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