The document provides the marking scheme for the GCE Media Studies exam from Summer 2012. It includes four levels for assessing answers with descriptions of what students need to demonstrate at each level for different assessment objectives. For example, at Level 3 students are expected to have a sound understanding of media concepts and apply appropriate terminology in their analysis. The marking scheme also provides potential points students could discuss for each question to help examiners apply the levels consistently.
This document provides feedback on exam responses and guidance on how to improve answers from a C to an A grade when discussing how media texts appeal to audiences. It recommends discussing the complex relationship between media construction and audience appeal, using encoding/decoding theory, linking points to specific audience types, comparing/contrasting texts, and applying a four-stage formula of identifying a point, linking it to an audience, justifying the appeal, and giving an example. It also addresses common errors and provides homework assigning a multi-part question analyzing the audience appeal of different TV texts.
This document provides an overview of how to approach audience questions for an exam. It outlines key areas to address, including identifying and describing audiences, how texts construct and position audiences, and techniques used to appeal to audiences. Examples of potential exam questions are given for each area. The document emphasizes using case studies and media language concepts to illustrate points, and considering how different audiences may respond differently to the same text. Revision tips include learning theories, practicing applying them to case studies, and practicing past exam questions within time limits.
This document provides an example response to a past exam question asking students to analyze one of their coursework productions in relation to the concept of audience. The response discusses the student's horror film coursework called "The Sleepover" and analyzes how they took audience into consideration when creating the film. The student demonstrates understanding of several audience theories and relates them to choices made in their film, such as targeting a specific age range and using certain filmmaking techniques aimed at eliciting emotional responses from the audience. Overall, the response shows a clear application of audience theory to the student's own creative work.
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.
Representation ideas for case study and active audiencecottagechee
This document provides guidance and questions for students to analyze representations across different media platforms and audiences. It discusses how representations are constructed for particular target audiences and how different audiences may interpret and respond to representations differently based on their own experiences and identities. Students are asked to choose a representation to use as a case study for analyzing how it is portrayed across print, broadcast, and online media, and how different audiences may view it.
Game shows appeal to wide audiences through their representation of ordinary people competing for prizes in an exciting, tension-filled format led by a host. Major media institutions produce game shows, which often spawn spin-offs across other platforms. Game shows employ a recognizable linguistic style with catchphrases and humor to put contestants at ease while building anticipation for viewers. They consider the demographics of their target audiences as daytime television programming.
1) The document discusses key concepts related to media including audience, institution, media language, and representation.
2) It provides definitions and theories for each concept, relating them to how they apply to television game shows. For example, it discusses how the audience reacts to game shows differently depending on genre and personal choices.
3) It also examines how each concept is interrelated, such as how the representation of a game show is aimed at attracting a particular target audience.
This document provides feedback on exam responses and guidance on how to improve answers from a C to an A grade when discussing how media texts appeal to audiences. It recommends discussing the complex relationship between media construction and audience appeal, using encoding/decoding theory, linking points to specific audience types, comparing/contrasting texts, and applying a four-stage formula of identifying a point, linking it to an audience, justifying the appeal, and giving an example. It also addresses common errors and provides homework assigning a multi-part question analyzing the audience appeal of different TV texts.
This document provides an overview of how to approach audience questions for an exam. It outlines key areas to address, including identifying and describing audiences, how texts construct and position audiences, and techniques used to appeal to audiences. Examples of potential exam questions are given for each area. The document emphasizes using case studies and media language concepts to illustrate points, and considering how different audiences may respond differently to the same text. Revision tips include learning theories, practicing applying them to case studies, and practicing past exam questions within time limits.
This document provides an example response to a past exam question asking students to analyze one of their coursework productions in relation to the concept of audience. The response discusses the student's horror film coursework called "The Sleepover" and analyzes how they took audience into consideration when creating the film. The student demonstrates understanding of several audience theories and relates them to choices made in their film, such as targeting a specific age range and using certain filmmaking techniques aimed at eliciting emotional responses from the audience. Overall, the response shows a clear application of audience theory to the student's own creative work.
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.
Representation ideas for case study and active audiencecottagechee
This document provides guidance and questions for students to analyze representations across different media platforms and audiences. It discusses how representations are constructed for particular target audiences and how different audiences may interpret and respond to representations differently based on their own experiences and identities. Students are asked to choose a representation to use as a case study for analyzing how it is portrayed across print, broadcast, and online media, and how different audiences may view it.
Game shows appeal to wide audiences through their representation of ordinary people competing for prizes in an exciting, tension-filled format led by a host. Major media institutions produce game shows, which often spawn spin-offs across other platforms. Game shows employ a recognizable linguistic style with catchphrases and humor to put contestants at ease while building anticipation for viewers. They consider the demographics of their target audiences as daytime television programming.
1) The document discusses key concepts related to media including audience, institution, media language, and representation.
2) It provides definitions and theories for each concept, relating them to how they apply to television game shows. For example, it discusses how the audience reacts to game shows differently depending on genre and personal choices.
3) It also examines how each concept is interrelated, such as how the representation of a game show is aimed at attracting a particular target audience.
This document discusses using seasonal themes in print advertising campaigns. It provides examples of how seasonal events are incorporated into advertisements and encourages generating ideas for an advertising campaign that uses themes and seasonal events. Learners are asked to consider themes and seasonal events in existing advertisements, brainstorm campaign ideas using themes and seasonal events, and plan out a print advertisement.
This document provides definitions and questions related to key media concepts for analyzing media texts, including genre, representation, audience, narrative, and media language. It defines each concept and gives examples of how they may be applied to a student's own media production work. The concepts are interrelated and can overlap. The document provides sample questions under each concept to help students analyze how genre, representation, audience, narrative, and language are constructed in their media text.
