A2 Media Studies Booklet 2015

KMcCabe 2015 @evenbetterif www.slideshare.net/mccabekat
A2 Revision
Booklet
UPDATED
Feb 2015

MEST 3 Exam 5th
June AM
2Hrs
Section
A

1
hour
including
15
minutes
reading/viewing
time

32
Marks

The
first
section
will
be
based
around
unseen
stimulus
materials
which
may
be
print,
e-‐media,
audio
or

moving
image
based.
The
stimulus
materials
will
be
designed
to
be
easily
assimilated
by
candidates
in
the

space
of
15
minutes
and
there
will
be
time
for
note-‐taking
and
essay
planning.
The
materials
will
be

chosen
to
raise
issues
about:

•
media
concepts
(form,
representation,
institutions,
audience,
values
and
ideology)

•
wider
contexts

•
media
issues
and
debates.

There
will
be
three
compulsory
questions
based
around
the
stimulus
materials.
The
questions
will

demand
short
answers
to
demonstrate
knowledge
and
understanding
of
the
media.

Section
B
(60%)
1
hour
48
marks

Candidates
will
have
been
given
two
pre-‐set
topic
areas
for
study
during
the
year.
They
will
be

expected
to
answer
one
question
from
a
choice
of
questions
linked
to
the
pre-‐set
topics.
Questions
will
be

open-‐ended
so
that
candidates
can
respond
to
the
question
utilising
the
media
texts
that
they
have

studied
throughout
this
course
through
the
application
of
their
synoptic
knowledge
and
understanding
of

the
media.

Identities
&
the
Media

Impact
of
New/Digital
Media

Assessment
Objectives

AO1
Demonstrate
knowledge
and
understanding
of
media
concepts,
contexts
and
critical
debates

AO2
Apply
knowledge
and
understanding
when
analysing
media
products
and
processes
(and

evaluating
own
practical
work)
to
show
how
meanings
and
responses
are
created

Key
Concepts

Audience

Genre

Narrative

Media
language/form:
Codes
and
Conventions

Representations

Institution

Media
Debates

Representation

Effects
on
Audience

Reality
TV

News
Values

Moral
Panics

Post
9/11
and
the
Media

Ownership
and
control

Regulation
and
censorship

Media
Technology
and
the
digital
revolution

Media
Theories

Semiotics

Structuralism
and
Post-‐Structuralism

Postmodernism

Feminism

Ethnicity

Genre
theory

Audience
theory

Marxism,
Hegemony
and
Liberal
Pluralism

Cultural
Imperialism

Cross-‐Cultural
factors

Globalisation

SECTION
A

• You
must
be
confident
in
your
ability
to
deconstruct
texts
quickly
picking
up
on

the
key
aspects
of
form,
codes
and
conventions
and
be
able
to
use
the
right

terms,
vocabulary
to
describe
the
texts
and
their
effects

• You
must
be
confident
in
your
ability
to
compare
and
contrast
two
texts,
possibly

from
two
different
platforms
in
terms
of
form
or
subject
matter

• You
must
be
confident
in
your
ability
to
apply
relevant
theory
to
the
text

• You
must
be
confident
in
your
ability
to
consider
wider
contextual,
cultural
and

ideological
issues
concerning
the
texts

Question
not
just
HOW
the
text
producers
have
constructed
meaning
but
WHY
they

have
constructed
the
meanings
they
have
and
with
what
possible
effects
on
the

audience,
and
What
connection
this
has
to
society.


Deconstructing
Texts

Technical
Elements
of
Moving
Image
(Film,
TV,
Gaming)

Mise-‐en-‐Scene
/Framing
:
everything
that
is
included
in
the
frame

Composition
:
How
the
elements
of
the
scene
or
frame
are
organised

Camera
Angles:
Low,
Eye
level,
High,
Bird’s
eye,
Tilted

Camera
Shots:
Establishing
or
Extreme
Long
shot,
Long
shot,
Medium
shot,
Point
of
View

shot,
Over
The
Shoulder
shot,
Close-‐up,
Extreme
Close-‐up,
Bridging
shot,
shot/reverse

shot

Camera
Movement:
Panning,
Tilts,
Tracking,

Zoom,
Aerial,
Handheld

Editing:
Quick
cutting,
Cutaways,
Wipe,
Fades,

Montage

B-‐roll
footage

Anchorage

Sound:
Diegetic
and
Non-‐diegetic

Lighting:
high
key,
low
key,
filtered,
saturated
and
de-‐saturated

Colour

Icons
&
Symbols

Character
–
dress,
facial
expression,
body
language,
representation

Weather

Set

Location

Contrast
(music
–
asynchronous
sound,
image,
voiceover
etc.)

Set-‐ups

Idents


Technical
Elements
of
Printed
Forms
(Print,
Poster,
Web)

Masthead

Headlines

Sub-‐headings

Banners

Boxes

Bullet
points

Captions

Visual
Image

Layout
&
Composition

Text
to
image
ratio

Negative
Space

Colour

Contrast

Anchorage

Emotive
Language

Imperatives

Rhetorical
Questions

Personal
Pronouns

Facts
and
Statistics

Typography:
Font,
size,
colour
etc.

Coverlines

Exclusives

Inverted
pyramid
structure

Interactive
Features

Navigation

Key
Concepts

Barthes
Signs
and
Semiotics

Objects
can
be
read
as
signs
and
these
can
be
interpreted
literally
(denotation
–
a
dove

is
a
type
of
bird)
or
symbolically
(connotation
–
a
dove
is
a
symbol
or
sign
of
peace).

Media
texts
are
made
up
of
a
series
of
signs
that
combine
to
make
meaning.

Hall’s
theory
of
Readings

Specific
signs
can
be
put
into
media
texts
to
create
a
specific
meaning.
These
texts
are

encoded
with
messages
and
the
audience
decode
the
message
when
they
engage
with

the
text.
Advertising
does
this
alot
when
the
audience
encode
the
message
that
a

particular
product
will
make
you
happier,
more
successful,
more
popular
etc.
The

decoding
of
a
text
is
also
called
a
reading
and
these
can
be
preferred,
negotiated
or

oppositional.

