The television Close-Study Products are in-depth which means we need to know them inside out. We will get questions on a specific clip we are shown in the exam PLUS an extended essay question testing our knowledge of both CSPs and the wider industry. Notes from the lessons can be found in this separate blogpost here. If you're struggling with any of the questions below then look over the notes in your book and in this blogpost before you ask for help. Doctor Who: An Unearthly Child blog tasks Work through the following tasks and questions to demonstrate your comprehensive knowledge of Doctor Who: An Unearthly Child. Language and close-textual analysis 1) Write an NCIS analysis for the episode - using notes from the screening in class. Make specific, detailed reference to moments in the text using media terminology (e.g. media language - camera shots, diegetic/non-diegetic sound, mise-en-scene etc.) An Unearthly Child Narrative: Character: Iconography: Setting: 2) How does Todorov's theory of equilibrium apply to An Unearthly Child? Try and use the expanded version of Todorov's theory: Equilibrium - Disruption - Recognition - Reparation - New equilibrium. 3) Applying Propp's character theory, what character roles do each of the main characters in An Unearthly Child fit into? Alternatively, you may wish to discuss how characters do not fit Propp's character types. 4) What enigma and action codes (Barthes) can you find in An Unearthly Child? 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 An Unearthly Child? How do these create narrative or drama for the audience? Representations 1) What stereotypes of men are reinforced and subverted in Doctor Who: An Unearthly Child? How? 2) What stereotypes of women/girls are reinforced and subverted in Doctor Who: An Unearthly Child? How? 3) What are common media stereotypes of young people and old people? Do any of the characters or scenarios reinforce or subvert these conventional stereotypes (consider this was 1963)? Has this changed in more recent series of Doctor Who? 4) What representations of race/ethnicity can be found in Doctor Who: An Earthly Child? Is this surprising or not? Give reasons for your answer and consider historical / cultural context (the 1960s). Has this changed in more recent series of Doctor Who?
5) How is social class represented in An Unearthly Child? Think about how education and knowledge is presented in the episode.
Audience 1) Who is the target audience for Doctor Who? Has it changed since 1963? 2) What audience psychographic groups might particularly enjoy Doctor Who? 3) What audience pleasures are offered by 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): 4) What additional Uses and Gratifications would this episode provide to a modern 2018 audience? 5) Thinking of the 3 Vs audience pleasures (Visceral, Vicarious and Voyeuristic pleasures), which of these can be applied to An Unearthly Child? Industries 1) What was the television industry like in 1963? How many channels were there? 2) Why is Doctor Who such an important franchise for the BBC? 3) How does Doctor Who meet the BBC's mission statement to 'inform, educate and entertain'? 4) How is the BBC funded? 5) Who regulates the BBC and what is the watershed? Social and Historical context 1) How does An Unearthly Child reflect the social and historical contexts of the 1960s? 2) How might audiences have felt towards science fiction in the 1960s?
Grade 8/9 extension tasks and reading Read this Media Magazine article tracing the cultural impact of Doctor Who. What does it suggest regarding the importance of Doctor Who, representations and industry? Read this Guardian feature on female characters in Doctor Who. What does it suggest regarding the representation of women over time in Doctor Who? Read this New Statesman feature on Doctor Who as a global phenomenon. What does it suggest about Doctor Who fandom, British identity and the importance of the brand to the BBC? Read this Guardian feature on the representations of race and ethnicity in Doctor Who over the last 55 years. How has the programme changed in its representations of race and how does this fit the BBC's remit to inform, educate and entertain? We're giving you loads of time for this work because we know there are also final bits of coursework to complete. However, it is absolutely critical that you complete the whole of this case study in depth and detail as a large proportion of Media Paper 2 will be on these TV CSPs.