Print Advertising - St. Marys Year 11 Media Revision - 2015Chris Allan
This document provides an overview of lessons on print advertising and media studies concepts for a Year 11 class. It covers topics like technical and symbolic codes in advertisements, audience responses, genres, narrative structures, and the four P's of marketing. Students analyze example advertisements and complete activities on these concepts. They are given definitions of key terms and theories like intertextuality, above and below the line marketing, and Todorov's narrative theory. The teacher provides learning objectives, starter questions, and instructions for in-class discussions and assignments.
This document defines key terms used in analyzing various media forms including:
- Audience refers to the intended consumers of a media product and how they may be divided.
- Codes are systems that allow cultures to communicate through signs and create meaning.
- Genre refers to specific types of films, television, or radio productions like action, horror, or comedy.
- Mediation is the process by which media select and alter aspects of the world before presenting representations to audiences.
- Representation is the process of producing meaning in media, which can include misrepresentations of social groups.
The document provides guidance on researching children's television programmes and audiences, including analyzing the opening sequences of shows, examining their use of elements like music, titles, characters, and special effects. It also outlines conducting audience research through questionnaires and considering how the results can impact programming decisions.
This document provides guidance on analyzing media texts for AS Media Revision exams. It outlines various technical, audio, visual, and genre codes that communicate messages to audiences. These include camera shots, angles, and movement; diegetic and non-diegetic sound; dialogue; music; and narrative genres. The document also discusses representing gender, ethnicity, age, issues, and regional identities in examples. It provides direction on analyzing audience definitions, responses to texts, how audiences are positioned, and how media attract audiences.
The document provides instructions for a reality television program pitching assignment. Students are asked to develop an idea for a new reality show called "Second Chances" that avoids negative stereotypes and exploitation seen in other programs. Their pitch should include a format that is suitable for prime time family audiences and discuss how the program could be effectively marketed. The goal is for the winning idea to be piloted as a 6-week program in the summer.
The witness statement summarizes a learner's pitch for a creative media production project. The learner pitched an original idea for a reality TV show that combined elements of challenge and horror. The pitch clearly communicated the show's name, aim, target audience, style, and supporting materials. The learner effectively answered all questions about the idea from the panel. The strengths noted were the detailed genre description and clear responses. Areas for improvement suggested developing more audience interaction and using bolder visuals in the presentation.
AS Film Studies - FM1: Exemplar and GuidanceALEVELFILM
The document provides commentary and guidance on a student's analysis of a film extract from The Departed that focused on mise-en-scene and cinematography. It notes that the student demonstrated good knowledge and understanding, and provided close attention to illustrating points from the sequence. However, it suggests the analysis could be tightened and supplemented with consideration of how the two micro features work together to create meaning, as well as making some implicit understandings more explicit.
This document provides guidance on creating effective multimodal materials to communicate messages. It discusses guidelines for designing effective advocacy posters and producing short videos. For posters, it recommends including an eye-catching headline, essential details, a clear call to action, and using visual hierarchy and relevant photos. For videos, it suggests solidifying objectives, researching the audience, deciding on a core message, writing a script and storyboard, planning a shoot, and editing with graphics, sound, and voiceover. It also lists apps that can help create multimodal projects on mobile devices. Finally, it presents a rubric to evaluate a sample poster on cultural diversity advocacy.
This document provides an assignment brief for a student to complete a critical analysis of media products for their BTEC Creative Media Production course. The student must provide evidence for three criteria: presenting a descriptive response with appropriate terminology; presenting a discussion with illustrative examples and correct terminology; and presenting an analysis with supporting arguments, examples, and correct terminology. The student must submit a completed feature article or podcast analyzing genre, representation, and narrative in the films Leon and Pulp Fiction by the deadline of January 20th, providing the blog address where it can be accessed. They must sign a declaration that the work is their own.
The document provides instructions for an assignment analyzing magazine covers. Students are asked to analyze covers based on language, audience, colors, images, and codes and conventions. They must identify the target audience and how the magazine appeals to that audience. Students will analyze sample covers in groups and individually analyze two magazine covers of their choice for a coursework assignment.
Service and communication / Introduction (Service Management_2nd semester)David Engelby
The document provides an overview of communication theory, models, and frameworks. It discusses strategic communication and how communication can be used as a tool to support practical service design and delivery. Various paradigms and models of communication are presented, including linear models from the past as well as more holistic and integrated approaches. Frameworks for communication processes, resources, and oral presentations are also summarized. The document aims to explore both theoretical and practical aspects of communication.
A course in developing media literacy workshops designed for students in information sciences at Hochschule der Medien in Stuttgart. When you are interested in using the course, you are most welcome. If you need any surplus teaching material, like the assignments given to the students, a list of interesting articles or hand outs, feel free to contact me.
This document outlines the requirements and marking criteria for two sections of an exam on critical perspectives in media:
Section A requires students to describe and evaluate their skills development over two coursework productions, and select one production to evaluate in relation to a media concept. Section B requires students to answer one question from six topic areas, demonstrating understanding of contemporary issues, industries and debates within the chosen topic. Marking criteria assess explanation, use of examples, and use of terminology.
Service and communication / Writing strategies (Service Management_2nd semester)David Engelby
This presentation gives you a short, helpful introduction to business writing, online writing strategies and basic information architecture in relation to writing and layout.
It comes with some suggestions for class activities and workshops, but the slides can be used as study materials as well. Fully validated with a bibliography and references/links.
This document provides past exam questions for a Media Studies course focusing on media texts, industries, and audiences. For each exam, students must answer one question from Section A on media texts and two questions from Section B on industries and audiences. Section A questions explore representations, narratives, genres, and constructions in three media texts. Section B questions examine industry topics like marketing, distribution, regulation, audiences, technologies, and globalization for three texts across different media industries. Students must refer to the three main texts they have studied for each answer. The questions provided span exam years from 2011 to 2014.
