Magazine Coursework Schedule

Welcome to Year 11 Media Studies. Get ready to work hard on your coursework production portfolio this term to give you the best chance of a top grade in this subject. Focused effort will pay off because it will mean less pressure on you come the written examination next June. Stay organised and on track to meet all the deadlines set out on the schedule below.

Tuesday 29th August - Friday 3rd November

Summer work completed by deadline of Tuesday 29th August

• Ensure all research and planning is completed
• Take photos for your magazine cover, contents page and double page spread

THIS WORK NEEDS TO BE IN YOUR COURSEWORK FOLDER TODAY AND ALL IMAGES SAVED ELECTRONICALLY IN SCHOOL. ANY PROBLEMS, YOU MUST SPEAK TO YOUR TEACHER ASAP.

Tuesday 29th August - Friday 8th September

• Compete draft cover, contents page and double page spread (without copy)

Monday 11th September - Friday 15th September

• Write copy (article, interview, review etc) for use on your double page spread

Monday 18th September - Friday 13th October

• Finish magazine cover, contents page and double page spread

Monday 23rd October - Friday 27th October

• Complete draft evaluation

Monday 30th October - Friday 3rd November

• Complete evaluation

Revision Booklet

• Click on the image to access the booklet
• Download the booklet
• Work through the booklet

Grade Boundaries

Click on the image to find out the grade boundaries for the exam paper.

Representation Revision: Spy Kids

Representation of spy kids from Mrs Downie

The representation question

You need to identify the stereotypes that are being explored in the clip. To gain full marks, you need to either discuss the stereotyping of one group in lots of sophisticated detail or discuss the representation of a range of social groups seen in the clip in less detail.

In Hancock, you would have gained marks for spotting any of the following stereotypes or anti-stereotypes (you can also call this a counter-stereotype):

• the stereotypical representation of violence as a male activity and representation of a male hero role
• the representation of Black and White Americans as heroes and a White American as the villain
• the differing representations of women – Mary appears to be defined by her looks, whereas the policewoman is actively putting her life in danger
• the positive anti-stereotypical representation of prisoners as caring and helpful
• the negative stereotypical representation of the bank robbers as uncaring and greedy
• the stereotypical equation of heroism with mature adulthood and lack of disability or disfigurement
• the stereotypical representation of the city as a place of danger
• the representation of the Police as brave mixed race and mixed gender workers

You also need to explore current ideologies that are prevalent in western culture or society. This means you need to show an understanding of how we see certain groups as a society and whether the clip confirms or challenges our understanding of how these groups fit in to society. State whether stereotypes are shown as negative or positive in the clip by considering where the director is positioning the audience (think carefully about who's side you as the viewer is on).

It is vital that you refer closely to the extract and use plenty of examples from the clip to support what you are discussing in your answer.

In your mock paper, the strongest answers showed an awareness of general media stereotyping. They analysed gender stereotyping in the male superhero and female 'damsel in distress'. They discussed the policewoman's ambiguous representation as both stereotypically vulnerable but at the same time an anti-stereotypical representation of female activity and power. They discussed the anti- stereotypical representation of an African-American hero, but also questioned the rarity of such a representation in the contemporary media. They discussed the easy equation of Americans and heroism. They noted the stereotypical representation of the big city as a place of danger.

Good answers clearly discussed media stereotyping but avoided discussion of social reality. 

Textual Analysis and Respresentation: Edge of Tomorrow

Click on the image of Tom Cruise in action mode in the film Edge of Tomorrow to be taken to today's work. You have some experience of this film, but you may not have seen the clip before.

You need to complete the task and hand your books in at the end of the lesson - even if you have not managed to complete all the questions in the time given. For those students who took their books home last lesson, you are also required to hand in the outstanding homework pieces.

NEXT STEPS: Year 11 Evaluations

Even Better If....

Revisit your evaluation. 

Task: Improve your evaluation and print a copy out before the end of today's lesson. You have 50 minutes to complete this task. 

Check it makes a clear link between your research powerpoint into other magazines and relevant target audiences and your final product. Do you comment on how you made the design decisions but support that with why your believe it will appeal the target audience you are aiming your product at?

Here's some tips to help you improve your first drafts....

