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L1 intro to as media studies
1. This lesson will cover:
Intro to Media suite
Course introduction and outline
Intro to Media Theories
INTRO TO AS MEDIA STUDIES
2. LESSON BREAKDOWN
TUESDAY PERIOD 1 -2
Homework will be set every week. Must be completed
(Stage System for non-completion – vital as only 1 day a
week with me). *Absence on a HW deadline day is not an
excuse for non-completion.
Absences - If you are absent on a Tuesday you must
make contact with me to catch up on missed work upon
your arrival back at school. Emails may be used to arrange
a meeting time.
Intervention – Beginning November – students who have
not met target grades with HW tasks or in class
assessment will be expected to attend.
3. MACS in the Media Suite
Need to arrange a login with IT if you have not
already.
If your login does not work you must go to IT to
resolve the issue.
No eating and drinking (obviously) and report any
noticeable damage immediately.
Accessing the Public Drive
4. Now for something completely
different
Why did you choose Media Studies?
What drew you to the Media?
Think / Pair / Share
5. 5 interesting facts about Media
Industries
The Media is a very broad term, but it comprises such
industries as:
The publishing industry (books, news, mags, etc)
Interactive Media (web development, online marketing,
social media etc)
Film
TV
Radio
Advertising and Marketing
Gaming
* Note – there is a lot of convergence, or cross-over
between these industries.
6. 5 interesting facts about Media
Industries
London's Media Industry
London boasts one of the largest media industries in
the whole of Europe, and in fact all of the UK's major
media organisations are based in the city of London.
Around a fifth of all the people who work in London
are involved in the media industry in one way or
another.
According to a British Film Industry (BFI) report, in
2014 investment in the UK film industry rose to
£1.075 billion. Around three quarters of film
production in the UK is concentrated in and around
the city of London.
7. 5 interesting facts about Media
Industries
The entertainment and media industry in North
America, Europe, Middle East, Africa, and Asia
Pacific, and Latin America will increased from $1.3
trillion in 2009 to $1.7 trillion in 2014
PricewaterhouseCoopers LLP, Wilkofsky Gruen
Associates
8. 5 interesting facts about Media
Industries
On the Guardian
Jobs site in August
2017 there were
1,402 jobs
advertised for jobs
in Media.
These included:
Advertising 261
Animation 15
B2B 394
Creative 321
Digital media 762
Fashion 36
Film 60
Games 10
Journalism 89
Market research 142
Print 199
Publishing 552
Radio 13
TV 112
9. 5 interesting facts about Media
Industries
According to reed.co.uk the average salary for
a UK Media worker was
£36,430 £419 more than last year
Media, Digital & Creative Average Salary – UK
Average salary
Number of Jobs
3,716
10. Eduqas GCE Media Studies
COURSE INTRO
First Teaching: 2017
First Assessment:
AS – 2018
A level - 2019
12. Overview/Aims
This specification offers learners exciting opportunities
to:
• Make connections: between different media forms
and products, between media products and their
contexts, and between theory and practical work.
• Engage with a range of rich and stimulating media
forms and products.
• Develop media production skills, apply their
knowledge and understanding of the theoretical
framework to media forms and products.
13. Overview of Specification
Compone
nt
AS Media Studies A level Media Studies
One Investigating the Media
Written exam: 1.5 hours (35%)
Media Products, Industries &
Audiences
Written exam: 2 hours (35%)
Range of forms & products studied in relation to key aspects of
the theoretical framework.
Two Investigating Media Forms
and Products
Written exam: 2 hours (40%)
Media Forms and Products
in Depth
Written exam: 2.5 hours (40%)
Three forms studied in depth in relation to all aspects of the
theoretical framework.
Three Media Production
Non-exam assessment (30%)
Cross-Media Production
Non-exam assessment (30%)
14. Theoretical Framework
The theoretical framework for analysing and creating media
provides learners with the tools to develop a critical
understanding and appreciation of the media.
