Wednesday, 5 April 2017
Thursday, 23 March 2017
Wednesday, 15 March 2017
Tuesday, 28 February 2017
Wednesday, 22 February 2017
Fingersmith - examiners report
Question 1 – Television drama
The question required candidates to move from description of key technical areas to analysis of how representations of sexuality are constructed. Some candidates began by addressing the concept of representation in the extract and a discussion of the representational differences between Maud (the aristocratic wealthy female), the male character Richard and Sue (the Fingersmith). Most Candidates were able to engage with analysis of sexuality and the relations between the three principal characters. Some candidates analysed their examples chronologically, integrating different technical aspects; most candidates addressed the technical areas one by one, with a small number of stronger candidates providing an integrated analysis of how the technical features could be applied in combination with each other.
Weaker candidates could list many technical aspects, with varying degrees of accuracy, but struggled to say anything meaningful about the representation of sexuality, at times focusing on gender and or class and status. Long introductions were unnecessary for this question; the best responses got straight on with analysis.
It is advisable that centres make the mark scheme available to candidates so that they are aware of how the work is assessed. This could also be used for the marking of timed assignments in the classroom. It is important that candidates balance their responses to include all the technical features used in the extract that construct meaning if they are to score highly.
Representation
Confident candidates were able to analyse the ways in which the extract attempted to position the audience in relation to Maud and Sue and the sexual/romantic relations between the two often embedded in a discussion of desire, passion and emotion. This relationship was often juxtaposed with Sue’s relationship with Richard and how this was secretive in terms of her feelings of falling in love with Maud. The most able candidates showed maturity in terms of understanding the delicacy of homosexuality in a rather more sexually repressed era, alongside a good range of examples connecting the technical elements in a consistent and focused way.
Frequently, candidates were able to identify a ‘love triangle’, the power relationship of Richard as heterosexual with Sue’s hidden love for Maud. As a result candidates were able to explore the nuances of the representation of sexuality, in relation to the micro technical aspects used. Stronger responses also showed a good grasp of the ambivalent nature of the representation of sexuality in past Victorian times and contemporary society. There was plenty of evidence that candidates understood the representation of sexuality with a variety of interpretations, for example: homosexuality as taboo, as stereotypical/counter stereotypical and how the character Sue had desire for Maud as opposed to rejection of the heterosexual male Richard.
Those candidates that did less well with the analysis of representation focussed on a discussion of gender and power, rather than sexuality, or at times had basic or minimal understanding of the concept of sexuality, as if they were not fully prepared for the topic. Lesser achieving candidates used sweeping generalisations such as ‘most lesbians are usually quite masculine, but this lesbian was feminine’ or ‘men are dominant over women’ rather than entering into any deeper discussions about the representations presented to the audience.
Camera Shot, Angle and CompositionMost candidates used the correct terminology and could identify shot composition, movement, framing, and angles in relation to each of the characters and their situations and link these to the construction of sexuality. Better responses identified the use close up shots and framed composition of Sue’s desire for Maud, taking place in the country home and on location with the held shots of Maud in an artistic pose. Candidates could also discuss the oppositions constructed between Sue and Richard; for example, in discussion of the shot composition of Richard’s aggressive advances towards Sue, which strengthened their analysis. Common errors made by candidates with terminology included the use of the term ‘twin shot’ instead of two shot. Lesser able candidates were able to describe key shots used in exemplification, but they tended to lack explicit links to how these shots assisted in the construction of the representation of sexuality. These candidates would also tend to focus on just identifying the narrative flow of the extract through the naming of the shots. There was also a common tendency to discuss the camera zooming when in fact it is tracking or cutting closer to a particular action.