A
person
smoking
could
be
decoded
as,
and
connote
to
some
-‐

sophistication
or
cool,
to

others
ill-‐health
or
stupidity
and
to
others
anti-‐social
behavior
or
a
desire
to
be
non-‐
conformist.
Other
signs
(dress,
body
language,
facial
expressions
etc.)
will
add
together

to
suggest
one
of
these
interpretations
stronger
than
another.
All
messages
could
be

seen
as
polysemic
–
and
at
best
media
text
producers
will
achieve
negotiated
readings.

Audiences
will
accept
most
of
the
dominant
or
preferred
reading
but
reject
some

aspects
of
it.
Nobody
can
predict
or
dictate
how
a
person
will
read
a
message.

Audience

Audiences
traditionally
classified
through
demographics
-‐
age,
gender,
location,
status

etc.
This
led
to
A,
B,
C1,
C2,
D

categories.
More
recent
audience

classification

through

psychographics
–
values,
political
beliefs
etc.
Types
of
audience
include
Primary,

Secondary,
Niche
and
Mass.
Many
media
theorists
believe
there
is
no
mass
audience
in

the
digital
age
as
because
of
market
or
audience
segmentation.

Narrowcasting
is
taking
over
Broadcasting
and
the
number
of
texts
which
can
attract

large
numbers
of
television
viewers
is
decreasing
rapidly.

The
same
is
true
of
film,
where
the
industry
relies
on
formulaic
blockbusters
or

franchises
to
generate
large
incomes.
In
addition,
many
argue
the
world
of
print
media

is
dying
but
The
Sun
and
The
Mail
still
have
significant
readership
in
the
UK.
A
good

example
demonstrating
change
is
the
Independent
publishing
I
paper.

This
is
a
print

media
product,
for
a
niche
audience
to
supplement
and
boost
the
sales
of
the

conventional
‘parent’
product.

Although
choice
has
grown
significantly,
mass
appeal
texts
still
exist
and
have
remained

largely
unaffected
(Eastenders,
Coronation
Street,
Harry
Potter
Franchise
etc.)

Audiences
can
be
Active
or
Passive.
Passive
audiences
receive
media
texts
and
are

influenced
by
them.
This
may
be
significantly
(as
in
the
Hypodermic
Needle
theory)
or

subtly
over
time
(Cultivation,
Two
step
theory).
In
contrast
Active
audiences
respond
to

and
negotiate
the
media
they
consume
(Uses
and
Gratifications,
UGC,
Social

Networking)

Cultivation/Desensitization
theory:
audiences
adopt
the
views
and
beliefs
presented
by

the
media
over
time
and
become
desensitized
to
aspects
such
as
violence,
political
bias

etc.

Two-‐Step
Theory:
that
our
media
consumption
is
shaped
by
the
opinion
leaders
who

influence
our
critical
reception
of
media
texts.
These
opinion
leaders
can
be
reviewers,

award
givers,
news
programmes
which
highlight
or
make
texts
prominent
or
even
our

peers
who
shape
opinion
through
social
media.

Uses
and
Gratifications
theory:
that
media
is
used
by
audiences
for

entertainment/diversion,
information/surveillance,
maintaining
personal
relationships,

personal
identity.
This
theory
suggests
that
all
media
consumption
is
positive
for
the

audience.
The
Audience
is
King
making
conscious
choices
about
what
to
watch
and

consume.
But
a
criticism
of
this
is
that
these
needs
are
created
by
the
media
and
that

they
create
needs
that
only
they
can
fulfill,
making
the
audience
once
again
vulnerable

to
the
‘effects’
of
the
media.

If
the
audience
are
‘King’
they
are
still
constrained
by
several
factors
such
as

• expense
–
not
all
channels
are
free
and
not
all
people
can
have
access
to
all

consoles,
games,
films,
internet
experiences.

• Access
could
be
restricted
for
a
variety
of
reasons
by
a
variety
of
institutions

• Unintended
access
the
internet
in
particular
delivers
us
to
countless
advertisers

which
we
have
no
control
over.
Audiences
are
products.

The
‘illusion
of
power’
held
by
modern,
interactive
audience.

Audience
can
also
be
described
as
subversive
and
will
continually
seek
to
oppose
the

dominant
ideology
being
delivered.
This
is
a
powerful
argument
–
consider
how

audiences
responded
to
the
digitalization
of
music,
the
response
to
viral
campaign
of

Cloverfield,
the
audience
response
to
Justin
Bieber,
X
Factor
etc.
The
top-‐down
force

(the
media
industries)
try
to
push
values
on
the
audience
which
significant
groups

reject,
criticize
and
mock.

These
have
been
termed
as
the
resistant
audience.

Questions
to
consider:

1) To
what
extent
does
the
media
construct
viewpoints
that
the
audience

automatically
accepts?

2) Many
media
audience
theories
ignore
the
role
of
pleasure
in
considering

consumption
of
media
texts.
How
far
do
you
agree?

3) Audience
segmentation
is
essential
to
deliver
audiences
to
advertisers.
How
far

do
you
agree?


Narrative

All
media
texts
have
narrative.
Narratives
are
the
threads
which
pieced
together
make

meaning.
A
narrative
is
constructed
from
elements
of
form
(codes
and
conventions)
and

representation.
Barthes’
states
that
narrative
codes
typify
the
style
of
‘unfolding’
of
the

story
(action
codes,
enigma
code
etc.)
Sometimes
students
find
this
difficult
to
identify

when
they
are
deconstructing
print
media.

In
Print,
look
for
meanings
which
have
been

constructed
through
the
relationships
between
character
types
and
Binary
oppositions

which
have
been
suggested.
(heroes,
villains,
victims).
Also
look
carefully
at
language
to

used
create
these
characters
(emotive,
strong
adjectives)
and
the
images
used.

