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This document discusses a teacher candidate's brief for a unit on creating media. The brief involves creating a 3 minute broadcast and a print product. The candidate is to demonstrate their understanding of the theoretical and practical aspects of creating media through these assignments for the unit on creating media.
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This document provides an introduction to the G325: Critical Perspectives in Media course. It outlines that students will complete a two-hour exam assessing their knowledge of media concepts, contexts, and debates. The exam consists of two sections: Section A requires students to theoretically evaluate their own media production work and skills development over time in relation to concepts like genre and narrative; Section B requires students to answer a question on a contemporary media issue like global media or post-modern media by discussing relevant case studies, texts, industries, audiences, and debates. The document provides guidance on the structure and requirements of the exam.
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The document describes the process of creating a sample school magazine as a first project to gain experience with magazine design software and layout. It discusses gathering content ideas from peers, sketching a basic plan, and creating the front cover and contents page. Feedback indicated the front cover picture did not appeal to the target audience, so it was changed to a close-up portrait. The contents page was also updated to better match the new front cover. Creating the school magazine helped prepare skills for a subsequent music magazine project.
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This document discusses collective identity and representations of Britishness in media. It provides background on studying collective identity through case studies and media texts. Some key topics of collective identity are identified such as gender, ethnicity, age and class. Examples of exploring representations of Britishness in British cinema and television news are given. Theories around the public sphere and how mass media has impacted it are also summarized. Students would analyze representations of collectives in media texts and debates around topics like national identity.
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G325: Representation and Concepts
Roland Barthes argues that interpreting a work solely based on the author's identity prevents the reader from fully understanding the text. He believes readers should separate the work from its creator. Laura Mulvey asserts that films often objectify women because men control the camera and gaze. She describes how the male gaze puts the audience in the perspective of a heterosexual man focusing on a woman's body. Vanessa Winship discusses how women see themselves through the images defined by masculine culture, recognizing an ideal version despite anxiety.
G325 Q1B: Applying Theories of Representation
The document analyzes media representations in an opening sequence by discussing how it both subscribes to and rejects several representation theories. It primarily rejects Laura Mulvey's theory of the male gaze by presenting the female protagonist as attractive but not merely a sex object. However, it aligns with some aspects of other theories. It presents stereotypical traits of an attractive teenage girl but also shows some elements of reality. Overall, the opening sequence both conforms to and challenges various representation theories in complex ways.
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Intro to Post Modernism
This document provides an introduction to the G325: Critical Perspectives in Media course. It outlines that students will complete a two-hour exam assessing their knowledge of media concepts, contexts, and debates. The exam consists of two sections: Section A requires students to theoretically evaluate their own media production work and skills development over time in relation to concepts like genre and narrative; Section B requires students to answer a question on a contemporary media issue like global media or post-modern media by discussing relevant case studies, texts, industries, audiences, and debates. The document provides guidance on the structure and requirements of the exam.
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Collective identity notes
This document discusses collective identity and representations of Britishness in media. It provides background on studying collective identity through case studies and media texts. Some key topics of collective identity are identified such as gender, ethnicity, age and class. Examples of exploring representations of Britishness in British cinema and television news are given. Theories around the public sphere and how mass media has impacted it are also summarized. Students would analyze representations of collectives in media texts and debates around topics like national identity.
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G325: Representation and Concepts
Roland Barthes argues that interpreting a work solely based on the author's identity prevents the reader from fully understanding the text. He believes readers should separate the work from its creator. Laura Mulvey asserts that films often objectify women because men control the camera and gaze. She describes how the male gaze puts the audience in the perspective of a heterosexual man focusing on a woman's body. Vanessa Winship discusses how women see themselves through the images defined by masculine culture, recognizing an ideal version despite anxiety.
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The document analyzes media representations in an opening sequence by discussing how it both subscribes to and rejects several representation theories. It primarily rejects Laura Mulvey's theory of the male gaze by presenting the female protagonist as attractive but not merely a sex object. However, it aligns with some aspects of other theories. It presents stereotypical traits of an attractive teenage girl but also shows some elements of reality. Overall, the opening sequence both conforms to and challenges various representation theories in complex ways.
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- Discuss how software was used at each level and how skills improved, citing specific examples from each piece.
- Explain how conventions from other media texts were both repeated and made unique in each of their productions.
The document then provides similar guidance for answering a question about representing a key concept through one of the student's productions, instructing them to analyze representation, narrative, genre, audience and media
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1) An overview of the aims and objectives, which are to review prior learning on representation, introduce new relevant theories, deconstruct an exemplar answer, and do a practice question.