Our first television Close-Study Product is Doctor Who - An Unearthly Child from 1963. This is an in-depth study which means we need to analyse the product in terms of media language, industries, audience and representation. In addition, this CSP will be examined in Paper 2 with a short clip to analyse. This means we need to put in extra work on this media topic to ensure we are confident analysing clips in detail. You'll find the case study blog tasks for Doctor Who: An Unearthly Child on this separate blogpost here. Notes from the lessons Television CSPs - what we need to study Episode 1 of Dr Who: An Unearthly Child, 1955 Episode 4 of Class: Co-owner of a Lonely Heart Media Language: how the television shows communicate their message through mise-en-scene and narrative. Industry: how the shows are produced and marketed; BBC funding and regulation. Representation: How certain groups and individuals and ideas / issues are represented in the shows. Audience: Target audience and audience pleasures. PLUS: Historical, cultural and social significance of the television shows. Television will in Media Paper 2 Section A: Two medium response questions on an extract clip = one worth 8 marks and one worth 12. One extended essay style response about the whole of the episodes you have studied. Example questions: How is the genre of Dr Who: An Unearthly Child demonstrated in this extract? [8 marks] ‘Narrative features grab and hold the audience’s attention’. How far does an analysis of the extract of Dr Who: An Unearthly Child show this to be true? [12 marks]
‘The Science Fiction genre deals with society’s changing hopes and fears.’ To what extent is this true of television drama? Answer with reference to the first episode of Dr Who: An Unearthly Child (1963) and Class, Co-owner of a Lonely Heart (Close Study products) [20 marks]
Language
TV drama conventions:
Dramatic narrative, usually linear (with continuity across episodes.) This is called narrative arc e.g 13 Reasons Why and The Killing where the mystery spans the series.
Ensemble cast (characters with own storylines). Sometimes an episode will focus more on one character e.g. in LOST.
Specific technical codes e.g. realistic lighting and editing for social dramas to keep it gritty.
Use of stereotypical characters to get messages across quickly.
Narrative formula that is always followed e.g. Casualty (3 Strand); Homeland (multi-strand narrative).
Common use of flashback, point of view shots, dialogue and voice over, enigma and action codes throughout.
Science Fiction conventions - NCIS
Narrative
Alien invasion
Scientific advancement
Artificial intelligence
Time travel
Mutation
Post-apocalyptic struggles to survive
Chemical poisoning
Advanced technology
Experimentation
Disease / Contamination
Space travel
Characters
Doubles / Doppelgangers / Clones
Aliens who look like humans
Aliens who look different
New species
Scientists
People with advanced / superior intelligence
Robots and advanced AI e.g. computers who can think
Iconography
Futuristic hair and clothing
Military uniforms
Spaceships
Space suits and helmets
Futuristic weapons (light sabers / laser guns)
Laboratories and experimental props
Prosthetics / make-up
Colours- blue, silver, grey, green
Time machines / advanced computers/gadgets
Settings
Futuristic worlds
Parallel universes / alternate dimensions
Different time periods
Space or other planets
Dystopian or post-apocalyptic environments
Laboratories
Contaminated or toxic environments
Narrative theories Todorov: equilibrium Todorov suggested that all narratives follow a three part structure. They begin with equilibrium, where everything is balanced, progress as something comes along to disrupt that equilibrium, and finally reach a resolution, when a new equilibrium is restored. Equilibrium > Disequilibrium > New equilibrium
This can be applied to most media narratives. Propp: character types
Vladimir Propp stated that there were seven basic character roles when he analysed classic fairy tales and that these were present in most narratives. Media products still use these recognisable character types today: Hero, Villain, Heroine/Princess, Father, Donor, Helper/Sidekick, False Hero
Doctor Who: An introduction
Listed in Guinness World Records as the longest-running science fiction television show in the world with over 800 episodes.
The Doctor explores the universe in a time-travelling space ship called the TARDIS [Time And Relative Dimension In Space]. The TARDIS has a vast interior but appears smaller on the outside.
The Doctor travels through space and time preventing evil aliens or people from harming innocent people or changing history.
The Doctor has gained numerous reoccurring enemies during his travels, including the Daleks and the Cybermen.
Twelve male actors have headlined the series as the Doctor. The transition from one actor to another is written into the plot of the show with the concept of regeneration into a new incarnation. In 2018 the BBC had their first female incarnation for the thirteenth Doctor.
Doctor Who: An Unearthly Child
Social and historical context
First episode: Saturday, November 23rd, 1963 on the BBC. The plot was a narrative arc (a story over several episodes) involving the Doctor and his companions voyaging 100,000 years into Earth’s past to help some cavemen discover fire.
William Hartnell was the first Doctor, as an anti-hero who frequently put his companions in jeopardy for his own curiosity. Daleks made an appearance in the first series, as the arch enemies of the Doctor.
Jodie Whittaker took over the role as the Thirteenth Doctor in 2018 and is the first woman to be cast as the character.
