Farewell

To Do

To do:

• Finish editing
• Post your continuity task, lip syncing video and preliminary music video to your blog
• Do the mini evaluation of the preliminary task and post to your blog
• Read the coursework schedule and begin to research and analyse music videos.

There are plenty of stages of the research and planning section that can be done as an individual.

Analysis of music videos

As part of your research and planning you need to produce at least 3 detailed analysis of different music videos. (See the coursework schedule to see where this fits into the research and planning section.)

Some student examples of this stage can be found here. Click the images to access the examples:

Taylor Swift - Shake it Off.

The 1975 - Girls

Foals - Mountain at my Gates

Lana Del Rey - Young and Beautiful

AS to A2

Over the next few weeks you need to complete the following tasks:

• Continuity film activity (every student to complete and edit)
• 30 second lip synching task (every student to complete and edit)
• 60 seconds music video preliminary task for A2 coursework, consisting of a storyboard, filming and editing. The song choices are on Mr Ford's A2 blog

Set up your new A2 blog: yourname1617.blogspot.co.uk

AS to A2 - continuity task

As part of the transition from AS to A2 you must walk into a room and sit down. 

This activity is the first part of your A2 coursework and must be completed by all students. 

• Work in a group of no more than 4 students. 
• At least 9 shots are needed. 

All students must produce their own storyboard and edit their own version of the footage.

You will complete the task in the following order:

1. Get in to groups of 3 or four
2. Assign roles
3. Storyboard continuity sequence (include: shot description, brief description of action, duration of shot) 
4. Film continuity sequence
5. Edit continuity sequence

Roles:

Actor 1

Actor 2

Director

Camera operator

Shots:

Close up

Extreme close up

Medium shot

Long shot

Match on action

Shot reverse shot

Two shot

Storyboards

Click on image (or use Printable Paper link in Websites list) to access storyboard templates that you may find useful.

A good final product is only as good as its plan. Storyboards are the most important part of planning. You need to complete them properly before you start filming, otherwise the filming and editing process can become a nightmare, and your final product will have a messy 'make do and mend' quality. Plan properly - it will be worth it.

Story boards should contain the following for each shot:

• Shot name
• Duration of shot
• Brief description of action
• Drawing of shot

No stick men/women drawings.

Music Videos. Examples.

Work from this year.

Another example.

Feedback for sexuality essays

You have all been emailed your feedback as well as your mark for this essay. Check your school email account, and respond if you have any questions.

Overall: much better analysis of editing, so keep revising that glossary and keep using it when analyzing extracts in preparation for the exam.

Top tips for improvement:

• Revise Barthes' narrative codes: click here Some of you were not using them accurately, which will lose you marks; get them right.

• Start your essay by outlining what stereotypes you may expect to see of that particular area of representation in the media. (You can do this for EVERY area of representation.)

• Make sure you cover all of the areas of textual analysis (the bullet points). If you need to write about each bullet point separately to ensure you do this, go for it.

• Some of you were not using the guidance about representations of sexuality to inform your knowledge of the stereotypes - instead you were making stereotypes up. You need to revise the stereotypes for each area, so you can pick up RELEVANT examples in the extracts. Use the teaching blogs (the search function), your class notes and your past essays to revise the stereotypes.

To demonstrate how you can link to stereotypes perceptively, whilst keeping your response technical, please see the example student essay below. This was completed in timed conditions, and has been typed-up to show you examples of strong student work.


It received a mark of 40/50.

Student Example. Timed Essay. Ashes to Ashes Extract (40 Out of 50 B+/A-) by teachermisskp

General feedback: regional identity essays.

• How to begin your essay: answer the question. The director uses mise en scene, sound, camerawork and editing to construct a representation of the east End of London by meeting/challenging stereotypes of the region? Or both? Tell the examiner the stereotypical representations of the region that you will be looking for. - spell it out.  Start strong and focused.
• EVERY example you give from the extract must be accompanied by at least one piece of key terminology. Some of you were describing the example in detail, but forgetting to explain which camera shot/angle etc captured these things, or which sound device was used to have that effect on the audience
• Revise your key terms - use your big glossary to do this. This is the difference between a poor, vague response and a good, specific one. If you are technical and use your terms accurately, the rest of your exploration sprouts from there. You need the solid foundations of good technical knowledge to see you through. REVISE IT
• Signpost which area of textual analysis you are using, so it is clear that you are covering them all.  e.g. 'Regarding the lighting in the scene....'  'In terms of the protagonist's costume...'  'The mise en scene portrays...'
• Editing: if you don't understand it, do something about it. There are plenty of past extracts on my blog and Mr Ford's - simply search for them in the search bar of the blog. Watch one of the clips and use the big glossary to analyse it purely for editing. We will be working on activities like this in the lesson, but you will need to have a go at home if you are not comfortable with analysing editing.

