Your End of Year 10 Media exam is a great opportunity to practice exam skills and work out what progress you need to make next year to reach your targets.
Your exam will be a mini-version of the real Paper 2 exam you'll do next summer. Your exact date will depend on the timetable and when you have your Media lessons in the week of options exams - your teacher will be able to tell you when the exam will run.
Below is a full guide to what you need to revise for Paper 2:
Paper 2
Paper 2 Section A is Television - our first in-depth topic.
Section A: Television
Short extract from either Doctor Who – An Unearthly Child (1963) or His Dark Materials – The City of Magpies (2020). Google Drive folder with CSP videos here for revision or you can watch on iPlayer.
The extract will be shown twice and you can make notes. There will then be three questions on the extract (2 marks, 8 marks, 12 marks).
The final question is a 20-mark essay on BOTH of your TV Close-Study Products.
Your real Paper 2 will also have a Section B with two 20-mark essays on either Newspapers, Videogames or Online, Social and Participatory Media. However, these will not appear in your end of year exam as we have not studied them yet.
Paper 1 assessment?
You will have a half-sized version of Paper 1 as your September assessment in Year 11. More details on that nearer the time!
How to revise
Revision is a very personal thing and everyone has different techniques. Personally, I strongly recommend using flash cards (they are often called record cards if you are trying to buy them online or in WHSmiths). The simple act of distilling topics into a few key words or phrases to put on the card will seriously help in remembering the key information in the final exams. I always have flash cards in DF07 if you'd like some - just pop in and ask! Aim to create flash cards in three key areas:
Media terminology
Media theories
CSPs
Good luck with your revision and give the exam your best shot!
Our second television Close-Study Product is BBC and HBO co-production His Dark Materials from 2020. The CSP episode is Season 2, Episode 1 but don't worry if you haven't seen the first series - there are plenty of clips online to learn the background to the storyline.
Remember, TV is an in-depth study which means we need to analyse the products in terms of media language, industries, audience and representation. Television will be examined in Paper 2 with a short clip to analyse - either from Doctor Who - An Unearthly Child or His Dark Materials. Notes from the lessons: His Dark Materials
Language
Reminder - TV drama conventions:
Dramatic narrative, usually linear (with continuity across episodes.) This is called narrative arc.
Ensemble cast (a range of characters with own storylines). Sometimes an episode will focus more on one character than another.
Specific technical codes e.g. realistic lighting and editing for dramas set in the present day to keep it gritty.
Use of stereotypical characters to get messages across quickly.
Common use of flashback, point of view shots, dialogue and voice over, enigma and action codes throughout.
Hybridity: Two genres or media types combined e.g. Stranger Things is a science fiction / horror television drama.
Multi-strand: when a narrative is made up of lots of different storylines.
Fantasy TV genre codes and conventions
Emotive, often quest-based narratives
Political narrative themes or social commentary
Iconography including magic, mystical creatures or similar
Often set in imagined worlds or time periods
In addition, the following often apply to fantasy TV series:
Younger target audience or family audience
Dedicated fanbase; fandom groups and online communities
His Dark Materials is a fantasy drama television series based on the novel series of the same name by Philip Pullman. It is produced by Bad Wolf and New Line Productions for BBC One and HBO, with HBO handling international distribution.
Plot summary
His Dark Materials is set in a multi-world reality, with the action moving from one world to another. The series is based on Philip Pullman's trilogy of the same name. It begins in an alternative world where all humans' souls manifest as animal companions called daemons. The series follows the life of a young girl named Lyra who is an orphan living with the scholars at Jordan College, Oxford, in a world governed by the Magisterium, a religious and political body. Lyra discovers a dangerous secret that involves Lord Asriel and Marisa Coulter, and is the subject of a witches prophecy that she will change the world. In her search for a missing friend, Lyra also uncovers a series of kidnappings and its link to a mysterious substance called Dust, which leads her on a journey of epic proportions and ultimately to other worlds. The witches' prophecy also links Lyra's destiny to Will, a teenager from our world, who is himself being pursued by mysterious figures connected to his vanished father.
