question 7 7/10

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

Name:               Grace Polston                       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.

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 music video assessment?

Question 5 dirt sheet 11/15

DIRT ASSESSMENT 5 BIG ISSUE - GBHS MEDIA STUDIES A LEVEL

Name:      Grace Polston                           Date:  16/11/19

AO2: 1 – Apply knowledge and understanding of the theoretical framework of media to analyze 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 judgments and draw conclusions. AO2 Total: 15 marks

Identify a strength or strengths in your assessment: - What Big Issue stands for - their MESSAGE - Referenced the text - Good analysis of colour and layout - some reference to politics - reference to targeting audience - Good inter-textual approach What are the areas you need to improve? -  What do you need to focus on for your next Big Issue assessment? 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 judgments and reach a conclusion about the advantages of this use of intertextuality to The Big Issue magazine

question 6 dirt sheet 10/10

DIRT ASSESSMENT 6 SHELTER - GBHS MEDIA STUDIES A LEVEL

Name:              Grace Polston                   Date:                          21/11/19

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

Identify a strength or strengths in your assessment: -          Context of shelter -          DRCAGES -          Referenced the text -          Analysis of colour, ethnicity, gender -          What the shelter stands for -          Conventions -          Message it conveys What are the areas you need to improve? -          To refer back to the question What do you need to focus on for your next advert assessment? -          To refer back to the question

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.

Notes:

-          Transparent text: CAN SEE THROUGH THEIR PROBLEMS

-          Website and phone number to donate

-          Target audience: over 25

further notes on music video and big issue (grade a)

The purpose of music videos is to promote the artist to their audience. The representation of Corrine Bailey Rae (CBR) in her music video Stop Where You Are associates her with the idea of transcending prejudice and inequality. In the video the artist is seen to transcend prejudice. This is achieved by placing the artist in an urban environment encountering young characters who are stereotypically on the edge of society. We see the artist interact with these characters at different points in the video. For example, she goes up to the lonely girl and touches her shoulder as she walks past; she stops the girl gang from fighting by holding up her hands with the lyrics ‘stop where you are’ and she dances with the black youths at the end of the music video. The use of constructing two sides to the characters’ representation, firstly as a threat and then as people with qualities and skills, helps to reinforce that young people are approachable and valuable and that the artist not only believes this but can make the lives of these people better. These representations would appeal to the target audience either through identification with the characters, their age or cultural diversity, or the idea that the artist accepts them all regardless of social stereotyping. The representation of the artist through the production values used in the music video is another way in which the representations of CBR can be seen to appeal to her target audience. Although the video has a social realist, urban theme, the production values are artistic and the way the urban environment, the artist and the characters are represented is stylized. This suggests that the artist is concerned with urban and social commentary but is artistic and stylish regardless. This representation is achieved in a number of ways. The introduction of the artist is very conventional fading her in from a black screen, cutting to her face, her legs and back to her face when singing. The cross cutting of these shots of the artist with the urban location using low angle shots to reinforce the extreme angles of the building with glimpses of the blue sky above creates a meaningful connection between the artist and her environment and suggests that it is one that she, and her target audience, can transcend. The framing of the stairwells and corridors serves to create a sense of entrapment for the characters, especially when contrasted with the placement of the artist with the characters in more open spaces in the choruses and towards the end of the music video. A further way in which the artist is promoted to her target audience is by the use of costume. The red dress is a powerful symbol in the music video. The use of the red provides the only colour in the video and this contrasts vividly against the Exemplar 1 – Level 3 answer, 10 marks 

Examiner commentary This is a comprehensive response which addresses the question set and supports its arguments with a range of references and textual examples from the music video Stop Where You Are. There is demonstration of knowledge and understanding of representations and how this is constructed in the text with comprehensive, detailed and accurate knowledge and understanding of music video conventions and its form as a promotional tool. The response is a clear and balanced explanation of how representations are chosen to promote the artist with reference to how the technical aspects of the video are used in composition of star image. desaturated colour palette. This simple use of costume helps to construct the artist as feminine and unthreatening but also as powerful to her target audience and further enhances her appeal as she stands out against the everyday. To conclude, representations in music videos are chosen by producers to promote the artist to their audience. This is apparent in a number of ways in CBR’s music video which construct an image of the artist as powerful, open minded and as a musician with important social values and messages that will appeal to her audience.