The framework consists of four inter-related areas:
• media language: how the media use forms, codes,
conventions to communicate meanings
• representation: how the media portray events, issues,
individuals and social groups
• media industries: how the media industries' processes of
production, distribution and circulation affect media forms and
platforms
• audiences: how media forms target, reach and address
audiences, how audiences interpret and respond to them, and
how members of audiences become producers themselves.
15. Contexts of Media
Learners develop knowledge and understanding of media
products in relation to relevant contexts of media.
Historical Contexts including:
• the dynamic and historically relative nature of genre
• the effect of historical context on representations.
Social and Cultural Contexts including:
• the effect of social and cultural contexts on representations
• how and why particular social groups may be under-
represented or misrepresented.
Economic and Political Contexts including:
• production, distribution and circulation in a global context
• the significance of patterns of ownership & control, funding
and regulation.
16. Assessment Objectives
AS and A level Media Studies
AO1 - Demonstrate knowledge and understanding of:
• the theoretical framework of media
• contexts of media and their influence on media products and processes
AO2 - Apply knowledge and understanding of the theoretical framework of media
to:
• analyse media products, including in relation to their contexts and through the
use of academic theories
• evaluate academic theories – A level only (Y13)
• make judgements and draw conclusions
AO3 -Create media products for an intended audience, by applying knowledge
and understanding of the theoretical framework of media to communicate
meaning.
17. Theories and theoretical approaches
• Learners will study a range of key theoretical
approaches and theories to inform and support their
analysis of media products and processes.
• Those listed on the next slide must be studied;
appropriate additional theories may be studied.
• At AS level learners must be able to apply theories.
• At A level learners must also evaluate theories.
18. Theories
AS and A level A level Only
Media
Language
• Semiotics, including Barthes
• Narratology, including Todorov
• Genre theory, including Neale
• Structuralism, including Lévi-
Strauss
• Postmodernism, including
Baudrillard
Representation
• Theories of representation,
including Hall
• Theories of identity, including
Gauntlett
• Feminist theory, including van
Zoonen and bell hooks
• Theories of gender performativity,
including Butler
• Theories around ethnicity and
postcolonial theory, including Gilroy
Media
Industries
• Power and media industries,
including Curran and Seaton
• Regulation, including Livingstone
and Lunt
• Cultural industries, including
Hesmondhalgh
ces
• Media effects, including
Bandura
• Cultivation theory, including
Gerbner
• Fandom, including Jenkins
• ‘End of audience’ theories - Shirky
19. A level Media Studies
Media Products, Industries & Audiences
Written examination: 2 hours (35%)
Section A:
Analysing Media Language and Representation
Section B:
Understanding Media Industries and Audiences
• Products set by WJEC Eduqas.
• Key aspects of the theoretical framework covered in each section.
• Contexts and theories will also be studied.
Overview of Component
1
20. Component 1 Forms and Products
Media forms Section Areas to be studied Contexts
Advertising and
Marketing
A and B Media language
Representation
Audiences
√
Music Video A Media language
Representation
√
Newspapers
In-depth study covering
all areas of the theoretical
framework
A and B Media language
Representation
Media industries
Audiences
√
Film B Media industries √
Radio B Media industries
Audiences
√
Video games B Media industries
Audiences
√
21. Component 1: Section A
• Introduces learners to Media Language and
Representation as an essential basis for analysing media
products:
• analyse critically and compare how media products
construct and communicate meanings
• use theories appropriate to each level and specialist
subject-specific terminology appropriately
• debate key questions relating to the social, cultural,
political and economic role of the media
• construct and develop a sustained line of reasoning in
an extended response.
22. • STUDIED WITH MISS AKINDAYINI
• Range of forms studied – contemporary and
historical products set by Eduqas:
• Advertising and marketing
• Music video
• Newspapers
• Assessment will include analysis of unseen
examples.
• Centres able to select of contrasting examples
to study alongside set products to develop
analytical skills and prepare for unseen analysis.