The show is a fantasy television series based on fantasy novels. It was produced by BBC (British Broadcasting Corporation - same company who made Doctor Who) and HBO (American company). It is set in a multi-world reality with action moving between worlds. Lyra, the main character, has grown up an orphan who discovers that there is a prophecy that foretells that she will change the world. Will is a fugitive (runaway) from ‘our world’ where he killed someone in self-defence. They meet in a third world called Cittagazze which is run down and neglected. They learn from some kids there that all the adults (and kids when they come of age) are hunted and drained of their energy and basically changed into zombies by evil black clouds called ‘Spectres’. Meanwhile, an evil villain called Mrs Coulter is on board a ship with the Magisterium (male Priests in authority roles - like politicians.) She tortures a witch for information regarding Lyra and mysterious ‘dust’ but the witch is put out of her misery by her fellow witch Ruta Skardi who sets her free by killing her to stop the pain. Skardi also seriously injures the head of the Magisterium and Mrs Coulter offers a deal to his deputy: in exchange for more power and freedom, she will kill the head priest and say he died of his injuries from the witch.
Magisterium: the authority group of male priests (religious men) from Lyra’s world. It is a patriarchal society (ruled by men).
Daemon: the name given to the shape-shifting animal that is part of your soul (in Lyra’s world). Everyone has one in her world.
Lyra Silvertongue: protagonist (main character, hero) who is on the run from her world due to being hunted. She is the subject of a prophecy (fortune) that says she will change the world.
Dust: magic particles that open portals to other worlds. Some people believe they represent sin.
Will Parry: a human child from ‘our world’ who has never seen a daemon before.
Mrs Coulter: an evil villain who wants to find Lyra and control the world. She tortures a witch nearly to death and then she prepares to kill the head of the Magisterium so she can gain more control.
Ruta Skardi: the witch who, when her fellow witches did not take action, saved the prisoner witch by killing her and attacked the members of the magisterium on her own, escaping afterwards.
Cittàgazze: the name of the city in the third world where Will and Lyra meet.
Alethiometer: the gadget that looks like a clock which Lyra consults and it gives her ‘truth’ - answers to her questions.
Narrative: multi-strand narrative
There are a number of narrative strands running through this episode. They include:
Lyra and Will explore a new world and the city of Cittàgazze.
Mrs Coulter tries to find answers for the Magisterium then offers power to Father MacPhail by letting the head of the Magisterium die.
Lyra and Will meet abandoned children in the city of Cittàgazze and find that the adults have all left due to the Spectres stealing their souls.
Lee Scoresby goes on a mission for an object that can protect Lyra. The council of witches supports his plan.
Representations
His Dark Materials - Subverting stereotypes Men and women
Many characters in this episode of His Dark Materials subvert stereotypes. Lyra is a strong, independent female character who doesn't need or want help from anyone on her dangerous quest across different worlds. She can't cook, isn't bothered by her appearance and takes what she wants. Mrs Coulter also subverts female stereotypes as a cold hearted villain. She is actually Lyra's mother but displays none of the maternal stereotypes the media usually presents as typically female.
Meanwhile, Will subverts male or masculine stereotypes. He is kind, welcoming and wants to help Lyra. He cooks her food and makes up beds for them to sleep in. Not all characters subvert stereotypes though - Lee Scoresby is in many ways a classic masculine man on a mission to help Lyra.
Race, ethnicity and social class
The actors in His Dark Materials are from a range of ethnic and social class backgrounds and the character of Will subverts stereotypes of race and ethnicity as well as gender. However, some stereotypes are reinforced - the abandoned children in Cittàgazze are presented as working class in a very stereotypical way.
Age
Most of the main characters in this series and episode are children and they are shown not to need adults or help from older people. The abandoned children of Cittàgazze also demonstrate they can live without adults - which subverts typical stereotypes. Mrs Coulter also shows how stereotypes are subverted as a parent who does not care for her child.
His Dark Materials: Language and Representation blog tasks Create a new blogpost called 'His Dark Materials: Language and Representation blog tasks' and work through the following tasks: Language and close-textual analysis 1) Write an analysis of the episode - using your notes from the screening in class. Make specific, detailed reference to moments in the text using media terminology (e.g. media language - camera shots and movement, editing, diegetic/non-diegetic sound, mise-en-scene etc.)
