Wednesday 30 March 2011
Monday 28 March 2011
AS Audience & Institutions Mock questions
Try to answer these questions, they are not actual past questions but they are of the ilk!
1: Discuss the effects of new media technology on the distribution practises of an industry you have studied
2: Discuss the emergence of cross-media convergence and the issues it raises for an industry you have studied
3: Explain the impact of new production practises in an industry you have studied
4: Global institutions dominate the media industry how does this affect the audience of an industry you have studied?
5: Audience expectations have increased with the introduction of new media technology explain the impact of this on an industry you have studied
6: Media consumers are now submerged in the digital revolution how has the way we consume media products affected an industry you have studied?
Try to answer the above questions spending no more than 30 mins on each one,
Good luck !
1: Discuss the effects of new media technology on the distribution practises of an industry you have studied
2: Discuss the emergence of cross-media convergence and the issues it raises for an industry you have studied
3: Explain the impact of new production practises in an industry you have studied
4: Global institutions dominate the media industry how does this affect the audience of an industry you have studied?
5: Audience expectations have increased with the introduction of new media technology explain the impact of this on an industry you have studied
6: Media consumers are now submerged in the digital revolution how has the way we consume media products affected an industry you have studied?
Try to answer the above questions spending no more than 30 mins on each one,
Good luck !
MEDIA REGULATION
Media Regulation workbook
A2 Media, follow the above link and read the documents completing the activities as you go.
There is also a series of posts on here now that you must open and read for your rebision please
Thanks
Nina
A2 Media, follow the above link and read the documents completing the activities as you go.
There is also a series of posts on here now that you must open and read for your rebision please
Thanks
Nina
Sunday 27 March 2011
Saturday 26 March 2011
Film classification for censorship
Follow this link and know your classifications -
what impact does this have censorship?
How is classification an example of media regulation?
what impact does this have censorship?
How is classification an example of media regulation?
A2 Media Language
To clarify - Media Language is the way we are able to 'read' a media text by studying various concepts such as narrative, mise-en-scene, editing, cinematography, conventions used etc, etc.
Media Language is the language we use to understand the way a film (in your case) operates.
You should be prepared to covered all the ways in which we deconstruct a film to understand its preferred reading / meaning
Hope this helps? Nina
Media Language is the language we use to understand the way a film (in your case) operates.
You should be prepared to covered all the ways in which we deconstruct a film to understand its preferred reading / meaning
Hope this helps? Nina
AS Media Studies Revision guide 2
Revision guide: What is your exam all about?
Name: AS G322: Key Media Concepts (TV Drama)
Purpose:
• to assess candidates’ media textual analysis skills and their understanding of the concept of representation using a short unseen moving image extract (AO1, AO2);
• second to assess candidates’ knowledge and understanding of media institutions and their production processes, distribution strategies, use of technologies and related issues concerning audience reception and consumption of media texts (AO1, AO2):
Length: The examination is two hours (including 30 minutes for viewing and making notes on the moving image extract) and candidates are required to answer two compulsory questions.
Marks: The unit is marked out of a total of 100, with each question marked out of 50.
Content: There are two sections to this paper:
Section A: Textual Analysis and Representation (50 marks)
Section B: Institutions and Audiences (50 marks)
Section A explained: Textual Analysis and Representation
An ‘unseen’ moving image extract with one compulsory question dealing with textual analysis of various technical aspects of the languages and conventions of moving image media. Candidates will be asked to link this analysis with a discussion of some aspect of representation within the sequence.
• Gender
• Age
• Ethnicity
• Sexuality
• Class and status
• Physical ability/disability
• Regional identity
You must prepare in advance of the examination, using a range of examples from texts from the genre stated below, to demonstrate textual analysis of all of the following technical areas of moving image language and conventions in relation to the unseen extract:
• Camera Angle, Shot, Movement and Composition
• Mise-en-Scène
• Editing
• Sound
The focus of study for Section A is the use of technical aspects of the moving image medium to create meaning for an audience, focussing on the creation of representations of specific social types, groups, events or places within the extract. It is not necessary to study the history of the genre specified.
Technical areas to be covered:
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.
• Angles: high angle, low angle, canted angle.
• Movements: 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.
Editing
Includes transition of image and sound – continuity and non-continuity systems.
• Cutting: shot/reverse shot, eyeline 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 design.
It is acknowledged that not every one of the above technical areas will feature in equal measure in any given extract. Therefore examiners are instructed to bear this in mind when marking the candidates’ answers and will not expect each aspect will be covered in the same degree of detail, but as appropriate to the extract provided and to the discussion of representation.
Candidates should be prepared to discuss, in response to the question, how these technical elements create specific representations of individuals, groups, events or places and help to articulate specific messages and values that have social significance.
This means that you are not expected to find meaning in things that do have them. There will be obvious examples in the extract of how some the technical areas have been used to create a specific representation so concentrate on them instead of looking for something that isn’t there.
Section B: Institutions and Audiences
One compulsory question to be answered by candidates based upon a case study of a specific media industry.
• Film
Through specific case studies of the centre’s choice, candidates should be prepared to demonstrate understanding of contemporary institutional processes of production, distribution, marketing and exchange/exhibition at a local, national or international level as well as British audiences’ reception and consumption.