1960s Britain
1961- First man in space
1963- American President J.F. Kennedy assassinated
1963- Martin Luther King gives his “I have a dream” speech
1964- Beatlemania takes over America
1965- The introduction of the mini skirt in a fashion show
1966- England wins the football world cup
1968- Martin Luther King assassinated
1969- First Man on the moon
1969- Concorde is flown for the first time
The ‘hippy’ sixties as they are often called, had a shift in culture. There was more freedom for young people and a breakaway from traditions.
Episode analysis: An Unearthly Child
An Unearthly Child (sometimes referred to as 100,000 BC) is the first narrative arc in the British science fiction television series Doctor Who. It was first broadcast on BBC TV in four weekly parts from 23 November to 14 December 1963. Scripted by the Australian writer Anthony Coburn, it introduces William Hartnell as the First Doctor and original companions; Carole Ann Ford as the Doctor's granddaughter Susan Foreman, with Jacqueline Hill and William Russell as school teachers Barbara Wright and Ian Chesterton. The first episode deals with Ian and Barbara's discovery of the Doctor and his time-space ship TARDIS in a junkyard in contemporary London.
Plot of episode 1
Schoolteachers Ian Chesterton and Barbara Wright are concerned about one of their pupils, Susan Foreman, who seems to have a very ‘alien’ outlook on England. They have come to her listed address to investigate. They arrive in a junkyard and find a police box, which proves to be no ordinary police box. When Ian and Barbara enter, they discover it to be much bigger on the inside than the outside. In the TARDIS is Susan and her grandfather, the Doctor. Fearing that Barbara and Ian will give away the secret of the TARDIS, he kidnaps them and takes the machine to the Stone Age, where they will have to fight for their lives.
The First Doctor was played as less mischievous and more cruel than later incarnations. He also seems less concerned about saving the human race.
His companion was made his ‘granddaughter’ because it was thought inappropriate for an old man to be accompanied by a young girl if she were unrelated to him.
Representations Daniel Chandler's representation theory: CAGE This is a theory about how the media constructs or represents individuals or groups of people through the media. Key markers of identity can be remembered through the acronym CAGE: C- Class A- Age G- Gender E- Ethnicity
Characters and representation in An Unearthly Child Susan Foreman Susan Foreman is the first of a long-standing tradition of Doctor Who companions. It was felt improper in 1963 for an older man, such as the Doctor, to be travelling through space with a young 15 year old girl; so she was written as his Granddaughter. She is a strong link to the young target audience and will often react in ways that the audience might in future episodes [e.g. screaming at aliens]. Classically relatable. She also provides a link between the chaotic alien madness of the Doctor and the human confusion embodied by Barbara and Ian (and the audience). She is therefore a translator of the more Sci-Fi elements of the story to a naïve 1960s audience. She can often be seen explaining some of the Doctor’s stranger outbursts to the humans Barbara and Ian. Another example of exposition.
The Doctor The Doctor represents the new age of technology and science that was emerging in the 1960s. The ‘space race’ was underway and the world was fascinated with all things space travel and linked to other planets. He represents this new world of discovery.
He is a Time Lord from the planet Gallifrey and he explores the universe with usually human companions who serve as audience surrogate characters to ask questions which allow the Doctor to provide relevant exposition. He is often eccentric, distracted and dark in mood. Some commentators have said he symbolises the struggle between good and evil, some have said he is a symbol of a God-like presence who wanders through time and space trying to change history for the better.
Teachers Barbara Wright and Ian Chesterton
Barbara and Ian represent traditional human values and are classically middle class. They are the people the Doctor explains everything to, so that the audience understands as well. This is known as exposition.
They are also Science and History teachers so often offer advice and opinions to the Doctor on matters of space and time. They also have very clearly defined gender roles in the series.
Barbara and Ian also play the narrative role of mother and father to Susan who is very naive and who has not had that paternal guidance from the Doctor. They are very traditional in their gender roles. Ian is very physical when there is fighting or physical work to be done. Barbara is represented in a more homely, caring role in the series. These were stereotypical gender roles in the early 60s – but times were changing. Ian and Barbara are bonded by their human characteristics in their Space adventures. They represent the caring, empathetic part of the human condition in how they look after Susan and, in later episodes, the Doctor himself.
Audience General audience notes:
Mainstream – broad appeal as millions of people watch the BBC
Long-running which shows it appeals to masses (12-40) and the reboot helped gain younger fans.
12 certificate so maybe young teens
References to popular culture (pop culture) has meant an appeal to a wider age range.
