This document provides the mark scheme for the January 2011 GCE Media Studies Advanced Subsidiary GCE exam. It outlines the requirements for two sections - Section A involves analyzing representations in a short unseen television extract, and Section B involves discussing issues of media ownership and institutions. The mark scheme provides scoring criteria and levels to assess candidates' responses for their analysis, use of examples, and terminology.
The document is a mark scheme for a GCE Advanced Subsidiary exam on media studies. It provides assessment criteria for two sections - a textual analysis question focusing on representations in an unseen TV extract, and an essay question on institutions and audiences. For each section, it outlines four levels of achievement and describes the characteristics of responses for explanation/analysis, use of examples, and use of terminology at each level.
This document provides a specimen paper for an Advanced Subsidiary GCE Media Studies exam on key media concepts related to TV drama. It contains (1) instructions for candidates on how to complete the exam, (2) an unseen TV extract that candidates will analyze, and (3) two essay questions - one on representations in the extract and one on institutions and audiences. It also includes a mark scheme that assesses candidates' analysis, use of examples, terminology, and writing skills.
This document provides the mark scheme for a media studies exam on critical perspectives in media. It outlines the requirements examiners must follow when assessing candidates' answers and awarding marks. The mark scheme describes four levels of performance from 1 to 4, with associated mark ranges and criteria for evaluating the quality of content, structure, examples, and use of terminology in candidates' responses. Examiners are instructed to award marks based on this scheme and not engage in external discussions about specific answers.
This document provides an example specimen paper for an Advanced Subsidiary GCE Media Studies exam focusing on key media concepts in TV drama. It includes two sections - Section A involves textual analysis of an unseen TV extract, and Section B addresses institutions and audiences. The document provides sample questions, marking schemes, and indicative content for candidates to potentially discuss and be assessed on regarding representations, technical elements, institutions, and audience targeting.
This document provides a mark scheme for a media studies exam assessing students' understanding of how representations are constructed in television drama through technical aspects. It evaluates students across three criteria: explanation/analysis/argument, use of examples, and use of terminology. Higher levels are awarded more points and require a clear understanding of how techniques shape representations, relevant examples from the text, and accurate terminology. Lower levels receive fewer points and demonstrate a more basic grasp of the concepts and partial fulfillment of the criteria.
Survey methodology involves systematically gathering information from a sample of entities to describe attributes of the larger population. A survey originates from an information need when existing data are insufficient.
The life cycle of a survey includes defining research objectives, choosing a data collection mode and sampling frame, designing and pretesting a questionnaire, recruiting and measuring a sample, coding and editing data, making postsurvey adjustments, and performing analysis. Key dimensions are the measurement of constructs and representativeness of the target population.
Good questionnaire design involves asking clear, specific questions using an appropriate response format to reduce errors from memory problems, interpretation, and social desirability biases. Questions should be pretested to evaluate how well responses measure intended constructs.
This document summarizes research on speaker recognition technologies. It discusses how speaker recognition can be used for biometric authentication by analyzing a person's voiceprint. It reviews literature on MFCC-GMM models for text-independent speaker verification and the use of speaker recognition in biometric security systems. The document also outlines the basic components of a speaker recognition system, including enrollment, feature extraction using MFCCs, and verification through comparison to stored voice templates using algorithms like GMM.
Nick Hatheway Dma Competencies 2011 12 (2)nickhatheway
The document provides standards and competencies for a digital media arts program, including animation technology. It lists 27 computer concept standards (C1-C27) and 19 animation standards (A1-A19) with tasks associated with each ranked from exposure to trainer level. Standards cover topics like storyboarding, lighting, cameras, audio, animation, and legal/ethical issues. The document also lists registration information like name, phone, address, and grades for a student named Edward.
The document is a mark scheme for a GCE Advanced Subsidiary exam on media studies. It provides assessment criteria for two sections - a textual analysis question focusing on representations in an unseen TV extract, and an essay question on institutions and audiences. For each section, it outlines four levels of achievement and describes the characteristics of responses for explanation/analysis, use of examples, and use of terminology at each level.
This document provides a specimen paper for an Advanced Subsidiary GCE Media Studies exam on key media concepts related to TV drama. It contains (1) instructions for candidates on how to complete the exam, (2) an unseen TV extract that candidates will analyze, and (3) two essay questions - one on representations in the extract and one on institutions and audiences. It also includes a mark scheme that assesses candidates' analysis, use of examples, terminology, and writing skills.
This document provides the mark scheme for a media studies exam on critical perspectives in media. It outlines the requirements examiners must follow when assessing candidates' answers and awarding marks. The mark scheme describes four levels of performance from 1 to 4, with associated mark ranges and criteria for evaluating the quality of content, structure, examples, and use of terminology in candidates' responses. Examiners are instructed to award marks based on this scheme and not engage in external discussions about specific answers.
This document provides an example specimen paper for an Advanced Subsidiary GCE Media Studies exam focusing on key media concepts in TV drama. It includes two sections - Section A involves textual analysis of an unseen TV extract, and Section B addresses institutions and audiences. The document provides sample questions, marking schemes, and indicative content for candidates to potentially discuss and be assessed on regarding representations, technical elements, institutions, and audience targeting.
This document provides a mark scheme for a media studies exam assessing students' understanding of how representations are constructed in television drama through technical aspects. It evaluates students across three criteria: explanation/analysis/argument, use of examples, and use of terminology. Higher levels are awarded more points and require a clear understanding of how techniques shape representations, relevant examples from the text, and accurate terminology. Lower levels receive fewer points and demonstrate a more basic grasp of the concepts and partial fulfillment of the criteria.