Genre

In
media
Genre
is
important
for
rapid
identification
of
the
text
by
the
audience.
This
is

essential
in
texts
where
time
is
money
such
as
advertising.
Consumers
need
to
be
able

to
recognize
in
seconds
the
type
of
advert
with
regard
to
narrative
structure,
product

and
outcome.
In
other
types
of
programming
too,
audiences
use
their
prior
knowledge

and
understanding
to
create
meaning
from
the
images
they
read
on
the
screen.
These

sets
of
signs
from
which
text
producers
can
make
choices
(crime
fiction:
male

detective/female
detective,
smoking/alcohol,
femme
fatale/innocent
woman,
well

dressed
in
suit/scruffy
shows
difficult
personal
life,
urban
environment)
are
called

paradigms.
Chained
together
these
create
a
syntagm
(a
new
meaning
from
the
added

signs).
The
paradigm
and
the
syntagm
are
central
to
creating
genre.

Like
Representations,
genre
changes
and
adapts
over
time
and
moulds
itself
to
our
ever

changing
culture
and
society.
A
typical
Postmodern
feature
is
that
of
the
hybrid
genre,

which
uses
several
paradigms,
fuses
them
together
to
create
an
original
genre
e.g
docu-‐
soap,
sci-‐fi
comedy,
rom-‐com
etc.
this
fusing
together
of
genre
also
bridges
divides
and

can
double
or
maximize
audience
figures.

Parody
and
Pastiche
are
also
features
of
postmodern
media.
Both
are
thought
to
be

generally
good-‐natured
mimicry
of
a
style
or
form
rather
than
aggressive
mockery
and

criticism,
although
pastiche
is
gentler
than
parody.
Parody
often
takes
a
genre
or

specific
film
and
subverts
it
exaggerating
some
of
the
codes
and
conventions
(Scary

Movie/the
Office).
Pastiche
on
the
other
hand
tends
to
weave
elements
of
a
genre
into

another.
A
further
postmodern
feature
is
intertextuality
which
uses
existing
narrative

within
another
to
create
a
new
text.

Questions
to
consider:

1) Is
the
concept
of
genre
still
a
useful
tool
given
the
increasing
use
of
hybrid

forms?

2) How
has
parody
been
used
in
contemporary
media?

Institution

Historically,
media
has
always
been
produced
by
the
rich
and
powerful.
Only
a
select

few
have
the
funds
and
resources
available
to
own
and
create
an
institution
for

broadcasting
or
publication.
These
are
major
operations
requiring
large
sums
of
money.

The
digital
revolution
has
changed
this
but
to
what
extent?
Anyone
with
a
computer,

internet
connection
and
digital
video
camera
can
broadcast
to

an
audience
–
creating

websites,
blogs,
video content, even
their
own
‘tv
channel’
or
‘radio
station’.

The
large

corporations
–
conglomerate
and
independent,
are
still
the
most
viewed,
most
bought

and
most
trusted
sources
for
information
and
entertainment.
There
has
been
a
shift

however.
UGC
is
an
increasingly
common
feature
of
the
media
but
is
supplementing
it

rather
than
replacing
it.
Audiences
have
more
interaction
and
control
over
their
media

choices
but
it
could
be
argued
that
it
is
still
the
institutions
that
are
providing
those

choices
–
manipulated
and
mediated
by
them.
A
negative
shift
is
the
power
of
the

conglomerate
and
their
ownership
of
vast
numbers
of
smaller companies
resulting
in
a

watering
down
of
diversity
and
promotion
of
a
single
dominant
view.
Commercial
channels
need
to
be
fiercely
competitive
in
the
media
saturated
market.
A

company
like
ITV
must
be
as
competitive
as
possible
to
attract
audiences
so
that

sponsors
and
advertisers
will
continue
to
pay
high
rates
for
advertising.
With
low

viewing
figures,
advertisers
will
go
elsewhere
to
‘get’
the
audience.
One
outcome
of
this

is
the
need
to
drive
the
cost
of
programmes
down
as
far
as
possible,
using
members
of

the
public
to
be
the
stars
of
the
show,
buying
in
programmes
from
abroad,
or
using
the

same
programme
set
and
actors/stars
to
make
a
variety
of
programmes
(Big
Brother,

BBLB,
24hr
coverage,
What
happened
next
type
programmes
and
more
recently

Eastenders
and
E20).
This
maximizes
the
investment
or
initial
outlay.
Other
ways
the

institution
can
make
money
include
exporting
programmes
abroad
and
premium
rate

phone
lines.

Some
forms
of
media
text
encourage
top-‐down,
elite-‐led
messaging
from
institutions.

Magazines
for
example,
are
created
for
mass
audiences
and
a
one-‐way
communication

tool.
Audiences
do
not
interact.

The
institutions
represent
the
Elite,
primary
definers
of

society
–
a
Marxist
reading
of
media.
However,
in
web
content,
audiences
can
produce,

interact
and
comment
on
the
text
–
a
liberally
pluralistic
reading
of
media.

Exam
questions
often
focus
on
Brand
and
brand
values
of
institutions.
Always
consider

what
the
text
communicates
about
the
text
producing
institution
–
it’s
status?
It’s

quality?
It’s
mission
and
purpose?

Media
Debates

Representation

Media
representations
either
reflect
or,
over
time,
create
dominant
ideology.
Signs

together
also
create
powerful
meanings.
A
syntagm
is
a
sequence
of
signs
which
add

together
to
create
new
meaning.
An
example
of
this
is
a
montage
–
picture
1
+
picture
2

=
meaning.
A
paradigm
is
a
related
set
of
signs
which
are
alternatives
of
each
other.
An

example
of
this
is
a
journalists
use
of
the
word
‘evil’
rather
than
‘bad’.

Representation
in
media
becomes
an
issue
for
debate
particularly
in
the
representation

of
gender
roles,
race
and
ethnicity,
age,
ability,
social
status.

Questions
to
consider:

1) Media
representations
of
the
world
appear
so
natural
that
we
can
easily
see

them
as
real.
To
what
extent
do
you
think
this
is
true?

2) How
far
is
it
possible
for
the
media
to
produce
fair
and
accurate

representations?

3) Absent
and
marginalized
representations
are
more
dangerous
that
negative

ones.
Do
you
agree?

The
idea
of
media
as
a
mirror
–
reflecting
society
as
it
is
or
as
a
tool
constructing
society

is
the
reflectionist
vs
constructionist
view
of
media.
It
could
be
argued
that
it
could
only

be
constructed
as
any
media
text
goes
through
a
process
of
selection
&
mediation

before
appearing
to
the
mass.
However,
new
digital
media
is
having
an
impact
on
this

traditional
process
as
more
people
self-‐represent
or
represent
without
mediation

(editing
etc.)