The document provides guidance for a media exam on film texts. Students will be asked a question about genre, representation, or narrative for their three main texts. Only two of these three areas will appear on the exam, and students choose which area to answer about. Past exam questions are provided as examples. The strategy of identifying a point and justifying it with a narrative description from the text is emphasized. Students must refer to their chosen texts in their answers to fully justify their points.
The document provides information about Candidate 1. Specifically, it indicates that Candidate 1 has achieved Level 4 status or qualifications. No other details are given about Candidate 1 or what Level 4 represents. The summary is limited due to the brevity of the original document.
Representation theory examines how media represent people, places, events and concepts through images, words and sounds. It considers how representations are constructed and how they seem natural to audiences. Representations are selective and involve processes of production, distribution and reception that shape meaning. Audiences interpret representations based on their own experiences and backgrounds.
This document provides an overview of Unit MS4 from a media studies course, which focuses on analyzing the links between texts, the industries that produce them, and audiences. It gives examples of industries and texts that could be studied, such as the computer game Tomb Raider: Anniversary and the film Sweet Sixteen. For each text, it suggests exploring aspects like narrative, representation, industry of production, marketing, global impact, and audience. The level of detail provided about analyzing these two sample texts is meant to demonstrate how the unit might approach studying the relationships between texts, industries, and audiences.
Audience theories examine the complex relationship between media producers and audiences. Producers aim to position audiences through encoded messages, but audiences can interpret these messages differently as active or passive receivers. Different factors like demographics, beliefs, and level of engagement influence how audiences decode media texts.
This document discusses using seasonal themes in print advertising campaigns. It provides examples of how seasonal events are incorporated into advertisements and encourages generating ideas for an advertising campaign that uses themes and seasonal events. Learners are asked to consider themes and seasonal events in existing advertisements, brainstorm campaign ideas using themes and seasonal events, and plan out a print advertisement.
This document provides definitions and questions related to key media concepts for analyzing media texts, including genre, representation, audience, narrative, and media language. It defines each concept and gives examples of how they may be applied to a student's own media production work. The concepts are interrelated and can overlap. The document provides sample questions under each concept to help students analyze how genre, representation, audience, narrative, and language are constructed in their media text.
Print Advertising - St. Marys Year 11 Media Revision - 2015Chris Allan
This document provides an overview of lessons on print advertising and media studies concepts for a Year 11 class. It covers topics like technical and symbolic codes in advertisements, audience responses, genres, narrative structures, and the four P's of marketing. Students analyze example advertisements and complete activities on these concepts. They are given definitions of key terms and theories like intertextuality, above and below the line marketing, and Todorov's narrative theory. The teacher provides learning objectives, starter questions, and instructions for in-class discussions and assignments.
This document defines key terms used in analyzing various media forms including:
- Audience refers to the intended consumers of a media product and how they may be divided.
- Codes are systems that allow cultures to communicate through signs and create meaning.
- Genre refers to specific types of films, television, or radio productions like action, horror, or comedy.
- Mediation is the process by which media select and alter aspects of the world before presenting representations to audiences.
- Representation is the process of producing meaning in media, which can include misrepresentations of social groups.
The document provides guidance on researching children's television programmes and audiences, including analyzing the opening sequences of shows, examining their use of elements like music, titles, characters, and special effects. It also outlines conducting audience research through questionnaires and considering how the results can impact programming decisions.
This document provides guidance on analyzing media texts for AS Media Revision exams. It outlines various technical, audio, visual, and genre codes that communicate messages to audiences. These include camera shots, angles, and movement; diegetic and non-diegetic sound; dialogue; music; and narrative genres. The document also discusses representing gender, ethnicity, age, issues, and regional identities in examples. It provides direction on analyzing audience definitions, responses to texts, how audiences are positioned, and how media attract audiences.
The document provides instructions for a reality television program pitching assignment. Students are asked to develop an idea for a new reality show called "Second Chances" that avoids negative stereotypes and exploitation seen in other programs. Their pitch should include a format that is suitable for prime time family audiences and discuss how the program could be effectively marketed. The goal is for the winning idea to be piloted as a 6-week program in the summer.
The witness statement summarizes a learner's pitch for a creative media production project. The learner pitched an original idea for a reality TV show that combined elements of challenge and horror. The pitch clearly communicated the show's name, aim, target audience, style, and supporting materials. The learner effectively answered all questions about the idea from the panel. The strengths noted were the detailed genre description and clear responses. Areas for improvement suggested developing more audience interaction and using bolder visuals in the presentation.
AS Film Studies - FM1: Exemplar and GuidanceALEVELFILM
The document provides commentary and guidance on a student's analysis of a film extract from The Departed that focused on mise-en-scene and cinematography. It notes that the student demonstrated good knowledge and understanding, and provided close attention to illustrating points from the sequence. However, it suggests the analysis could be tightened and supplemented with consideration of how the two micro features work together to create meaning, as well as making some implicit understandings more explicit.
This document provides guidance on creating effective multimodal materials to communicate messages. It discusses guidelines for designing effective advocacy posters and producing short videos. For posters, it recommends including an eye-catching headline, essential details, a clear call to action, and using visual hierarchy and relevant photos. For videos, it suggests solidifying objectives, researching the audience, deciding on a core message, writing a script and storyboard, planning a shoot, and editing with graphics, sound, and voiceover. It also lists apps that can help create multimodal projects on mobile devices. Finally, it presents a rubric to evaluate a sample poster on cultural diversity advocacy.