Demographics: A-E class as some complex plot points but also action and SFX that are easy to understand
Gender- split down middle (although boys are more usually fans of science fiction, this has changed over time. Also introduction of romance and drama in narrative. From 1970-2010 the female audience grew by 22%.
More diverse representation over recent years (gay characters, black central characters, strong female characters and of course the new female doctor) have all encouraged a wider audience.
Industries
Importance of Doctor Who to BBC
Doctor Who is one of the most iconic franchises that the BBC has. It has been launched 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.
BBC: Industry notes
The BBC (British Broadcasting Corporation) is a public service organisation and the oldest national broadcaster and the biggest in terms of employees [over 20,000]. It is different from other TV broadcasters in that funding comes from us all as BBC licence fee payers whereas other channels rely on advertising and sponsorship. The BBC has 3 key purposes: To Inform, Educate & Entertain. This means:
To provide information (that is supposed to be balanced)
To support learning for people of all ages
To produce creative output
To have diverse content (such as with its representations)
To reflect the United Kingdom, its culture and values to the world
BBC regulation
The BBC (British Broadcasting Corporation) has a board of governing members and is independent of government intervention. This means that it can produce content free impartially.
Since 2017, The BBC is now regulated by OfCOM (the Office of Communications). OfCOM oversees all media channels and produces a code of conduct that all media channels must follow or have their licence to make content removed and/or be fined heavily.
This includes suitable programmes before the 9pm watershed and various other quality standards.
Our next topic is Television - a crucial in-depth topic. These are particularly important CSPs as we know they will definitely come up in Media Paper 2. The first 42 marks of this paper will be based on your knowledge and understanding of the two TV programmes across Media Language, Industries, Audiences and Representations. The CSPs: Doctor Who (1963) and Class (2016) We need to study the following episodes as our in-depth CSPs: Episode 1 of Doctor Who: An Unearthly Child (1963) Episode 4 of Class: Co-owner of a Lonely Heart (2016) Media Language: how the television shows communicate their message through mise-en-scene and narrative. Industries: BBC as an institution; regulation; how the shows are produced and marketed. Representations: How certain groups and individuals and ideas / issues are represented in the shows (e.g. CAGE) Audiences: Target audience (demographics and psychographics) and audience pleasures. We also need to consider the historical, cultural and social significance of the television shows. Exam: Paper 2 Section A Television will be tested using two medium response questions on an extract clip from one of the two episodes we will be studying. One question will be worth 8 marks and one will be worth 12 marks. There will then be one extended 20-mark essay covering the whole of both of the episodes you have studied. Media Language: Genre Genre is the term for any TV or film media product that has a chosen style that follows certain codes and conventions e.g. comedy, action or crime drama. Genres can change over time and there is increasingly a fashion to combine genres to create hybrid genres. E.g. Romance and Comedy becomes a ‘RomCom’. NCIS We use the mnemonic NCIS to remember how to analyse the genre or film or television: Narrative: the storyline and preoccupations / issues e.g an action film usually features a dangerous quest or mission. Todorov’s Equilibrium theory might apply here. Characters: the people who drive the story. Here you may see examples of Propp’s character types e.g. In fantasy there is often a hero, princess, helper, villain etc. Iconography: the mise-en-scene (CLAMPS) to create a particular look e.g. a horror movie may be particularly focused on blood, darkness and set at night. Setting: the locations or time period used e.g. in Western movies, you will often see it located in American or Mexican deserts around 1800s.
TV Drama series A TV drama series is a set of connected TV episodes that run under the same title e.g. Game of Thrones, Stranger Things, Doctor Who or Class. They usually are structured in ‘seasons’ or ‘series’ and often end with a ‘season finale’. (‘Season’ is the US word but we will use the British term series.) TV Drama conventions
Dramatic narrative, usually linear (with continuity across episodes.) This is called narrative arc e.g. 13 Reasons Why and Stranger Things where the mystery spans the series.
Ensemble cast (characters with own storylines). Sometimes an episode will focus more on one character e.g. in LOST.
Specific technical codes e.g. realistic lighting and editing for social dramas to keep it gritty. Common use of flashback, point of view shots, dialogue and voice over, enigma and action codes throughout.
Use of stereotypical ‘stock’characters get messages across quickly.
Narrative formula that is always followed e.g. Casualty (3 Strand); Homeland (multi-strand narrative). Helps loyal viewers know what to expect.