2) Details on representation theory the students should apply, including from Berger, Mulvey, Dyer, and Saussure.
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4) Feedback on a strong exemplar answer, noting strengths and areas for improvement.
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1. Music videos demonstrate conventions of different music genres through visuals like rock bands performing on stage.
2. There is a relationship between the music and visuals in terms of lyrics matching the video's story and tone matching cuts in rhythm.
3. Genre theories include videos being categorized as performance-focused or conceptual, and different types of musical performances.
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This document provides guidance for answering a question about progression in digital technology skills and media production from AS to A2 level. It instructs the student to:
- Provide examples from each production that demonstrate progression in the use of software, creativity, research/planning, and post-production skills.
- Discuss how software was used at each level and how skills improved, citing specific examples from each piece.
- Explain how conventions from other media texts were both repeated and made unique in each of their productions.
The document then provides similar guidance for answering a question about representing a key concept through one of the student's productions, instructing them to analyze representation, narrative, genre, audience and media
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This document provides background information on the film The Selfish Giant. It summarizes that the film is based on the Oscar Wilde fairy tale of the same name, and tells the story of two boys in Bradford, England who begin collecting scrap metal to sell. The director was inspired by a real-life teenage boy she met who did scrap collecting. The film explores themes of exclusion and greed in marginalized communities. It describes the casting process, which involved finding two untrained lead actors, one who could ride horses, to portray the two boys at the heart of the story.
Robin Thicke - Blurred Lines Music Video Analysis
The document provides an analysis of Robin Thicke's "Blurred Lines" music video through examining its conventions and portrayal of gender stereotypes. Some key points analyzed include the upbeat music drawing in viewers, use of hashtags to gain attention on social media, stereotypical depiction of women as sexual objects inferior to men through dressing and lyrics, and constant portrayal of male gaze and domination. In response, some women created a parody video putting men in the objectified role to critique the original's sexism from a feminist perspective, using similar conventions like pink background, lyrics, and hashtags for intertextual reference and humor.
G325: Question 1b - Genre
This document discusses genre theory and how it relates to analyzing media texts for an exam. It provides terminology for key concepts in genre theory like genre, convention, ideology, and hybrid genres. It also discusses how genres are defined by both repetition of conventions but also differences that help them evolve. Students are advised to analyze their own media texts and link them to issues of genre for the exam, like how genres are used by institutions and adapted for audiences.
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This document provides an overview of audience theory, including both "effects" models that consider how media impacts audiences, and different types of audience members (passive vs. active). It discusses the "preferred reading" theory, where media producers promote a particular interpretation that most audiences accept. The cultural effects model is explained, viewing audiences as passive recipients of ideological messages from media owners that gradually influence society over time. Key theories covered include the hypodermic syringe model, two-step flow, uses and gratifications, and cultivation theory.
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This document outlines the key aspects of research and planning that students should consider for their media production coursework. It discusses several theories on how important research, planning, and organization are for strong media projects. Students are given tasks to reflect on how they applied these theories in their AS Foundation and A2 Advanced portfolios, including analyzing real media texts, identifying target audiences, and improving their research and planning skills over time.
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This document provides guidance for answering an exam question about progression in using conventions from real media products. It discusses key expectations, including discussing progression from AS to A2 coursework and giving examples of formalistic and stylistic conventions used. Students are advised to think about how other texts inspired their work at both levels and apply Barthes' theory. They should establish examples of repetition from existing media in their productions and address how it was successfully achieved. The document provides feedback on answering this type of question and homework is to revise examples and complete a practice question.
Propp’s narrative functions theory
1. Propp's Narrative Functions Theory outlines 31 possible functions, or storytelling devices, that can occur in a narrative or story. These include things like the hero leaving home, receiving help from a donor, struggling against the villain, being pursued by the villain, and ultimately defeating the villain.
2. Some of the key functions include an initial lack or problem, the hero deciding to take action to resolve it, encounters with the villain that may include deception, the hero acquiring magical help, struggling directly with the villain, and finally resolving the initial problem.
3. The theory describes the narrative functions that can happen in a flexible order, with some being optional, to comprise the basic story structures found across many
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This document provides guidance for answering an exam question about progression in post-production skills from AS to A2 level coursework. It instructs students to identify three examples from their work demonstrating progression in editing/photo manipulation, audience feedback methods, and evaluation. Students are advised to plan what examples they will discuss and to answer using the PEA paragraph structure. They should refer to a range of examples over time to show how their post-production skills developed. The document establishes expectations for spending 25-30 minutes on this question with 1-2 minutes for planning and introduction, 20 minutes discussing three detailed examples comparing AS to A2 skills, and 2-3 minutes for conclusion.