This document provides an assignment brief for a student to complete a critical analysis of media products for their BTEC Creative Media Production course. The student must provide evidence for three criteria: presenting a descriptive response with appropriate terminology; presenting a discussion with illustrative examples and correct terminology; and presenting an analysis with supporting arguments, examples, and correct terminology. The student must submit a completed feature article or podcast analyzing genre, representation, and narrative in the films Leon and Pulp Fiction by the deadline of January 20th, providing the blog address where it can be accessed. They must sign a declaration that the work is their own.
The document provides instructions for an assignment analyzing magazine covers. Students are asked to analyze covers based on language, audience, colors, images, and codes and conventions. They must identify the target audience and how the magazine appeals to that audience. Students will analyze sample covers in groups and individually analyze two magazine covers of their choice for a coursework assignment.
Service and communication / Introduction (Service Management_2nd semester)David Engelby
The document provides an overview of communication theory, models, and frameworks. It discusses strategic communication and how communication can be used as a tool to support practical service design and delivery. Various paradigms and models of communication are presented, including linear models from the past as well as more holistic and integrated approaches. Frameworks for communication processes, resources, and oral presentations are also summarized. The document aims to explore both theoretical and practical aspects of communication.
A course in developing media literacy workshops designed for students in information sciences at Hochschule der Medien in Stuttgart. When you are interested in using the course, you are most welcome. If you need any surplus teaching material, like the assignments given to the students, a list of interesting articles or hand outs, feel free to contact me.
This document outlines the requirements and marking criteria for two sections of an exam on critical perspectives in media:
Section A requires students to describe and evaluate their skills development over two coursework productions, and select one production to evaluate in relation to a media concept. Section B requires students to answer one question from six topic areas, demonstrating understanding of contemporary issues, industries and debates within the chosen topic. Marking criteria assess explanation, use of examples, and use of terminology.
Service and communication / Writing strategies (Service Management_2nd semester)David Engelby
This presentation gives you a short, helpful introduction to business writing, online writing strategies and basic information architecture in relation to writing and layout.
It comes with some suggestions for class activities and workshops, but the slides can be used as study materials as well. Fully validated with a bibliography and references/links.
This document provides past exam questions for a Media Studies course focusing on media texts, industries, and audiences. For each exam, students must answer one question from Section A on media texts and two questions from Section B on industries and audiences. Section A questions explore representations, narratives, genres, and constructions in three media texts. Section B questions examine industry topics like marketing, distribution, regulation, audiences, technologies, and globalization for three texts across different media industries. Students must refer to the three main texts they have studied for each answer. The questions provided span exam years from 2011 to 2014.
The document provides guidance for a media exam on film texts. Students will be asked a question about genre, representation, or narrative for their three main texts. Only two of these three areas will appear on the exam, and students choose which area to answer about. Past exam questions are provided as examples. The strategy of identifying a point and justifying it with a narrative description from the text is emphasized. Students must refer to their chosen texts in their answers to fully justify their points.
The document provides information about Candidate 1. Specifically, it indicates that Candidate 1 has achieved Level 4 status or qualifications. No other details are given about Candidate 1 or what Level 4 represents. The summary is limited due to the brevity of the original document.
Representation theory examines how media represent people, places, events and concepts through images, words and sounds. It considers how representations are constructed and how they seem natural to audiences. Representations are selective and involve processes of production, distribution and reception that shape meaning. Audiences interpret representations based on their own experiences and backgrounds.
This document provides an overview of Unit MS4 from a media studies course, which focuses on analyzing the links between texts, the industries that produce them, and audiences. It gives examples of industries and texts that could be studied, such as the computer game Tomb Raider: Anniversary and the film Sweet Sixteen. For each text, it suggests exploring aspects like narrative, representation, industry of production, marketing, global impact, and audience. The level of detail provided about analyzing these two sample texts is meant to demonstrate how the unit might approach studying the relationships between texts, industries, and audiences.
Audience theories examine the complex relationship between media producers and audiences. Producers aim to position audiences through encoded messages, but audiences can interpret these messages differently as active or passive receivers. Different factors like demographics, beliefs, and level of engagement influence how audiences decode media texts.
The document provides an overview of topics covered in an exam on film, television and music. It discusses the three areas - film, television and music - and common question types about audience, industry, and genre/representation. Specific past exam questions are outlined for television focusing on audience targeting and response. Notes sections provide guidance on answering audience targeting questions and analyzing the television show Lost in terms of its ensemble cast, neutral setting, and hybrid genre. The role of enigma codes, narrative structures, and non-diegetic scores in television is also summarized.
Vladimir Propp was a Russian formalist scholar who studied folk tales in the 1920s. He identified that many folk tales shared similar narrative structures and characters fulfilling narrative functions that drive the plot. Propp's theory outlines character archetypes like the hero, villain, donor, and princess. His work influenced filmmaking and showed that fairy tales follow a specific narrative structure. Propp's theory can be applied to analyze the plot and characters of horror films like Halloween and Texas Chainsaw Massacre in terms of the hero confronting the villain while receiving help from donors.
The document discusses the history and development of the TV industry. It begins by describing John Logie Baird's early experiments with transmitting moving images in 1925. It then discusses the integration of internet and streaming capabilities on modern TVs. The document outlines the establishment of color and 3D TV technologies as well as the cultural significance of the TV in living rooms. It provides context on the launch of the BBC and other UK broadcasters. The document also examines the impact of digital technologies and new forms of content distribution on the TV industry and viewing behaviors.
The document analyzes representation in the British comedy television series "The Inbetweeners". It discusses how the show represents the following factors: age (focusing on 17-18 year olds), ethnicity (all main characters are white), gender (all main characters are male), historical era (set in the present), location and setting (suburban area outside London), physical ability (main characters have personal/mental disabilities), regional identity (defined by housing estates and community), significant events (each episode focuses on a particular event), sexuality (jokes made but no stereotypical representations), and social class (main characters are middle-class or higher). Overall, the document examines how the show represents and draws humor from various social and
This document provides instructions and content for three sections of a GCE O Level English exam. Section A contains a passage with grammatical errors and requires identifying the errors. Section B provides a scenario and requirements for a 250-350 word article. Section C gives four essay prompt choices.