• Be exact and specific about the demographics of your target audience reader. State their age, gender, and demographic group. 
• If your market research only asks five people for their opinions, ask yourself whether it can be used as conclusive evidence of your target audience. Why not include comments from friends about your final product or ask more people to complete your survey.
• Make sure you have used the data from your survey monkey questionnaires or at least share your product with people in the class to give you some target audience feedback.
• Avoid writing "it will appeal to the reader because it catches their eye" or other vague statements. Explain why they would be unable to put the magazine down by referring to evidence from your research or discussing the role of representation and aspiration for example. Use the key concepts to help you explore what makes audiences buy products at all.
• If you changed your magazine idea part way through the process, you must update your evaluation to make sure you are referring to the final product you have submitted to be marked.

Final thing... Read the brief again to be sure you know what to do.

You need to answer the following questions in as much detail as possible. This is a very important part of your magazine production portfolio.

Answer each question in as much detail as possible. Add examples from all parts of your work.

• How effective was your research into similar magazines and relevant target audience. What did you learn from your research into these two areas? In what ways did this shape the creation of your magazine?
• What creative decisions did you have to make at the different stages of your magazine production? How did your magazine change as your work progressed?
• How closely does your magazine follow the forms and conventions of existing magazines? Give examples of real magazines you reference.
• How successful is your finished magazine? What are its strengths and weaknesses?

You need to write between 500-800 words.

Question 3: Representation

This is the final question for Section A, based on the Action Adventure clip. The first part of the question is always the same but the areas of representation are chosen to fit with the clip. You are given bullet points to help guide you so make sure you read them carefully. They are designed to help you look at the representation of the main groups featured in the clip.
Task: Looking again at the James Bond extract, read through the Q3 and the examiner tips. Attempt to write your answer in your book.
Discuss the representations in the extract.
Refer to stereotypes in your answer.
Use examples from the extract.
You may consider the representation of:

• gender
• race and nationality
• Istanbul and London
• criminals
• heroes

Some tips from the examiners:

Some of these seem harder than others to discuss, but you only need to explore one in detail or three more broadly. Make sure you use the term stereotyping within your answer to gain more than a level 2 mark. However, you must show that you understand the concept of stereotypes by demonstrating your knowledge in your answer so avoid simply using the term without any examples. Name the stereotype clearly so it does not come across as simply your own opinion.
The best answers for the Bond extract textual analysis question discussed the anti-stereotypical representation of women, especially M’s position of power and Eve’s active involvement in the conflict. Successful candidates were able to identify the gender stereotyping when Bond grabs the wheel from Eve. Many answers discussed the ambiguity in the representations, such as M being authoritative and unsentimental and Eve having agency yet both still not taking a full part in the violence.
You could also discuss the contrast of professional London and chaotic under-developed Istanbul without lots of experience of the two places. There are lots of images and sounds that could exemplify what you mean.

GCSE media studies exam Revision from LouiseDownie

A-grade Magazine Coursework looks like this.

Certain students need to look again at elements of their coursework before the marks go to the examiner. If that's you, your teacher will have spoken to you about any missing elements you need to address and given you a NEXT STEPS sheet to complete. Use these examples of previous successful students to make sure your coursework gains all of the marks it deserves.

Question 4a

This will get you started.

‘Peter Kay’s Car Share’ was first broadcast on --------------------- as it was believed by the producers that the target audience aged ---------- would be at home at this time before school / college / work on a------------.

‘Celebrity Juice was first broadcast on a ------------------------ as it was believed the target audience would have ------------------------------------.

‘Peter Kay’s Car Share’ and ‘Celebrity Juice’s’ target audience are contrasting as ‘PKCS’ audience fall into the ------------- demographic category as they are more likely to empathise with the narrative of the sitcom while ‘’CJ’s’ audience falls into the ------------------ category as the audience are likely to be ------------------------- and find comedy in the ---------------------- of the programme as they are more probable to keep up with current ---------------------.

Both programmes proved to be a success on their niche audience channels and were then switched to ----------------------, mass audience channels as they ranges over a wide demographic with programmes for all such as -------------------------------.

Both programmes were aired after 9pm as part of ‘watershed’, conveying that they both contain adult humour for a specific audience.