Survey methodology involves systematically gathering information from a sample of entities to describe attributes of the larger population. A survey originates from an information need when existing data are insufficient.
The life cycle of a survey includes defining research objectives, choosing a data collection mode and sampling frame, designing and pretesting a questionnaire, recruiting and measuring a sample, coding and editing data, making postsurvey adjustments, and performing analysis. Key dimensions are the measurement of constructs and representativeness of the target population.
Good questionnaire design involves asking clear, specific questions using an appropriate response format to reduce errors from memory problems, interpretation, and social desirability biases. Questions should be pretested to evaluate how well responses measure intended constructs.
This document summarizes research on speaker recognition technologies. It discusses how speaker recognition can be used for biometric authentication by analyzing a person's voiceprint. It reviews literature on MFCC-GMM models for text-independent speaker verification and the use of speaker recognition in biometric security systems. The document also outlines the basic components of a speaker recognition system, including enrollment, feature extraction using MFCCs, and verification through comparison to stored voice templates using algorithms like GMM.
Nick Hatheway Dma Competencies 2011 12 (2)nickhatheway
The document provides standards and competencies for a digital media arts program, including animation technology. It lists 27 computer concept standards (C1-C27) and 19 animation standards (A1-A19) with tasks associated with each ranked from exposure to trainer level. Standards cover topics like storyboarding, lighting, cameras, audio, animation, and legal/ethical issues. The document also lists registration information like name, phone, address, and grades for a student named Edward.
This document provides instructions for candidates taking an exam on key media concepts related to TV drama. It outlines that candidates will watch an unseen extract from the TV series Hustle four times, taking notes during screenings. Section A asks candidates to analyze how the extract constructs representations of gender through techniques like camera work, editing, sound, and mise en scene. Section B asks candidates to discuss issues of media ownership and production in their chosen media area like film, music, or newspapers, making reference to examples from their study. The exam is worth 100 marks total and lasts 2 hours.
The document summarizes the process of developing and realizing an idea for a media project on reflecting gender gaps in the film industry. It describes how the author initially struggled to settle on a clear idea due to overthinking feedback and losing confidence. Through further reading, discussion, and focusing on a single research question, the author was able to develop the idea of exploring why there are so few female directors. Interviews were conducted but not fully utilized in the final 5-8 minute film, which instead focused on exploring the topic through an academic lens of auteur theory.
The document discusses the target audience and goals for a film created by the author to highlight gender inequality in the film industry for their 16-18 year old female students. It aimed to raise awareness of how gender is represented and the lack of female directors. Student responses to viewing the film showed most were unaware of gender issues and few could name female directors. While most found the film interesting, one top female student said it made her reconsider her career choice due to the challenges of succeeding in a male-dominated industry.
This document provides instructions for candidates taking an examination on media studies. It outlines that candidates will watch an unseen TV drama extract four times and answer analysis questions based on representations of gender and the significance of digital media for institutions and audiences. Candidates must focus their second question response on film, music, newspapers, radio, magazines, or video games. The extract is from Primeval Series 2 Episode 3 and candidates have 50 marks to discuss camera work, editing, sound, and mise-en-scene in representing gender.
This document discusses the lack of female directors in the mainstream film industry and possible explanations for this gender gap. It notes that while women now have equal educational opportunities, they remain underrepresented among top film directors. The role of director is often perceived as a masculine pursuit due to the "auteur theory" that views the director as the sole creative author. However, some female directors like Kathryn Bigelow have achieved success by following the "unwritten rules" of the male-dominated industry, such as working in masculine genres and distancing themselves from feminism. The document argues that for more women to enter directing, they need to strategically observe and emulate the behaviors of successful male directors rather than focusing only on representing a
Karen proposes exploring creativity in education for her next assignment. Her colleagues Mark and Pete suggest this topic would be better suited for a later pedagogy unit and advise Karen to choose a more practice-oriented topic for this current unit. Karen then proposes two new topics on representations of young women in TV drama and the concepts of consumerism and authorship in film. After receiving feedback, Karen decides to focus on the lack of female directors in film as role models and the impact of the gender gap in the industry. She begins filming interviews and researching the topic. Colleagues provide feedback on her draft film, praising the direct approach and potential for sparking discussion.
The document discusses the underrepresentation of female directors in the film industry and proposes reasons for this disparity. It suggests that auteur theory, which elevated directors to artist/author status, excluded or sidelined female directors, influencing perceptions that directing is a male role. Statistics show few female directors and mentoring programs aim to boost women's confidence in their abilities. The author's artifact will highlight influential female directors and Kathryn Bigelow's Oscar win to challenge the perception that women cannot succeed as directors and inspire more young women to pursue directing careers.
This document provides mark schemes for three units (G322, G323, and thresholds) for the January 2009 Advanced Subsidiary GCE Media Studies examination. It outlines the assessment criteria for Section A (textual analysis of an unseen media extract) and Section B (discussion of media institutions and audiences) of G322 and G323. For each section, it describes four levels of achievement and the marks allocated to explanation, examples, and terminology. It also lists the threshold marks for a pass, merit, distinction, or fail for each unit on the exam.