The document discusses genres and how they develop through repetition and recognition of conventions. Audiences come to expect certain conventions within different genres, like horror conventions in Halloween or teen conventions in Mean Girls. Genres are successful because audiences find familiarity comforting but producers also need to innovate somewhat to avoid boredom. Genres thus rely on a balance of repeating familiar conventions while also adding new elements or twists. This allows audiences to enjoy what they know while still being surprised.
This is england youth sub representations 2hhunjan07
The document discusses representations of youth subcultures in 1980s Britain as depicted in the film "This is England". It explores how the working-class skinhead subculture originated as a reaction to the political and economic climate of the time, including rising nationalism, Thatcherism, deindustrialization, and increased immigration. The film portrays the skinhead youth as aggressive, violent, and disenfranchised from society due to lack of employment opportunities and family/community structures in Britain at the time. It also examines how Shane Meadows uses these representations to convey the ideologies of the era.
Skyfall premiered in London on October 23, 2012 and was distributed to cinemas worldwide through November 2012. It set numerous box office records, becoming the highest-grossing film in the UK and Sony Pictures. Extensive marketing campaigns promoted Skyfall, including TV spots, digital signage, product tie-ins with Heineken beer and Sony phones, social media campaigns, and posters in various locations.
The document discusses the British film "This is England" and provides discussion questions about key themes in the film including representation of people and places, skinhead subculture, masculinity, national identity, and characterization of the main characters and gang. Learning outcomes include explaining who and what is represented in the film, exploring the skinhead movement and Shane Meadows' portrayal of masculinity. Questions probe the gang's actions in context of unemployment and circumstances, how Meadows conveys the subculture, and competing ideas of national identity in the film.
The document discusses representation in media. It makes three key points:
1. All media texts are representations of reality that are intentionally composed by their producers and are artificial versions of reality.
2. It is important to remember that every media form, from videos to magazines, represents someone's concept of existence through signs and symbols.
3. Representation is a fluid, two-way process where producers position a text in relation to reality and audiences assess the text based on its relationship to their own reality. Representation mediates ideas of people, places, and events in various ways.
This document provides an overview of industrial marketing. It begins with an introduction to industrial marketing, then discusses the meaning of industrial marketing and why it is important to study. It outlines several key features of industrial marketing, including that there are fewer but larger business buyers, the buying process is complex, and demand can be inelastic. The document emphasizes that industrial marketing is important because it generates major revenue, requires less expenditure than consumer marketing, and aims to build long-term relationships with business customers.
Contemporary Media Representations of Youthjphibbert1979
The document discusses media representations of youth in several British films and television shows from the late 2000s. It notes that newspapers at the time frequently used negative words to describe teenagers and that over half of stories about teenage boys related to crime. It then analyzes how several works construct representations of teenagers, finding common themes of anxiety about uncontrolled and threatening youth, as well as negative portrayals of working-class families and an emphasis on social class differences.
The document discusses audience theories and how audiences decode and make meaning from media texts in different ways based on factors like their social position, beliefs, and experiences. It explains that audiences can take a preferred reading by accepting the dominant meaning encoded in a text, a negotiated reading by accepting some aspects but disagreeing with others, or an oppositional reading by completely rejecting the ideology or messages of a text. Media producers aim to construct audiences and target them with preferred readings, but audiences actively make their own interpretations.
Hegemony, Marxism and Stereotype TheoryKirstie Stark
This document discusses several key theories related to stereotypes and representation in media:
1. Richard Dyer's theory from 1979 that stereotypes reduce groups to a few exaggerated characteristics and are used to portray social power dynamics.
2. Tessa Perkins' revised view that stereotypes are shorthand not inherently problematic, and audiences wrongly assume they apply to all group members.
3. An assignment asking students to analyze stereotypes in media like TV shows and ads based on these theories, considering how stereotypes are constructed and their potential effects on audiences.
MS1 AS Media Studies Summer 2011 mark schemeJaskirt Boora
This document provides a marking scheme for a GCE Media Studies exam from Summer 2011. It includes four levels to assess students' answers with criteria for each level. The marking scheme provides generic levels to assess how students analyze media products and processes. It also includes a question-specific scheme that lists possible points students may discuss in their answers. The scheme analyzes sample questions on representing audiences and age in magazines.
This document provides specimen question papers and marking schemes for the AS/A Level Media Studies exam. It includes two sample exam papers - one on media representations and responses, and one on media texts, industry and audience. For each paper, it provides the exam questions, additional materials, and a marking scheme for assessing students' answers. The marking schemes provide levels for evaluating students' answers based on their knowledge and analysis, with descriptors and point allocations for each level. Sample magazine covers are also included as additional materials to accompany the questions on representations and responses. The document aims to help teachers and students prepare for the exam by understanding the exam structure and how answers will be assessed.
This document outlines the assessment objectives and structure for a 2-hour exam in Critical Perspectives in Media. The exam consists of two sections. Section A involves a theoretical evaluation of a student's own media production work and accounts for 50 marks. Section B covers contemporary media issues and also accounts for 50 marks. Students will choose one question from a selection related to "Media in the Online Age" that involves discussing the historical, contemporary, and future aspects of specified online media forms or issues. The document provides examples and definitions to help students prepare for the different question types and topics that may appear. It stresses the importance of using correct terminology, applying concepts from the course, and drawing from up-to-date examples and evidence in exam
The document provides guidance on Section B of the Media Institutions and Audiences exam. It discusses that questions will focus on areas like production, distribution, and technology and will require references to case study material. The questions are intentionally vague to allow a wide range of answers across media types. Good answers will demonstrate strong understanding, develop clear arguments supported by relevant examples from case studies, and use correct terminology.
