The End of Year 1 Exam was a great opportunity to take on a full 90 minute GCSE Media exam in the format we will be facing next year. It's important to remember that we are not expecting you to reach your target grade in this particular exam. If you do, that's brilliant - but it probably means you need a higher target grade! As ever, the most important aspect is that you learn from this experience and get better as a result. GCSE Media - End of year 1 exam: Learner response Create a new blogpost on your Media blog called 'End of Year 1 exam learner response' and work through the following tasks: 1) Type up your feedback in full (you do not need to write mark/grade if you do not wish to). 2) Write down how many marks you got for each question against the total number of marks available:
Q1: 0/1 mark
Q2: 0/1 mark
Q3: 0/12 marks
Q4: 0/8 marks
Q5: 0/12 marks
Q6: 0/2 marks
Q7: 0/6 marks
Q8: 0/2 marks
Q9: 0/20 marks
Q10: 0/20 marks
3) Section B requires you to write extended essays with approximately 20 minutes and 4-5 well-developed paragraphs per question (excluding introduction and conclusion). Count the number of paragraphs you wrote for each exam question in Section B excluding your introduction/conclusion:
Q9 number of paragraphs:
Q10 number of paragraphs:
4) Question 9 was on role models in video games. Read the indicative content (suggested answers) for Question 9 and look at any points you missed out on. Write a new well-developed paragraph that answers the question referring to Lara Croft Go and Kim Kardashian: Hollywood. 5) Question 10 was on Zoella and how audiences can create celebrities in the modern media industry. Read the indicative content (suggested answers) for Question 10 and look at any points you missed out on. Write a new well-developed paragraph that answers the question referring specifically to aspects from the Zoella Close Study Product case study. You need to complete this learner response before you leave the lesson.
The summer project is a fantastic opportunity to start planning your Science Fiction TV drama extract. Your summer project contains compulsory and optional elements; everybody will be researching Science Fiction TV, creating a new TV drama idea and then writing a detailed Statement of Intent. However, if you wish to plan and film your production over the summer while you have time and actors available we would fully support you in this approach. Summer project tasks Complete the following tasks on a blogpost on your Media blog called 'Summer Project: coursework planning': 1) Research: Science Fiction TV drama Watch the following Science Fiction TV drama clips and write an NCIS analysis of each one. Doctor Who: Amy Pond meets Amelia Pond Narrative: How is the story communicated to the audience? What do you think will happen next? Can you apply Todorov's theory of equilibrium to this clip? Character: How do the characters appeal to the audience? Can you apply Propp's character theory to any of the characters in this extract? Do the characters reinforce or subvert stereotypes? Iconography: Study the mise-en-scene (CLAMPS). How does the mise-en-scene communicate the narrative and Science Fiction genre? Setting: How does the setting fit the Science Fiction genre? What audience pleasures might the setting provide for the audience? Think about Blumler and Katz Uses and Gratifications theory. Humans: Series 1 trailer Narrative: How is the story communicated to the audience? What do you think will happen next? Can you apply Todorov's theory of equilibrium to this clip? Character: How do the characters appeal to the audience? Can you apply Propp's character theory to any of the characters in this extract? Do the characters reinforce or subvert stereotypes? Iconography: Study the mise-en-scene (CLAMPS). How does the mise-en-scene communicate the narrative and Science Fiction genre? Setting: How does the setting fit the Science Fiction genre? What audience pleasures might the setting provide for the audience? Think about Blumler and Katz Uses and Gratifications theory. Stranger Things: Goodbye Mike
Narrative: How is the story communicated to the audience? What do you think will happen next? Can you apply Todorov's theory of equilibrium to this clip? Character: How do the characters appeal to the audience? Can you apply Propp's character theory to any of the characters in this extract? Do the characters reinforce or subvert stereotypes? Iconography: Study the mise-en-scene (CLAMPS). How does the mise-en-scene communicate the narrative and Science Fiction genre? Setting: How does the setting fit the Science Fiction genre? What audience pleasures might the setting provide for the audience? Think about Blumler and Katz Uses and Gratifications theory. Additional research: optional extension Depending on your coursework plan and the sub-genre of Science Fiction you are working with, you may wish to research additional Science Fiction TV dramas. You can make optional additional notes on other TV dramas here: 2) TV drama planning and Statement of Intent Plan out the title and narrative for your new, original Science Fiction TV drama and write your genuine 300-word Statement of Intent. This will be submitted to the exam board alongside your Science Fiction TV drama extract and is worth 10 marks of the overall 60 marks available. Guidance is provided by AQA in their NEA Student Booklet but we strongly recommend you also look at our Statement of Intent suggested content document too.