There should also be some emphasis on the students’ own experiences of being audiences of a particular medium.
You should be prepared to understand and discuss the following
• processes of production, distribution, marketing and exchange as they relate to contemporary media institutions
• the nature of audience consumption and the relationships between audiences and institutions.
You should also be familiar with:
• the issues raised by media ownership in contemporary media practice; (Downloading and illegal internet distribution)
• the importance of cross media convergence and synergy in production, distribution and marketing; (companies joining together to produce new products, ‘extras’ and new ways of consuming products- examples include digital animation, social networking sites, magazines, big name soundtracks etc add to this list if you can)
• the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange; (New editing and digital production techniques, digital animation, cameras and special effects, digital distribution, read section in worksheet on new distribution techs, internet marketing, mobile phone marketing the new media technologies that have been introduced)
• the significance of proliferation in hardware and content for institutions and audiences;
• the importance of technological convergence for institutions and audiences; (Technology joining together – phones that play films, computers that play music, IPODS etc, how has this technology changed the way we watch films, the things that we like to have to go with films and how institutions have to respond to these)
• the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions; (Globalisation, domination of the market, no place for independent film making, no money available for British film makers or no way of getting films seen due to distribution practises, lack of choice for audiences – what to see and where and when they can see it)
• the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour. (HOW DO YOU WATCH FILMS? WHAT TYPES OF FILMS DO YOU WATCH IN CERTAIN WAYS? IS THERE A TREND? DO YOUR FRIENDS FOLLOW THIS
• This unit should be approached through contemporary examples in the form of case studies based upon one of the specified media areas. Examples may include the following:
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.
This is your case study and should form the basis of your answer to this section of the exam. You should be able to give fully justified examples from both Working Title & Film 4. The question will ask you answer in relation to the study that you have carried out so be sure to use your research and to reflect your answer back to the institution that you have studied
Name: AS G322: Key Media Concepts (TV Drama)
Purpose:
• to assess candidates’ media textual analysis skills and their understanding of the concept of representation using a short unseen moving image extract (AO1, AO2);
• second to assess candidates’ knowledge and understanding of media institutions and their production processes, distribution strategies, use of technologies and related issues concerning audience reception and consumption of media texts (AO1, AO2):
Length: The examination is two hours (including 30 minutes for viewing and making notes on the moving image extract) and candidates are required to answer two compulsory questions.
Marks: The unit is marked out of a total of 100, with each question marked out of 50.
Content: There are two sections to this paper:
Section A: Textual Analysis and Representation (50 marks)
Section B: Institutions and Audiences (50 marks)
Section A explained: Textual Analysis and Representation
An ‘unseen’ moving image extract with one compulsory question dealing with textual analysis of various technical aspects of the languages and conventions of moving image media. Candidates will be asked to link this analysis with a discussion of some aspect of representation within the sequence.
• Gender
• Age
• Ethnicity
• Sexuality
• Class and status
• Physical ability/disability
• Regional identity
You must prepare in advance of the examination, using a range of examples from texts from the genre stated below, to demonstrate textual analysis of all of the following technical areas of moving image language and conventions in relation to the unseen extract:
• Camera Angle, Shot, Movement and Composition
• Mise-en-Scène
• Editing
• Sound
The focus of study for Section A is the use of technical aspects of the moving image medium to create meaning for an audience, focussing on the creation of representations of specific social types, groups, events or places within the extract. It is not necessary to study the history of the genre specified.
Technical areas to be covered:
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.
• Angles: high angle, low angle, canted angle.
• Movements: 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.
Editing
Includes transition of image and sound – continuity and non-continuity systems.
• Cutting: shot/reverse shot, eyeline 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 design.
It is acknowledged that not every one of the above technical areas will feature in equal measure in any given extract. Therefore examiners are instructed to bear this in mind when marking the candidates’ answers and will not expect each aspect will be covered in the same degree of detail, but as appropriate to the extract provided and to the discussion of representation.
Candidates should be prepared to discuss, in response to the question, how these technical elements create specific representations of individuals, groups, events or places and help to articulate specific messages and values that have social significance.
This means that you are not expected to find meaning in things that do have them. There will be obvious examples in the extract of how some the technical areas have been used to create a specific representation so concentrate on them instead of looking for something that isn’t there.
Section B: Institutions and Audiences
One compulsory question to be answered by candidates based upon a case study of a specific media industry.
• Film
Through specific case studies of the centre’s choice, candidates should be prepared to demonstrate understanding of contemporary institutional processes of production, distribution, marketing and exchange/exhibition at a local, national or international level as well as British audiences’ reception and consumption.
There should also be some emphasis on the students’ own experiences of being audiences of a particular medium.
You should be prepared to understand and discuss the following
• processes of production, distribution, marketing and exchange as they relate to contemporary media institutions
• the nature of audience consumption and the relationships between audiences and institutions.