Question 1 a) Creativity and Digital Technology
This document provides guidance for students on answering an exam question about progression in creativity and use of digital technology from AS to A2 level coursework. It includes examples and theories students should reference in their response. Students are instructed to identify one area of creativity in their AS and A2 work, comparing the impact. The document emphasizes using multiple examples from coursework, comparing skills in digital technology usage and how it expressed creativity. Feedback from exam moderators emphasizes limiting the response to 25-30 minutes and revising for similar practice questions.
Question 1 b) media language
This document provides guidance for students on preparing for an exam question on media language. It defines key terms like denotation and connotation and emphasizes describing specific examples from productions using codes and conventions. Students are instructed to analyze their trailer and ancillary products for non-verbal codes, technical codes, verbal codes, denotations and connotations. A practice question requires students to analyze one of their coursework productions in relation to media language over 25 marks. Homework is to complete a media language question in preparation for the exam.
Question 1 b) audience practice
This document provides guidance for students on preparing for an exam question on audience for Section A of Unit G325: Critical Perspectives in Media. It recaps prior learning on audience theory and introduces new theories students should apply, such as Kilborn's (1992) "cathartic element" and Katz's (1957) concept of how audiences are "informed". Sample exam answers are provided applying theories like Dugdale (2006) on audience feedback and Hall's (1973) "dominant reading". Students are directed to additional resources on genre theory and audience concepts. They complete a practice question analyzing one of their coursework productions in relation to audience, designating time spent on introduction, main analysis examples, ancillary products analysis,
Question 1 b) representation practice
This document provides guidance for students on preparing for an exam question on representation. It includes:
1) An overview of the aims and objectives, which are to review prior learning on representation, introduce new relevant theories, deconstruct an exemplar answer, and do a practice question.
2) Details on representation theory the students should apply, including from Berger, Mulvey, Dyer, and Saussure.
3) Instructions for students to analyze how the theories apply to their own coursework, using specific examples from each media product.
4) Feedback on a strong exemplar answer, noting strengths and areas for improvement.
5) A reminder of homework to complete their representation answer and
Question 1 a) Research & Planning
This document provides guidance for answering an exam question about developing research and planning skills from AS to A2 level coursework. It discusses key theories from Fraser and Bennett, Slater, and Wall around professionalism, organization, and learning from other media. It instructs the student to identify at least two examples demonstrating progression in these areas. Feedback is provided on defining primary, secondary, and qualitative research methods and noting what was replicated from AS to A2 based on influence from other media. The document concludes by assigning homework of drafting a 25 mark written response evaluating skill development through referenced examples, with 1 week to complete.
Representation
This document provides an overview of key concepts in representation theory, including how representations in media texts can reinforce dominant ideologies and stereotypes. It discusses approaches such as Marxism, feminism, and postmodernism for analyzing representations. Stereotypes are addressed as simplifying representations that provide shortcuts for meaning-making. The document aims to give students a basic understanding of evaluating representations in their coursework against these theoretical frameworks.
Question 1 b) genre practice
This document provides guidance for students preparing for an exam question on genre. It discusses several genre theories that students should apply in their answers, such as Steve Neale's concepts of repetition and difference and Roland Barthes' theory of enigma codes. Students are instructed to analyze how their coursework productions exploit genre conventions discussed by theorists like Nicholas Abercrombie and Kate Wales. Examples are given of how to structure a potential genre question response, allocating time between introducing, analyzing main and ancillary productions using theory, and concluding. Homework involves completing and revising the genre answer in preparation for the exam.
Genre - Music Videos
This document discusses several genre theories that can be applied to analyzing music videos:
1. Music videos demonstrate conventions of different music genres through visuals like rock bands performing on stage.
2. There is a relationship between the music and visuals in terms of lyrics matching the video's story and tone matching cuts in rhythm.
3. Genre theories include videos being categorized as performance-focused or conceptual, and different types of musical performances.
Media language - G325 Question 1B
This document discusses key theories of media language used to communicate meaning to audiences. It introduces Ferdinand de Saussure's concept of the signifier and signified, how signs have both a literal object and associated concept. Roland Barthes expanded on this with denotation, the literal meaning, and connotation, meanings drawn from cultural/social knowledge. Stuart Hall's encoding/decoding looks at producers encoding intended meanings that audiences can decode as a preferred, negotiated, or oppositional reading. The document uses examples to illustrate these theories for analyzing how media texts communicate and how audiences interpret them.