Mark scheme here.

Revision. Areas of textual analysis: editing

Here is a list of editing techniques taken from the big glossary. You should already have a copy, but if you have lost it, click this link and print it off once more. 

It is clear that people have not been revising editing, so here it is. We will apply some of these terms to an extract in the lesson.

Editing Techniques

Cut. Sudden change of shot from one viewpoint or location to another. On television cuts occur on average about every 7 or 8 seconds. Cutting may:

• change the scene;
• compress time;
• vary the point of view; or
• build up an image or idea.

There is always a reason for a cut, and you should ask yourself what the reason is. Less abrupt transitions are achieved with the fade, dissolve, and wipe

Matched cut. In a 'matched cut' a familiar relationship between the shots may make the change seem smooth:

• continuity of direction;
• completed action;*
• a similar centre of attention in the frame;
• a one-step change of shot size (e.g. long to medium);
• a change of angle (conventionally at least 30 degrees).

*The cut is usually made on an action (for example, a person begins to turn towards a door in one shot; the next shot, taken from the doorway, catches him completing the turn). Because the viewer's eye is absorbed by the action he is unlikely to notice the movement of the cut itself.

Jump cut. Abrupt switch from one scene to another which may be used deliberately to make a dramatic point. Sometimes boldly used to begin or end action. Alternatively, it may be result of poor pictorial continuity, perhaps from deleting a section.

Motivated cut. Cut made just at the point where what has occurred makes the viewer immediately want to see something which is not currently visible (causing us, for instance, to accept compression of time). A typical feature is the shot/reverse shot technique (cuts coinciding with changes of speaker). Editing and camera work appear to be determined by the action. It is intimately associated with the 'privileged point of view' (see narrative style: objectivity).

Cutting rate. Frequent cuts may be used as deliberate interruptions to shock, surprise or emphasize.

Cutting rhythm. A cutting rhythm may be progressively shortened to increase tension. Cutting rhythm may create an exciting, lyrical or staccato effect in the viewer.

Cross-cut. A cut from one line of action to another. Also applied as an adjectuve to sequences which use such cuts.

Cutaway/cutaway shot (CA). A bridging, intercut shot between two shots of the same subject. It represents a secondary activity occurring at the same time as the main action. It may be preceded by a definite look or glance out of frame by a participant, or it may show something of which those in the preceding shot are unaware. (See narrative style: parallel development) It may be used to avoid the technical ugliness of a 'jump cut' where there would be uncomfortable jumps in time, place or viewpoint. It is often used to shortcut the passing of time.

Reaction shot. Any shot, usually a cutaway, in which a participant reacts to action which has just occurred.

Insert/insert shot. A bridging close-up shot inserted into the larger context, offering an essential detail of the scene (or a reshooting of the action with a different shot size or angle.)

Buffer shot (neutral shot). A bridging shot (normally taken with a separate camera) to separate two shots which would have reversed the continuity of direction.

Fade, dissolve (mix). Both fades and dissolves are gradual transitions between shots. In a fade the picture gradually appears from (fades in) or disappears to (fades out) a blank screen. A slow fade-in is a quiet introduction to a scene; a slow fade-out is a peaceful ending. Time lapses are often suggested by a slow fade-out and fade-in. A dissolve (or mix) involves fading out one picture while fading up another on top of it. The impression is of an image merging into and then becoming another. A slow mix usually suggests differences in time and place. Defocus or ripple dissolves are sometimes used to indicate flashbacks in time.

Superimpositions. Two or more images placed directly over each other (e.g. and eye and a camera lens to create a visual metaphor).

Wipe. An optical effect marking a transition between two shots. It appears to supplant an image by wiping it off the screen (as a line or in some complex pattern, such as by appearing to turn a page). The wipe is a technique which draws attention to itself and acts as a clear marker of change.

