D83 LIAR

REGULATION AND INDUSTRY

D83 EPISODE WALKTHROUGH

STRANGER THINGS SCENE BY SCENE

D83 SCENE BY SCENE

STRANGER THINGS ESSAY

how are different social groups represented in the sequence you have analysed? 

what role does the use of media language, signs and signifiers have in constructing and presenting these representations are real?                                                                                             [500 words]

Social groups are clearly represented in the first episode of stranger things through the introductions of the different characters throughout the episode. The stereotypes exerted through the main characters limit them to simple characteristics - the scientist for example who is the first character introduced in the opening scene, his haircut, typical white gown and slim figure conform to what the audience expect. However, the setting is subverted as the mise-en-scene contains key elements suggesting supernatural - the flickered lighting, the dark, sombre hallway and the scientist's panicked demeanour.

Further representations of social groups are shown through the 3 boys, Mike, Lucas and Dustin. At the beginning of the episode, the boys conform to the stereotyping of basic, intelligent, 'nerdy' kids that spend their free time gaming or learning, however, they begin to subvert their stereotyping when their friend Will goes missing in a supernatural way. It is here where the boys, especially Mike, take on the protagonist role in the episode. They take it upon themselves to investigate their missing friend. Low angle shots are used to highlight their importance and tracking shots are used to show that they are the main focal point and that they are leading the narrative.

The intertextuality used in stranger things to the classic 80s film, E.T are shown through the boys and is demonstrated in the scenes where the boys are travelling around on their choppers and using the torches, and then again in the scene where they discover Eleven, using the singular torchlight. 

Subversion of stereotype is also evident in the social groups regarding the police force in stranger things. The head sheriff in the town of Hawkins is represented as unbothered, slow and unequipped. This could be however, considered a conformation of the stereotype as he is a sheriff in a small, unhappening town and typically, they may be more carefree. However, Hopper’s importance is verified with the use of the tracking shots around the forest in the search for Will and the close-ups of his face. The realism is suggested here as a balance, highlighting the binary oppositions here as the police are very normal with their uniform, office, procedure etc. as opposed to the supernatural theme in the episode.

Another social group is represented in the first episode, in the scene featuring Nancy and Steve. Steve represents the typical jock of the school, and Nancy as the attractive, clever, aspirational character that girls in the school aspire to be. They are very ‘real’ characters and again, provide the normality balance in the episode. The social group of teenagers show the simplicity of their lives compared to others in the episode.

DIRT Q7

DIRT Marksheet 7 – H409 Music Videos Artist representations in mv’s

Name: Rosie Hayles                                  Date:

AO1: Demonstrate knowledge and understanding of the theoretical framework of media and contexts of media and their influence

Assessment Objectives AO1: 1a 1b – Demonstrate knowledge and understanding of the theoretical framework of media.

AO1 Total: 10 marks.

The content below is not prescriptive and all valid points should be credited. It is not expected that responses will include all of the points listed.

AO1:1 How producers may choose to include different representations in music videos to promote the artist(s), for example:

· producers of music videos may construct representations of the artist(s) that emphasise key aspects of their image, such as their performance prowess, which depending on the genre of music video could be high paced, coordinated dance routines, or performance highlighting the artist’s (or artists’) musical prowess and artistry, or narrative performance highlighting the artist’s (or artists’) image. Music videos may focus on one element of those highlighted above in depth but producers are more likely to select a combination of these elements to strongly emphasise key aspects of the artist’s (or artists’) mediated image.

 · producers of music videos may construct representations of the target audience for the artist(s), for example the storyline of narrative elements of a music video may feature representations (or idealised representations) of fans (the target audience) interacting with the artist(s) in order to elicit within fans a feeling of belonging and loyalty with regard to the mediated image and/or music of the artist’s (or artists’).