Science Fiction conventions Watch the following montage clip to get an idea of the conventions of the Science Fiction genre:
Now think about the Science Fiction genre using NCIS: Narrative
Alien invasion
Scientific advancement
Artificial intelligence
Time travel
Mutation
Post-apocalyptic struggles to survive
Chemical poisoning
Advanced technology
Experimentation
Disease / Contamination
Space travel
Characters
Doubles / Doppelgangers / Clones
Aliens who look like humans
Aliens who look different
New species
Scientists
People with advanced / superior intelligence
Robots and advanced AI e.g. computers who can think
Iconography
Futuristic hair and clothing
Military uniforms
Spaceships
Space suits and helmets
Futuristic weapons (light sabers / laser guns)
Laboratories and experimental props
Prosthetics / make-up
Colours- blue, silver, grey, green
Time machines / advanced computers/gadgets
Settings
Futuristic worlds
Parallel universes / alternate dimensions
Different time periods
Space or other planets
Dystopian or post-apocalyptic environments
Laboratories
Contaminated or toxic environments
Introduction to Science-fiction TV drama: blog tasks
Watch the trailer for our CSP Class: Now answer the following questions: 1) How does Class meet the conventions of a TV drama series? 2) What conventions of the science-fiction genre can you find in the Class trailer? List as many as you can and use NCIS to help you. 3) What other genres are suggested by the trailer (e.g. horror)? Is Class an example of a modern hybrid-genre show? 4) Class is a spin-off from Doctor Who. At what point does the character of the Doctor appear in the trailer? 5) Who do you think the target audience for Class is? Is this a typical target audience for the science-fiction genre? Give reasons for your answer. Extension tasks: Aside from the appearance of the Doctor, what other references or allusions are made to the Doctor Who universe? Read this IndieWire feature on the best Science-fiction TV shows of the 21st century. What science-fiction conventions can you find in the feature? Are there any shows that particularly catch your eye for watching in future? Complete this for homework - due next week.
Our final close-study product for Advertising and Marketing is the 2016 Galaxy chocolate advert 'Chauffeur' featuring dead film star Audrey Hepburn. This product provides an excellent opportunity to explore a range of different representations: celebrity, place (Italy), gender and more. Sample questions for Advertising and Marketing In your Media exams, you are likely to get questions similar to these: - Why do advertisers use stereotypes? [6 marks] - Explain how advertisements reflect the historical context in which they were created. [12 marks]
Intertextuality: When one media text refers to or suggests another media text
Semiotic codes: The media language choices (‘signs’) that create connotations for the audience.
Historical context of confectionary advertising
Nostalgia, or a "yearning for yesterday," is a frequently used advertising tool. It is particularly common in the chocolate industry. This classic Flake advert from the 1980s creates a nostalgic atmosphere of a more innocent time:
Galaxy brand identity The Galaxy brand identity has focused on luxury and indulgence for over 25 years. This 1995 advert is a good example of the Galaxy brand and also features a nostalgic soundtrack:
Audrey Hepburn Audrey Hepburn was a huge Hollywood star in the 1950s and 1960s. She was associated with Hollywood glamour and style and was also a fashion icon and model. She died in 1993 at the age of 63. For the Galaxy advert, the advertising agency used a CGI-version of Hepburn from 1953, the year of her hit film Roman Holiday. The advert is set on the luxurious Italian Riviera which creates intertextuality and nostalgia – two key audience pleasures. Intertextuality in Media Products
Intertextuality is where one media product (e.g. Galaxy) makes reference to other media products (e.g. Audrey Hepburn movies such as 1953 film Roman Holiday) to interest and engage the audience.
Narrative theory
Propp’s Character theory
Vladimir Propp stated that there were seven basic character functions when he analysed 100 fairy tales and that these were present in most narratives. Media products still use these recognisable character types today:
Todorov suggested that all narratives follow a three part structure.
They begin with equilibrium, where everything is balanced, progress as something comes along to disrupt that equilibrium, and finally reach a resolution, when a new equilibrium is restored.
Equilibrium > Disequilibrium > New equilibrium
This can be applied to most media narratives.
Galaxy advert: Representations The TV advertisement for Galaxy uses a range of stereotypes. Stereotypes are used so that semiotic codes can be quickly communicated to the target audience. What stereotypes are used in this advert and why? Are they reinforced or subverted? Place: Italy
Celebrity: Audrey Hepburn
Product: Galaxy chocolate
Time: 1950s
Men & Women
Galaxy 'Chauffeur' advert: blog tasks
Work through the tasks in this blogpost to make sure you're an expert on this CSP.