Reality
TV

In
a
multi-‐channel
world,
competition
is
fierce
and
the
need
to
broadcast
programmes

which
are
cheap
and
attractive
to
the
highest
number
of
viewers
is
vital.
Reality
TV
is

formulaic
and
cheap
to
produce.
The
participants
(celebrity
and
public)
have
a
high

economic
status,
in
that
they
produce
money
for
the
text
producers,
but
a
low
cultural

or
social
status,
in
that
they
have
no
longevity
and
only
a
fleeting
interest
to
the
media.

How
does
this
explain
the
lasting
audience
appeal?
Reality
TV
has
grown
and
developed

into
many
different
forms
which
can
attract
the
broadest
range
of
viewers.
Uses
and

Gratifications
theory
would
suggest
that
reality
TV
now
fulfills
the
all
needs:
maintaining

personal
relationships,
affirming
personal
identity,
diversion/entertainment
and

surveillance/
information
as
many
can
share
knowledge
on
a
range
of
skills,
professions

or
topics.

Often
at
the
heart
of
these
programmes
is
the
element
of
emotional
realism

which
hooks
the
audience
into
investing
their
time
and
loyalty.
With
voyeuristic
power,

audiences
are
given
access
to
some
of
the
most
difficult
moments
that
public
and

celebrity
participants
have
to
go
through,
often
in
the
form
of
Humilitainment.
Part
of

these
hooks
are
created
by
‘coming
up’
and
‘next
time..’
sequences,
again
rewarding
the

audience
for
staying
till
the
very
end,
building
a
culture
of
anticipation
and
anxiety
over

missing
a
key
moment.
The
never-‐ending
and
highly
familiar
narrative
cycle
including

tension,
conflict
and
resolution
keeps
audiences
satisfied.

News
and
Documentary

News
is
seen
as
central
to
any
study
of
media
and
is
culturally,
politically
and

historically
vital
to
our
understanding
of
the
world.
News
presents
us
with
information

locally,
nationally
and
globally
that
we
would
otherwise
not
have
access
to.
News
plays

an
important
ideological
role
in
interpreting
the
world
for
us
that
shapes
our
attitudes

and
beliefs.
This
is
partly
the
reason
for
Baudrillard’s
concern
about
our
media
created

‘reality’
within
which
we
exist.
News
is
highly
selected
and
mediated,
presenting
only
6-‐
10
stories
in
one
day
of
the
billions
worldwide.

The
Digital
age
has
changed
news
dramatically:

• Digital
services
have
enabled
24hr
rolling
news
channels.
This
has
stimulated

greater
need
for
round
the
clock
information
and
constant
updates.

• Terrestrial
news
has
responded
to
these
new
demands
by
using
ticker
tape
style

bulletin
updates,
60
second
news
programmes
on
TV
and
tabloid
sized
quality

papers
and
successful
commuter
papers
like
Metro
and
now
i.

• Internet
sites
concentrate
on
headlines
and
condensed
stories
–
dumbed
down

content
and
content
without
context.

• There
is
an
increasing
quantity
of
UGC
on
news.

• Internet
and
phone
apps
allow
audiences
to
select
the
news
they
are
interested

in
which
means
they
can
ignore
other
news.

An
interesting
point
to
note
is
that
whereas
news
from
the
BBC
prides
itself
on
unbiased

objectivity
and
fulfilling
its
mission
statement
‘to
inform’,
and
channel
such
as
Sky
prides

itself
on
being
‘first
for
news’.
Speed
of
information
as
well
as
24
hour
supply
is

becoming
increasingly
important,
as
it
raises
questions
about
validity
and
reliability.

Other
points
of
importance
regarding
news:

• News
more
often
than
not
focuses
on
the
negative

• News
has
been
accused
of
dumbing
down
–
trivializing
important
issues
focusing

more
on
sensational
stories

• News
is
also
a
commodity
like
any
other
and
many
institutions
are
governed
by

the
need
for
profit
and
good
viewing/circulation
figures
–
with
regard
to
the

points
above
conflict
and
celebrity
sell.

• Each
story
featured
is
a
possible
story
from
a
range
of
other
stories
which
could

have
been
chosen
–
a
paradigm.
The
way
these
stories
are
placed
in
hierarchical

order
next
to
each
other
in
a
news
bulletin
or
in
a
paper
is
a
syntagm

Questions
to
consider:

1) How
have
recent
changes
had
an
impact
on
news
coverage?
Give
examples
to

support
your
answer.

2) Bias
in
news
in
inevitable.
Do
you
agree?

3) Who
selects
news
and
why?

Moral
Panics

Media
has
a
long
history
of
moral
panic
and
witch
hunting.
Some
more
recent
examples

include
influence
of
violent
games
on
behavior
and
overuse
of
game
consoles,
influence

of
‘hardcore’
music
such
as
Slipknot,
Marilyn
Manson
etc.,
spread
of
viral
diseases
like

Swine
Flu,
Sars,
Bird
Flu
etc.,
Social
media’s
links
to
Paedophiles,
Teenagers
including

gangs
and
knife-‐crime,

Islam
and
the
threat
of
terrorism,
Asylum
seekers,
Benefit

‘scroungers’
and
out
of
control
and
offensive
Comedians.
Many
of
these
panics
are

symptoms
of
the
moment
in
time
we
are
caught
up
in.
It
is
rare
these
days
to
read
daily

stories
of
young
people’s
involvement
in
drug
culture
and
the
threat
this
causes
to

society.
However,
these
were
the
moral
panics
of
various
years
in
the
1970’s,
1980’s
and

1990’s.

Moral
panics
reach
a
crescendo
and
then
rapidly
disappear.

A
moral
panic
does
not
appear
with
a
singly
headline.
It
is
built
over
weeks
and
and

months
by
mass
media
texts
showing
increasing
concern
over
an
issue.
The
message

must
be
repeated
over
a
time
period
to
become
a
moral
panic.
The
greatest
moral
panic

in
mass
news
today
surrounds
immigration
and
It
is
interesting
to
consider
where
the

blame
or
judgement
lies
in
a
moral
panic.
It
is
usually
the
Government,
the
Family,
the

Masses
or
society
as
a
whole,
the
Other
(China,
Middle
Eastern
nations,
etc.)
.
Is
it
ever

the
media
themselves?