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Old spice
The Old Spice advertising campaign from 2010 aimed to modernize the brand's image and attract new customers. Known as "The Man Your Man Could Smell Like", it featured actor Isaiah Mustafa addressing the camera and appealing to women. Through viral videos and an interactive social media strategy, the campaign became a major success. It helped Old Spice shift perceptions from being seen as outdated to representing contemporary masculine ideals.
Rachel's group minecraft technology
The document discusses how technology has impacted the production of Minecraft. It was originally created using the Java programming language, which allowed for easy creation of modifications (mods) by players and sharing across platforms like Windows, Mac OSX and Linux. This bottom-up approach helped Minecraft creators expand the game's interests and keep current players engaged. The document also discusses how the "Better Together" update brings all Minecraft platforms together, allowing for cross-play between Xbox, mobile, Windows 10 and Nintendo Switch players.
Niamh's group minecraft distribution
Hackers, skids, and hatters pose threats to Minecraft servers. Hackers use cheating techniques to gain advantages over other players and are difficult to permanently ban. Skids falsely claim hacking abilities and may try to take servers offline through DDoS attacks or recruit other hackers. Hatters are more skilled hackers who could potentially discover personal information to harass server owners. Minecraft originally only required logging into private servers but now offers paid Realms servers directly through Mojang to prevent hacking. The game has expanded from PC to consoles and mobile, opening new markets and allowing cross-platform play through a single version with the "Better Together" update.
Minecraft circulation Oakley's group
Minecraft has different versions that appeal to various audiences, including the original sandbox mode and story-based spin-offs. It can be played across platforms like Xbox, PC, PlayStation, phone and tablet. The game attracts a wide age range because of its construction concept, and appeals to both genders. Players can customize their own worlds without limitations, linking with friends to view different creations. Audiences have provided feedback since inception, allowing developers to improve the game and expand its circulation to new players.
Marketing minecraft.
Without a large publisher or marketing budget, Minecraft relied on word-of-mouth promotion through gaming sites and forums to generate interest. It also benefited from audiences sharing gameplay videos and mods on YouTube and forums. As Minecraft grew more popular, it expanded to new platforms and versions while maintaining a strong fan community. This led to various franchise extensions like Lego sets, books, and merchandise, as well as a planned movie.
Group research
Minecraft was designed to be creative and allow building freely in an endless block world. It was inspired by other games and initially self-published before being acquired by Microsoft. Written in Java, it allows user modifications and cross-platform play. It has been hugely successful commercially, with over 70 million monthly players and 144 million copies sold across all platforms.
Lee's group radio 1 breakfast show
Radio 1 aims to entertain and engage 15-29 year olds with a mix of contemporary music and speech. The breakfast show is hosted by Nick Grimshaw on weekdays and DJ Dev on weekends. Radio 1 uses social media like Twitter, Instagram, YouTube and Facebook extensively to interact with listeners and share content. They strive to be innovative by playing emerging artists in addition to chart music. The station sees the future in digital platforms like iPlayer and YouTube to continue engaging younger audiences who consume more content online.
Loom's group radio presentation
BBC Radio 1 is a British radio station operated by the BBC that specializes in popular music. It aims to entertain 15-29 year olds through its mix of music and speech content promoted across social media platforms. However, research found that most Radio 1 listeners feel it should have more distinctive content than commercial stations and better inform and educate the public. The document then provides background on the history and flagship breakfast show of Radio 1.
Radio 1 breakfast show timeline lesson
Nick Grimshaw has returned from the Christmas holidays to host his daily BBC Radio 1 Breakfast Show. The three and a half hour show includes music, interviews with celebrity guests, phone-ins from listeners, and competitions. Well-known segments include "Call or Delete" where guests prank call contacts, and "Happy Hardcore FM" which allows listeners to scream over music. The show aims to lower the target age of the audience for the BBC while informing, educating, and entertaining through British music, news, quizzes and games. It differs from commercial stations by focusing on its public service remit through the license fee rather than advertisers.
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Glossary terms and definitions for ad conventions and techniques
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Music student specimen
- 1. Teacher Standardising Autumn 2012 Candidate B: Brief 3 Broadcast & Print Unit 2: Creating Media AQA Education (AQA) is a registered charity (number 1073334) and a company limited by guarantee registered in England and Wales (number 3644723). Our registered address is AQA, Devas Street, Manchester M15 6EX.