This document provides a specimen paper for an Advanced Subsidiary GCE Media Studies exam on key media concepts related to TV drama. It includes a sample unseen TV extract, two essay questions, and a sample mark scheme for assessing student responses. The first question requires analyzing representations of gender in the extract through camerawork, editing, sound, and mise-en-scene. The second asks about issues an institution faces in targeting audiences. Answers are judged on explanation, example usage, terminology, and other criteria according to three levels of achievement.
Ocr gcse media studies exam mark schemeNick Crafts
The document provides information about OCR (Oxford Cambridge and RSA) examinations and GCSE qualifications. It discusses that OCR offers a wide range of qualifications to meet the needs of all candidates. It also notes that OCR develops new specifications to meet national requirements and the needs of students and teachers. The document serves as a mark scheme for a GCSE Media Studies exam on textual analysis and media studies topics related to moving images. It provides guidance for examiners on how to apply marks to student responses.
OCR is a leading UK exam board that provides qualifications for students of all ages, including AS/A levels, GCSEs, and vocational qualifications. This document contains the mark scheme for a January 2012 Media Studies exam on television drama. It outlines the requirements examiners will use to award marks for questions about how technical aspects construct representations in a media text and about patterns of media production, distribution, and consumption. Candidates will be assessed on their analysis, use of examples from the given materials, and use of relevant terminology.
Assignment brief 32 & 33 idents & sto mo 2012 suevenables
This document provides an assignment brief for two BTEC National Diploma units: Unit 32 Designing Idents for Television and Unit 33 Stop Motion Animation. Students are asked to create a 30-60 second stop motion animation ident for the CWC TV channel. The ident must reflect the style and branding of CWC. Students will work in pairs but submit individual work. The brief outlines four tasks: understanding television idents and stop motion techniques; planning animation ideas; originating television ident plans; and producing a final animation and ident. It also provides grading criteria for evaluating work based on the units' learning outcomes.
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 outlines a progression of levels for analyzing how representations are constructed in a TV drama extract through the use of micro-elements. It describes four levels of increasing sophistication in explanation, examples from the text, and use of terminology. Level 1 demonstrates minimal understanding and examples. Level 2 shows basic understanding with some examples and terminology. Level 3 displays proficient understanding, mostly linked examples, and accurate terminology. Level 4 exhibits excellent understanding, clear links to text, full relevant examples, and accurate terminology.
This document outlines four levels of assessment for analyzing representations in an extract. Level 1 shows minimal understanding, uses limited examples and terminology inaccurately. Level 2 shows basic understanding, some relevant examples and terminology, but some inaccuracies. Level 3 shows proficient understanding, mostly relevant examples and accurate terminology. Level 4 shows excellent understanding, frequent relevant examples, accurate terminology, and clearly addresses the question. Higher levels receive more marks and are expected to have fewer errors.
This document outlines four levels of assessment for analyzing representations in an extract. Level 1 shows minimal understanding, uses limited examples and terminology inaccurately. Level 2 shows basic understanding, some relevant examples and terminology, but some inaccuracies. Level 3 shows proficient understanding, mostly relevant examples and accurate terminology. Level 4 shows excellent understanding, frequent relevant examples, accurate terminology, and clearly addresses the question. Higher levels receive more marks and are expected to have fewer errors.
Theoretical eval prod 1a lesson 5 real media conventionsnfgsmedia
This document outlines learning objectives and provides guidance for answering exam questions about how a student's analysis of conventions from real media texts informed their own creative media productions over multiple years of study. It encourages discussing skills related to textual analysis, genre, narrative, representation and applying conventions through pre-production, production and post-production phases. Specific conventions and features of video, editing, mise-en-scene, sound, narrative and more are listed to discuss at a micro level with examples from the student's own work.
Computer programming is the heart of computing education. It is a fundamental skill that all computing students are required to learn. However, programming courses are generally considered among the most difficult course and often have the highest dropout rates. The main concern is what concerns of computing faculty is to improve students’ motivation in getting involved in meaningful programming activities. This requires special skills to teach programming. A teacher training workshop was arranged at Directorate of Staff Development for newly inducted Computer Science teachers. The workshop covers various approaches proposed in literature for teaching computer programming. Some useful guidelines have also been suggested. These are the slides of this workshop.
The document provides guidance for students completing a creative film project. Students must choose between creating a short film/sequence, extended step outline, or photostory board. They will analyze how micro features of film like cinematography, editing, and sound construct meaning. Regular progress updates are required. Group work is allowed with members focusing on different micro features. Examples of past successful student projects are available online for analysis.
This lesson plan is for a GCSE media studies class analyzing representations of social class in TV drama. Students will analyze how representations of the working class are constructed through micro-elements like camerawork, editing, and mise-en-scene in a TV drama extract. By the end of the lesson, students should be able to articulate points about representations of the working class with examples from micro-elements and analyze the effects created. Differentiation is provided through grouping students by ability and allowing peer support. Resources include pictures, music videos, a TV drama extract, and analysis materials.
The document provides guidance on answering exam questions about developing digital technology skills through coursework. It emphasizes using specific examples from multiple projects, analyzing the impact, and relating skills growth over time. Key points include:
- Draw on examples from AS and A2 coursework to show improved skills and expanded creativity.
- For each example, analyze the effects and how it shaped later work.
- Utilize media concepts like genre and audience when discussing creative choices and their influences.
- Structure the response with an introduction, paragraphs on pre-production/production/post-production, and a conclusion tying it back to the question.
This document is a specimen paper for the Advanced GCE Media Studies exam. It consists of two sections: Section A involves theoretical evaluation of media productions and Section B involves answering questions about contemporary media issues. The paper is worth a total of 100 marks and tests students' understanding of critical media concepts and theories.