· producers of music videos may promote the artist(s) to their fan-base (target audience) through elicit value-transference to the artist(s) through representations other than those of the artist(s), for example: o through artistic excellence and high production values, e.g. a highly cinematic in style narrative music video; or through more abstract, ‘high art’ expressionist videos (that may be live action, animated or feature digital CGI; or feature a combination of these elements) that appeal to the artist’s (or artists’) fan-base (target audience) o through the use of glamour, for example, featuring representations artist(s) through the use of performers (which may be real, digital or animated) in ‘glamorous’ and / or highly aspirational situations o music videos may also elicit value

· List A videos using social realist representation of ‘street life’ to represent the authenticity and cultural currency of the Corinne Bailey Rae video, aiming to transfer that value of transcendence to the artist

· the use of intertextual, postmodern representations in List B videos. the cinéphiliac recreation of Spielbergian 80s suburban America in the David Guetta video

· the use of messages and viewpoints in videos that aim to bolster the image of the artist and chime with those of the positioned audience - the very filmic representation of teenage alienation in Guetta’s video creates an ambiguous message that adds to the sophistication of Guetta’s image and fits the large-scale nature of the song.

·         Comprehensive demonstration of knowledge and understanding of representations in music videos.

·         Comprehensive, detailed and accurate knowledge and understanding of representations in music videos.

·         Clear and precise and balanced explanation of how representations are chosen to promote the artist(s) in music videos.

7–10  Answer is supported by detailed and accurate reference to one set music video.

4–6  An adequate demonstration of knowledge and understanding of representations in music videos.

·         Adequate and generally accurate knowledge and understanding of representations in music videos.

· Generally accurate explanation of how representations are chosen to promote the artist(s) in music videos.

· Answer is supported by general accurate reference to one set music video

1–3 A minimal demonstration of knowledge and understanding of representations in music videos. · Knowledge of representation in music videos is minimal, demonstrating little understanding.

· Explanation of how representations are used in music videos is minimal and may not always be accurate. · Reference to a set music video to support the answer is minimal and may be inaccurate.

0 No response or no response worthy of credit.

Have a look at all the points you could have made from Miss Brookes’ feedback (next page) and reflect on what you did well and what was missing.

Identify a strength or strengths in your assessment: What are the areas you need to improve? - The video has an uplifting mode of address - CBR framed as an iconic artist  - CBR uses her own identity to celebrate diversity  - beginning (framed in the sun) - CBR emerges from the shadows in slo-mo, close up of stiletto heels underlines the stereotypical feminine beauty (binary oppositions (harsh, dark background)) - sun and lighting frames her as angelic - low angle, light, iconic red dress, sharp focus, grey concrete, blurred focus, brutal geometry  - parallel sound matches visual images - connotations - whoever you are, you can transcend poverty, inequality  - wide shot group of girls  - dominant female representation  - two shot challenging homeless, gender and ABC1 stereotypes - challenging stereotypes (conform/subverts) - connotations of control over your life/ environment  - young black boy street dances - diversity  - What do you need to focus on for your next music video assessment?

DIRT Q6

DIRT ASSESSMENT 6 SHELTER - GBHS MEDIA STUDIES A LEVEL

Name:    ROSIE HAYLES                                  Date:

Any advert set text question will ask you to demonstrate knowledge and understanding about media language and representations. It may further ask you to refer to the set product (s) you have studied.

Examiners are looking for:

·         How comprehensive, detailed and accurate is your knowledge of media language and/or representations in this media form.

·         The clarity, precision and balance of your explanations in answering the question

·         The detail and accuracy of your references to the set product(s) if required.

Total: 10 marks

Have a look at all the points you could have made from Miss Brookes’ feedback (next page) and reflect on what you did well and what was missing.

Identify a strength or strengths in your assessment: What are the areas you need to improve? What do you need to focus on for your next advert assessment?

Explain how representations in advertisements are constructed and reflect the social and cultural contexts in which they were made. Refer to the Shelter advertising campaign in your answer (10)

Write down the list of bullet points that could have been included in your answer.

DIRT Q5

DIRT ASSESSMENT 5 BIG ISSUE - GBHS MEDIA STUDIES A LEVEL

Name: rosie hayles                                 Date:

AO2: 1 – Apply knowledge and understanding of the theoretical framework of media to analyse media products, including in relation to their contexts and through the use of academic theories.