Moral
panics
work
by
feeding
into
existing
fear
or
concern,

showing
the
public
the
outcome
of
that
fear
(death,
illnesss,
decline
etc.)
and
passing
a

judgement.

Questions
to
consider:

1) How
do
the
Media
present
themselves
and
their
role
in
the
moral
framework
of

society?

2) How
does
the
media
benefit
from
this
role?

Post
9/11
and
the
Media

As
we
have
seen
already
narrative
clearly
changed
Post
9/11
particularly
the
narrative
of

Action
film
and
the
role
of
the
Action
hero.
Some
theorists
have
noted
that
in
the
years

following
the
US
also
became
keen
on
the
‘Good
vs
Evil’
narrative
and
the
‘just
war’

narrative
with
a
return
to
films
and
games
on
WW2
to
show
how
justifiable
war
is
when

faced
with
an
evil
enemy.
Post
9/11
there
was
also
a
shift
in
the
representation
of
the

Other.
This
moved
unsurprisingly,
to
Middle
Eastern
countries.
This
fear
deepened
when

attacks
happened
subsequently
by
US/UK
nationals
who
were
Muslim
Fundamentalists.

Has
this
caused
a
fear
of
all
‘Other’
?

Could
this
also
explain
the
obsession
with

unknown
‘Other’
of
sci-‐fi
–
aliens,
zombies,
vampires.
Vampire
and
Zombies
are

particularly
interesting
as
the
‘one
of
us’
but
‘not
us’
fear
can
be
explored
fully.

Ownership
and
control,
Regulation
and
censorship

Significant
changes
in
recent
years
to
traditional
media
include

• Shrinking
‘traditional’
industries
–
print
media,
music
industry
especially
the
CD

market,
DVD
sales

• Expanding
digital
industries
which
in
some
cases
are
out
of
the
institutions

control
–
music
file
sharing,
film
downloads,
online
print
media
content.

• The
changes
from
mass
audiences
to
a
segmented
market
leading
to
a
huge

variety
of
products
and
choice.
However,
take
a
closer
look
at
the
choices.
Are

many
produced
by
a
single
corporation
seeking
to
maximize
their
profits?

• The
rise
of
the
conglomerates
leading
to
a
small
group
of
about
8
corporations

responsible
for
the
creation,
production
and
distribution
of
nearly
all
major

media
products
in
the
world.
Some
argue
this
contributes
to
the
dominant

Western
world
view.
It
also
narrows
the
range
of
choice
of
products
and
can

restrict
the
freedom
of
the
text
producers.

• The
rise
of
UGC
and
mass-‐amateurisation
making
some
previously
highly
skilled

professionals
in
the
industry
–
redundant.

• Social
media,
blogging,
comments
etc,
are
all
examples
of
everyday
audience

interaction
with
and
shaping
of
media
content.
This
is
not
‘controlled’
in
a

traditional
way.
Content
can
be
filtered
by
official
sites
but
the
vastness
of
the

web
means
no
organization
can
ever
have
the
power
to
mediate
all
daily
traffic.

Oppressive
regimes
around
the
world
have
experienced
serious
uprisings
in

recent
years.
The
power
of
social
media
and
image
sharing
particularly
from
one

culture
to
another
cannot
be
ignored.

• On
demand
services
mean
that
there
is
no
‘watershed’
and
content
is
freely

available
to
audiences.
Even
though
content
is
flagged
as
being
only
suitable
for

over
18’s,
unless
parental
controls
are
set
on
the
computer,
they
are
accessible

to
all.

• There
have
been
several
high
profile
cases
regarding
privacy
and
the
Web.

The

recent
Footballer
Twitter
super-‐injunction
is
a
good
case
in
point.

Debate
still

rages
on
about
the
‘public
right
to
know’
what
media
figures
are
up
to
and

whether
‘it
is
in
the
public
interest’
for
private
lives
to
be
exposed.
These
issues

became
public
concern
in
recent
years
as
facebook
was
called
into
question
over

their
privacy
policy
and
comments
left
on
walls
were
considered
in
the
public

domain
rather
than
private
chat.

Media
Theories

Semiotics

Semiotics
is
how
audiences
create
meanings
from
messages
from
the
systems
of
codes

and
signs.

Structuralism
and
Post-‐Structuralism

Structuralism
is
the
process
of
deconstructing
texts
by
examining
the
underlying
generic

structure.
The
theory
is
that
the
meaning
exists
within
texts
but
is
deep
rooted
because

its
construction
is
natural
to
us,
we
have
created
the
text
naturally
without
conscious

thought
–
we
just
need
to
deconstruct
the
text
to
find
it
and
understand
it.
Post-‐
structuralists
would
argue
that
this
deep
rooted
structure
should
not
be
analysed
as

there
is
no
concrete
meaning
-‐
signs
are
open
to
an
infinite
number
of
interpretations

and
so
do
not
have
any
useful
meaning
or
pattern.

Postmodernism

Postmodernism
is
not
a
theory
but
more
a
collection
of
elements
that
add
together
to

make
a
text
postmodern.
These
elements
include
intertextuality,
bricolage,
pastiche,

parody,
hybrid,
CGI,
Simulcrum
and
Hyperreality.
Another
key
element
of
Post-‐
Modernism
is
the
loss
of
metanarratives,
the
big
stories
about
how
we
understand
the

world
(good
vs
Evil,
rags
to
riches,
the
underdog
etc.)
to
multiple
narratives
–
many

different
and
opposing
views
of
reality
and
the
world.
It
could
be
argued
that
this
has

increased
as
mass
media
and
technology
has
advanced
–
multiple
voices
being
heard
on

the
internet,
true
liberal
pluralism.