This document provides instructions for candidates taking an exam on key media concepts related to TV drama. It outlines that candidates will watch an unseen extract from the TV series Hustle four times, taking notes during screenings. Section A asks candidates to analyze how the extract constructs representations of gender through techniques like camera work, editing, sound, and mise en scene. Section B asks candidates to discuss issues of media ownership and production in their chosen media area like film, music, or newspapers, making reference to examples from their study. The exam is worth 100 marks total and lasts 2 hours.
The document summarizes the process of developing and realizing an idea for a media project on reflecting gender gaps in the film industry. It describes how the author initially struggled to settle on a clear idea due to overthinking feedback and losing confidence. Through further reading, discussion, and focusing on a single research question, the author was able to develop the idea of exploring why there are so few female directors. Interviews were conducted but not fully utilized in the final 5-8 minute film, which instead focused on exploring the topic through an academic lens of auteur theory.
The document discusses the target audience and goals for a film created by the author to highlight gender inequality in the film industry for their 16-18 year old female students. It aimed to raise awareness of how gender is represented and the lack of female directors. Student responses to viewing the film showed most were unaware of gender issues and few could name female directors. While most found the film interesting, one top female student said it made her reconsider her career choice due to the challenges of succeeding in a male-dominated industry.
This document provides instructions for candidates taking an examination on media studies. It outlines that candidates will watch an unseen TV drama extract four times and answer analysis questions based on representations of gender and the significance of digital media for institutions and audiences. Candidates must focus their second question response on film, music, newspapers, radio, magazines, or video games. The extract is from Primeval Series 2 Episode 3 and candidates have 50 marks to discuss camera work, editing, sound, and mise-en-scene in representing gender.
This document discusses the lack of female directors in the mainstream film industry and possible explanations for this gender gap. It notes that while women now have equal educational opportunities, they remain underrepresented among top film directors. The role of director is often perceived as a masculine pursuit due to the "auteur theory" that views the director as the sole creative author. However, some female directors like Kathryn Bigelow have achieved success by following the "unwritten rules" of the male-dominated industry, such as working in masculine genres and distancing themselves from feminism. The document argues that for more women to enter directing, they need to strategically observe and emulate the behaviors of successful male directors rather than focusing only on representing a
Karen proposes exploring creativity in education for her next assignment. Her colleagues Mark and Pete suggest this topic would be better suited for a later pedagogy unit and advise Karen to choose a more practice-oriented topic for this current unit. Karen then proposes two new topics on representations of young women in TV drama and the concepts of consumerism and authorship in film. After receiving feedback, Karen decides to focus on the lack of female directors in film as role models and the impact of the gender gap in the industry. She begins filming interviews and researching the topic. Colleagues provide feedback on her draft film, praising the direct approach and potential for sparking discussion.
The document discusses the underrepresentation of female directors in the film industry and proposes reasons for this disparity. It suggests that auteur theory, which elevated directors to artist/author status, excluded or sidelined female directors, influencing perceptions that directing is a male role. Statistics show few female directors and mentoring programs aim to boost women's confidence in their abilities. The author's artifact will highlight influential female directors and Kathryn Bigelow's Oscar win to challenge the perception that women cannot succeed as directors and inspire more young women to pursue directing careers.
This document provides mark schemes for three units (G322, G323, and thresholds) for the January 2009 Advanced Subsidiary GCE Media Studies examination. It outlines the assessment criteria for Section A (textual analysis of an unseen media extract) and Section B (discussion of media institutions and audiences) of G322 and G323. For each section, it describes four levels of achievement and the marks allocated to explanation, examples, and terminology. It also lists the threshold marks for a pass, merit, distinction, or fail for each unit on the exam.
This document provides a specimen paper for an Advanced Subsidiary GCE Media Studies exam on key media concepts related to TV drama. It includes a sample unseen TV extract, two essay questions, and a sample mark scheme for assessing student responses. The first question requires analyzing representations of gender in the extract through camerawork, editing, sound, and mise-en-scene. The second asks about issues an institution faces in targeting audiences. Answers are judged on explanation, example usage, terminology, and other criteria according to three levels of achievement.
Ocr gcse media studies exam mark schemeNick Crafts
The document provides information about OCR (Oxford Cambridge and RSA) examinations and GCSE qualifications. It discusses that OCR offers a wide range of qualifications to meet the needs of all candidates. It also notes that OCR develops new specifications to meet national requirements and the needs of students and teachers. The document serves as a mark scheme for a GCSE Media Studies exam on textual analysis and media studies topics related to moving images. It provides guidance for examiners on how to apply marks to student responses.
OCR is a leading UK exam board that provides qualifications for students of all ages, including AS/A levels, GCSEs, and vocational qualifications. This document contains the mark scheme for a January 2012 Media Studies exam on television drama. It outlines the requirements examiners will use to award marks for questions about how technical aspects construct representations in a media text and about patterns of media production, distribution, and consumption. Candidates will be assessed on their analysis, use of examples from the given materials, and use of relevant terminology.
Assignment brief 32 & 33 idents & sto mo 2012 suevenables
This document provides an assignment brief for two BTEC National Diploma units: Unit 32 Designing Idents for Television and Unit 33 Stop Motion Animation. Students are asked to create a 30-60 second stop motion animation ident for the CWC TV channel. The ident must reflect the style and branding of CWC. Students will work in pairs but submit individual work. The brief outlines four tasks: understanding television idents and stop motion techniques; planning animation ideas; originating television ident plans; and producing a final animation and ident. It also provides grading criteria for evaluating work based on the units' learning outcomes.