Mise en sceneThe majority of candidates discussed this area with confidence. Location, character appearance and body language were all handled well. Some analysis of colour symbolism was less successful because it tended to be based on assumptions, which could not be substantiated from the sequence. There is still a tendency for candidates to treat colour palettes and lighting deterministically as if whites, reds, blacks and shadows always carry the same meanings irrespective of context. Stronger responses offered analysis in the context of the extract, for example, with the symbolism of the glove and the hovering of Sue’s hand over Maud’s body suggesting that the act itself was taboo or forbidden.
SoundThe analysis of sound is continuing to improve with candidates attempting to link music with the representation of the characters. Music was generally well recognised and analysed with better candidates linking the slow paced, stringed music to heighten the sense of desire that existed within the female character Sue, whilst painting the portrait of Maud. There seemed to be more confident use of terminology in relation to soundtrack this session. Many candidates were proficient in analysing diegetic/non diegetic sound (although at times there was a common error by candidates in getting this correct). The importance of the ambient sounds and soundbridges were analysed by candidates, in relation to how meaning is constructed, particularly in the use of change of tempo upon Richard’s dramatic actions in the rural scene where he forces Sue into declaring her love for him. Candidates made frequent reference to the dialogue in the extract, especially the use of the voiceover at the beginning of the extract. Candidates understood the voiceover technique and it’s dual function of illustrating the forbidden nature of sexuality and its use to position the audience sympathetically in relation to the protagonist defying social convention. Most candidates used this voiceover to establish the relations between the two women in the Victorian country house.
EditingEditing remains the most challenging area for analysis, although there were some encouraging signs in that fewer candidates this session seemed to leave this area out altogether. There were some strong analyses of the ways in which the editing created perspective within the sequence, helping us to understand the privileging of the gay relationship or the contrast between the editing style depicting the softer, more romantic relationship between the women and the coercive nature of heterosexuality on show. Many candidates misnamed the dissolves used in the sequence as fades or wipes, but were able to discuss how they implied connections between the various scenes shown.
Candidates often engaged well with the nuances of editing and the ways in which the use of long and short takes represented power and how eye line matches were used to reinforce a sense of dominance, for example between Richard as dominant heterosexual male and Sue’s rejection of him. There was consistent reference to the editing transitions and the use of ellipsis editing for the narrative sequence, which unravels, and links made to soundbridges and pacing in the extract.
The question required candidates to move from description of key technical areas to analysis of how representations of sexuality are constructed. Some candidates began by addressing the concept of representation in the extract and a discussion of the representational differences between Maud (the aristocratic wealthy female), the male character Richard and Sue (the Fingersmith). Most Candidates were able to engage with analysis of sexuality and the relations between the three principal characters. Some candidates analysed their examples chronologically, integrating different technical aspects; most candidates addressed the technical areas one by one, with a small number of stronger candidates providing an integrated analysis of how the technical features could be applied in combination with each other.
Weaker candidates could list many technical aspects, with varying degrees of accuracy, but struggled to say anything meaningful about the representation of sexuality, at times focusing on gender and or class and status. Long introductions were unnecessary for this question; the best responses got straight on with analysis.
It is advisable that centres make the mark scheme available to candidates so that they are aware of how the work is assessed. This could also be used for the marking of timed assignments in the classroom. It is important that candidates balance their responses to include all the technical features used in the extract that construct meaning if they are to score highly.
Representation
Confident candidates were able to analyse the ways in which the extract attempted to position the audience in relation to Maud and Sue and the sexual/romantic relations between the two often embedded in a discussion of desire, passion and emotion. This relationship was often juxtaposed with Sue’s relationship with Richard and how this was secretive in terms of her feelings of falling in love with Maud. The most able candidates showed maturity in terms of understanding the delicacy of homosexuality in a rather more sexually repressed era, alongside a good range of examples connecting the technical elements in a consistent and focused way.