Feminism

Feminism
seeks
to
challenge
traditional
power
structures
that
exist
between
the

genders.
Some
would
argue
that
as
Media
institutions
are
predominantly
run
by
‘white,

middle/upper-‐class
men’
their
ideology
is
prevalent
in
media
texts
which
then

perpetuates
the
dominant
ideology
in
society.
This
has
major
implications
for
those
in

society
who
are
either
women,
non-‐white
and
working
class.
Mulvey
suggested
that
all

media
is
created
through
the
eyes
of
the
heterosexual
male,
called
the
‘male
gaze’
and

that
as
a
result
women
are
viewed
in
terms
of
the
pleasure
they
give
to
men.

Post-‐feminism
allows
women
to
use
their
sexuality
for
their
own
benefit
giving
them

power.
However,
as
it
is
still
males
that
produce
dominant,
elite,
mass
media,
the
power

of
women
is
questionable.
Instead,
the
use
of
sexual
icons
has
been
termed

Enlightenend
Sexism
–
sexism
and
Objectification
which
is
‘ironic’
and
playful
as
male

text
producers
argue
that
the
gender
war
has
already
been
won
by
women,
and
so

gender
stereotypes
are
lighthearted
and
humorous.
With
recent
trolling
of
high
profile

women
on
social
networking,
the
no.
of
women
in
mass
media
industries,
the

representation
of
women
in
gaming,
there
is
no
doubt
that
a
gender
divide
still
exists
in

our
Post-‐Feminist
culture.

Marxism,
Hegemony
and
Liberal
Pluralism

Marxism
is
the
idea
that
the
elite
few
are
in
a
continual
state
of
conflict
with
the
many

or
the
mass.
The
powerful
elite
wants
to
pay
as
little
as
possible
for
the
labour
of
the

mass.
The
mass
wants
to
get
as
much
out
of
their
work
as
possible.
It
is
therefore
the

role
of
institutions
like
the
Media
to
keep
the
mass
happy
so
that
they
continue
to
offer

their
full
support
to
the
capitalist
ideals.
Marxists
would
argue
that
the
media’s
use
of

celebrity
is
such
a
device
–
used
to
create
a
diversion,
keeping
the
minds
of
the
masses

off
of
the
more
serious
issues
like
working
conditions,
pay
and
rights.

Hegemony
takes
this
idea
a
step
further
suggesting
that
the
dominant
group
persuades

the
mass
that
the
power
structure
is
necessary
and
more
importantly
in
their
favour.

This
suggests
a
more
fluid
power
struggle,
that
the
ruling
group
may
allow
the
mass

some
victories,
essentially
maintains
control,
not
through
predominant
force
but

negotiation.

Liberal
Pluralism
relates
to
capitalism
in
that
it
suggests
a
free
media
that
like
any

market
economy,
it
responds
to
the
demands
of
the
consumers.
Liberal
pluralists
would

argue
that
the
success
of
genres
like
reality
tv
are
simply
the
result
of
supply
and

demand.
It
is
worth
considering
who
the
media
text
producers
are
that
are
in
the

position
to
fulfill
this
demand
and
to
what
extent
the
demand
been
created
by
the

media
themselves.

Cross-‐Cultural
factors

You
should
always
be
aware
of
how
media
texts
or
genre
are
created
in
other
countries.

These
are
cross-‐cultural
factors.
Console
games,
reality
tv,
sit-‐coms
are
modified
for

different
audiences.
There
have
been
a
number
of
high
profile
media
products
being

spread
around
the
world
in
recent
years
which
have
undergone
slight
changes
for
each

cultural
audience
–
X-‐factor,
Big
Brother,
The
Office).
Media
text
products,
the

representations
contained
within
them,
the
dominant
ideologies
are
culturally
bound

and
may
not
translate
globally.

Globalisation

Globalisation
refers
to
the
media
texts
which
are
‘translated’
around
the
world.
These

are
global
products
and
the
term
refers
to
brands
(Nike,
Coke,
Apple
etc.)
as
well
as

texts
(Toy
Story,
Harry
Potter
etc.).
Much
globalisation
is
attributed
to
American

industries,
owned
by
Western
conglomerates
and
is
sometimes
referred
to
as

Disneyfication.
This
is
concerning
to
many
as
it
suggests
that
Western
(American
or

European)
ideology
is
having
an
impact
on
developing
countries
and
that
the
Western

view
of
the
world
will
dominate.
This
will
and
already
does
cause
significant
conflict
to

people
from
cultures
which
are
significantly
different
to
those
in
the
west.
It
is

important
to
consider
how
other
views,
rather
than
those
of
the
White,
Western
Male

might
be
marginalized
and
un-‐
or
mis-‐represented.

SECTION
A

Media
Product
One
–
The
game
play
trailer
for
Call
of
Duty

Media
Product
Two
–
The
cinema
trailer
for
Battle
for
Haditha

1
How
do
the
two
media
products
represent
war?(8
marks)

2
What
is
the
appeal
to
audiences
of
such
shocking
war
films
and
war
games?

You
may
refer
to
other
media
products
to
support
your
answer.
(12
marks)

3
Some
media
research
has
raised
concerns
about
unrestricted
access
to
violent
images.
Do
you

think
control
is
necessary?
You
should
refer
to
other
media
products

to
support
your
answer.
(12
marks)

Media
product
1
–
front
page
of
Metro
newspaper

Media
Product
2
–
article
from
the
Daily
Mail

1

Compare
and
contrast
the
two
texts,
with
particular
reference
to
the
representation

of
teenagers.
(8
marks)

2

Consider
the
view
that
the
current
press
treatment
of
teenagers
is
simply
another

.moral
panic.(12
marks)

3

There
are
always
concerns
about
new
technology.
In
your
view,
what
are
the
possible

benefits
and
problems
attached
to
social
networking,
particularly
on
the
Internet?
(12

marks)

Media
product
1
-‐

Homepage
from
Kerrang

Magazine

Media
product
2
–
Front
Cover
of
Kerrang
Magazine

1 How
does
Kerrang!
create
a
strong
brand
identity
in
these
print
and
online
products?

(8
marks)

2
How
is
the
representation
of
masculinity
constructed
to
appeal
to
the
audience?

You
may
also
refer
to
other
media
products
to
support
your
answer.
(12
marks)

3
How
important
is
it
for
producers
of
print
products
to
have
a
multi-‐platform
presence?

You
should
refer
to
other
media
products
to
support
your
answer.
(12
marks)


