End of Year 1 exam learner response
1) Type up your feedback in full (you do not need to write mark/grade if you do not wish to).
WWW- This result isn't where we want to be but there is a lot of potential here. In fact, it is just the two essay questions holding you back- in the rest of the exam you show good knowledge of the CSPs and theories
EBI- Postmodernism + TV industry the two essays cost you 40 marks here. Some of this is knowledge/revision and some is exam technique
-We need to think about exam timing
-Written English: paragraphs, apostrophes etc
2) Read the mark scheme for this exam carefully, paying particular attention to the 'indicative content' for each question. This is some of the best learning you can do all year as it gives you an idea of what the exam board is expecting. For your LR blogpost, identify ONE point you could have added for the first three questions in Section A:
Q1 additional point/theory: Intertextuality: cover creates intertextual reference to King Kong stories/movies of 1950s which engages audience using narrative
Q2 additional point/theory/CSP reference: Evidence of the male gaze (Mulvey) with passive blonde female wearing revealing top reflects male dominance of the time period. Media products typically represented men in a hypermasculine way
Q3 additional point/theory/CSP reference: Jean Kilbourne’s work on the representation of women in advertising can be found in the Score hair cream advert. This presents women as objects and reinforces many of the negative, reductive stereotypes seen with regards to women in advertising from the 1950s
until at least the 1990s (and arguably to this day).
3) The final question in Section A was a 20-mark essay that required an extended response containing a coherent argument. Using the suggested content in the mark scheme, write an essay plan containing five paragraphs/points that answer the music video and postmodernism question.
-Billie Jean uses Polaroid photos and moving billboards in order to create a screen within a screen postmodern effect and also uses repeated intertextual references to old movie genres and a blurring of genders could be seen as postmodern aspects to the music video
-The construction of the video is an example of bricolage - the combining of old and new elements. Classic 1950s film noir detective narrative combine with light-up pavements much more in keeping with 1980s aesthetic. The narrative itself links to the lyrics about allegations in newspapers. This arguably reflects the media-isation of culture that Strinati lists as an aspect of postmodernism.
-In many ways, Letter to the Free is not conventionally postmodern-but it does subvert some aspects of Goodwin's theory of music video conventions. It is black and white, lack close-ups and offers a very slow pace in both editing and camera movement. However, it also offers a performance element and has visuals that match the lyrics in places which is more conventional of a music video.
- The reflective, floating black square in Letter to the Free arguably offers an example of hyperreality. It's a deliberating ambiguous motif that never makes clear whether it is real or symbolic. This echoes Baudrillard's claims with regards to audiences being unable to distinguish between reality and copies or simulations of reality.
-Jameson - "historical deafness": audiences increasingly learn history from media representations of historical events. Here, Common educates audiences about slavery, mass incarceration and Amendment 13 through the song and video. But is this an accurate representation of history.
4) Section B began with two questions testing your knowledge of industry terminology. Make sure you know the answers to these (get the answers from the mark scheme if you have to):
Two benefits of vertical integration:
Definition of diversification:
Diversification in media is when different media companies decide to branch out into different aspects/areas of media. They are expanding their brand.
5) Question 8 (TV industry) was arguably the hardest question on the exam. Write a new paragraph that answers the question referring to either Capital or Deutschland 83 and the global TV industry. Use the indicative content in the mark scheme to help you.
Capital reflects the global nature of London (multiculturalism) but perhaps less the global
nature of TV industry. State-of-the-nation drama largely aimed at British BBC audience who
understand cultural references to house prices, Eastern European builders, city bankers etc. Capital production company Kudos have sold many of their shows to international markets (including Capital). Capital was distributed by Fremantle Media, an international distributer that is part of the RTL group conglomerate (Bertelsmann). TV networks and streaming services are increasingly creating content that can work in multiple markets (e.g. Netflix and Amazon Prime developing original content in multiple languages). Deutschland 83 is brilliant example of the global nature of television. Internationally co-funded production – German/American money. UFA Fiction a German production company; distributed by Fremantle Media (same as Capital). Did better in America/UK than it did in Germany. Poor viewing figures in home country, viewers dropping each week.