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 outlines a progression of levels for analyzing how representations are constructed in a TV drama extract through the use of micro-elements. It describes four levels of increasing sophistication in explanation, examples from the text, and use of terminology. Level 1 demonstrates minimal understanding and examples. Level 2 shows basic understanding with some examples and terminology. Level 3 displays proficient understanding, mostly linked examples, and accurate terminology. Level 4 exhibits excellent understanding, clear links to text, full relevant examples, and accurate terminology.
This document outlines four levels of assessment for analyzing representations in an extract. Level 1 shows minimal understanding, uses limited examples and terminology inaccurately. Level 2 shows basic understanding, some relevant examples and terminology, but some inaccuracies. Level 3 shows proficient understanding, mostly relevant examples and accurate terminology. Level 4 shows excellent understanding, frequent relevant examples, accurate terminology, and clearly addresses the question. Higher levels receive more marks and are expected to have fewer errors.
This document outlines four levels of assessment for analyzing representations in an extract. Level 1 shows minimal understanding, uses limited examples and terminology inaccurately. Level 2 shows basic understanding, some relevant examples and terminology, but some inaccuracies. Level 3 shows proficient understanding, mostly relevant examples and accurate terminology. Level 4 shows excellent understanding, frequent relevant examples, accurate terminology, and clearly addresses the question. Higher levels receive more marks and are expected to have fewer errors.
Theoretical eval prod 1a lesson 5 real media conventionsnfgsmedia
This document outlines learning objectives and provides guidance for answering exam questions about how a student's analysis of conventions from real media texts informed their own creative media productions over multiple years of study. It encourages discussing skills related to textual analysis, genre, narrative, representation and applying conventions through pre-production, production and post-production phases. Specific conventions and features of video, editing, mise-en-scene, sound, narrative and more are listed to discuss at a micro level with examples from the student's own work.
Computer programming is the heart of computing education. It is a fundamental skill that all computing students are required to learn. However, programming courses are generally considered among the most difficult course and often have the highest dropout rates. The main concern is what concerns of computing faculty is to improve students’ motivation in getting involved in meaningful programming activities. This requires special skills to teach programming. A teacher training workshop was arranged at Directorate of Staff Development for newly inducted Computer Science teachers. The workshop covers various approaches proposed in literature for teaching computer programming. Some useful guidelines have also been suggested. These are the slides of this workshop.
The document provides guidance for students completing a creative film project. Students must choose between creating a short film/sequence, extended step outline, or photostory board. They will analyze how micro features of film like cinematography, editing, and sound construct meaning. Regular progress updates are required. Group work is allowed with members focusing on different micro features. Examples of past successful student projects are available online for analysis.
This lesson plan is for a GCSE media studies class analyzing representations of social class in TV drama. Students will analyze how representations of the working class are constructed through micro-elements like camerawork, editing, and mise-en-scene in a TV drama extract. By the end of the lesson, students should be able to articulate points about representations of the working class with examples from micro-elements and analyze the effects created. Differentiation is provided through grouping students by ability and allowing peer support. Resources include pictures, music videos, a TV drama extract, and analysis materials.
The document provides guidance on answering exam questions about developing digital technology skills through coursework. It emphasizes using specific examples from multiple projects, analyzing the impact, and relating skills growth over time. Key points include:
- Draw on examples from AS and A2 coursework to show improved skills and expanded creativity.
- For each example, analyze the effects and how it shaped later work.
- Utilize media concepts like genre and audience when discussing creative choices and their influences.
- Structure the response with an introduction, paragraphs on pre-production/production/post-production, and a conclusion tying it back to the question.
This document is a specimen paper for the Advanced GCE Media Studies exam. It consists of two sections: Section A involves theoretical evaluation of media productions and Section B involves answering questions about contemporary media issues. The paper is worth a total of 100 marks and tests students' understanding of critical media concepts and theories.
Critical perspectives in media sample paperjackiemason
This document is a specimen paper for the Advanced GCE Media Studies exam. It consists of two sections: Section A involves theoretical evaluation of media productions and Section B involves answering questions about contemporary media issues. The paper is worth a total of 100 marks and tests students' understanding of critical media concepts, theories, and analysis through long-form essay questions.
This document discusses designing procedural instructions for user manuals. It focuses specifically on circuit diagrams. There are several challenges with complex machine instructions, including multiple components, subassemblies shown from different angles. The author proposes using pictorial and schematic styles of circuit diagrams to improve understanding. A case study examines how readers comprehend process versus outcome graphics and text-graphic coordination for circuit assembly instructions. The study assessed comprehension of sequences and subassemblies through matching tasks.
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 a grading grid for assessing student work on three criteria:
1) Explanation, analysis, and argument - It outlines four levels of achievement from basic to excellent in discussing concepts and relating creative outcomes to media theory.
2) Use of examples - It describes expectations for the range and relevance of examples from the student's own production used to illustrate theoretical ideas.
3) Use of terminology - It establishes standards for using conceptual language from minimal to excellent usage of relevant terms.
This document contains instructions for a digital signal processing lab assignment. Students are asked to:
1) Record their voice using MATLAB, plot the time domain and frequency domain responses.
2) Add white Gaussian noise at different SNR levels and observe the outputs.
