2 MEDIA STUDIESEXAM – SECTION A: THEORETICAL EVALUATION OF COURSEWORK In Section A you answer both 1(a) and 1(b). Question 1(a) will ask you to discuss the development of your skills from AS to A2 in relation to one or two of the following aspects: Digital Technology Creativity Research and Planning Post-production Using conventions from real media texts
- 4. 1(A) In the examyou should spend about 30 minutes answering question 1(a). In order to do well on this question you must remember to: Discuss both your AS and A2 coursework Demonstrate progress from AS to A2 Refer to specific examples from your coursework productions Use terminology
- 5. 1(B) Question 1(b) willask you to select one of your coursework products, either AS or A2 and analyse it relation to one of the following specified theoretical concepts: Narrative Audience Genre Representation Media Language
- 6. 1(B) You will needto spend about 30 minutes answering question 1(b) in the exam. In order to do well you should: Demonstrate your understanding of media theory Relate theory to a range of specific examples from your coursework product Use theoretical and production terminology well
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- 8. MUSIC VIDEO GENRETHEORY Katie Wales, 'genre is... an intertextual concept', and nowhere is this more appropriate than with music videos Andrew Goodwin - music videos follow the following conventions: 1. Conventions depend on the genre of the music 2. Star persona is important and companies use close ups to sell them to the audience 3. Voyeuristic images are used to attract an audience 4. They often contain intertextual references to other media 5. There is a link between the lyrics and the visuals 6. There is a link between the visuals and the music / pace etc
- 9. ANDREW GOODWIN ‘DANCING INTHE DISTRACTION FACTORY’ Certain music genres contain conventions that audiences wish to see: • Rock bands traditionally will have performances of the band energetically singing the track – perhaps in front of an audience, drummers emphatically drumming, singers scowling down the mic – all to show how tough they are • Girl bands traditionally have a focus on heavily choreography dance routines, fashion, attitude, independence
- 10. SVEN E CARLSSON Musicvideos mostly fall under 2 categories: • Performance (dance, song or instrumental focus) • Conceptual (abstract ideas the artist wants to promote through their song)
- 11. WATCH BOWIE, QUEEN& BON JOVI (SEE BLOGPOST FURTHER DOWN THE PAGE) & COMPLETE GRID IN YOUR BOOK
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- 13. REPRESENTATION OF GROUPS social class/status ability/disability gender sexuality nationalor regional identity race and ethnicity
- 14. REPRESENTATION OF GENDER INMUSIC VIDEOS Solo Female/Male Boy/Girl Groups Male/Female Bands
- 15. HEGEMONY A dominant socialor cultural view e.g. The hegemonic cultural stereotype of men: masculine, aggressive, in charge, powerful e.g. The hegemonic cultural stereotype of women: feminine, weak, subservient, traditional roles (wife, mother)
- 16. STEREOTYPES – RICHARD DYER Stereotype(first used as a term by Walter Lippmann in 1956) Has come to be defined as a negative representation or over-simplification of a category of people in a group Dyer explains that stereotypes reinforce ideas of differences between people which are natural – i.e. Criminals are represented as low-lifes, untrustworthy...
- 17. COUNTER ARGUMENT – TESSAPERKINS (1979) Stereotypes are not always negative Are not always about minority groups Stereotypes are not always false Apply this to your characters in your videos • E.g. What social group(s) do your characters belong to? How is this made clear? • What age group do your characters belong to (e.g. Nervous, unsure teenagers...)
- 18. COUNTER ARGUMENT – DAVIDGAUNTLETT AND MARTIN BARKER Identities are not given but are constructed and negotiated (Gauntlett) Martin Barker condemns stereotypes for mis-representing the real world by reinforcing false stereotypes David Gauntlett acknowledges pluralistic change (e.g. stereotypes can be varied) but suggests a hegemonic framework still exists in society but also in media representations – This can act as a positive point to help audiences decode meaning quickly from media texts
- 19. MARGINALISED? Consider using Levi-Strauss– binary oppositions Mainstream vs. Marginalised Counter-culture vs. Dominant cultural hegemony
- 20. USE REPRESENTATION GRIDIN YOUR BOOK TO MAKE NOTES ON THE VIDEOS LISTED ON THE NEXT SLIDES
- 21. CRAZY IN LOVE– BEYONCÉ FEAT. JAYZ
- 22. LAURA MULVEY –MALE GAZE
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- 24. ED SHEERAN –THINKING OUT LOUD FEMALE GAZE?
- 25. ED SHEERAN –THINKING OUT LOUD Traditional gender representations Use of dance – reinforces the stereotype – male leads the dance Feminine apparel of the woman Emphasis on the strength of Sheeran in the lifts and masculinity in his outfit. Focus on the rolled-up sleeves revealing tattoos Male gaze concept: at one point Sheeran ‘plays’ the dancer’s leg like a guitar – she is literally his instrument/object to play with
- 26. BACKSTREET BOYS –I WANT IT THAT WAY
- 27. LITTLE MIX –SALUTE
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- 29. HOLE – CELEBRITYSKIN
- 30. REPRESENTATION - RESEARCH What representationshave you discovered in your case studies? Dominant? Marginalised? Stereotypes? Demographics (Gender, Age, Ethnicity, Sexuality, National Identity etc…) Sociographics (teen culture, professions, social groups, interests/activities) What are you coming to recognise as the conventional stereotype in your research and how might you adapt this to conform or challenge the stereotype in your own production?
- 31. HOMEWORK – NEXTWEEK Explore theories of representation in one music video.