Component 1: Section A
23. Section A: Forms and Products
Advertising and
Marketing
Music Video Newspapers
AS
and A
level
Tide (1950s)
print advertisement
and
WaterAid (2016)
audio-visual
advertisement
and
Kiss of The Vampire
(1963) film poster
Formation, Beyoncé *
(2016)
or
Dream, Dizzee Rascal
(2016)
*This music video has a parental
advisory warning. It is at the
discretion of the teacher whether this
is appropriate for their learners and
the alternative option may be chosen
if not.
The Daily Mirror
(November 2016)
front cover and article
on US election
A level
only
Riptide, Vance Joy
(2013)
The Times
(November 2016) front
and back pages
The following set products must be studied:
24. Assessment of Component 1
A level Media Studies
Media Products, Industries & Audiences
Written examination: 2 hours (35%)
Section A: Analysing Media Language and Representation
• One question on media language based on an unseen print or audio-visual
resource.
• One extended response question on representation, comparing an unseen
audio-visual or print resource with a set product.
Section B: Understanding Media Industries and Audiences
• One stepped question on media industries.
• One stepped question on audiences.
25. Component 2 –
STUDIED WITH MR THOMAS
• Learners study the following media forms in depth:
• Television
• Magazines
• Online media
• All four areas of the theoretical framework (media
language, representation, media industries and
audiences) must be considered in relation to each of
the set products studied in Component 2.
• Learners further develop the ability to analyse and
critically compare media products, and develop a
line of reasoning in extended responses.
• Theories appropriate to each level and contexts
must be studied.
26. Component 2 Section A:
TelevisionAS level: learners study one full episode of a TV series.
A Level: learners also study one episode of a non-
English language programme.
Level Option 1
Drama
Option 2
Drama
Option 3
Documentary
AS and
A level
Life On Mars
(UK)
Series 1, Episode 1
(2006)
Humans (UK/US)
Series 1, Episode 1
(2015)
The Jinx: The Life
and Deaths of
Robert Durst (US)
Episode1: ‘Chapter 1: A
Body in the Bay’ (2015)
A level
The Bridge
(Denmark/Swede
n)
Season 3, Episode 1
(2015)
The Returned
(France)
Season 1, Episode 1:
‘Camille’ (2012)
No Burqas Behind
Bars* (Sweden)
(2013)
*Learners are required to
study up to 49 minutes.
27. Component 2 Section B:
Magazines
AS Level: learners study one historical (pre-1970) magazine.
A Level: learners also study one contemporary magazine produced outside the
commercial mainstream.
Access to the set editions will be available via the WJEC Eduqas secure website.
Level Option 1 Option 2 Option 3
AS
and
A level
Woman
(23-29 August
1964)
(IPC)
Woman’s Realm
(7-13 February
1965)
(IPC)
Vogue
(July 1965)
(Conde Nast)
A level
Adbusters
(May/June 2016,
Vol.23 No.3)
(Adbusters Media
Foundation)
Huck
(Feb/Mar 2016,
Issue 54)
(TCO London)
The Big Issue
(Oct 17-23 2016,
No.1227)
(Dennis & The Big
Issue Ltd)
28. Component 2 Section C:
Online Media
AS Level: learners study one blog.
A Level: learners also study one online newspaper or magazine produced for a
minority audience.
Learners study the following elements of their chosen websites and blogs:
• the design of the home page, including its use of images and topical material
• links to other content such as the relevant YouTube channel, vlog etc.
• interactive links, including to social and participatory media.
Level Option 1 Option 2
AS and
A level
PointlessBlog
https://www.youtube.c
om/user/
PointlessBlog
Zoella
https://www.zoella.co.uk/
A level
DesiMag
www.desimag.uk
Attitude
http://attitude.co.uk/
29. What we will be investigating
A Level
Learners study two products.
Learners apply and evaluate
advanced theories relevant to each
form such as:
• Narrative theory (Todorov)
• Genre theory (Neale)
• Identity theory (Gauntlett)
• Reception theory (Hall)
• Postmodernism (Baudrillard)
• Gender Performativity (Butler)
• Regulation (Livingstone & Lunt)
• Fandom (Jenkins)
30. Assessment of Component 2
A level Media Studies
Media Forms and Products in Depth
Written examination: 2.5 hours (40%)
Section A – Television in the Global Age
One two-part question or one extended response question.