3) Design low-pass, high-pass, and band-pass filters to remove the noise, choosing cutoff ranges from the voice frequency response. Plot the filter responses and filtered signals.
The document provides code to record audio in MATLAB and convert it to a vector, and asks students to complete four problems analyzing their recorded voice signal.
The document discusses why directing is often perceived as a male pursuit. It notes that research has found women lack confidence in their ability to be directors and often leave the film industry earlier than men. The development of auteur theory, which viewed the director as the author or artist of a film, excluded female directors. As a result, young women today have few female role models in the history of film directing. The document proposes creating an artifact that introduces statistics on female directors and links this to the exclusion of women in the development of auteur theory, in order to spark conversation about changing perceptions of directing as a male-dominated field.
This document discusses why directing is often perceived as a male pursuit. It notes that statistics show that very few women work as directors, and cites lack of confidence as a key reason for this disparity. The development of auteur theory in film studies, which focused on male directors as artists, excluded female directors and influenced the perception that directing is a male role. The document aims to produce an artifact that introduces students to statistics on female directors and the connection between those statistics and the historical exclusion of women in the development of auteur theory, in order to spark conversation about changing perceptions of gender roles in the film industry.
Half of all female filmmakers drop out of the industry by age 35, and only 7% ever become directors. This is due to gender bias, as many pioneering female directors like Alice Guy and Dorothy Arzner are overlooked in film history in favor of focusing on males. Auteur theory in particular promoted the idea that only male directors could be considered artists, ignoring the contributions of women. While progress has been made, most top directors lists and awards are still dominated by men, showing that the gender gap in filmmaking remains a significant issue.
This document summarizes research showing that female directors face significant barriers in the film industry. It notes that only 50% of ambitious young female filmmakers remain active by age 35, and only 8% ever become mainstream directors. While some pioneering female directors like Alice Guy and Dorothy Arzner directed influential early films, they are often omitted from accounts of cinema history. Theories of auteurship in film also traditionally focused on male directors and excluded women. Kathryn Bigelow is now one of the few female directors recognized as a "great auteur," but statistics still show a large gender gap in opportunities and pay for female directors.
The documentary film will focus on the gender gap in mainstream film directing by acknowledging reasons for the shortage of female directors and examining whether gender biased language that portrays directing as a male role has created barriers. Interviews will explore the experiences of women in directing and how language differs in describing male and female directors. Footage will also highlight the work of an organization to increase networking and mentoring opportunities for women directors.
1) The document summarizes interviews with three women - Kate, Rebecca, and Nicky - about the challenges women face in the television industry and initiatives to promote gender equality.
2) It discusses obstacles women encounter such as less confidence, difficulties returning to work after having children, lack of role models, and perceived biases against women in leadership roles.
3) Programs described aim to provide mentoring, networking opportunities, and skills training to help women advance their careers and be retained in the industry. The goal is to see more women in top directing and executive positions over time.
Generic mark scheme for collective identity G325Mrs Ward
This document provides a summary of the marking scheme and levels for the G325 exam. It outlines 4 levels for student responses with criteria in the areas of explanation/analysis/argument, use of examples, and use of terminology. Level 1 indicates a limited response that may lack relevance or conviction. Level 2 is a basic response that connects some elements with limited discussion of history or the future. Level 3 is a proficient response that offers a clear argument using relevant examples and terminology. Level 4 responses adapt learning excellently, present a coherent argument using clear examples and terminology, and show informed engagement.
This document discusses a mobile app that provides weather alerts and forecasts for both the UK and Europe, allowing users to check weather conditions when traveling. It also mentions advertising flights from Heathrow Airport to various European countries seen on a side page of the app. Private user details submitted through the app will not be publicly shared due to privacy policies.
The document describes the layout and design of a newspaper, noting similarities to the Bromley Times newspaper, including a five column structure, bold and large headlines to grab attention, and ads at the bottom. Key details like the date, website and stories include images and captions. The blue background color is described as conservative versus a more tabloid red color.
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This document provides a visual analysis of a newspaper front page article. The article headline is in bold font and takes up 1/3 of the page to emphasize how alarming the news story is. It focuses on a huge financial sum and why it would be worth battling for. The lead story contains strongly emotive language highlighting outrage regarding the issue. Additional context is presented to clarify the outrage associated with the story. A sidebar article uses metaphorical language to describe being attacked. The visuals, formatting, and language are designed to personally engage the target audience.
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1. GCE
Media Studies
Advanced Subsidiary GCE
Unit G322: Key Media Concepts (Television Drama)
Mark Scheme for January 2011
Oxford Cambridge and RSA Examinations
3. G322 Mark Scheme January 2011
Question Max
Answer
Number Mark
The purpose of these Units is to firstly assess candidates’’ media textual
analysis skills and their understanding of the concept of representation
using a short unseen moving image extract (AO1 and AO2); secondly
to assess candidates’’ knowledge of media institutions and their
production processes, distribution strategies, use of technologies and
related issues concerning audience reception and consumption of
media texts (AO1 and AO2).
1 Section A: Textual Analysis and Representation (Unseen moving image [50]
extract)
Extract: Hustle, Series 1 Episode 4, written by Tony Jordan, dir.
Minkie Spiro
Discuss the ways in which the extract constructs representations
of gender using the following:
Camera shots, angles, movement and composition
Editing
Sound
Mise- en-scene.