2) How does His Dark Materials fit the conventions of the fantasy TV genre?
3) Applying Propp's character theory, what character roles do some of the main characters in His Dark Materials fit into? 4) What enigma and action codes (Barthes) can you find in His Dark Materials? Make specific, detailed reference to the text using media terminology (e.g. media language - camera shots, diegetic/non-diegetic sound, mise-en-scene etc.) 5) What examples of binary opposition (Levi-Strauss) can you find in His Dark Materials? How do these create narrative or drama for the audience? You can find reminder notes on all these narrative theories here - just scroll down to narrative. Representations 1) How are women represented in His Dark Materials? Are gender stereotypes reinforced or subverted? Think about Lyra and Mrs Coulter here. 2) How are men and masculinity represented in His Dark Materials? Think about Will and Lee Scoresby here.
3) How is age (e.g. teenagers; adults) represented in His Dark Materials? Does the show reinforce or challenge stereotypes about young people? Think about Lyra and Will plus the abandoned children they meet. Also think about Mrs Coulter and other adults. 4) How is race and ethnicity represented in His Dark Materials? Are stereotypes reinforced or subverted?
5) What representations of the world can you find in the episode - is it like real life? A fantasy world? Something from the past or future? Give examples from the episode.
Think about how politicians, religion and people with power are represented in the episode. For example, how are the Magisterium shown in this episode? This is a higher-level reading of His Dark Materials.
Well done on completing the latest Media assessment - it's another great opportunity to revise the CSPs and develop your exam technique. The first part of your learner response is to look carefully at your mark, grade and comments from your teacher. If anything doesn't make sense, ask your teacher - that's why we're here!
Magazines and Music Video assessment learner response: blog tasks Create a new blog post called 'Magazines and Music Video assessment learner response' and complete the following tasks: 1) Type up your WWW/EBI feedback in full (you don't need to write the mark and grade if you want to keep this confidential). 2) Read the mark scheme for this assessment carefully. Write down the mark you achieved for each question: Q1: Q2: Q3:
Q4:
Q5:
3) Look specifically at question 2. Use the indicative content in the mark scheme for question 2 to write three connotations of the design and layout of Tatler. 4) Now look at question 3 - Heat magazine. Use the indicative content in the mark scheme to write three ways celebrities are represented in Heat magazine.
5) Look at question 5 - Arctic Monkeys and audience identity. This is a real AQA past question with lots of potential answers given in the mark scheme. Choose three answers that specifically refer to the Arctic Monkeys CSP and write them here.
6) BLACKPINK - How You Like That didn't come up in this assessment. If this CSP comes up in your end of Year 1 exam, what three things about BLACKPINK and How You Like That could you try to include in your answer?
Complete for homework - due date on Google Classroom
The second half of our Doctor Who: An Unearthly Child case study focuses on the key concepts of Industry and Audience.
You'll find all the answers you need in the notes and clips below. You can then complete the blog tasks at the bottom of this blogpost.
Notes from the lessons
Audience
Reminder: demographics and psychographics
Demographics: The audience classified through ‘fixed’ characteristics such as: age, gender, race/ethnicity, where you live, job.
Psychographics: The audience classified through beliefs, values, hobbies and interests such as: Strugglers, Reformers, Aspirers and Mainstreamers.
General audience notes:
Mainstream family audience – broad appeal as millions of people watch the BBC.
Long-running which shows it appeals to mainstream audience (age 10-40+).
An Unearthly Child given PG certificate – parental guidance.
Demographics: A-E class as some complex plot points but also action that is easy to understand.
Gender: split down middle (although traditional science fiction fans were male, this has changed over time. From 1970-2010 the female sci-fi audience grew by 22%).
Audience pleasures
We can apply Blumler and Katz's Uses and Gratifications theory when analysing the audience pleasures offered by Doctor Who: An Unearthly Child. Remember, we must consider it from the perspective of a viewer in the 1960s who would have reacted in quite a different way to an audience in 2020. Remember, the four key categories for Uses and Gratifications theory:
INFORMATION/SURVEILLANCE: learning information that you did not already know. Doctor Who offers its audience an education about space travel, science and history.