This document provides an overview and expectations for an A-Level Media Studies course. It includes:
- Key contact details and the course blog address.
- 10 expectations for student participation and performance in the course.
- An outline of the three assessment objectives focusing on media knowledge, analysis, and creation.
- An overview of the three exam components, including focus areas, question types, and assessments.
- Details on the non-exam assessment coursework component involving an individual cross-media production.
- Key concepts that underpin the course, including media language, representation, industries, and audiences.
The document provides an overview of the GCE AS/A Media Studies specification. It outlines the key features, including analyzing a range of media with an emphasis on representation and how audiences respond. The Advanced Subsidiary unit focuses on media representations and audience responses. Students will analyze genre, narrative, technical codes and language used in texts. They will also explore how media represent groups and issues, and how audiences can interpret texts differently based on their background. A variety of media formats may be examined, including advertisements, magazines, films and websites. The exam consists of analyzing an audio/visual extract and answering questions about representation and audience issues based on the student's own case studies.
Unit 3 research_techniques_for_the_creative_media_industriesnigelcollege
This unit focuses on research techniques for the creative media industries. The unit aims to develop learner's understanding and skills in research relevant to creative media production. Learners will present their findings both orally and in writing, and will learn how to cite and reference sources. Research is fundamental to all aspects of creative media and is used to determine viability, gather content information, and assist with planning. Learners will apply both primary and secondary research methods and techniques to conduct audience, market, and production research. They will then present the results of their research in written reports, oral presentations, and with illustrations.
This document provides guidance for a media studies exam assessing students' knowledge of contemporary media issues and ability to evaluate their own practical work theoretically.
The exam is divided into two sections - the first requires students to describe and evaluate their skills development and analyze one of their productions using a media concept. The second asks students to answer one question from a choice of topics related to a contemporary issue such as how online media has developed.
The document provides details on what students need to cover for each section, including lists of production practices and media concepts for Section 1, and prompts for each topic area in Section 2. Centers are advised to guide students in ongoing reflective evaluation of their work and ensure topics are studied with historical, contemporary,
Cheetham elfie level 3 unit 01 - student record sheetelfiecheetham
The document is an assessment record for a student named Elfie Cheetham. It summarizes 5 tasks completed as part of a Media studies course focusing on analyzing media products and audiences. For each task, the document provides the assessment criteria, teacher feedback, and grades for elements assessed at Pass, Merit, and Distinction level. The tasks included a case study of Disney Studios, an analysis of the film Star Wars: The Force Awakens, audience research about the film's target demographic, an investigation of the film's production and distribution process, and a report on legal and ethical considerations in its creation. The student received a overall grade of Pass for the assessment.
This document outlines an assessment for a media production course focusing on research techniques. It provides the learning outcomes, which include understanding the nature and purposes of research in creative media as well as applying research methods and presenting results. The document describes several tasks involving group discussions and individual project research and presentations that students must complete to demonstrate their understanding.
1) This document assesses Hannah Blandford's work for the OCR Level 3 Cambridge Technical in Digital Media unit on advertising media.
2) Hannah achieved a distinction grade for creating an advertising campaign with radio, television, and print ads that effectively embedded the client's messages across multiple media according to the unit's criteria.
3) The assessor provided comments on each piece of Hannah's work and noted how her ads met requirements at the pass, merit, and distinction levels through effective planning, justification, production, consideration of codes and conventions, and discussion of legal/ethical issues.
This document provides an overview of the AS Media Studies course for the upcoming year. It outlines the two units that will be studied - G321 Foundation Portfolio in Media and G322 Key Media Concepts in TV Drama. For G321, students will produce two media artifacts in response to briefs and evaluate their work. For G322, students will analyze an unseen TV extract and complete a case study on the music industry. The document details the assessment methods, timelines, expectations and resources to support students in successfully completing the course.
This document provides information on a unit related to film studies, including the aims, introduction, learning outcomes, assessment criteria, unit content, and guidance for tutors. The unit aims to develop learners' understanding of how films are created for audiences and make meaning through exploring industry practices and theoretical approaches. Learners will analyze films using different theories and understand the relationships between films, their production contexts, producers and audiences.
This document provides information on a unit related to film studies, including its aims, introduction, learning outcomes, assessment criteria, unit content, and guidance for tutors. The unit aims to develop learners' understanding of how films are created for audiences and make meaning through exploring industry practices and theoretical approaches. Learners will analyze films using different theories and understand the relationships between films, their production contexts, producers and audiences.
This document consists of a specimen paper for an Advanced GCE Media Studies exam. It includes two sections - Section A asks students to answer questions about their coursework productions, and Section B asks students to answer one question from a choice of topics on contemporary media issues. The document provides the exam structure and instructions, questions for each section, and a marking scheme that evaluates student responses on four levels based on explanation/analysis, use of examples, and use of terminology. It also includes additional content guidance for the topics covered in Section B.
1. This document provides guidance on the A Level Media Studies H409/02 exam paper. It explains how students should approach each question and how marks are awarded.
2. The questions assess knowledge and understanding of media industries and audiences as well as ability to apply knowledge, analyze products, evaluate theories, and make judgments.
3. The long-form question asks students to compare representations in two television dramas they have studied from different contexts and evaluate how contexts may have influenced representations.
1. This document provides guidance on the A Level Media Studies H409/02 exam paper. It explains how students should approach each question and how marks are awarded.
2. The questions assess knowledge and understanding of media industries and audiences as well as ability to apply knowledge, analyze products, evaluate theories, and make judgments.