Inset. An inset is a special visual effect whereby a reduced shot is superimposed on the main shot. Often used to reveal a close-up detail of the main shot.

Split screen. The division of the screen into parts which can show the viewer several images at the same time (sometimes the same action from slightly different perspectives, sometimes similar actions at different times). This can convey the excitement and frenzy of certain activities, but it can also overload the viewer.

Stock shot. Footage already available and used for another purpose than the one for which it was originally filmed.

Manipulating Time

Screen time: a period of time represented by events within a film (e.g. a day, a week).

Subjective time. The time experienced or felt by a character in a film, as revealed through camera movement and editing (e.g. when a frightened person's flight from danger is prolonged).

Compressed time. The compression of time between sequences or scenes, and within scenes. This is the most frequent manipulation of time in films: it is achieved with cuts or dissolves. In a dramatic narative, if climbing a staircase is not a significant part of the plot, a shot of a character starting up the stairs may then cut to him entering a room. The logic of the situation and our past experience of medium tells us that the room is somewhere at the top of the stairs. Long journeys can be compressed into seconds. Time may also be compressed between cutaways in parallel editing. More subtle compression can occur after reaction shots or close-ups have intervened. The use of dissolves was once a cue for the passage of a relatively long period of time.

Long take. A single shot (or take, or run of the camera) which lasts for a relatively lengthy period of time. The long take has an 'authentic' feel since it is not inherently dramatic.

Simultaneous time. Events in different places can be presented as occurring at the same moment, by parallel editing or cross-cutting, by multiple images or split-screen. The conventional clue to indicate that events or shots are taking place at the same time is that there is no progression of shots: shots are either inserted into the main action or alternated with each other until the strands are somehow united.

Slow motion. Action which takes place on the screen at a slower rate than the rate at which the action took place before the camera. This is used: a) to make a fast action visible; b) to make a familiar action strange; c) to emphasise a dramatic moment. It can have a lyric and romantic quality or it can amplify violence. 

Accelerated motion (undercranking) . This is used: a) to make a slow action visible; b) to make a familiar action funny; c) to increase the thrill of speed.

Reverse motion. Reproducing action backwards, for comic, magical or explanatory effect.

Replay. An action sequence repeated, often in slow motion, commonly featured in the filming of sport to review a significant event.

Freeze-frame. This gives the image the appearance of a still photograph. Clearly not a naturalistic device.

Flashback. A break in the chronology of a narrative in which events from the past are disclosed to the viewer. Formerly indicated conventionally with defocus or ripple dissolves.

Flashforward. Much less common than the flashback. Not normally associated with a particular character. Associated with objective treatments.

Extended or expanded time/overlapping action. The expansion of time can be accomplished by intercutting a series of shots, or by filming the action from different angles and editing them together. Part of an action may be repeated from another viewpoint, e.g. a character is shown from the inside of a building opening a door and the next shot, from the outside, shows him opening it again. Used nakedly this device disrupts the audience's sense of real time. The technique may be used unobtrusively to stretch time, perhaps to exaggerate, for dramatic effect, the time taken to walk down a corridor. Sometimes combined with slow motion.

Ambiguous time. Within the context of a well-defined time-scheme sequences may occur which are ambiguous in time. This is most frequently comunicated through dissolves and superimpositions.

Universal time. This is deliberately created to suggest universal relevance. Ideas rather than examples are emphasised. Context may be disrupted by frequent cuts and by the extensive use of close-ups and other shots which do not reveal a specific background. 

Representation revision: Regional Identity practice essay.

Watch the clip from Call the Midwife in class (Episode 1: 0.40 seconds - 5.05).

Watch it 4 times. You will need your glossary in front of you.

1. In full, no notes
2. Take notes
3. Take notes
4. Take notes

Write up your response to the following question:

How does the extract construct representations of regional identity using:

• Camerawork
• Mise-en-scene
• Sound
• Editing

50 marks.