Summer project deadline: all tasks above due in first lesson back in September
Summer project: optional extensions Pre-production tasks Some students have already expressed an interest in filming their Science Fiction TV drama extracts over the summer break. This makes a huge amount of sense - far more availability of actors, much more time to schedule filming etc. However, if you want to do this, you need to complete the following aspects of pre-production: Script Write a script for your Science Fiction TV drama extract. You'll find guidance for writing a script in the BBC Writers' Room (click on the Script Library to read real examples of professional scripts). Shot list Write a shot list containing EVERY shot you plan to film for your extract AND additional shots to create flexibility when editing. These additional shots are often close-ups, cutaways, alternative angles or similar. I advise using a simple table on Microsoft Word to set out your shot list - you can find an example here. It makes sense to write your shot list by scene or location rather than a huge list of every shot in the extract in chronological order. Mise-en-scene What iconography are you including to ensure your audience understands this is part of the Science Fiction TV drama genre? Plan your cast, costume, make-up, props, lighting and setting. This can be simply completed using your blog or Microsoft Word - the key aspect is to have planned all the critical details. Shooting schedule Plan a shooting schedule for your filming over the summer. Include when, where, who is required and what shots you will complete at each time/location. Again, this can be on Word or Excel or you could simply use your blog. The most important thing is that you've planned it! Non-assessed participants You will need to provide a written record of all non-assessed participants in your production work. Keep a record of everyone involved - actors, camerawork, sound etc. You will also need a keep a record of any non-original sound you used and note it on the Candidate Record Form. Keep these on your blog for easy reference when submitting your work later this year. Production: Filming Once you have completed your pre-production tasks, you can film as planned. If you are unable to film over the summer, we will have time to film this production in the first weeks of September. Good luck!
Your exam case studies are a crucial part of our preparation for the Media exams at the end of the course. Videogames and Online, Social and Participatory Media are in-depth topics which means we will need to write longer essay-based answers on these topics. The questions could focus on any of the key concepts - Language, Industries, Audience and Representation - so it's vital we complete these case studies to the best of our ability. Exam case studies: Learner response blog task You will have received an email with feedback from your teacher on your first two Videogames exam case studies - Lara Croft Go and Kim Kardashian: Hollywood. You need to create a new blogpost on your blog called 'Exam case studies - Learner response' and complete the following tasks: 1) Read your feedback carefully and then copy and paste the whole email (ALL text) into the blogpost. 2) Complete the learner response task you have been given. In most cases, this is going back to your original Lara Croft or Kardashian blogposts and improving, changing or adding an answer. In this case, make the improvements requested and then paste a link to the new, improved blogpost. It will look like this: New, improved Lara Croft blogpost with LR complete: https://mediamacguffingcsenewspec.blogspot.com/2018/05/videogames-case-study-1-lara-croft-go.html
This needs to be completed in the lesson time allocated. Good luck! Extension task - preliminary exercise audio planning If you finish your learner response in the lesson, check that you've completed all the preliminary exercise planning tasks. We'll be editing in Tuesday's lesson but for now you can plan out what music and sound effects you will use in your science fiction TV scene. Check out our library of soundtracks and SFX by going to: M: Media Shared > Resources > GCSE > Preliminary exercise sci-fi TV
The first aspect of your GCSE Media Studies coursework is a preliminary exercise that introduces the basics of narrative filmmaking. This is a brilliant opportunity to get to know the basics of planning, filming and editing. You may even film a scene that you can end up using in your coursework in September. Preliminary exercise: continuity task Your preliminary exercise involves filming and editing a character walking down a corridor, going through a door, making (or answering) a phone call and having a short conversation that clearly demonstrates to the audience that this is a Science Fiction TV drama. This task should demonstrate match-on-action, a vital aspect of continuity editing, and a variety of camera shots and movement. Time allowed: three weeks Key skills Watch this great introduction to filmmaking - it covers the basics of the creative process: Match-on-action Match on action (or cutting on action) is an editing technique for continuity editing in which one shot cuts to another shot showing the same action of the subject in the first shot. This creates the impression of continuity - the action creates a 'visual bridge' which is easy for the audience to follow. Look at this YouTube clip for match on action - the cuts you want to look at in particular are at 2 seconds, then again at 18 seconds:
Preliminary exercise: Science fiction continuity task Task: Create a scene in which a character walks down a corridor, goes through a door,answers a phone call and has a short conversation. Length: approximately one minute Equipment: Smart phone or a school Canon Legria (limited numbers available). Note: you will need to bring in the cable to capture the videos from your phone. Groups: None. You MUST work individually. However, other people can act in the film or operate equipment (e.g. camera, sound) as long as they are directed by the candidate submitting the work. You may want to get into groups of two or three to help each other complete this task. What your film needs to include Content: Your scene must include match-on-action editing and a conversation that clearly demonstrates to the audience that this is a TV drama in the Science Fiction genre. Camerawork: You must include at least one long shot, medium shot, close-up, extreme close-up, over-the-shoulder shot and either a high or low angle shot. You also must include both fixed camera shots and camera movement (e.g. handheld, tracking, pan etc.) Editing: You must include match-on-action continuity editing. Sound: You must include dialogue (phone conversation) and music to help establish genre. You can also include a voiceover if you wish. Deadlines Planning and filming: Next week's lessons Editing and final deadline: Week of Monday 2 July Initial tasks: planning
Before creating anything in Media you need to plan out exactly what you are going to do. You need to complete the following planning tasks on your blog before you can film anything: Statement of intent: 100 words explaining what you plan to make.
Example statement of intent [102 words]:
I plan to make a short Science Fiction television scene set in a school. I will use a variety of camera shots including close-ups, long shots, medium shots and one extreme close-up. I will also use a high angle shot to show that my character is in danger.
I will attempt to subvert the representation of young people in my TV scene. Usually, young people are shown to be anti-social, rude and likely to cause trouble. Instead, I will make my character a responsible hero who puts their own life on the line to save others from the threat of the alien invasion.
Script: Stage directions and dialogue for phone conversation (and voiceover if required). To see how a TV script is presented, and to look at professional examples, check out the BBC Writers' Room and click on Script Library. Casting: Who will be in your film. Location: Where in school you will film (OR where you will film off-site if you wish to do this for homework). Important note: You CANNOT take any students out of any other lessons and your filming location must not disturb any other teachers in the school. Shot list: Every shot you plan to film. This needs to be far more shots than you will actually use in the final version - plan extra close-ups, long shots, unusual angles and more. You can find an example shot list here. Extension - Storyboard: Draw a 5-frame storyboard mapping out your key shots. Your planning needs to be completed by next week. Good luck!
The coursework briefs have been released and we can now turn our attention to the most creative side of the course. The coursework unit is worth 30% of your GCSE so it's a brilliant opportunity to put marks in the bank before the final exams at the end of next year. Coursework brief: Science Fiction TV drama The brief we have selected is Brief 5: Science fiction television drama. The requirements are: Create a two-minute sequence for an episode of a new television sci-fi drama series, which includes a narrative enigma. This series is aimed at a family audience. You need to submit a 300-word Statement of Intent and a two-minute completed video production to finish this coursework. Full details are available in the AQA NEA Student Booklet. We will have the first eight weeks of next year to complete the work. The first part of this project is a preliminary exercise which will teach the basics of filming and editing prior to working on the final production. Introduction to Science Fiction The Science Fiction genre has a long history of hugely popular films and TV programmes from Back to the Future and Bladerunner to Stranger Things on Netflix. We now need to create our own Science Fiction TV drama and make a two-minute extract from the show. Science Fiction conventions The key conventions of the Science Fiction genre are well established:
Colours: silver, green and blue in lighting, setting and costume
Music: electronic, tense / dramatic
Robots / Artificial intelligence
Settings: Futuristic / Time travel / different realms or planets
Advanced Technology
Doppelgangers / future self
Time travel
Science experiments such as regeneration / cloning
Synthetics
Epidemics
Props that reflect the genre such as spacesuits, gadgets etc.