The exemplar answer from last lesson gives time, day and channel for both Gavin and Stacey and Have I Got News For You. This fits the level 2 descriptors. Any plausible scheduling is rewarded, as examiners cannot be sure which scheduling decision the candidates have studied and with long running programmes there may have been many different forms of scheduling. Some accurate explanation of why the programmes were scheduled in this way – such as a discussion of the watershed – should raise it into level 3. The answer achieves this with a discussion of why specific nights were chosen, their original scheduling on niche channels and a move to a mass channel, and a mention of the watershed.

To reach a level 4 your answer needs to explain why the channels chose to schedule these programmes and be definite about the time and the days both programmes were broadcast. You also need to link audience demographic to the channel in a clear fashion.

Celebrity Juice

Watch the very first episode and look at the audience pleasure examples (make a note of anything that you think will add to your 4b answer). How has the show changed over the years?

4a exemplar answer

Click Exemplar material and read through how to gain the marks. To find the document:
1. Go to support materials
2. Scroll down the June 2013 Exemplar Candidate work
3. Download it and save a copy to your user area


There are example answers from the 2013 exam. Look at how the students gained the marks and how you need to structure your 4a answer to secure full marks.


Task: Write your own 4a answer in your book.

TV Comedy - Question 4a

What is the difference between commercial and public service broadcasting? You should have noticed that we are comparing two comedy shows that are scheduled by different broadcasters. This is really important and you need to know what makes these companies so different.

Make notes that will help you answer question 4a. You may have some notes on your blog already so it is fine if you just want to simply add to your work.

Task:
1. Explain why two channels selected different comedy programmes to schedule on particular days and at particular times.
Programme name:
Channel:
Time:
Date:

2. Create two separate blog posts with information about the two main terrestrial channels:

• BBC 
• ITV

Why am I looking at this for my exam? If you're asking yourself this very question then take a look at the mark scheme below to find out.

Level 4 (12-15 marks)
Discusses the scheduling of two comedies Precise and accurate use of terminology - think about why certain programmes are on at certain times
Shows detailed knowledge of TV or radio channels and scheduling with understanding of how programmes reflect institutional contexts - read this on ITV  - read this on the BBC's mission and values and this on its public purposes
Thorough understanding of how channels use scheduling to reach audiences - think about why programmes are clearly aimed at a particular audience - look at this again and decide on the audiences for both programmes
Ideas expressed clearly and fluently in well-structured sentences with few, if any, errors of spelling, punctuation and grammar.

Level 3 (9-11 marks)
Accurately describes and evaluates the scheduling of two comedies Some accurate use of terminology
Shows sound knowledge of TV or radio channels and scheduling with some understanding of how programmes reflect institutional contexts
Sound understanding of how channels use scheduling to reach audiences
Ideas expressed with some clarity and fluency; errors of spelling, punctuation and grammar do not obscure meaning.

Need extra help?
You can look here at Mr Ford's blog for some helpful information about the BBC. You need to write about ITV in just as much detail.

Institution and Regulation

What is the difference between:

• transgressive
• obscene

Why do regulators consider some material is unsuitable for broadcast on television?

Use information from the Ofcom website to find out some of the programme content that is regulated and for what reason.

Task: Write a short blog outlining some of your research findings.

Celebrity Juice

Consider the audience pleasures of the series. Make notes while watching the clip in your book.
Write an answer to the exam question, based on some of the things in the clip, or that you have seen during your own research.
Explain how the audience pleasures offered by the comedy panel show Celebrity Juice make the programme appeal to the target audience.

Research Task: Keith Lemon

 

Task: Find out all about Keith Lemon and create a post about his unique style of TV Comedy. Use the questions below to help you collect enough detail for a blog post explaining your research findings. Remember that this information will be essential for your exam prep.

 

1. Find out what shows have been developed using the character Keith Lemon.
2. Create a timeline of his TV Comedy shows.
3. What genre of TV Comedy shows has he produced.
4. Explore his successful show Celebrity Juice, explaining how it appeals to audiences (consider audience pleasures here).

Read through some of the articles from today's lesson to support your research.

Guardian

Digital Spy

Radio Times

TV Comedy

 

 

TV Comedy Panel Shows

What are the codes and conventions of a comedy TV panel show?
Consider how long the shows last and how the format and even set design are so similar.
Look at which channels broadcast these shows and at what time they are scheduled.
Consider whether this type of comedy TV show is commercially viable (does it make a profit for the company because of big audience figures and advertising revenue)?
What type of audiences are being catered for? Can you think about demographics of viewers?