Explanation, argument and analysis = 20 marks

Examples = 20 marks

Terminology = 10 marks

Representation revision: disability

How does the extract construct representations of disability using:

• Camerawork
• Mise-en-scene
• Editing
• Sound

50 marks

Explanation/argument/analysis = 20 marks

Examples = 20 marks

Terminology = 10 marks

Representation revision: sexuality

How does the extract construct representations of sexuality using the following:

• Camerawork
• Mise-en-scene
• Sound
• Editing

50 marks

EAA = 20

Eg = 20

T = 10

Questions to ask when looking at representations of sexuality in an extract:

• Are characters being assigned oppositional gender attributes? (e.g. a feminine male or a masculine female)
• Is their sexuality being used as a plot device, or are they just an everyday man/woman?
• Look for the gaze - often characters who are not heterosexual are portrayed as heavily sexualized individuals - their sexuality is used to define them as a character (a stereotypical representation)
• How are these characters treated by other characters? Are they treated differently because of their sexuality?
• Are they victimised because of their sexuality? (A stereotype)
• Are the being used for humour? (A stereotype)
• Does the character appear weak or vulnerable due to their sexuality? (A stereotype)

Here are the gender binaries, to help you:

Representation revision: gender

Remind yourself of the gender stereotypes here.

Then, watch the clip and answer the question

Discuss the ways in which the extract constructs the representation of gender using the following:

• Camera shots, angles, movement and composition
• Editing
• Sound
• Mise en scène

Representation. Ethnicity.

The People vs OJ Simpson.

Click the image to watch the clip from episode 9.

Start at 22 mins and end at 27.05


Watch the clip at least 4 times and make notes on the four areas of representation, to answer this question:

Discuss the ways in which the extract constructs the representation of ethnicity using the following:

• Camera shots, movement, angles, composition
• editing
• sound
• mise-en-scene

Reminders of stereotypes for ethnicity:

dangerous
exotic
pitied
humourous
'mystical negro' stereotype
irrational (not reasoning, and easily led by their emotions)
lustful
not usually powerful in society

Asian:
academic/scholarly


REMEMBER THIS:

Unity and Conflict

Conflict is often the theme between ethnic groups and the wider society.

Unity is often an element of the representation of ethnicity.  This hits a stereotype of ethnicity: that of close families and tight communities.

Representation of regional identity: work to do.

1. Read this and make notes. Do the activity set. Post to your blog.
2. Read this post and make notes. Then watch the clip and make notes on the 4 areas of textual analysis. 
3. Write the essay to the regional identity question. Type it in Word and post to your blog using Scribd.

YOU WILL NEED TO USE THE BIG GLOSSARY TO HELP YOU.

Coursework Markscheme: check your work is as good as it can be.

Research and planning criteria on pp67-68.


Evaluation criteria on pp68-69.


AS Media Studies Markscheme

Representation: regional identity

 

 

1. Read the list of stereotypes for regional identity below.
2. Once you have done this, find at least 5 examples where TV dramas have used these stereotypes. You need to clearly explain what region your example is from, and how their portrayal may MEET stereotypes of regional identity. You are not allowed to take your examples from films,comedies or soaps. 
3. Post findings, images/clips and explanations to your blog.
4. The TV dramas list can be found here, which may help.

 

 

Representation of Regional Identity

 

Regional Identity refers to the part of the United Kingdom someone is from. It could refer to a general area such a “north” or “south”, a country such as “English” or “Scottish” or specific towns such as “London” or “Manchester.”

 

There are several regional stereotypes widely seen on television:

 

•Scottish – often shown as being money obsessed, won’t pay for anything, drinks a lot of alcohol, loves the outdoors, wears kilts, eats haggis, quite aggressive and violent

 

•Welsh –Often shown as living in the middle of the countryside, less intelligent, good at singing (Male voice choirs),with people making jokes about them “shagging sheep”

 

• Irish – often shown as living in the countryside, working in rural areas such as farms, being very religious, being good at dancing and singing (love a good craic), very friendly but less intelligent

 

• English – often shown as being racist (think St George cross on houses or cars), obsessed with beer and football living in London. Sometimes the stereotype goes in the opposite direction of showing English people as very rich, posh, happy, living in castles and being very “royal.”

 

•London – There are two main stereotypes of Londoners. One is that they are often shown as being rich, posh, snobby, upper class, Hugh Grant types from central or west london. The other is that they often shown as being from north, east or south London, poor, common, lower class, criminalistic, violent “Kidulthood” style

 

•Manchester / Newcastle / Liverpool – Often shown as being “chavs”, wearing fake designer labels, or tracksuits, drinking a lot, being aggressive, uneducated, criminals

 

• Essex – often shown as being glamorous but cheap, footballer’s wives, lots of partying, being quite stupid

 

•Yorkshire – Often shown as living in rural countryside, with rolling hills and cobbled streets, being quite old fashioned (despite Yorkshire being the biggest county and containing large cities such as: Leeds, York and Sheffield)

 

•Cornwall / Somerset – Often shown as being “backwards”, living in rural areas, working on farms

 

•South England – often shown as being the centre of culture, modern, classy, clever, sunny, richer, doing middle class jobs where one dresses smartly

 

•North England – often shown as being poorer, bad weather, lower class, aggressive, less culture, less clever, doing working class jobs such as builders etc

 

Representation: regional identity.