Science Fiction clips Watch these science fiction clips and identify at least three of the conventions of the Science Fiction genre for each: Doctor Who - Amy Pond meets Amelia Pond
Humans - Season 3 trailer
Stranger Things - Eleven/Goodbye Mike Use these clips as inspiration for your preliminary exercise AND your actual coursework production. Good luck!
Your GCSE Media End of Year 1 exam is approaching and you need to step up your revision and preparation. Although we will be working on coursework in lessons, you need to be revising for your Media exam as homework. Your exact exam date will be confirmed by your Media teacher - it will be in your double Media lesson in the last week of June or the first week of July. This exam is a brilliant opportunity to demonstrate everything you've learned this year and show you are on track to get a fantastic grade next year - make the most of it! Important note: you will only have ONE Media exam at the end of Year 1. This is because we haven't covered all the content in the GCSE specification yet. For the PPEs next year you will have two Media exams that will replicate the real exams you will take in the summer of 2019. GCSE Media End of Year 1 exam: revision and preparation You need to revise all of the following to make sure you're fully prepared for the end of Year 1 exam. This means looking over ALL the terminology, concepts, theories and Close Study Products that we've studied this year. General Introduction to Media & Glossary Here you need to look over all the concepts, theories and media terminology we learned from September to February. The Introduction to Media index is here - you will also have your own index on your blog that links to all of your work. Look over this index and make sure you know all of the terminology and theory. Your Media Glossary document will also help with terminology and audience demographics and psychographics are explained here. You can also find an electronic copy of the CSP checklist here - it should be in the front of your Media book. Assessments: learner responses and mark schemes This might be the most useful revision you will do. Look over your Media assessments this year - ideally your original exam paper but certainly your LR blogposts. What do you need to do to improve in future? This is the exam to put all of that into practice. In addition, every assessment LR task had the mark scheme attached. These are based on real AQA mark schemes and all have extensive indicative content which suggests the answers the exam board are interested in. Read through the following carefully:
Section B: Videogames, Online, Social and Participatory media Section B will cover the in-depth CSPs from the Videogames, Online, Social and Participatory media unit. These will require extended essay-based responses:
Revision: top tips The most important advice is simple: don't leave it to the last minute! There is too much information here to cram it in the night before so work an hour or two a day over the next two weeks to prepare for the exam. A couple of other words of advice:
The new exams specify certain theories - so you need to make sure you know, understand and can apply the key theories we've learned this year. For example, Stuart Hall's Reception theory, Todorov or Propp's narrative theory etc.
Textual analysis will definitely be part of the exam - so you need to make sure you can confidently apply media concepts and terminology (e.g. narrative, mise-en-scene etc.) to a variety of media texts.
For longer answers and the Section B essay questions, you need to demonstrate you have opinions on the big media debates (representation, media effects, the impact of new technology etc.)
There is plenty to take in here - you need to make sure you look over this regularly in the next two weeks. Good luck - and don't leave it all to the last minute!
Our final Close Study Product for videogames, online and participatory media is the YouTube sensation Zoella. This is another in-depth CSP so we need to make sure we have studied this text across media language, audience, industry and representation. Unfortunately, due to exams we don't have a huge amount of lesson time to work on this CSP so you will need to do some important work at home on the case study tasks below. Zoella: notes Language GLOW: Key words Blog: A regularly updated website usually from an individual, written in an informal style. Vlog: An online blog using videos. Convergence: When two or more media forms meet in one e.g Zoella’s website where you can buy her book, read her Twitter feed, see her Instagram photos and buy her beauty products. Online dialogue: Communication online e.g between a celebrity and a fan. Endorsement: When a celebrity or influential figure recommends something to the public.
Meet Zoella
Zoella (born 1990), real name Zoe Sugg, started a fashion, beauty and vlog on YouTube in 2009 called ‘Zoella’. Her online profile has grown hugely since 2009:
12 million subscribers on YouTube [August 2017]
11 million followers on Instagram [August 2017]
2.5 million likes on Facebook [August 2017]
Over 1 billion views
Her profile has grown from YouTube to a range of social media channels. Her success has led her to branch into a range of other forms of merchandising and she has significant influence on her target audience.
She [and other vloggers] symbolise how creative use of technology can create a new generation of self-made online celebrities. She also is a good case study in how celebrities can participate in online dialogue with their audiences and collaborate with other YouTube content providers. Zoella is considered a digital influencer in the modern media landscape. Activity: check out her YouTube channel here.