PERSONAL IDENTITY: personally relating to something - seeing your lifestyle on screen. Think about how different audiences may identify with Susan, her teachers or the Doctor.
DIVERSION/ENTERTAINMENT: escapism and being entertained away from your normal life. Science Fiction is a classic genre for escapism - what examples of this could be found in the episode?
PERSONAL RELATIONSHIPS: caring about characters and wanting to find out what happens to them. This is the first episode of four - which characters do you think the audience will want to follow on their journey?
The 3 Vs
VISCERAL PLEASURE: Physical thrill of watching something e.g hairs on the back of your neck in a horror film, sport, big explosions.
VICARIOUS PLEASURE: Experiencing something through the characters (e.g. time/space travel).
VOYEURISTIC PLEASURE: Watching something you wouldn't normally get a chance to see (e.g. inside TARDIS).
Doctor Who fan culture: Whovians
Doctor Who now has an international online fan culture of events, fan fiction, fan-edited trailers and more. The BBC also produces merchandise to sell to this audience.
The 'Whoniverse'
The ‘Whoniverse’ is made up of podcasts, spin-offs (other shows that derive from the main Doctor Who and have settings, ideas, characters in common e.g. K-9 which is a kid’s show about Doctor Who’s robot dog) and documentaries, behind-the-scenes, sneak peaks and so on.
In the most recent series of Doctor Who, this fan culture actually appeared in an episode:
You can read more about Doctor Who's fans and its cultural impact in the extension articles at the bottom of this post.
Industries
TV industry in 1963
There were only two TV channels in the UK in 1963: BBC and ITV.
In terms of technology, videotape had only been in use for seven years when An Unearthly Child was made. It allowed the BBC to create the space and time travel effects we can see in the episode which were considered amazing at the time.
In 1967, BBC2 launched as the first colour TV channel. BBC1 and ITV then switched to colour in 1969 as more people bought colour TVs.
Compared to the digital and streaming TV landscape of today, 1960s television was a different world.
Importance of Doctor Who to BBC
Doctor Who is one of the most iconic franchises that the BBC has. It has been shown all over the world through BBC Worldwide and generates huge income for the BBC.
In 2014, a BBC Worldwide Report stated Sherlock and Doctor Who as the BBC’s biggest exports of the past year. The worldwide simulcast (simultaneous transmission) of “The Day of the Doctor” in 2013 saw this episode air at the same time in 98 countries on six continents.
Doctor Who franchise: spin-offs
The BBC has maximised the popularity of the Doctor Who franchise by creating a series of spin-offs that build on the same universe or characters as the original show. These include:
K9
Sarah Jane Adventures
Torchwood
Class
These spin-offs allow the BBC to target slightly different audiences while still taking advantage of the huge Doctor Who fanbase.
Spin-offs - opening titles:
Audience and Industry: blog tasks
Create a new blogpost called 'Doctor Who: Audience and Industry blog tasks' and answer the following questions:
Audience 1) Who is the target audience for Doctor Who? Do you think it has changed since 1963? 2) What audience pleasures are offered by Doctor Who - An Unearthly Child? Apply Blumler and Katz's Uses and Gratifications theory to the episode. Make sure you provide specific examples from the episode to support your ideas.
Personal Identity:
Personal Relationships:
Diversion (Escapism):
Surveillance (Information / Facts):
3) What additional Uses and Gratifications would this episode provide to a modern 2020s audience? 4) Thinking of the 3 Vs audience pleasures (Visceral, Vicarious and Voyeuristic pleasures), which of these can be applied to An Unearthly Child? 5) What kind of online fan culture does Doctor Who have? Give examples. Industries 1) What was the television industry like in 1963? How many channels were there? 2) How does An Unearthly Child reflect the level of technology in the TV industry in 1963?
3) Why is Doctor Who such an important franchise for the BBC?
4) What other programmes/spin-offs are part of the wider Doctor Who franchise?
5) Why does the Doctor Who franchise have so much merchandise available? Give examples.
Grade 8/9 extension tasks and reading Read this Guardian feature 'Is Doctor Who doomed?' which contains lots of industry and audience context that will help us reach the top levels in exams.