Representation of Regional Identity

Regional Identity refers to the part of the United Kingdom someone is from. It could refer to a general area such a “north” or “south”, a country such as “English” or “Scottish” or specific towns such as “London” or “Manchester.”

There are several regional stereotypes widely seen on television:

•Scottish – often shown as being money obsessed, won’t pay for anything, drinks a lot of alcohol, loves the outdoors, wears kilts, eats haggis, quite aggressive and violent

•Welsh –Often shown as living in the middle of the countryside, less intelligent, good at singing (Male voice choirs),with people making jokes about them “shagging sheep”

• Irish – often shown as living in the countryside, working in rural areas such as farms, being very religious, being good at dancing and singing (love a good craic), very friendly but less intelligent

• English – often shown as being racist (think St George cross on houses or cars), obsessed with beer and football living in London. Sometimes the stereotype goes in the opposite direction of showing English people as very rich, posh, happy, living in castles and being very “royal.”

•London – There are two main stereotypes of Londoners. One is that they are often shown as being rich, posh, snobby, upper class, Hugh Grant types from central or west london. The other is that they often shown as being from north, east or south London, poor, common, lower class, criminalistic, violent “Kidulthood” style

•Manchester / Newcastle / Liverpool – Often shown as being “chavs”, wearing fake designer labels, or tracksuits, drinking a lot, being aggressive, uneducated, criminals

• Essex – often shown as being glamorous but cheap, footballer’s wives, lots of partying, being quite stupid

•Yorkshire – Often shown as living in rural countryside, with rolling hills and cobbled streets, being quite old fashioned (despite Yorkshire being the biggest county and containing large cities such as: Leeds, York and Sheffield)

•Cornwall / Somerset – Often shown as being “backwards”, living in rural areas, working on farms

•South England – often shown as being the centre of culture, modern, classy, clever, sunny, richer, doing middle class jobs where one dresses smartly

•North England – often shown as being poorer, bad weather, lower class, aggressive, less culture, less clever, doing working class jobs such as builders etc

 

If you get “regional identity” as an issue in the exam, you should be thinking about the following things when watching the clip (use these bullet points to analyse the clip):

•Can I identify where the characters are from within the country?

•Are people from different areas shown as having different interests, personalities, attitudes, behaviours? If so, how?

• Is their regional identity represented as being important in their life?

•Are people from particular regions portrayed as being better, more powerful, than others?

•Are people from particular regions portrayed as being abnormal /weaker/ more pathetic than others?

•How do other characters in the clip treat the characters from different regions?

• What is the message the clip is trying to portray about regional identity?

Discuss the ways the extract constructs representations of regional identity.

• Consider:
• Camerawork/angles/movement
• Sound
• Editing
• Mise-en-scene

Evaluation Tasks: showing off your skills.

For the evaluation tasks, detailed instructions, and excellent examples of evaluations from previous years, go to Mr Ford's Blog

When completing the tasks, you want to show off what you can do in this subject. To do this, try to use different tools for each task so you are showcasing a range of skills.

Some tools you could use:

Lucidpress
Scribd
Animoto
Powtoon
Prezi
wix.com (make your own website for free)
Photoshop (emulate an article in the style of your magazine, with your answer in it)
iMovie
Windows Movie Maker
YouTube

Marking and feedback - Double Page Spread

To help you improve and make progress, here is some additional guidance for your DPS. Look back at your feedback from your teacher (and also reflect on your own work) and use the elements below to identify what is missing from your magazine. 

Create a flat plan which incorporates all these elements (where appropriate) to avoid making the mistakes of your first draft!

My advice: look loosely at an example of a real DPS from a magazine that you are trying to emulate. 

Headline: a phrase that summarises the main point of the article. Headlines are in large print and different style in order to catch the attention of the reader.