Zoella: background and history
Who is Zoella and what does she do?
Fashion, beauty hauls and ‘favourites’ other videos, showcasing her favourite products from the previous month. These are mostly beauty or fashion picks.
Second channel MoreZoella, contains mostly vlogs where she talks viewers through her day.
Appears on channel Daily Mix with other Youtubers and does collaborations for their channels.
Launched a range of beauty products under the brand name Zoella Beauty in 2014. The ‘bath and beauty range’ was very successful.
In 2016 Zoella and her brother (Youtuber Joe) released branded merchandise under the name ‘Sugg Life’ which is a play on ‘Thug Life’ (popularised by 90s rap and a recent meme on the internet)
Her debut novel, Girl Online, was released in November 2014 and broke the record for highest first ever book sales for a first time novelist. The book is aimed at a young adult audience and features a 15 year old anonymous blogger whose blog goes viral. She has published two more novels and will release a non-fiction book in 2018 giving advice on entertaining guests and hosting parties.
Convergence: She is dating Youtube star Alfie Deyes and announced their relationship on a public blog post in 2013. Her younger brother, Joe Sugg, is also a vlogger and internet personality known as ThatcherJoe. She was featured in the 2014 single for ‘Do They Know It’s Christmas?’ raising money to help the West Africans combat Ebola. She has appeared on adverts and on television panel shows such as Loose Women and This Morning. She was also on the comic relief edition of The Great British Bake Off.
The Telegraph cited Zoella as one of ‘Britain’s most influential Tweeters’ in 2013. She has 13.6 million followers on Twitter.
Her Youtube channel is the 147th most subscribed channel.
Vlogging: codes and conventions Reminder: Codes and conventions are established practices that tend to underpin different media products. Zoella uses a range of range of codes and conventions. These tend to focus on:
A Vlog name which gives information about what it contains.
A question that underpins post.
Quirky music.
Writing on the screen.
Speaker central to the screen and speaks directly to the camera.
Some props to keep video engaging.
Lots of cuts (jump cuts – where the camera position is the same).
Different angles and shots for variety.
Personal – this builds connection and trust with audience.
Often conversational and informal in tone.
Makes the start as compelling as possible: the hook.
Industries How does Zoella make money? It has been calculated that in 2014, Zoella earned £443.41 per hour. How does she make this money through a YouTube channel?
YouTube pre-roll adverts: YouTube vloggers make ‘on average $0.001 per view.’ – and with Zoe’s channels averaging 22 million video views a month that works out a £15,000 monthly cheque.
Blog: Away from Youtube, Zoella.co.uk the written blog then pulls in 7.4 million unique views a month, which generates an estimated £4,000 a month from ads too.
Product Placement: Many companies want Zoella to showcase and promote their products and she can demand up to £20,000 when she does this in her videos.
Beauty range: Zoella has launched her own beauty range sold through Superdrug. She managed to sell a record breaking 70,000 units in its first month alone. With the average price of one of the products being £6.50, that works out an estimated £455,000 in sales. It is unknown how much of a cut Zoe sees of that amount. In the following four months since Superdrug released these stats, it’s estimated the range has gone on to sell a further 150,000 units resulting in an additional £975,000 of sales. This has been an excellent way for Superdrug to reach their target teenage audience.
Books: Zoella’s ‘Girl Online’ book series racked up £2 million in sales so far by February 2015, which Zoe will presumably receive a percentage of. If this wasn’t staggering enough, Zoe was also paid a whopping £100,000 advance before it even hit the shelves.
Vlog Tour: linking with other popular Vloggers, tours around the UK [including more expensive VIP packages to meet the celebs] generate substantial income.
Industry collaborations
Zoella has established regular online collaborations with other popular YouTubers to produce new, popular content and to increase audience figures. Collaborations playlist: view Zoella's YouTube collaborations here.
Digital influencers and traditional media We are increasingly seeing Zoella (and others) becoming more convergent with these traditional media. As Zoella has become more successful, she has made more appearances in traditional media such as TV, newspapers and magazines:
Audience Zoella: teenage target audience Think about Zoella's target audience and how she uses media language choices to attract that particular demographic. What would her specific target audience be:
Gender?
Age range?
Psychographics?