Re-watch the Galaxy advert then answer the questions below: 1) Who is Audrey Hepburn? 2) Why did Galaxy select Audrey Hepburn for this advert? 3) What are the connotations of Audrey Hepburn and celebrity in this advert?
4) Why is the advert set in the 1950s? What audience pleasure does this provide? 5) What is intertextuality? 6) What Audrey Hepburn film is suggested in this advert and how is this effect created (e.g. mise-en-scene - CLAMPS: costume, lighting, actors, make-up, props, setting)? 7) Which of Propp's character types are represented in the advert? (Note: you will not find them all). 8) How does the advert's narrative (story) follow Todorov's theory of equilibrium? 9) What representations of gender can you find in this advert? 10) Are stereotypes reinforced or subverted in the Galaxy advert? Give examples. Grade 8/9 extension tasks Read the Framestore case study and the Guardian feature again. How did they recreate an Audrey Hepburn film using location, casting and CGI? Now read this Vintage Everyday feature behind the scenes of the Galaxy advert. What other background information do you learn here regarding the construction of the advert? Women in the 1950s are represented very differently in two of our advertising CSPs: OMO and Galaxy. What similarities and differences can you find by analysing the two products?
You will have time over Easter to complete these questions. Due: Tuesday 23 April. Your next Media assessment will be in the first week back after Easter. Revise EVERYTHING we have covered in the last term - Magazines (Tatler, Reveal) and Advertising and Marketing (OMO, NHS Represent and Galaxy).
Our second close-study product for Advertising and Marketing is the 2016 NHS Blood and Transplant online campaign video 'Represent' featuring Lady Leshurr. This product provides an excellent opportunity to explore a range of different representations: ethnicity, masculinity, femininity, class, age, disability and ability and place. Sample questions for Advertising and Marketing In your Media exams, you are likely to get questions similar to these: 1) Why do advertisers use stereotypes? [6 marks] 2) Explain how advertisements reflect the historical context in which they were created. [12 marks]
Represent: background information
Lady Leshurr is an English rapper, singer and producer. She is famous for her freestyling rap style and has her own clothing line. This is the advert CSP:
The two articles we read in the lesson provide details on the campaign and how it was developed. This also gives information on why blood from people with a BAME background is so vital. GLOW words to use in connection to this campaign
Literal – the actual, obvious meaning
Semiotics - the message behind what you see (hidden messages)
Reinforce stereotype – when a representation is what we expect
Challenge/subvert stereotype - When a representation goes against what we normally see in the media
Mass - A mass audience is made up of a large group of people (men, women, children, elderly)
Niche - A niche audience is a small subset with very unique interests or characteristics
Codes and conventions of rap music videos
There are many low-angled, close up shots in hip hop videos, to imply the artists’ power over their audience. The low angle gives them the power, because they look down on the audience and the close up gives status because it implies they’re important enough to have a frame to themselves.
Sections of direct contact with the camera (the artist usually spends a lot of time looking straight into the camera as if to talk or have a conversation with the audience and relate to them)
Props regarding costume tend to be used, for e.g. gold jewellery (male rap artists are commonly known to wear heavy chains or prominent rings)
Show a clear display of emotions – if the tone of the song is angry, the artist is likely to present this through their gestures and facial expressions.
Strong editing cuts between concept / performance and narrative.
Represent NHS Blood & Transplant campaign: blog tasks
Work through the tasks in this blogpost to make sure you're an expert on this CSP.
Re-watch the Represent video and then watch the 'making of' video:
1) What does BAME stand for? 2) Why is there a need for blood in the BAME community?
3) What does this advert want people to do once they've seen it ('call to action')? 4) Why is the advert called 'Represent'? 5) Why have the producers chosen famous BAME celebrities to feature in the advert? Give an example of three well-known people who appear in the advert and why they are famous. 6) Why is there a slow-paced long shot of empty chairs at the end of the advert? 7) How does the advert match the key conventions of a typical rap music video? 8) How does the advert subvert stereotypes? Give three examples (e.g. ethnicity, masculinity, femininity, age, class, disability/ability etc.)