3. The long-form question asks students to compare representations in two television dramas they have studied from different contexts and evaluate how contexts may have influenced representations.
This document is a course handbook for a Media Studies AS Level course. It outlines the two units that will be studied over the year. Unit 1 is a coursework portfolio where students will produce media pieces in response to briefs and evaluate their work. Unit 2 is an exam covering analyzing a TV drama extract and studying the music industry. The handbook provides details on assignments, deadlines, expectations and assessment criteria to guide students through the course.
The document provides guidance on marking answers to a question about media effects and outlines four levels of response from 1-5 marks (Level 1) to 16-20 marks (Level 4). It includes sample answers at the low and medium levels to demonstrate what is required to meet each level. A high-scoring answer would comprehensively discuss both positive and negative effects of a specific media product on its target audience by using relevant media effects theories and examples from the product.
This unit aims to develop learners' understanding of how films are created for specific audiences and how they make meaning through exploration of industry practices and theoretical approaches. Learners will develop an understanding of analytical approaches to film and apply them to specific films. They will also explore how films are influenced by their production context as well as the complex relationships between producers, audiences, and films. The unit provides opportunities for practical audience research and helps contextualize production work done in other units.
Similar to Mark Scheme - Media Studies AS Level (20)
MS4 - Paddington - Genre, Narrative and RepresentationElle Sullivan
This document discusses themes of genre, narrative, representation, gender, age, ethnicity, nationality, social class, and immigration as depicted in the film Paddington. It analyzes how the film represents these concepts through characters like Paddington the bear, the Brown family, Mr. Curry the neighbor, and Millicent. It also examines how the film potentially challenges xenophobic attitudes towards immigrants expressed by some characters.
This document discusses two comedy channels and their differences in terms of being public service broadcast or commercial, their target audiences in terms of size, demographics, and socioeconomic factors. It also covers scheduling techniques for each channel including any differences in appeal based on weekday versus weekend as well as primetime versus post-watershed content. Specific programming examples are provided for each channel.
The document provides guidance for answering a question about how two television programs provide different audience pleasures, noting that higher levels require detailed examples from both programs for multiple pleasures discussed, while lower levels may cover fewer pleasures or only one program but still require some understanding of pleasures; it also provides two sample student answers with examiner comments on why they received the marks awarded.
This document provides the mark scheme for a question asking students to discuss the scheduling of two TV comedies. It outlines four levels of response with criteria for level of knowledge, use of terminology, understanding of industry contexts and channels, and quality of writing. It provides examples of student answers and explains why they would receive certain marks based on the level descriptors. The document is intended to help students understand what is required to achieve different marks for this question.
Lesson 7 - TV Comedy - Question 4b case studyElle Sullivan
This document provides guidance for a case study assignment on TV comedy programs. Students are instructed to photocopy and complete a handout comparing the different pleasures offered by two comedy programs, citing specific examples and episodes. The document outlines what higher, middle, and lower level answers should include, such as identifying and contrasting a range of pleasures like humor, narrative elements, and audience gratification. Students are advised to discuss pleasures, provide examples from episodes, and demonstrate understanding of how the programs differently please audiences.
Lesson 6 - TV Comedy audience pleasuresElle Sullivan
The document contains information about assignments that are due, including coursework, posters, evaluations, and homework. It discusses which students need to submit which assignments and provides instructions for the homework assignment, which involves analyzing two TV comedy programs in terms of their scheduling and how they provide different audience pleasures. The document contains sample questions and criteria that could be used to evaluate the homework.
Here are 3 key terms I have learned today and could explain to the class:
1. Demographics - The classification of individuals or groups by age, gender, income, location and other socio-economic factors used to identify audience segments. Demographics provide basic attributes about a population but do not capture beliefs, values or motivations.
2. Maslow's Hierarchy of Needs - A theory developed by Abraham Maslow proposing that people are motivated to fulfill basic needs before moving on to other needs. The hierarchy typically displays these needs as physiological, safety, love, esteem and self-actualization needs that must be satisfied sequentially. This theory is used in advertising to appeal to different needs.
3. Young & Rubic
Lesson 3 - TV Comedy - Channels and schedulingElle Sullivan
E4's branding emphasizes being "beautifully random, joyously daft and generally not taking things too seriously." OFCOM regulates all broadcasting channels in the UK to ensure they follow guidelines. Public service broadcasting (PSB) channels like the BBC are required to provide quality programming that reflects UK diversity and mixes genres, while avoiding repeated shows. Commercial channels primarily aim to attract large audiences to sell expensive advertising slots. Television scheduling strategies carefully plan what programs air when to target specific audiences.
This document provides guidance and instructions for a media studies exam section on TV comedy. It outlines that Section B is worth 30 marks and will have two questions: 4(a) discusses the scheduling of one or two comedy programs on channels and 4(b) how the programs offer different pleasures to audiences. Students should be prepared to contrast two texts or discuss one text in detail using media key concepts. They should choose comedy programs from contrasting broadcasters like BBC1 and E4 to discuss how the programs link to the channel branding and audiences. The homework assigns watching two comedy programs, one from a mainstream channel and one from a younger channel, to use as case studies in the exam.
The document discusses different types of broadcasters in the UK including the BBC, Channel 4, and commercial stations. It explains that the BBC and Channel 4 have a public service broadcasting (PSB) remit where they aim to inform, educate, and entertain the public, while commercial stations solely aim to attract audiences to sell advertising. The BBC is publicly funded through television license fees, Channel 4 is publicly owned but commercially funded through advertising, and commercial stations are solely funded by advertising. There is ongoing controversy around funding models and whether the television license fee should continue.