Zoella: audience pleasures Applying Blumler and Katz's Uses and Gratifications theory, Zoella offers her target audience a range of audience pleasures. Her relaxed, informal videos offer a sense of entertainment and escapism to teenagers who also feel a sense of personal identity in seeing their own lifestyles and interests reflected in her vlogs. Over time, audiences build a personal relationship with Zoella and want to follow updates from her life. She also provides information and learning through make-up tips, 'life-hacks' and more. Zoella - love her or hate her? Applying Stuart Hall's Reception theory, Zoella's ‘dominant reading’ is as a down-to-earth girl that the audience can relate to and align themselves with. However, she is so well known that some people will take an oppositional reading of her work. Indeed, she has been criticised for some of her decisions and videos. Zoella: criticisms
In 2014 Sugg was criticised for filming whilst driving her car.
In 2017 there was negative publicity surrounding the release of her 12-door advent calendar for which she was charging £50. The calendar was criticised for being ‘over-priced’ and ‘poor quality’, containing some items such as a small packet of confetti.
In 2017, she had to issue an apology after controversy emerged when people brought up social media posts she had made between 2009-2012 mocking gay people and ‘chavs’. She apologised and said that she had not intended to offend anyone.
Vloggers in general have been criticised for making up to £20,000 a month through being paid to promote certain products and therefore influencing young people.
Personally, Zoella has been criticised for being a poor role model for girls, suggesting that her message is that being pretty and feminine and interested in looks is important.
It has been suggested that she used a ‘ghost writer’ for her novel but this has not been officially confirmed. This book has been criticised by UK newspapers for ‘not being challenging enough’.
Representations Zoella raises many interesting questions regarding how she constructs her representation in the media. How does Zoella represent herself? Is this the real Zoella or merely a media construction of herself designed to sell products? What representation of celebrity does she provide? Is a self-made YouTube celebrity more authentic or positive than a traditional music or TV star? Does Zoella provide a positive or negative representation of women?
Zoella was listed as one of The Telegraph’s ‘40 best beauty bloggers’ in 2014 and ‘Queen of the Haul’ by British Vogue.
She was included in the 2015 Debrett’s 50, listing the most influential people in Britain.
In 2015 she was named ‘Most Inspirational Woman of the Decade’ in technology by Grazia.
BUT...
She was also named the 34th Sexiest Woman in the world by FHM magazine.
She has included more ‘adult’ themed photos on her Instagram and been criticised (see above) since her target fan base are pre-teen and early teenage girls.
Online, social and participatory case study 3: Zoella blog tasks Create a blogpost called 'Zoella CSP case study' and complete all the following questions under the subheadings Language, Representation, Industries and Audience. Language Read this Marie Clare article on Zoella as an online phenomenon. 1) Who is Zoella and why is she famous? How many subscribers does Zoella's YouTube channel have currently? 2) What is convergence? 3) What are Zoella's videos about? Find five video titles and write them here: 4) What are the codes and conventions of vlogging videos? 5) How does Zoella use media language choices to create her online identity? Write about Zoella's use of mise-en-scene (CLAMPS) - particularly costume and make-up.
Industries 1) How does Zoella make money? 2) What is a digital influencer? Why is Zoella considered a digital influencer? 3) Why do companies want to place their products in Zoella's videos? 4) Why are YouTube collaborations so important for helping digital influencers like Zoella to grow? 5) How has Zoella moved into a more traditional media landscape in recent years? Audience 1) Who is the target audience for Zoella's channel?
2) How are audiences encouraged to participate in or feel part of Zoella's brand? 3) What audience pleasures are provided by Zoella's videos and associated products?
4) Applying Stuart Hall's Reception theory, what would a preferred and oppositional reading of Zoella? Preferred (people who love Zoella): Oppositional (people who hate Zoella):
5) Why has Zoella been criticised by some people? Representations Read this Independent article arguing Zoella is a bad role model for young women. Next, read this Independent article arguing the opposite. 1) What is your opinion on this debate - is Zoella a positive role model for young women? 2) What representations of women are provided by Zoella? 3) What representations of celebrity are provided by Zoella? Is a self-made YouTube celebrity more authentic or positive than a traditional music or TV star? 4) How does Zoella represent herself? Is this the real Zoe Suggs or a media construction designed to sell products?
5) What criticisms could be levelled at the representation of Zoella?