You should also be familiar with:
• the issues raised by media ownership in contemporary media practice; (Downloading and illegal internet distribution)
• the importance of cross media convergence and synergy in production, distribution and marketing; (companies joining together to produce new products, ‘extras’ and new ways of consuming products- examples include digital animation, social networking sites, magazines, big name soundtracks etc add to this list if you can)
• the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange; (New editing and digital production techniques, digital animation, cameras and special effects, digital distribution, read section in worksheet on new distribution techs, internet marketing, mobile phone marketing the new media technologies that have been introduced)
• the significance of proliferation in hardware and content for institutions and audiences;
• the importance of technological convergence for institutions and audiences; (Technology joining together – phones that play films, computers that play music, IPODS etc, how has this technology changed the way we watch films, the things that we like to have to go with films and how institutions have to respond to these)
• the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions; (Globalisation, domination of the market, no place for independent film making, no money available for British film makers or no way of getting films seen due to distribution practises, lack of choice for audiences – what to see and where and when they can see it)
• the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour. (HOW DO YOU WATCH FILMS? WHAT TYPES OF FILMS DO YOU WATCH IN CERTAIN WAYS? IS THERE A TREND? DO YOUR FRIENDS FOLLOW THIS
• This unit should be approached through contemporary examples in the form of case studies based upon one of the specified media areas. Examples may include the following:
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.
This is your case study and should form the basis of your answer to this section of the exam. You should be able to give fully justified examples from both Working Title & Film 4. The question will ask you answer in relation to the study that you have carried out so be sure to use your research and to reflect your answer back to the institution that you have studied
Rosie Dwyers revision bite - Film 4
Here is Rosie's revision bite, dont forget to email yours to me so it can be added to the blog.
Presntation 2rosie
Presntation 2rosie
A2 Media Cryptic clue theorist test
Answer the following cryptic questions - All the answers are theorists we have covered for this unit - Good Luck! Nina
Cryptic clue theorists test:
1: I believe that opposites attract & that makes for a good narrative!
2: I understand what you want & know why your watching that film!
3:What would you prefer it to mean? That is my question!
4: I shall identify you and put you in a cage!
5: I know all three ways to montage!
Cryptic clue theorists test:
1: I believe that opposites attract & that makes for a good narrative!
2: I understand what you want & know why your watching that film!
3:What would you prefer it to mean? That is my question!
4: I shall identify you and put you in a cage!
5: I know all three ways to montage!
Friday 25 March 2011
AS Media Revision notes
You can find a copy of these notes in the shared folders also if you prefer to print them for your revision
Media Revision
Media Revision
Friday 18 March 2011
A2 Theorists to look for
Barthes, Roland
Derrida, Jacques
Forster, E.M.
Foucault, Michel
Frye, Northrop
Genette, Gerard
Hamburger, Kate
Iser, Wolfgang
Kristeva, Julia
Levi-Strauss, Claude
Lubbock, Percy
Propp, Vladimir
Todorov, Tzvetan
Derrida, Jacques
Forster, E.M.
Foucault, Michel
Frye, Northrop
Genette, Gerard
Hamburger, Kate
Iser, Wolfgang
Kristeva, Julia
Levi-Strauss, Claude
Lubbock, Percy
Propp, Vladimir
Todorov, Tzvetan
Sunday 13 March 2011
Uses and gratifications theory
Denis McQuail (1987) – Uses and Gratifications Theory
Information
satisfying curiosity and general interest
finding out about relevant events and conditions in
immediate surroundings, society and the world
learning; self-education
• seeking advice on practical matters or opinion and decision choices
gaining a sense of security through knowledge
Personal Identity
finding reinforcement for personal values
finding models of behaviour
identifying with valued other (in the media)
gaining insight into one's self
Integration and Social Interaction
gaining insight into circumstances of others; social empathy
identifying with others and gaining a sense of belonging
finding a basis for conversation and social interaction
having a substitute for real-life companionship
helping to carry out social roles
enabling one to connect with family, friends and society
Entertainment
escaping, or being diverted, from problems
relaxing
getting intrinsic cultural or aesthetic enjoyment
filling time
emotional release
sexual arousal
Information
satisfying curiosity and general interest
finding out about relevant events and conditions in
immediate surroundings, society and the world
learning; self-education
• seeking advice on practical matters or opinion and decision choices
gaining a sense of security through knowledge
Personal Identity
finding reinforcement for personal values
finding models of behaviour
identifying with valued other (in the media)
gaining insight into one's self
Integration and Social Interaction
gaining insight into circumstances of others; social empathy
identifying with others and gaining a sense of belonging
finding a basis for conversation and social interaction
having a substitute for real-life companionship
helping to carry out social roles
enabling one to connect with family, friends and society
Entertainment
escaping, or being diverted, from problems
relaxing
getting intrinsic cultural or aesthetic enjoyment
filling time
emotional release
sexual arousal
Monday 7 March 2011
Wednesday 2 March 2011
Genre Theory
Note down the 5 points of Genre Theory
Write a paragraph that clearly states the problems with Genre Theory
Explain how Genre has changed / is changing and why
Decide whether you think Genre theory / Genre is real / valid / needed in our contemporary media savvy society use the theory/theorist handouts in the folder to write a one page statement that argues your point for Genre using quotes and theory to back up any points you make.
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