AO2: 3 – Apply knowledge and understanding of the theoretical framework of media to make judgements and draw conclusions. AO2 Total: 15 marks

Identify a strength or strengths in your assessment: ·          What are the areas you need to improve? ·         Improve knowledge about politics and Brexit to gain contextual marks and accuracy. ·         The context around the band intertextuality. What do you need to focus on for your next Big Issue assessment? ·         Talk about the ‘hand up not a hand out’. ·         Values of the Big issue. ·         Analyse little details that aren’t obvious and observe links. The content below is not prescriptive and all valid points should be credited. It is not expected that responses will include all of the points listed. AO2:1  the pastiche of Abba lyrics suggests an affectionate attitude towards the group and/or confidence that the lyrics are so culturally-embedded that they will be instantly recognisable  the satirical effect of placing politician’s heads on ill-fitting bodies, connotes that the magazine does not hold politicians in high regard  the use of a pop group as the basis of the intertextual references and using images of the politicians at their most performative suggests a preferred meaning that the politicians are courting popularity, striking an attitude, and strutting a stage  the use of political images combined with those from popular culture refers to a history of satirical cartoons  the anchoring text ‘the winner takes it all’ connotes both the significance of the event and that the magazine is not taking a clearly partisan position in relation to the referendum, and continues the intertextual conceit  the use of a globe instead of a disco ball, perhaps connoting the far-flung consequences of the vote, or that the world is watching. AO2:3 the use of intertexuality is intended to help the magazine look informal and witty, and that it addresses a sophisticated audience – responses may conclude that this strategy works or does not work  the approach suggest that the magazine is outside the political mainstream, looking critically at events, which fits its status as a charity helping the homeless  the approach enables the magazines to take a neutral viewpoint on the referendum, a divisive event, in order not to alienate any potential buyers of the magazine and thus disadvantage some street vendors  this approach allows the magazine to summarise an abstract event visually  the referendum campaign was long and repetitive and the magazine may have felt the need for a fresh approach to the topic. https://www.ocr.org.uk/Images/472303-media-messages.pdf Source C – front cover of The Big Issue, 13 June 2016 Source C shows four politicians’ heads on the bodies of the members of the group Abba. The words are taken from famous Abba songs. The issue was published before the British referendum on remaining in or leaving the European Union. From left to right, the politicians are: Nicola Sturgeon, Scotland’s First Minister, David Cameron, Britain’s Prime Minister, Boris Johnson and Nigel Farage, both prominent Leave campaigners. Analyse why The Big Issue magazine has used an intertextual approach to the referendum on its front cover.  In your answer you must: • Analyse the use of intertextuality to create meaning in the source • make judgements and reach a conclusion about the advantages of this use of intertextuality to The Big Issue magazine

DIRT Q3

ASSESSMENT Q3 NEWS LIAR

GBHS MEDIA STUDIES A LEVEL Reflection

Name: Rosie Hayles                                     Date: 17/10/19

AO1: Demonstrate knowledge and understanding of the theoretical framework of media and contexts of media and their influence (5)

AO2 Apply knowledge and understanding of the theoretical framework of media to analyse media products (KU) of the theoretical framework of media to:

Analyse media products/ Make judgements and draw conclusions (10)

Q3 Technological advances have created a long term decline in the circulation of national newspapers. Explain how the newspaper industry has responded to these changes. Identify a strength or strengths in your assessment: The structure and inclusion of basic facts like the audience, readership etc. worked well and also the explanation of the positive and negative effects of the technological advances toward newspaper sales. What are the areas you need to improve? Specific examples are needed, more description of adverts and subscriptions. What will you do to improve in your next assessment? Any particular areas or study skills? Include more detail regarding the paywalls on some online sites, include advertising and the targets of that for the guardian and the daily mail.

Q 3

The content below is not prescriptive and all valid points should be credited. It is not expected that responses will include all of the points listed but once again a lot of you have failed to give specific web examples and ways the newspapers are adapting to these changes and the relationship with their audiences. 