Section B – Magazines: Mainstream and Alternative
Media
One two-part question or one extended response question.
Section C – Media in the Online Age
One two-part question or one extended response question.
31. A Level Media Studies
Cross-Media Production
Non-exam assessment (30%)
An individual cross-media
production based on two forms in
response to a choice of briefs set by
WJEC.
Overview of Component 3
32. Component 3: Media Production
Non-exam assessment
Component 3 offers learners exciting opportunities to:
• develop media production skills
• become active creators of meaning
• respond to a choice of set briefs in a range of forms
• apply their knowledge and understanding of the
theoretical framework to the creation of media forms
and products.
33. Component 3: Key Features
• 30% of AS and A level; internally assessed and externally moderated.
• Annual release of set briefs during the year prior to assessment :
• AS: September 1st
• A level: March 1st
• Create individual media production work for an intended
audience, applying knowledge and understanding of:
• media language
• representations
• audiences
• media industries.
• Statement of Aims & Intentions to explain how the learner intends to
respond to the brief, apply knowledge and understanding of the
theoretical framework and target the intended audience.
34. Component 3: A Level
A Level Media Studies
Production One cross-media production in
two forms for an intended
audience
Applying theoretical
framework
Media Language
Representations
Audiences
Media Industries, including digital
convergence
Length/ Time Specified in the brief; dependent
upon form chosen
Statement of Aims &
Intentions
Approx. 500 words
35. Briefs
• Briefs will be released annually by Eduqas, requiring
learners to create a specific production for a different
industry context and intended audience.
• The following forms will always be set:
• television
• advertising & marketing (music or film)
• magazines
• Eduqas will stipulate the industry and audience contexts,
and specific key requirements to be included in the
production.
• Learners will develop a response to their chosen brief and
create a production for the the specified industry context
and intended audience.
36. The following forms will always be set:
A level Cross-media Production
Television A cross-media production: a sequence from a new
television programme and related print or online
products.
Advertising &
Marketing (Film) *
A cross-media production: a print marketing
campaign for a new film, and related audio-visual or
online products.
Advertising &
Marketing (Music)
A cross-media production: an original music video
for a new artist or band and related print or online
products.
Magazine A cross-media production: a new print magazine
and related audio-visual or online products.
* Film production work must not include a complete short film, film sequence or
trailer.
37. • Learners must submit:
• A cross-media (A level) production.
• A statement of aims and intentions for the production.
• A completed cover sheet available on the Eduqas
website.
• Supervision and monitoring:
• teachers may advise on completion of non-assessed
research and planning
• once production is underway feedback must be general
- specific advice regarding elements such as the
creative ideas or the application of the theoretical
framework is not permitted
• teachers monitor production process continually and
sign at three key stages (research, planning, production)
to authenticate the work.
Key Requirements for Component 3
38. • Individual production: the learner may use unassessed
students and others:
• to appear in their media products e.g. as actors or
models or to operate equipment, e.g. lighting or sound
recording equipment, under the direction of the
assessed learner.
• Use of original material:
• learners must create original material for the
production. A small amount of non-original material
may be used (see specific guidance in specification)
• a production that does not use original material
cannot be awarded above band 1.
• Equipment and resources for production work in
Component 3:
• software packages used in the creation of the
Key Requirements for Component 3
39. Assessment of Component 3
AO3: Create media products for an intended audience, applying
knowledge and understanding of the theoretical framework of
media to communicate meaning.
Component 3 is internally assessed and externally moderated. The
total number of marks available is 60:
• 10 marks for the statement of aims.
• 20 marks for creating a media product that meets the
requirements of the set brief, including suitability for the specified
form, industry and audience.
• 30 marks for creating a media product which uses media
language to communicate meanings and construct
representations.