WWW- This result isn't where we want to be but there is a lot of potential here. In fact, it is just the two essay questions holding you back- in the rest of the exam you show good knowledge of the CSPs and theories
EBI- Postmodernism + TV industry the two essays cost you 40 marks here. Some of this is knowledge/revision and some is exam technique
-We need to think about exam timing
-Written English: paragraphs, apostrophes etc
2) Read the mark scheme for this exam carefully, paying particular attention to the 'indicative content' for each question. This is some of the best learning you can do all year as it gives you an idea of what the exam board is expecting. For your LR blogpost, identify ONE point you could have added for the first three questions in Section A:
Q1 additional point/theory: Intertextuality: cover creates intertextual reference to King Kong stories/movies of 1950s which engages audience using narrative
Q2 additional point/theory/CSP reference: Evidence of the male gaze (Mulvey) with passive blonde female wearing revealing top reflects male dominance of the time period. Media products typically represented men in a hypermasculine way
Q3 additional point/theory/CSP reference: Jean Kilbourne’s work on the representation of women in advertising can be found in the Score hair cream advert. This presents women as objects and reinforces many of the negative, reductive stereotypes seen with regards to women in advertising from the 1950s
until at least the 1990s (and arguably to this day).
3) The final question in Section A was a 20-mark essay that required an extended response containing a coherent argument. Using the suggested content in the mark scheme, write an essay plan containing five paragraphs/points that answer the music video and postmodernism question.
-Billie Jean uses Polaroid photos and moving billboards in order to create a screen within a screen postmodern effect and also uses repeated intertextual references to old movie genres and a blurring of genders could be seen as postmodern aspects to the music video
-The construction of the video is an example of bricolage - the combining of old and new elements. Classic 1950s film noir detective narrative combine with light-up pavements much more in keeping with 1980s aesthetic. The narrative itself links to the lyrics about allegations in newspapers. This arguably reflects the media-isation of culture that Strinati lists as an aspect of postmodernism.
-In many ways, Letter to the Free is not conventionally postmodern-but it does subvert some aspects of Goodwin's theory of music video conventions. It is black and white, lack close-ups and offers a very slow pace in both editing and camera movement. However, it also offers a performance element and has visuals that match the lyrics in places which is more conventional of a music video.
- The reflective, floating black square in Letter to the Free arguably offers an example of hyperreality. It's a deliberating ambiguous motif that never makes clear whether it is real or symbolic. This echoes Baudrillard's claims with regards to audiences being unable to distinguish between reality and copies or simulations of reality.
-Jameson - "historical deafness": audiences increasingly learn history from media representations of historical events. Here, Common educates audiences about slavery, mass incarceration and Amendment 13 through the song and video. But is this an accurate representation of history.
4) Section B began with two questions testing your knowledge of industry terminology. Make sure you know the answers to these (get the answers from the mark scheme if you have to):
Two benefits of vertical integration:
- Greater control of the production process
- Lower costs and higher profits
Definition of diversification:
Diversification in media is when different media companies decide to branch out into different aspects/areas of media. They are expanding their brand.
5) Question 8 (TV industry) was arguably the hardest question on the exam. Write a new paragraph that answers the question referring to either Capital or Deutschland 83 and the global TV industry. Use the indicative content in the mark scheme to help you.
Capital reflects the global nature of London (multiculturalism) but perhaps less the global
nature of TV industry. State-of-the-nation drama largely aimed at British BBC audience who
understand cultural references to house prices, Eastern European builders, city bankers etc. Capital production company Kudos have sold many of their shows to international markets (including Capital). Capital was distributed by Fremantle Media, an international distributer that is part of the RTL group conglomerate (Bertelsmann). TV networks and streaming services are increasingly creating content that can work in multiple markets (e.g. Netflix and Amazon Prime developing original content in multiple languages). Deutschland 83 is brilliant example of the global nature of television. Internationally co-funded production – German/American money. UFA Fiction a German production company; distributed by Fremantle Media (same as Capital). Did better in America/UK than it did in Germany. Poor viewing figures in home country, viewers dropping each week.
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