Candidates will be assessed on their ability to understand how
representations are constructed in a media text through the analysis of
different technical areas. Assessment will take place across three
criteria:
Explanation/analysis/argument (20 marks) AO1 Specific
Use of examples (20 marks) AO2 Specific
Use of terminology (10 marks) AO1 Specific
Candidates should be prepared to analyse and discuss the following:
technical aspects of the language and conventions of the moving image
medium, in relation to the unseen moving image extract, as appropriate
to the genre and extract specified, in order to discuss the sequence’’s
representation of individuals, groups, events or places. These may be
selected from the following:
Camera Shots, Angle, Movement and Composition
Shots: establishing shot, master shot, close-up, mid-shot, long
shot, wide shot, two-shot, aerial shot, point of view shot, over the
shoulder shot, and variations of these.
Angle: high angle, low angle, canted angle.
Movement: pan, tilt, track, dolly, crane, steadicam, hand-held,
zoom, reverse zoom.
Composition: framing, rule of thirds, depth of field –– deep and
shallow focus, focus pulls.
1
4. G322 Mark Scheme January 2011
Question Max
Answer
Number Mark
Editing
Includes transition of image and sound –– continuity and non-
continuity systems.
Cutting: shot/reverse shot, eye-line match, graphic match, action
match, jump cut, crosscutting, parallel editing, cutaway; insert.
Other transitions, dissolve, fade-in, fade-out, wipe,
superimposition, long take, short take, slow motion, ellipsis and
expansion of time, post-production, visual effects.
Sound
Diegetic and non-diegetic sound; synchronous/asynchronous
sound; sound effects; sound motif, sound bridge, dialogue,
voiceover, mode of address/direct address, sound mixing, sound
perspective.
Soundtrack: score, incidental music, themes and stings, ambient
sound.
Mise-en-Scène
Production design: location, studio, set design, costume and
make-up, properties, lighting; colour and design.
Candidates’’ work should be judged on each of these criteria
individually and marks awarded according to the level attained. It
should be noted that it is possible for a candidate to achieve a
different level for each assessment criterion.
General Mark Scheme
Level 1
Explanation/analysis/argument (0-7 marks)
Shows minimal understanding of the task
Minimal understanding of the way that technical aspects are used
to construct the extract’’s representations
Of minimal relevance to set question or a brief response (under
one and a half sides of answer booklet)
Use of examples (0-7 marks)
Offers minimal textual evidence from the extract
Offers a limited range of examples (only one technical area
covered)
Offers examples of minimal relevance to the set question
2
5. G322 Mark Scheme January 2011
Question Max
Answer
Number Mark
Use of terminology (0-3 marks)
Minimal or frequently inaccurate use of appropriate terminology
Some simple ideas have been expressed. There will be some errors of
spelling, punctuation and grammar, which will be noticeable and
intrusive. Writing may also lack legibility.
Level 2
Explanation/analysis/argument (8-11 marks)
Shows basic understanding of the task
Basic understanding of the way that technical aspects are used to
construct the extract’’s representations
Some relevance to set question
Use of examples (8-11 marks)
Offers some textual evidence from the extract
Offers a partial range of examples (at least two technical areas
covered)
Offers examples with some relevance to the set question
Use of terminology (4-5 marks)
Some terminology used, although there may be some
inaccuracies
Some simple ideas have been expressed in an appropriate context.
There are likely to be some errors of spelling, punctuation and
grammar of which some may be noticeable and intrusive.
Level 3
Explanation/analysis/argument (12-15 marks)
Shows proficient understanding of the task
Proficient understanding of the way that technical aspects are
used to construct the extract’’s representations
Mostly relevant to set question
Use of examples (12-15 marks)
Offers consistent textual evidence from the extract
Offers a range of examples (at least three technical areas
covered)
Offers examples which are mostly relevant to the set question
Use of terminology (6-7 marks)
Use of terminology is mostly accurate
3
6. G322 Mark Scheme January 2011
Question Max
Answer
Number Mark
Straightforward ideas have been expressed with some clarity and
fluency. Arguments are generally relevant, though may stray from the
point of the question. There will be some errors of spelling, punctuation
and grammar, but these are unlikely to be intrusive or obscure
meaning.
Level 4
Explanation/analysis/argument (16-20 marks)
Shows excellent understanding of the task
Excellent knowledge and understanding of the way that technical
aspects are used to construct the extract’’s representations
Clearly relevant to set question
Use of examples (16-20 marks)
Offers frequent textual analysis from the extract –– award marks to
reflect the range and appropriateness of examples
Offers a full range of examples from each technical area
Offers examples which are clearly relevant to the set question
Use of terminology (8-10 marks)
Use of terminology is relevant and accurate
Complex issues have been expressed clearly and fluently. Sentences
and paragraphs, consistently relevant, have been well structured,
using appropriate technical terminology. There may be few, if any,
errors of spelling, punctuation and grammar.
4
7. G322 Mark Scheme January 2011
Question Max
Answer
Number Mark
2 Section B: Institutions and Audiences [50]
Discuss the issues raised by media ownership in the production
and exchange of media texts in your chosen media area.
Candidates will be assessed on their ability to illustrate patterns of
production, distribution, exchange and consumption through relevant
case study examples and their own experiences as audiences.
Candidates may cover the following material in their responses to the
question:
Production and exchange practices which allow texts to be
constructed for specific audiences
Global, national and local production and exchange of specific
products or types of products
Forms of exchange and the impact on institution and/ or audiences
Audience strategies in facilitating or challenging institutional
practices
Arguments for different/ alternative forms of media ownership and
the production and exchange of media texts
Candidates should be given credit for their knowledge and
understanding, illustrated through case study material, in any of these
areas; there is no requirement that they should all be covered equally.