BIG ISSUE question (Abba cover) 13/15

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.  

The Big Issue magazine prides itself as niche and providing a critical view that is outside mainstream journalism. Intertextuality refers to the process of creating references to any kind of media text through another text. The intertextual reference to 70s pop band Abba and their song Winner Takes It All to represent the referendum is to reflect the status and identity of the magazine, to appeal to the target audience and to give additional meaning to the referendum vote. One reason why The Big Issue magazine has used an intertextual approach could be to identify the magazine as niche and outside mainstream reporting. The use of the intertextual reference to Abba presents The Big Issue as a magazine that looks at events critically and would likely contrast with reports on the referendum found in newspapers or more mainstream magazines. This approach to reporting the referendum highlights that The Big Issue can be relied on to offer fresh perspectives on current affairs. The representation of the politicians as pop musicians also helps to position the magazine as informal and witty. The use of intertextuality through inclusion of the song’s lyrics is a further way in which the magazine has adopted a witty approach to the event. The lyrics have been adapted to reinforce the viewpoint each politician on the referendum. This shows that the magazine is confident that the lyrics have cultural significance and are well known by its readers. They are also assuming their target audience will have a good grasp of current affairs and will appreciate the personalised link between lyrics and politician. An intertextual approach through the use of text is further achieved with the issue’s headline: Winner Takes It All. This is used to develop the Abba reference and the band’s song but, in terms of the political context, it is also highlighting that the result of the referendum will only have one outcome and it will be significant for whichever side wins the vote. By using the intertextual approach with Abba in this way, The Big Issue has cleverly managed to satirize the event and the politicians involved, yet remain impartial politically. This helps the magazine to take a more neutral position on the referendum and offers balance for their target audience. This is important because, as a charity, The Big Issue wouldn’t want to alienate readers for fear of disadvantaging the street vendors who sell the magazine. From this front cover, it is evident that the intertextual approach helps to identify The Big Issue as a provocative magazine that provides independent journalism and in doing so, is able to challenge people’s perceptions. A further reason why intertextuality has been used by The Big Issue magazine is to address and appeal to their target audience. The magazine’s audience is 72% ABC1 and 43% AB. This indicates their target audience are likely to be educated professionals and a sophisticated audience who will understand the intertextual reference to Abba, the personalisation of the lyrics and the satire they offer of the issues about the referendum. Through using this intertextual approach, the magazine addresses an aware audience and the references to Abba indicate the audience will enjoy recognising cultural references and satirical representations of current affairs and international politics. A final reason why The Big Issue may have used an intertextual approach on their front cover is to represent the referendum from a particular point of view and in an engaging way. In order to represent their story about the referendum vote, the magazine has placed the heads of the four politicians onto the bodies of Abba’s band members. The use of this intertextual reference, and the construction of the politicians as band members is very humorous. The heads of the politicians, the facial expressions they are making and their body language, through the performance of the original members, fit but look odd. The oversized heads on smaller bodies make the politicians look like puppets and foolish, indicating that the magazine doesn’t hold them in very high regard. It could also suggest that through using the intertextual reference to Abba, by presenting the politicians as a pop group performing on stage, it works as a metaphor to highlight the performance of the politicians courting popularity for their views on Leave or Remain. Through using this intertextual reference, The Big Issue is continuing the history of satirical cartoons that combine political images with popular culture which helps us to see the referendum in a new way, and leads us to question the motives of the politicians involved. Therefore, there are a number of reasons why The Big Issue magazine has used an intertextual approach to the referendum on its front cover. The identity of the magazine as intelligent, witty and both politically and culturally relevant is expressed through this approach and helps the magazine appeal to its educated and intelligent audience, whilst taking a satirical approach to the politicians involved in the referendum.

QUESTION 4 (8/10 MARKS)

DIRT ASSESSMENT 4 - GBHS MEDIA STUDIES A LEVEL Name: Grace Polston                                       Date: 23/10/19 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 judgements and draw conclusions Level 3 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 C ·         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 D- E ·         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: - Good debate - Good knowledge of Theorists - Good Structure What are the areas you need to improve? - To give examples What do you need to focus on for your next assessment? - To work on timings so I can conclude my answer

- To push analysis further