Frequently, candidates were able to identify a ‘love triangle’, the power relationship of Richard as heterosexual with Sue’s hidden love for Maud. As a result candidates were able to explore the nuances of the representation of sexuality, in relation to the micro technical aspects used. Stronger responses also showed a good grasp of the ambivalent nature of the representation of sexuality in past Victorian times and contemporary society. There was plenty of evidence that candidates understood the representation of sexuality with a variety of interpretations, for example: homosexuality as taboo, as stereotypical/counter stereotypical and how the character Sue had desire for Maud as opposed to rejection of the heterosexual male Richard.
Those candidates that did less well with the analysis of representation focussed on a discussion of gender and power, rather than sexuality, or at times had basic or minimal understanding of the concept of sexuality, as if they were not fully prepared for the topic. Lesser achieving candidates used sweeping generalisations such as ‘most lesbians are usually quite masculine, but this lesbian was feminine’ or ‘men are dominant over women’ rather than entering into any deeper discussions about the representations presented to the audience.
Camera Shot, Angle and CompositionMost candidates used the correct terminology and could identify shot composition, movement, framing, and angles in relation to each of the characters and their situations and link these to the construction of sexuality. Better responses identified the use close up shots and framed composition of Sue’s desire for Maud, taking place in the country home and on location with the held shots of Maud in an artistic pose. Candidates could also discuss the oppositions constructed between Sue and Richard; for example, in discussion of the shot composition of Richard’s aggressive advances towards Sue, which strengthened their analysis. Common errors made by candidates with terminology included the use of the term ‘twin shot’ instead of two shot. Lesser able candidates were able to describe key shots used in exemplification, but they tended to lack explicit links to how these shots assisted in the construction of the representation of sexuality. These candidates would also tend to focus on just identifying the narrative flow of the extract through the naming of the shots. There was also a common tendency to discuss the camera zooming when in fact it is tracking or cutting closer to a particular action.
Mise en sceneThe majority of candidates discussed this area with confidence. Location, character appearance and body language were all handled well. Some analysis of colour symbolism was less successful because it tended to be based on assumptions, which could not be substantiated from the sequence. There is still a tendency for candidates to treat colour palettes and lighting deterministically as if whites, reds, blacks and shadows always carry the same meanings irrespective of context. Stronger responses offered analysis in the context of the extract, for example, with the symbolism of the glove and the hovering of Sue’s hand over Maud’s body suggesting that the act itself was taboo or forbidden.
SoundThe analysis of sound is continuing to improve with candidates attempting to link music with the representation of the characters. Music was generally well recognised and analysed with better candidates linking the slow paced, stringed music to heighten the sense of desire that existed within the female character Sue, whilst painting the portrait of Maud. There seemed to be more confident use of terminology in relation to soundtrack this session. Many candidates were proficient in analysing diegetic/non diegetic sound (although at times there was a common error by candidates in getting this correct). The importance of the ambient sounds and soundbridges were analysed by candidates, in relation to how meaning is constructed, particularly in the use of change of tempo upon Richard’s dramatic actions in the rural scene where he forces Sue into declaring her love for him. Candidates made frequent reference to the dialogue in the extract, especially the use of the voiceover at the beginning of the extract. Candidates understood the voiceover technique and it’s dual function of illustrating the forbidden nature of sexuality and its use to position the audience sympathetically in relation to the protagonist defying social convention. Most candidates used this voiceover to establish the relations between the two women in the Victorian country house.
EditingEditing remains the most challenging area for analysis, although there were some encouraging signs in that fewer candidates this session seemed to leave this area out altogether. There were some strong analyses of the ways in which the editing created perspective within the sequence, helping us to understand the privileging of the gay relationship or the contrast between the editing style depicting the softer, more romantic relationship between the women and the coercive nature of heterosexuality on show. Many candidates misnamed the dissolves used in the sequence as fades or wipes, but were able to discuss how they implied connections between the various scenes shown.
Candidates often engaged well with the nuances of editing and the ways in which the use of long and short takes represented power and how eye line matches were used to reinforce a sense of dominance, for example between Richard as dominant heterosexual male and Sue’s rejection of him. There was consistent reference to the editing transitions and the use of ellipsis editing for the narrative sequence, which unravels, and links made to soundbridges and pacing in the extract.