AO1:2

Responses will demonstrate knowledge and understanding of contexts of media and their influence on media products and processes including:

·        Some have pay walls DT, Times

· explaining the economics of traditional and online editions of The Guardian and the Daily Mail newspapers (for example, paid for primarily by advertising based on audience number/ demographic as well as direct sales)

· showing the significance of these changes for traditional print editions and online editions and newspaper audiences (e.g. The Guardian focusing on its online content and seeking to develop a donation-based culture; the Mail moving slightly downmarket with clickbait stories hosted on MailOnline; both papers are still seeking to maintain their print editions although these are making a loss)

· explanation of technological convergence and/ or the proliferation of technology and the effect this has had on institutional process and audiences with reference to economic context (for example, The Guardian’s use of email to attract a regular audience; targeted advertising; the need for stories to be published online throughout the day as rolling news) GIVE SPECIFIC EGS

· explaining the economic effect of the decline of traditional print editions, for example, with reference to circulation and yearly sales figures of traditional print versions and the rise of online subscription (neither The Guardian nor the Mail currently operate a paywall, compared to some of their competitors, although there is some debate as to whether this model is sustainable) HOW DOES THE GUARDIAN ASK READERS FOR MONEY?

· explaining the economic implications of how newspapers are in competition for readers and how advertising revenue from the ‘new’ media is vital - GIVE EGS OF ADVERTISERS

· explaining the different platforms used by audiences to access news content from The Guardian and Daily Mail with reference to the growth in online readership (give some numbers) and the impact on how audiences consume news (use of specific social media, websites means many consumers no longer pay for news content). GIVE SPECIFIC EGS. 

Notes

The Guardian raised it’s price to £2.20

What kind of advertising on the Guardian website

Social media DM flipbook, pinterest, snapchat, twitter, Instagram, fb

Guardian subscribe or donate

DM 2013 – almost 4000 million 2018 just over 1 million newspaper sales

DIRT Q1

ASSESSMENT 1A - GBHS MEDIA STUDIES A LEVEL Marksheet

Name: Rosie Hayles    Date:  29/10/18       Mark:  

AO1: Demonstrate knowledge and understanding of the theoretical framework of media and contexts of media and their influence

AO2 Apply knowledge and understanding of the theoretical framework of media to:

Analyse media products/Evaluate academic theories/ Make judgement and draw conclusions

Level 3 57+ A/B	·         A comprehensive response to the set question ·         Comprehensive and accurate knowledge and understanding ·         Convincing, perceptive and accurate analysis ·         Convincing, perceptive and accurate evaluation ·         Highly developed and accomplished judgements and conclusions The response demonstrates a highly developed and detailed line of reasoning which is coherent and logically structured. The information presented is entirely relevant and substantiated.
Level 2 40-56 C/D	·         An adequate response to the set question ·         Adequate and generally accurate knowledge and understanding ·         Adequate and generally successful analysis ·         Adequate and generally successful evaluation ·         Adequate and generally well-reasoned judgements and conclusions The response demonstrates a line of reasoning with some structure. The information presented is in the most part relevant and supported by some evidence.
Level 1 Up to 40 D/U	·         A minimal response to the set question ·         Minimal application of knowledge and understanding ·         Analysis is minimal and/or largely descriptive and may not be relevant ·         Evaluation is minimal or brief, and is likely to be largely descriptive ·         Judgements and conclusions, if present, are minimal with limited support ·           Information presented is basic and may be ambiguous or unstructured. The information is supported by limited evidence.

Identify a strength or strengths in your assessment:

 My analysis of questions 1-3 were my best marked questions as I explained every interpretation I had of the poster given. In addition, I was strong analyzing the audience.

 What are the areas you need to improve?
 • Explain the icons and props used in the poster.
 • Explain why the left side of the poster is sad.
 • Get my years correct
 • Explain repetition and differences when analyzing Steve Neale
 • Genre
 • More analysis on Big 6

 What do you need to focus on for your next assessment?
 • Genre
 • Examples
 • How the poster makes the reader feel and why