Media
Product
1
–

Film
Trailer
for
Eclipse

from
www.eclipsethemovie.com

Media
Product
2
–
Film
Trailer
for
Let
the
Right
One
in
from

www.lettherightoneinmovie.com

1
Evaluate
how
the
two
trailers
use
the
narrative
technique
of
Enigma
to
encourage
the

target
audience
to
watch
the
film.
(8
marks)

2
Why
are
media
products
that
represent
outsiders,
such
as
vampire
films,
so
popular?

You
may
refer
to
other
products.
(12
marks)

3
Do
you
think
that
official
and
unofficial
websites
contribute
to
the
films
success?
You

should
refer
to
other
media
products
to
support
your
answer.
(12
marks)

Media
product
1
–
MoBo
awards
of
Best
female
Estelle

Media
Product
2
–
Official
website
for
Estelle

1
How
do
the
two
media
products
represent
women
in
the
music
industry?
(8
marks)

2
How
and
why
do
programmes
such
as
the
MOBO
awards
appeal
to
niche
audiences?

You
may
also
refer
to
other
media
products
to
support
your
answer.
(12
marks)

3
What
are
the
advantages
and
disadvantages
for
performers
of
using
the
internet
as
a

marketing
tool?
You
should
also
refer
to
other
media
products
to
support
your
answer.

(12
marks)

Answer
the
questions

1. In
the
information
given
about
the
products,
highlight
key
words

particularly
information
about
institutions,
platforms,
distribution,

audience
reception
etc.

2. Highlight
key
concepts
and
the
focus
in
the
questions

3. Make
notes
during
viewings
2
&
3
to
help
answer
the
questions

4. Start
each
answer
with
a
strong
evaluative
statement…eg.

The
most
significant
use
of…

A
particularly
effective
use
of…

Whereas
text
B
focuses
mainly
on…,
Text
B…

To
show
you
are
answering
the
question
and
can
summarise
points

from
your
analysis.

5. Include
detailed
reference
to
the
texts
in
Q1.

6. Include
reference
to
other
texts
in
BOTH
Q2
and
3

7. Root
your
answers
in
Media
Key
concepts.

8. Do
not
waste
time
introducing
the
theory
(the
examiners
know

what
they
are!)
but
use
it
to
draw
out
the
impact
on
the

audience/Institution/text
and
wider
social/cultural
implications


Success
Criteria

Strong
evaluative
opening

statement

Reference
to
key

concepts/focus
in
Question

Key
Terminology

Detailed
reference
to
Texts

Key
Theories

Structure
of
Answer
&

Readability

SECTION
B

Identities
and
the
Media:

This
is
a
new
topic
for
examination
this
year.
It
is
similar
to
the
previous
topic
on
Representation

but
now
incorporates
ideology,
audience
and
new
/digital
media
and
how
it
affects
identity.

Areas
which
could
be
studies
include:

1. The
mainstream
media’s
role
and
influence
in
the
construction
of
identities

2. Audiences
and
identities,
including
audience
uses
and
responses,
self-‐representation,
role

playing,
collective
identities

3. The
impact
of
social
media
on
identity
and
the
role
of
the
individual
as
producer

4. Power
and
resistance,
debates
about
the
power
of
the
media
and
audiences,
including
the

media’s
influence,
varieties
of
audience
uses
and
responses,
campaigning

5. Debates
about
dominant
and
marginalised
identities

6. Identity
politics,
including
diverse,
fluid
and
multiple
identities,
changing
identities,

alternative
and
queer
identities

7. Ideology,
the
ideas
and
values
communicated
by
identities.

From
the
AQA
Specification:

Case
studies
might
include
the
construction
of

female
teen
identities
(considering
gender,
age,
class,
ethnicity
etc.)
in
relation
to
celebrity
culture

and
its
links
to
ideological
positioning.
Thus
candidates
might
study
the
way
different
aspects
of
the

identity
of
a
celebrity
are
produced
and
reinforced
by
mainstream
media,
fans
own
constructions
in

response
to
celebrity,
and
the
positioning
of
the
audience
through
their
associations
with
popular

culture
in
a
range
of
media
products.
The
manufacturing
of
role
models
and
their
use
by
institutions

and
audiences
would
be
a
relevant
approach
to
this
area.

Studies
undertaken
for
this
topic
would

also
involve
the
evaluation
of
wider
debates
such
as
the
blurring
of
borders
between
public
and

private
space,
the
ideological
function
of
identity
and
the
limits
of
self-‐
representation.
A
study
of

identities
and
the
media
would
also
lend
itself
to
the
examination
of
a
variety
of
media
theories
to:

1. consider
how
identity
is
constructed
across
media
forms
and
types
of
producers

2. consider
the
role
of
technology
in
forming
identity;
technological
determinism
or
social

transformation

3. consider
the
view
of
technology
as
threat
in
the
construction
of
identities
(particularly

for
younger
age
groups)

4. consider
the
effect
of
identity
politics
on
the
media;
how
do
marginalised
groups
claim

identities
and
how
are
they
received
by
dominant
groups?
5.
consider the limitations of defining individuals and groups by identity characteristics
6. consider the use of representation as a process in defining identity.
Candidates
should
analyse
the
way
that
issues
of
identity
in
transformation
have
become

increasingly
important
in
the
content
and
themes
of
media
production,
across
a
wide
range
of

media
output.
This
study
might
take
the
form
of
an
exploration
of
how
one
or
more
of
a
range
of

identities,
for
example
post-‐
feminist,
queer,
class,
post
national
–
are
represented
as
part
of
a

cultural
process
of
identity
construction.

Key
Theories:

Judith
Butler
argues
that
our
gender
identity
is
constructed
through
a
repetitive

performance.
This
performance
is
bound
by
language,
body
and
non-‐verbal
cues,
and
is

known
as
Performativity.
These
repetitive
performances
are
like
a
‘trap’
which
people

can
find
themselves
in
as
gender
contains
the
repetition
of
painful,
oppressive
norms

and
routines.

Collective
identity
is
most
clearly
seen
in
the
use
of
Social
Media
where
high
numbers
of

individual
users
are
using
collective
power
to
shape
and
construct
culture.
Consider
the

number
of
campaigns
run
through
social
media.
Consider
also
the
power
of
mass
media

texts
to
create
our
understanding
of
‘culture’
(travellers,
immigrants
etc.)