9) How does the advert reinforce certain stereotypes of the BAME community? Could there be an oppositional reading where some audiences would find this advert offensive or reinforcing negative stereotypes? 10) Choose one key scene from the advert and write an analysis of the connotations of camera shots and mise-en-scene (CLAMPS). Grade 8/9 extension tasks
1) How does the advert use genre and intertextuality to appeal to the target audience? 2) How is celebrity endorsement or star power used to make the campaign stand out? 3) Research the following stars in more detail: Lady Leshurr, Ade Adepitan, Kanya King. Why are they famous? How do they help the campaign reach different segments of the niche BAME audience? 4) Read this MOBO press release about the "B Positive" campaign - the follow-up to the Represent advert. How does it aim to build on the success of the Represent campaign?
You will have lesson time to answer these questions but will need to complete for homework - due on Thursday 4 April.
The nominations are in for the Media Awards 2019! It's one week until the Media Awards and we've had an incredibly difficult job narrowing down some amazing work to finalise the nominations for 2019. This year, we'll be awarding prizes for last year's GCSE music videos as well as this year's GCSE and A Level coursework. The quality level at both GCSE and A Level is just remarkable and there has been a lot of very good work that hasn't made the cut. If you haven't been before, the Media Awards is our Oscars-style ceremony where we award trophies for the best Media coursework at GCSE and A Level. It's a major event in the Greenford calendar and tickets have completely sold out for each of the last FIVE years. The details for this year's awards: Date: Tuesday 26 March Time: 6pm - 8pm Tickets: £5 Tickets will go on sale on Tuesday 19 March (with exclusive presale for Media students on Monday 18 March). Remember - you need to be quick. The event sold out in just four days last year! A Level nominations BEST A LEVEL SOUND DESIGN Aranjit Panesar: Above and Beyond Ricardo McCalla: No Civilians Mariam Ahmadyar: Lola BEST A LEVEL CINEMATOGRAPHY Shivam Sorathia: Fear Nickholi Drummond: Truth Be Told Jagraj Sanghera: Impulsive BEST A LEVEL PRODUCTION DESIGN Gurpreet Hakim: High School Teen Saira Abubacker: Emily Shareen Rauf: Bookworm BEST A LEVEL EDITING Riki Verma: Rock and a Hard Place Krissah Rolle: The Section Areej Mehdi: A Sight For Sore Eyes BEST A LEVEL COMING-OF-AGE DRAMA CONCEPT Harkiran Dhaliwal Riki Verma: Rock and a Hard Place Natasha Bantleman: Deceit BEST A LEVEL HORROR CONCEPT Shivam Sorathia: Fear Krissah Rolle: The Section Areej Mehdi: A Sight For Sore Eyes GCSE nominations BEST GCSE MUSIC VIDEO CONCEPT Anosha Usman: Scars To Your Beautiful Tayvon St Louis: My Story Rio Davis: Play That Funky Music Kamarl McIntosh-Gordon: Changes Mandeep Gruvar: Sing Me To Sleep BEST GCSE MUSIC VIDEO EDITING Kyle McLeod: 1-800-277-8255 Daniel Dakoli: Revenge Lakshana Susinthiran: BB Hassan Barreh: Silence Tharshana Manivannan: New Person, Same Old Mistakes BEST GCSE MUSIC VIDEO PRODUCTION DESIGN Dalia Kerim: Finders Keepers Kian Upfold: Can’t Hold Us Lud Daniel-Abrha: Where Is The Love? Sajin Miah: Location Sufyan Aziz: Sun Comes Up BEST GCSE TV DRAMA CINEMATOGRAPHY Ayham Shawish: Man on the Run Silver Bholar-Harford: It’s Time Taranpreet Dhaliwal: Hybrid Cerys McNeil: Flashback Barbara Chrzanowska: Blue Castle BEST GCSE TV DRAMA ORIGINAL SCREENPLAY Meer Rahim: Institutionalised William Wagon-Horrix: The Strange Case of Professor Noble Lola Heath: Girl of the Sun Rhea Vargawal: Lifeless Savannah Charles: Break the System BEST GCSE TV DRAMA EDITING Aishwarya Odedra: A5H Jenny Ramos Silva: Machina Karan Juneja: Control Mathusan Thevathasan: New Life Aidan Kapasiawala: Experiment 101 BEST ACTOR 2019 Meer Rahim Riki Verma Karan Juneja Cameron Nanco BEST ACTRESS 2019 Lola Heath Aishwarya Odedra Areej Mehdi Annya Ranshi
Congratulations to all our nominees and we look forward to seeing you at the Media Awards on Tuesday 26 March!