The document provides a mark scheme for evaluating responses to a question about representation of characters in an extract. It outlines four levels of performance from 1 to 4, with level 4 being the highest. For level 4, the response would explore at least one representation issue thoroughly with examples from the text and clearly expressed ideas. Level 3 requires identification of one issue with understanding of representation and use of evidence. Level 2 describes representation aspects with some understanding and evidence. Level 1 shows minimal understanding of representation without using the concept of stereotyping and offers little evidence.
Lesson 11 - Action Adventure ethnicity and buddy moviesElle Sullivan
This document provides a rubric for assessing responses to questions about representation in media extracts. It outlines four levels of response with varying criteria for understanding, evidence, and writing quality. The highest level demonstrates thorough understanding of representation issues, offers a range of evidence, and is written clearly with few errors. The lowest level shows minimal understanding, minimal evidence, and ideas obscured by errors. Sample questions are provided about characters, genres, and technical elements used to create effects.
Lesson 10 - Female representation in Action Adventure filmsElle Sullivan
The document discusses female representation in films and provides examples of how female characters can be categorized as empowered, sexually objectified, or stereotyped. It also includes a marking scheme for assessing answers on female representation with four levels of achievement.
This document discusses representation and gender roles in action-adventure films. Traditionally, these films are aimed at male audiences and depict exaggeratedly masculine male heroes and stereotypical female characters. Women are often shown as damsels in distress or empowered but still sexually objectified. The camera will linger on women's bodies to gratify the male audience in what is called the "male gaze." However, some films now feature stronger female leads, though representation of men and women still tends to rely on stereotypes that enforce patriarchal expectations of gender roles.
This document discusses the concept of an anti-hero in storytelling and asks the reader to identify which of several characters could be considered an anti-hero. It defines an anti-hero as a protagonist who lacks traditional heroic traits like idealism, courage, and morality. It also prompts the reader to name 3 archetypal heroes and explain why they fit that category.
This document discusses key techniques used in action adventure films to create spectacle, jeopardy, and suspense. It outlines various special effects like models, makeup, stunts, and CGI. Conflict and combat scenes are examined, including fist fights, martial arts, and realistic portrayals of violence. Speed and motion are achieved through editing techniques and diegetic/non-diegetic sound. Jeopardy and suspense are generated by placing likeable characters in threatening situations and ending scenes on cliffhangers. The reader is tasked with providing examples of films that exemplify these concepts and analyzing how film techniques fit the action adventure genre in a sample clip.
Lesson 6 - Action Adventure jeopardy and suspenseElle Sullivan
The document discusses several key concepts related to narrative structure and genre analysis for action adventure films. It includes definitions of hybrids and sub-genres. It lists the 5 stages of narrative structure developed by Vladimir Propp and the 7 common character types identified by A.J. Greimas. It notes that Claude Levi-Strauss identified the key term "conflict" which drives narratives. Finally, it prompts analysis of how elements like soundtrack, camerawork, editing, and mise-en-scene are used to create effects fitting the action adventure genre.
The document discusses six sub-genres of action adventure films: fantasy, disaster, historical, quest, thriller, and swashbuckler. For each sub-genre, it provides examples of movies, common narrative conventions, and codes/iconography. Key information provided includes common elements of fantasy films like imaginary worlds and creatures, disaster films involving impending catastrophes, historical films set in real time periods, quest films involving searches, thriller films with suspense and deception, and swashbuckler films with sword fighting. The document encourages adding to a table summarizing each sub-genre.
Lesson 2 - Action adventure films introElle Sullivan
Here is a thriller sub-genre development of the blurb:
An elite team of CIA agents track a terrorist bomber in Antarctica in a race against time, because the sun is about to set for six months, leaving the killer in total darkness. With the bitter cold and harsh conditions working against them, the agents must use all their espionage skills to find the killer before he disappears without a trace. Iconography of the thriller sub-genre is evident with the focus on suspense as the agents work to outwit the terrorist in a remote icy location before the killer can vanish in the darkness, keeping vital information secret from the audience. It's a high stakes game of cat and mouse as the countdown to nightfall begins.
Lesson 1 Action Adventure Films - Exam requirementsElle Sullivan
This document outlines the course structure and content for a film studies course. It discusses that the course consists of three parts: an individual portfolio, an exam, and a production portfolio. It provides details on the exam, including that it will focus on action adventure films and TV comedy, last 1 hour and 45 minutes, and contain questions testing knowledge of genre, textual analysis, representation, institutions, and audience. It also introduces some key concepts to be covered, such as defining the action adventure genre and examining genre codes and conventions.
Elevate Your Nonprofit's Online Presence_ A Guide to Effective SEO Strategies...TechSoup
Whether you're new to SEO or looking to refine your existing strategies, this webinar will provide you with actionable insights and practical tips to elevate your nonprofit's online presence.
How Barcodes Can Be Leveraged Within Odoo 17Celine George
In this presentation, we will explore how barcodes can be leveraged within Odoo 17 to streamline our manufacturing processes. We will cover the configuration steps, how to utilize barcodes in different manufacturing scenarios, and the overall benefits of implementing this technology.
This presentation was provided by Rebecca Benner, Ph.D., of the American Society of Anesthesiologists, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
Andreas Schleicher presents PISA 2022 Volume III - Creative Thinking - 18 Jun...EduSkills OECD
Andreas Schleicher, Director of Education and Skills at the OECD presents at the launch of PISA 2022 Volume III - Creative Minds, Creative Schools on 18 June 2024.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
A Visual Guide to 1 Samuel | A Tale of Two HeartsSteve Thomason
These slides walk through the story of 1 Samuel. Samuel is the last judge of Israel. The people reject God and want a king. Saul is anointed as the first king, but he is not a good king. David, the shepherd boy is anointed and Saul is envious of him. David shows honor while Saul continues to self destruct.