Masculine
identity
has
changed
over
time.
Consider
masculinity
in
texts
in
binary

opposition
to
femininity.
Look
at
cross-‐genre
identities
of
men.

Self-‐Identity,
fuelled
by
social
sites
and
the
internet
has
changed
the
nature
and
identity

of
celebrity,
politicians,
individuals
etc.
Lacan
argued
that
we
are
‘fragmented
selves’

with
many
identities.
We
seek
to
complete
ourselves
by
imagining
and
ideal-‐I
–
our
ideal

state
of
self.

Class
Identity
is
the
prevalence
of
representations
showing
elite
dominance
over

passive,
mass
underclass.
Media
texts
of
this
type
have
had
a
boom
in
recent
years

following
the
London
Riots
of
2011.

The
Impact
of
New/Digital
media

From
the
AQA
Specification

Candidates
might
study:

1. The
interactive
consumer

2. Social
networking

3. The
internet
and
the
world
wide
web

4. Blogs

5. Podcasts

6. The
changing
contemporary
media
landscape

7. The
role
of
media
institutions

8. The
media
and
democracy

9. The
changing
role
of
the
distributor
and
exhibitor

10. New
technologies
and
the
audience

11. The
effect
of
globalisation
on
the
use
of
new/
digital
media

12. Cross-‐cultural
factors
in
the
use
and
effects
of
new/digital
media

13. Values
and
ideology
in
the
impact
of
new
technology.

Candidates
might
carry
out
a
case
study
of
a
chosen
new
media
area
eg
Youtube
or

Wikipedia.
Thus,
they
might
study
a
variety
of
new/digital
technologies
over
the
period
of

a
term
such
as
the
impact
of
mobile
phones
and
the
changing
modes
of
consumption
of

media
products
that
are
a
consequence
of
such
developing
technology,
or
the
impact
of

social
networking
sites
on
the
internet
such
as
MySpace.


and
its
consequent
effect
on
production
and
exhibition.
Candidates
might
consider

how
new
technologies
affect
the
way
we
consume
(and
produce)
media
products

and
therefore
affect
the
ways
that
media
products
are
produced,
distributed
and

exhibited.
They
could
widen
this
approach
to
study
the
impact
of
new
media

across
different
media
platforms.

Candidates
will
also
consider
the
changing
role
of
audiences
and
the
decline
of
the

mass
audience
in
the
new
interactive
age,
and
how
this
mainly
affects
media

institutions
now
and
in
the
future.
A
study
of
the
impact
of
new/digital
media
would

also
lend
itself
to
the
examination
of
a
variety
of
media
theories
to:

1. consider
how
new/digital
media
affects
the
construction
of
media
products

(media
analysis)

2. consider
the
political
and
social
implications
of
the
new
technologies
and
the

methods
of
their
consumption
(media
theories)

3. consider
the
effects
so
far,
and
possible
effects
in
the
future,
on
media

institutions
(media
production)

4. consider
the
role
of
the
interactive
audience
(media
audiences)

5. consider
cross-‐cultural
factors
in,
and
the
effects
of
globalisation
on,
the

impact
of
new
technology
as
appropriate.

A
case
study
of
Youtube
might
look
at
a
variety
of
issues
all
linked
with
the
list
above

but
would
also
examine
the
nature
of
the
site,
its
content,
the
implications
of
a

medium
where
we
are
all
producers
of
media
texts,
the
debate
over
whether
a
site

such
as
Youtube
is
part
of
a
democratisation
of
the
media
or
whether
media

institutions
have
forestalled
the
power
of
the
audience
by
purchasing
such
sites.

There
are
also
considerable
implications
for
all
media
producers
(and
audiences)
in

the
sense
that
now,

it
can
be
argued,
creators
of
media
products
can
control
the
distribution
and

exhibition
of
their
own
products.

Candidates
will
be
expected
to
investigate
the
topics
listed
above
by
studying
a
range

of
media
texts
that
encompass
the
three
media
platforms
that
remain
central
to
the

specification:

• Broadcasting

• Print

• Digital/web-‐based
media
(e-‐media)


Identities
and
the
Media

Mainstream
Media
is
a
powerful
influence
on
the
construction
of
an
individual’s

identity.
Use
your
case
study
to
explore
the
impact
of
the
media
on
the
construction
of

identities.

OR

‘We
are
defined
by
the
media
we
use’.
How
does
your
case
study
suggest
audiences
use

the
media
to
construct
their
own
identity?

The
Impact
of
New/Digital
Media

04
(c)
Developments
in
new/digital
media
mean
that
audiences
can
now
have
access
to

a
greater
variety
of
views
and
values.
To
what
extent
are
audiences
empowered
by

these
developments?
(48
marks)

OR

04
(d)
Why
and
with
what
success
are
traditional
media
institutions
adapting
to
the

challenge
posed
by
new/digital
media?

Identities
and
the
Media

‘Social
media
has
only
served
to
reinforce
existing
values
and
ideologies’.
Does
your
case

study
suggest
social
media
has
played
a
positive
or
negative
role
in
the
construction
of

identities?

OR

‘The
variety
of
media
available
encourages
us
to
create
many
different
identities
for

ourselves.’
How
far
so
you
agree
with
this
statement?

The
Impact
of
new/digital
media

2
(a)
.Digital
media
have,
in
many
ways,
changed
how
we
consume
media
products..

Who
do
you
think
benefits
most
,
audiences
or
producers?
(48
marks)

OR

2
(b)
.Media
Institutions
are
right
to
feel
threatened
by
new/digital
media.
Consider
this

statement
and
show
how
media
institutions
are
reacting
to
technological
developments.

(48
marks)


Sources:

A2
Media
Studies:
The
Essential
Introduction

Peter
Bennett,
Jerry
Slater,
Peter
Wall

Routledge
(2006)

A2
Media
Studies

Jaqueline
Bennett,
Tanya
Jones,
Julian
McDougall

Hodder
and
Stoughton
(2002)

AQA
Website

A2 Media Studies Booklet 2015

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