Standfirst: block of text that introduces the story, normally in a style different to the body text and headline.

Byline: the line above the story, which gives the author’s name and sometimes their job and location (known as the dateline).

Page furniture: everything on the page except pictures or text of stories.

Pull quote: a quote from the story that is enlarged and appears within the text.

Crosshead: bolded/large text that breaks up a long story.

Sidebar: this is a panel or box on a page containing graphics or other information about an article. It is eye-catching and breaks the story up into different elements.

Caption: a brief description of a photograph or graphic.

The TWO slides below are here to show you how real magazines use these features, so READ THEM.

Dps labelling features from engmisskp

AS Media mark scheme (pages 57-60)

As you make improvements from your first draft, use the mark scheme on pages 57-60 to self-assess your work and check that you have met all of the requirements.

AS Media Studies Markscheme

First Drafts: Peer-assess, Feedback and your 'Plan of Action'.

Read these instructions right to the end, before you get to work.

1. Look at and evaluate each of your peers' front cover, contents page, and double page spread
2. Jot down a WWW and an EBI comment for each, as you look (for the front cover, contents page and double page spread)
3. Post your comments on your peers' blogs, underneath the post of their first draft.  Comments should be specific and constructive.  The most helpful EBI comments are the ones with specific suggestions for improvement
4. Once you have got your peer feedback, create a blog post that summarises some of the most useful WWW and EBI comments   
5. Use the comments and feedback to create your 'PLAN OF ACTION' (see coursework schedule), and post this to your blog.

If you want a grid to use whilst taking notes for steps 1 and 2, then click here and print it.

Teacher Feedback

Once you have received your teacher feedback, you need to record it in the form of a blog post.  Reflect on your teacher feedback: use the teacher feedback and your peers' comments to create your 'plan of action'.

See how Jack Green recorded his teacher feedback, below:

Teacher Feedback

Recording and acting on your feedback.

You may wish to take inspiration from Jack Green's blog when it comes to recording and acting on feedback.

Consider that his first draft contents page started like this:

And ended up like this:

As a result of his feedback.

Jack records the feedback he gave to his peers here.

He records and REFLECTS on feedback on his own work, here

Jack then writes up a plan of action.

After this, he sets himself weekly targets.  Here is an example.

He then tracks the exact process of reaching his target for the week.  He clearly outlines what influences his decisions, and shows his thought processes, here.

Forgetting something? POST YOUR FIRST DRAFT TO YOUR BLOG.

You should have POSTED YOUR FIRST DRAFT TO YOUR BLOG, as well as handed in a paper copy.


Post your first draft to your blog, if you have forgotten to do this!

DO IT NOW.

Monday's lesson:

Use the coursework schedule to see what you should be getting on with.  There is a link to this in the 'links list' of my blog.

Work through the schedule.

You can also use my recent blog posts to complete the next stages of the coursework e.g. band inspiration, reflection on your preliminary task, leaving constructive WWW and EBI comments on your peers' blogs, completing and taking surveys for your audience research.

Mock exams week is not an excuse to get behind with coursework.  Get on, and get ahead.

Representation Exam. Revision tools.

Use the blog to revise the key areas of representation and the 4 areas of textual analysis.  Here are some useful links to help you to revise:

• This link will take you to all the posts with the label 'representation'. Revise the key stereotypes.

• Re-read the detailed feedback on the bottom of your essays, as well as the feedback report on your essays, here.

• Revise key terms, using the big glossary, here.

• This article tells you how to write a successful representation essay.  Click to access.

• And click here for some example A grade answers, to inspire you.

Feedback Report - Representation Essays

Successful responses: used relevant examples, and clearly explained how they represented age/ethnicity in the extract. They also used accurate terminology for all four areas of textual analysis. Lots of relevant examples were used to support findings, and examples were clear and specific. Links to how their points challenged or met stereotypes were made consistently, throughout the essay.