Examiners should also be prepared to allow points, examples and
arguments that have not been considered if they are relevant and
justified.
Topic Headings –– these are general issues, which may be raised
by the question set.
Film
A study of a specific studio or production company within a
contemporary film industry that targets a British audience (eg
Hollywood, Bollywood, UK film), including its patterns of production,
distribution, exhibition and consumption by audiences. This should be
accompanied by study of contemporary film distribution practices
(digital cinemas, DVD, HD-DVD, downloads, etc) and their impact
upon production, marketing and consumption.
Music
A study of a particular record label within the contemporary music
industry that targets a British audience, including its patterns of
production, distribution, marketing and consumption by audiences.
This should be accompanied by study of the strategies used by record
labels to counter the practice of file sharing and their impact on music
production, marketing and consumption.
5
8. G322 Mark Scheme January 2011
Question Max
Answer
Number Mark
Newspapers
A study of the contemporary newspaper market in the UK and the
ways in which technology is helping to make newspapers more
efficient and competitive despite dwindling audiences. This should be
accompanied by study of a specific online version of a national/local
newspaper and the issues that are raised for the production,
distribution and consumption of news.
Radio
A study of a particular station or media group within the contemporary
radio industry that targets a British audience, examining its various
production, distribution and exhibition practices, as well as audience
consumption. This should be accompanied by study of the impact of
DAB and internet broadcasting on radio production practices,
marketing and (British) audience consumption.
Magazines
A study of a successful magazine within the contemporary British
magazine market, including its patterns of production, distribution,
marketing and consumption by audiences. This should be
accompanied by study of the use of online magazine editions and the
issues that they raise for the production, marketing and consumption
of a magazine brand.
Video games
A study of the production, distribution and marketing of a specific
game within one or across various gaming platforms, along with its
reception by a variety of (British) audiences. This should be
accompanied by study of the impact of next generation capabilities
(HD, Blu-Ray, online services etc) on the production, distribution,
marketing and consumption of games.
The above list is not intended to be exhaustive. It is acknowledged
that most media industries are characterised by cross-media
strategies, production and promotion; candidates will be expected to
focus on a particular medium but should make reference to related
media where relevant.
General mark scheme
Explanation/analysis/argument - AO1 Specific
Use of examples - AO2 Specific
Use of terminology - AO1 Specific
6
9. G322 Mark Scheme January 2011
Question Max
Answer
Number Mark
Level 1
Explanation/analysis/argument (0-7 marks)
Shows minimal understanding of the task
Minimal knowledge and understanding of institutional/audience
practices –– general opinions or assertions predominate
Minimal argument evident, with little reference to case study
material
Of minimal relevance to set question or a brief response (under
one and a half sides of answer booklet)
Use of examples (0-7 marks)
Offers minimal use of case study material
Offers a limited range of or inappropriate examples
Offers examples of minimal relevance to set question
Use of terminology (0-3 marks)
Minimal or frequently inaccurate use of appropriate terminology
Some simple ideas have been expressed. There will be some errors
of spelling, punctuation and grammar, which will be noticeable and
intrusive. Writing may also lack legibility.
Level 2
Explanation/analysis/argument (8-11 marks)
Shows basic understanding of the task
Basic knowledge and understanding of institutional/audience
practices –– factual knowledge will have some accuracy
Basic argument evident, with some reference to case study
material
Some relevance to set question
Use of examples (8-11 marks)
Offers some evidence from case study material
Offers a partial range of examples from case study and own
experience
Offers examples of some relevance to the set question
Use of terminology (4-5 marks)
Some terminology used, although there may be some
inaccuracies
Some simple ideas have been expressed in an appropriate context.
There are likely to be some errors of spelling, punctuation and
grammar of which some may be noticeable and intrusive.
7
10. G322 Mark Scheme January 2011
Question Max
Answer
Number Mark
Level 3
Explanation/analysis/argument (12-15 marks)
Shows proficient understanding of the task
Proficient knowledge and understanding of institutional/audience
practices –– factual knowledge is mostly accurate
Some developed argument, supported by reference to case
study material
Mostly relevant to set question
Use of examples (12-15 marks)
Offers consistent evidence from case study material
Offers a range of examples from case study and own experience
Offers examples which are mostly relevant to the set question
Use of terminology (6-7 marks)
Use of terminology is mostly accurate
Straightforward ideas have been expressed with some clarity and
fluency. Arguments are generally relevant, though may stray from the
point of the question. There will be some errors of spelling, punctuation
and grammar, but these are unlikely to be intrusive or obscure
meaning.
Level 4
Explanation/analysis/argument (16-20 marks)
Shows excellent understanding of the task
Excellent knowledge and understanding of institutional/audience
practices –– factual knowledge is relevant and accurate
A clear and developed argument, substantiated by detailed
reference to case study material
Clearly relevant to set question
Use of examples (16-20 marks)
Offers frequent evidence from case study material –– award
marks to reflect the range and appropriateness of examples from
case study and/or own experience
Offers examples which are clearly relevant to the set question
Use of terminology (8-10 marks)
Use of terminology is relevant and accurate
Complex issues have been expressed clearly and fluently. Sentences
and paragraphs, consistently relevant, have been well structured,
using appropriate technical terminology. There may be few, if any,
errors of spelling, punctuation and grammar.
8