Learners who do not submit a production will be awarded zero
40. Supporting teaching and learning
Visit website to access qualification information and download key
documents.
eduqas.co.uk/qualifications/media-studies
Free Eduqas digital resources to support the teaching and learning of a
broad range of subjects.
resources.eduqas.co.uk
Section A – comparison of unseen with product in the same or different form
Emphasise the point that centres won’t have to try to source the magazine for themselves – we’ll scan each one and make it available via our website.
Again, it might be worth pointing out that studying a media product made before 1970 is an OFQUAL requirement and that our decision to meet this requirement through magazines from the 1960s is because we think students are likely to find this more engaging (e.g. magazines often provide a fascinating insight into the values of the time in which they’re produced).
Briefly discuss the rationale for choosing blogs as the set products for online media:
Could point out that bloggers, vloggers and YouTubers have become an increasingly significant part of the media landscape in recent years (each of these figures has a huge online following; there are even waxworks of Alfie and Zoella in Madame Tussauds!)
there’s also a vast industry that has grown up around these bloggers (see Disney’s involvement with PewDiePie’s Revelmode network of YouTubers, for example) or the way in which Alfie Deyes and Zoella have also crossed over into the publishing industry
students are likely to be familiar with these products and can engage with them quite readily
Another reason for our choice of blogs and vlogs is because one of the elements of representation that students are required to study according to the subject content for Media Studies is self-representation. Blogs and vlogs provide the perfect opportunity for students to explore this.
Could flag up the fact that a summary of all of the theories has been included in the specification as an appendix.
Could briefly discuss the way in which one or two of the specified theories could be applied to the set products.
E.g. The way in which Butler’s notion of performativity, (possibly the most challenging critical theory that the A Level subject content requires students to engage with) could be applied to Humans and The Jinx, and, indeed, how those texts may make Butler’s ideas seem much more accessible to students.
For instance, in Humans, the Synths could also be seen to embody this idea (e.g. the way in which the Synths, as androids, act like humans although lacking a human essence).
Butler’s theory of gender performativity could also be applied to The Jinx (e.g. we learn that Robert Durst assumed a female identity in Galveston, Texas, where one of the murders was committed (he rented an apartment in the name of Dorothy Ciner and dressed as a woman when staying there).
Emphasise that there will be plenty of choice and flexibility in terms of the set briefs that will be offered
Although this component is 30% (compared with 50% internally assessed work in the current spec), the entire 30% is based on practical production work – no written work is assessed here.
Key differences between AS & A level:
Single production in one form at AS; cross-media production at A level, demonstrating digital convergence through symbiotically linked products.
Increased amount of work at A level and longer statement of aims & intentions
Include a copy of the cover sheet in the pack & refer to in this section
Teachers can advise learners about the brief and ensure that they fully understand the requirements of the component.
During production teachers can offer practical advice on how to operate equipment/ health and safety considerations etc. They can offer general advice on what needs to be improved but not HOW those improvements could be made.
E.g. It would be acceptable for a teacher to suggest that generic conventions could be applied more fully to a production. It would not be acceptable for the teacher to give detailed suggestions of which specific generic conventions could be applied and how the learner should apply them.
Suitable equipment and needs to be available to learners and appropriate software may be used, however there should not be an over-reliance on pre-existing templates. Work should be original and created/ designed by the learner.
The intended audience for the product should be clear from the use of media language, representations etc.
The construction of the product needs to demonstrate knowledge and understanding of the theoretical framework e.g. conveying ideology through the anchoring of images and language in a magazine.
The industry context should be evident in terms of, for example, the ‘mainstream’ or ‘independent’ nature of the product, its values and ideologies, its production values etc.
At A level the links between products need to be clear (e.g. a coherent and consistent ‘house style’) and meaningful/ appropriate to the purpose e.g. a website for a new TV programme might expand upon elements of the programme (e.g. the issues explored), offer audiences ‘exclusive’ additional content, ways of interacting etc. appropriate to the industry context and target audience.