Tuesday, 7 February 2017
Disability practice question
Discuss the way in which the extract constructs the representation of ability / disability (clip is below).
Please complete and self / peer assess using the mark scheme you used for the previous question. If you would like a new mark sheet come and get one from me.
Please complete and self / peer assess using the mark scheme you used for the previous question. If you would like a new mark sheet come and get one from me.
Tuesday, 13 December 2016
Evaluation exemplar
This is an exemplar material for the evaluation - remember your responses to each questions should be displayed using a range of different media forms and be put into separate posts. I have put everything together on one post here just to make it easier for you to access.
EVALUATION: Question 1 - In what ways does your media product use, develop or challenge forms and conventions of real media products?
I presented my answer to this question in a video which you can find here
EVALUATION: Question 2 - How does your media product represent particular social groups?
EVALUATION: Question 1 - In what ways does your media product use, develop or challenge forms and conventions of real media products?
I presented my answer to this question in a video which you can find here
EVALUATION: Question 2 - How does your media product represent particular social groups?
I made a video about how my magazine pages represent women, you can find the video here.
EVALUATION: Question 3 - What kind of media institution might distribute your media product and why?
The two main choices for publishing my magazine are Bauer Media and Time Inc. Both are highly successful with a wide range of magazines currently available.
Bauer Media is the UK section of the Hamburg-based international Bauer Media Group, Europe's largest privately owned publishing group. Bauer Media itself offers over 300 magazines in 15 countries as well as online, TV and radio stations. Popular magazines published by Bauer Media include Grazia and Closer.
Bauer Media
Bauer Media is the UK section of the Hamburg-based international Bauer Media Group, Europe's largest privately owned publishing group. Bauer Media itself offers over 300 magazines in 15 countries as well as online, TV and radio stations. Popular magazines published by Bauer Media include Grazia and Closer.
Bauer Media publishes three music magazines currently, Q Magazine and Kerrang! are two of them. "Q" magazine is published monthly in the UK, and the brand expanded to radio and television after being successful as a magazine. "Q" also holds music awards annually. Kerrang! is a rock magazine which also expanded to radio and TV.
Below are magazines published by Bauer Media that could be competition for Revive, however none of them cater to the same audience as Revive. "Q" is aimed at men in their 20s; Kerrang! is aimed at teenagers, predominantly male; Grazia is aimed at women aged 25-35 and Mojo is aimed at older men interested in rock. As my magazine is indie/alternative-pop and aimed at young women aged 17-25 I don't believe it overlaps with any of these target audiences, nor does it contain similar content to these magazines.
Time Inc.
Time Inc. is a highly successful publishing company based in America with over 90 brands being engaged with by half of US adults each month. Time Inc. produces only magazines however the range is huge and successful.
Below is a glance at the "Entertainment" brands by Time Inc., the section of their magazines which Revive would fit into.
As you can see Time Inc. offers a wide range of entertainment brands, one of which is NME - highly successful music magazine which has recently been re-branded.
Conclusion
Both publishing companies are good options and they each have advantages and disadvantages. I have come to the decision that Bauer Media would be the best publishing company for my brand Revive.
Revive is about music first and foremost and therefore it would be highly useful to have links to the radio world as it means readers can be reached on multiple platforms. Alternative-pop is a genre under-catered for in radio and it would be brilliant to have a station linking to the content in the magazine - fans could find the magazine through the station and visa versa. I think this is fairly plausible as an outcome of Revive being successful as both Kerrang! and Q Magazine have radio and TV stations linked to the magazines. This is an advantage that would never be possible with Time Inc. as they only publish magazines.
Another advantage of Bauer Media is that it is based in the UK and Europe, so while Revive could expand to America, the focus would be in Europe and it would therefore contribute to the UK music scene without the mega-power of the US tainting its purity. That is, not to say that the American involvement would ruin it, but that British music fans tend to be very proud of pure British music achievement.