EBI:

• Many of you did not make it clear how your examples helped to answer the question.  You must clearly explain how the extract meets or challenges stereotypes of ethnicity/age.  LINK to the question at the end of EVERY PARAGRAPH.  Use the words from the question to help you to do this.
• Do not assume the examiner knows what the stereotypes are.  Do not leave it as simply 'this meets the stereotypes of young people'.  You need to explain which stereotypes exactly.  Spell. It. Out.
• When analysing sound: many of you are being general and using phrases like "the sound in the interior scene helps to build tension." Use your knowledge of key terms - is it dietetic or non-dietetic sound?  If it is non-dietetic, how does it create tension?  Does the beat help? What is the pace like? Drums?  Describe the quality in some way so you are providing a detailed example.
• When analysing editing: when describing the change from one scene or shot to the next, use editing terms.  Do not write the scene 'shifts' or 'switches' to the next scene. Use your glossary to find the correct term.
• For the Hotel Babylon ethnicity extract, many of you omitted to analyse what the clip suggested about the characters' different positions or roles in society itself.  How does this meet/challenge stereotypical representations of ethnicity in the media?  Remember to see the bigger picture.
• Many of you used vocabulary that is far too informal for the context.  There is no excuse for using terms like 'mardy' or 'lad' in formal essays.  This cannot happen in the mock, or the real thing.

EBI accuracy:

  You can lose marks for intrusive errors in spelling, punctuation and grammar.

• We seem to have a big problem with remembering how to use possessive apostrophes.  Click on this link to revise how to use them accurately.
• Some of you did not use capital letters at the start of sentences or at the start of proper nouns. There is NO excuse for this.

Reflection on your preliminary task

Answer these questions in detail.  Post your responses to your blog.

1. How does your preliminary tsk represent particular social groups?
2. Who would be the intended audience for your product?
3. How did you attract/ address your audience?
4. What have you learnt about technologies from the process of constructing this product?

Band/Artist Inspiration and Style

Your magazine is obviously going to revolve around a music artist or band.  They are going to be a fictional artist/band.  You are going to be in charge of their 'look', their sound, and their name.

Post images and music videos of your artist/band inspiration.  Explain why your want to emulate your chosen videos/images/artists/bands in your magazine.
Remember - it needs to fit the genre of your magazine.

Leave Feedback

1. Read other class members' blogs.
2. Leave constructive feedback on their research and planning stage.

They will use this feedback to go forward, make changes and improve.  Make sure that you are writing specific feedback, designed to help.

Audience research. Questionnaire.

Conduct research about your TARGET AUDIENCE (not just anyone).

Create an online questionnaire to help you to do this.  Post to your blog, and get people to take it.

You can use Survey Monkey. for free.

Some ground rules to follow:

1. Only ask one question, per question.  Do not roll two questions into one
2. Do not ask questions that lead your audience to a specific response
3. If you are providing multiple choice answers, make sure you provide an appropriate scope of answers for respondents to choose from
4. Consider including an 'other' option, where respondents can type in their answer if you have not left them the answer they want
5. Do not include many, if any, answers where the respondents need to type long winded responses - these are difficult to analyse.  

Taking a photo. Composition. Rule of Thirds

Click on the image

Styling

Look again at some example magazines within your chosen genre.
Take note of the designers they feature, and the general 'look' they try to emulate when styling models.

e.g.

Dazed & Confused:

Featured article on Sibling's Autumn/Winter 2016 fashion (pics Daisy Walker)  Styled to fuse "military silhouettes" with a luxe sportswear look, for men:

OR 
I:D magazine

Recent styling of models in their articles is inspired by 'tiger of sweden' brand:

Looking through example magazines and going on their website will help you with this task.

Moodboards

Before you create your mood board you should have:

• analysed at least 3 magazines and their front cover, contents page and double page spread, register, colour palettes etc etc
• decided on the genre of your magazine
• researched the current existing titles in that genre
• come up with the title of your magazine
• researched and decided on the target audience of your magazine

To create your mood board you could use Photoshop.

Good examples from previous students:

Mood Board for Mediaa

UK Tribes: Audience Profiles

Click the image to go to UK Tribes.  You need to do this to build your target audience profile.

If you don't know what I'm on about, look at the example A grade blogs. e.g. this one (click here)

Preliminary exercise

Preliminary exercise: using DTP and an image manipulation program, produce the front page of a new school/college magazine, featuring a photograph of a student in medium close-up plus some appropriately laid-out text and a masthead.

Additionally candidates must produce a DTP mock-up of the layout of the contents page to demonstrate their grasp of the program.

You need to do the following:

1. Come up with a suitable title
2. Draw a mock up (take a photo and post on blog - labelled Preliminary Exercise flat plan)
3. Take photos
4. Make the cover and contents page
5. Post on blog