If you want a list of UK shows this website (click here) is really useful.

Making notes for Audience Pleasures Task

Carshare Audience Pleasure Notes by ldownie77 on Scribd

Identifying the audience pleasures in Situation Comedy Carshare

Task: How many Audience Pleasures can you identify in the first episode? Create a blog post exploring your ideas, using your notes from today's lesson.


The pleasures of recognition, familiarity and anticipation are developed early on, even though the audience have only just met the two characters. Recognition and familiarity is established through the soundtrack which is built into the narrative as diegetic sound. The music has a nostalgic element which would appeal to the target audience. The context of a daily commute is maybe familiar to many of the audience, who travel to work in the same way. In fact the sound is important as it reinforces the familiarity of the commute but it is also part of the comedy with radio adverts that parody local radio marketing with adverts for mediocre college places and sheds. There are also other gags that are tied into the background of the narrative events.


Many Situation Comedies are built on this pleasure of familiarity as it develops a fondness for the characters. Why do you think this would be important for the success of a SitCom? How does the audience feel about the two main characters by the end of the episode and why?


In the first episode it uses the elements of comedy to engage the audience as they get to know the two main characters. However, its success is built on the name of Peter Kay. Refer to your research into this comedian to help you explain the specific pleasures associated with performers or personalities.

The use of transgressive pleasures is introduced quickly emphasizing the awkward relationship between the two colleagues. This is evidenced through the language and the spillage scene at the start. What is the prediction for the rest of the series? How is that linked to the narrative pleasures such as those of narrative resolution?

Compare two different genres of Comedy TV

Use two different examples of comedy television programmes to explain the differences and similarities of genre. Refer closely to examples from your research.

Use the information on your blog to help you talk about two different genres of comedy television. To plan your answer create a table to list the similarities and differences between your choice of shows before you write anything.

• Remember to explain the codes and conventions. What makes a Sketch Show and a Situation Comedy show different? How are they similar in terms of length of episode or audience pleasures?
• Comment on the Institution. Who broadcasts the programme? Explore the commercial pressures of scheduling TV Comedy to mainstream audiences. Do Public Service Broadcasters have more freedom to explore new comedy ideas? Remember how reliant companies are on income from advertising.

Audience Pleasures

The type of audience pleasures you need to write about in the exam include:

• narrative pleasures such as those of narrative resolution, 
• character identification, snowballing narrative, suspense, comedy, and so on
• pleasures of recognition, familiarity and anticipation
• pleasures of difference-within-repetition
• performance unpredictability and spontaneity
• transgressive pleasures
• specific pleasures associated with performers or personalities.

British Comedy Genres

Situation Comedies (aka Sitcoms)

A humorous series featuring the reactions of a regular cast of characters to unusual situations, such as misunderstandings or embarrassing coincidences. These comedies are usually centred around a common environment, for example a family home or workplace.

Sketch Shows

Sketch shows are made up from a series of un-connected short comedy scenes (aka 'sketches' / 'skits'). These shows are normally performed by a small group of actors who play multiple roles. The emphasis is very much on a punchline or character trait.

Stand-Up Shows

In this section we list the broadcast shows that feature the brave souls who are prepared to stand in front of a microphone and tell a succession of stories, jokes and one-liners to make a studio audience laugh.

Panel Shows

This genre of comedy is particularly popular in the UK. Also known as 'Panel Games', 'Parlour Games' or 'Quizcoms', these shows pit teams against each other via quiz questions - but getting the right answers is not normally the real aim, it's just an excuse to be funny.

Comedy Programmes: Carshare Research Task

Find out about the show Carshare.
1. Writer
2. Scheduled broadcast
3. Codes and Conventions of Situation Comedy
4. Viewing Figures
5. Critic opinions.
6. Episodes


Use this British Comedy Guide to help you work out the different genres of comedy. Remember, we have looked at a Sketchshow already. How is Carshare different?

Walliams and Friends Research

You need to know the following information: the day, time and channel of the programme (in this case Walliams and Friend).
Research the following:

• Who commissioned the programme?
• Who produced it?
• What audience is it aimed at? Why?
• Why is it on at that time and on that channel? Link to 'type' of comedy and target audience. 
• Is it on after the watershed? Why?
• Know the audience demographic