Revive also meets a different target audience than any of Bauer Media's other magazines, as I have explained. For this reason, I think Bauer Media should be interested in publishing my magazine as it would expand their readership. Currently their music magazines are entirely aimed at males so it would add a female readership.
EVALUATION: Question 4 - Who would be the audience for your media product?
My target audience has developed over the course of the production of my magazine, I have explained this in a video which you can find here.
My original target audience information can be found here.
My original target audience information can be found here.
EVALUATION: Question 5 - How did you attract/address your audience?
I answered this question in the form a video, which you can watch here.
EVALUATION: Question 6 - What have you learnt about technologies from the process of constructing this product?
I answered this question in the form of a video, you can find it here.
EVALUATION: Question 7 - Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?
The first page contains the main content of my answer, I have included it in written form below as it is not readable in the blog-image format.
I chose to present my answer to question 7 much like a magazine article, directly comparing my preliminary task and music magazine on the second spread.
The first page contains the main content of my answer, I have included it in written form below as it is not readable in the blog-image format.
"We undertook our preliminary task in first two weeks of the A-level course. It was challenging, but mostly enjoyable and it was good to test my skills. I didn’t know how to use InDesign, and I had only a weak grip on the basics of Photoshop but I would not stoop so low as to using Word and Paint, my usual allies in graphic design. This was A-level, it was supposed to be a challenge.
I enjoyed the photography element of the task, although I didn’t really know what I was doing. I used a tripod, which resulted in 90% of my pictures looking the same as each other, but I’ve learned from that. This time around I ditched the tripod so I could do dramatic low angle shots and lie on the ground and stuff. Some of my favourite shots were done this way. My feature article photo was taken right up against the wall – it never would have been possible with the hindrance of a tripod.
I learnt some valuable skills while editing the photo for my preliminary task – using the dodge tool to brighten the features, getting rid of hair roots, using the patch tool to cover up inconsistencies. However my editing lacked subtlety the first time around, so this time I focused on not making Alice – the model used both times – flawless, but on removing some flaws and making her look real. I achieved this through focusing on small changes and using overall tools like “Curves” which I discovered this time, to give the photo and overall polished look.
One of the main things I learnt was that little things make a difference to the overall outcome. In the preliminary task Alice was “playing” herself so it wasn’t too much of a problem if she seemed herself in the shot – things like the fact that we was wearing a wrist-full of bracelets didn’t matter too much. However for the music magazine shoot Alice was “playing” Cecelya – a music artist with a clearly defined genre and attitude. I wanted the shoot to look like there were seven people behind the camera not one. For a real magazine photoshoot there would be people in charge of wardrobe, hair, make up, props etc. all contributing to the final look – there would be no inconsistencies, no bracelets left on wrists. I really worked to make every aspect of the final pages work towards being a “real” magazine. An example of this is the little “Revive / 22” in the corner of the page, something I saw when flicking through a magazine, it adds a touch of realism to my pretend pages. This attention to detail was why I was perfectly capable of spending hours choosing fonts, because getting the right one does make all the difference.
My understanding of conventions has massively improved, mostly thanks to the hours and hours of research and analysis we did on existing texts. I am not only aware of conventions e.g. large all-caps masthead at top of page but why they exist e.g. because it’s the first thing the reader sees, it stands out, it is a brand etc. This has meant that I have been more assured in making my own decisions and could likely explain why I made any decision. At one point I was struggling to decide whether to place the issue number and price above or below the masthead, in the end I went for above because I have seen that more commonly on magazines and understand that this is because the information not important unless the reader wants to find it – therefore placing it above the masthead means it’s easy to find but doesn’t distract from the rest of the page.
I was proud of my preliminary task because I experimented, I am proud of my magazine pages because I learned from my experimentation."
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