Monday, 28 May 2012

A2 Media G325 - How to Approach Q1a

Approaching Question 1a


These are the previous questions which came up for this part of the exam:

Describe how you developed research and planning skills for media production and evaluate how these skills contributed to creative decision making. Refer to a range of examples in your answer to show how these skills developed over time.

Describe the ways in which your production work was informed by research into real media texts and how your ability to use such research for production developed over time.

Describe how you developed your skills in the use of digital technology for media production and evaluate how these skills contributed to your creative decision making. Refer to a range of examples in your answer to show how these skills developed over time.

You will notice that each of these begins by asking you to 'describe' and then goes on to ask you to reflect in some way: "evaluate", "how you used" "how your skills developed". herein lies the key to this part of the exam! You only have half an hour for the question and you really need to make the most of that time by quickly moving from description (so the reader knows what you did) to analysis/evaluation/reflection, so he/she starts to understand what you learnt from it.

there are five possible areas which can come up
  • Digital technology
  • Research and Planning
  • Conventions of Real Media
  • Post-Production
  • Creativity.
If you look through those questions above, you will see that they all contain at least two of the five- creativity is mentioned (as 'creative decision making') in two of them alongside the main area (digital technology on one, research and planning skills in the other). In the third of those past questions , research is combined with conventions of real media. So as you can see, the question is likely to mix and match the five, so you HAVE to be able to think on your feet and answer the question that is there.

So, how do you get started preparing and revising this stuff? I would suggest that you begin by setting out, on cards or post-its, a list of answers to these questions:

What production activities have you done?

This should include both the main task and preliminary task from AS and the main and ancillaries at A2 plus any non-assessed activities you have done as practice, and additionally anything you have done outside the course which you might want to refer to, such as films made for other courses or skateboard videos made with your mates if you think you can make them relevant to your answer.

What digital technology have you used?

This should not be too hard- include hardware (cameras, phones for pictures/audio, computers and anything else you used) software (on your computer) and online programs, such as blogger, youtube etc

In what ways can the work you have done be described as creative?

This is a difficult question and one that does not have a correct answer as such, but ought to give you food for thought.

What different forms of research did you do?

Again you will need to include a variety of examples- institutional research (such as on how titles work in film openings), audience research (before you made your products and after you finished for feedback), research into conventions of media texts (layout, fonts, camera shots, soundtracks, everything!) and finally logistical research- recce shots of your locations, research into costume, actors, etc

What conventions of real media did you need to know about?

For this, it is worth making a list for each project you have worked on and categorising them by medium so that you don’t repeat yourself

What do you understand by ‘post-production’ in your work?

This one, I’ll answer for you- for the purpose of this exam, it is defined as everything after planning and shooting or live recording. In other words, the stage of your work where you manipulated your raw material on the computer, maybe using photoshop, a video editing program or desktop publishing.

For each of these lists, your next stage is to produce a set of examples- so that when you make the point in the exam, you can then back it up with a concrete example. You need to be able to talk about specific things you did in post-production and why they were significant, just as you need to do more than just say ‘I looked on youtube’ for conventions of real media, but actually name specific videos you looked at, what you gained from them and how they influenced your work.

This question will be very much about looking at your skills development over time, the process which brought about this progress, most if not all the projects you worked on from that list above, and about reflection on how how you as a media student have developed. Unusually, this is an exam which rewards you for talking about yourself and the work you have done!

Final tips: you need some practice- this is very hard to do without it! I’d have a crack at trying to write an essay on each of the areas, or at the very least doing a detailed plan with lots of examples. The fact that it is a 30 minute essay makes it very unusual, so you need to be able to tailor your writing to that length- a tough task!



Friday, 27 April 2012

How to Revise Successfully

Please find below a link to the Media Education website MediaEdu. On the site you will find useful tips and strategies for revising successfully for the media exams you will be taking in the Summer. Please take the time to explore the site.
MediaEdu
http://www.media.edusites.co.uk/

Friday, 16 March 2012

Royalty Free Soundtracks

Below is a link to Thebluemask.com one of many royalty free music download sites on the internet. The site contains many different albums and soundtracks for use in dramactic scences and films, ideally for Foundation Portfolio projects.


Wednesday, 14 September 2011

Jewson Film Foundation



The Jewson Film Foundation provides a total overview of how to make a professional feature film. The JFF is also a nest bed from which Jewson Film Productions hopes to discover new talent, whether it be directors, writers or cinematographers.


Why was the Foundation set up?

The Jewson Film Foundation was established by Vicky Jewson to help aspiring actors, camera crew, directors and producers to enter the film industry.

As Vicky Jewson explains: "I was always interested in films from a very young age and was determined to be a part of this exciting and vibrant industry and to make my own films, but it wasn't easy to meet the right people, assemble a crew, find a cast and most importantly of all, raise the necessary money. The whole purpose behind this course is to open up a far more accessible route into a job / career in the film industry. Therefore we can only offer five places as any more would jeopardise the intensity of the training and one-on-one attention we are advocating.

The Foundation was set up to create a direct access route into the film industry, to give new talent a platform for getting their dream job in the film industry or to write and direct their first feature film. Jewson Film Productions plans to produce industry professionals and to make up to five features per year from up and coming talent identified during our programme."

For more information either visit the website, call or email

Monday, 27 June 2011

Audience Theories

1. The Hypodermic Needle Model


Dating from the 1920s, this theory was the first attempt to explain how mass audiences might react to mass media. It is a crude model (see picture!) and suggests that audiences passively receive the information transmitted via a media text, without any attempt on their part to process or challenge the data. Don't forget that this theory was developed in an age when the mass media were still fairly new - radio and cinema were less than two decades old. Governments had just discovered the power of advertising to communicate a message, and produced propaganda to try and sway populaces to their way of thinking. This was particularly rampant in Europe during the First World War (look at some posters here) and its aftermath.

Basically, the Hypodermic Needle Model suggests that the information from a text passes into the mass consciouness of the audience unmediated, ie the experience, intelligence and opinion of an individual are not relevant to the reception of the text. This theory suggests that, as an audience, we are manipulated by the creators of media texts, and that our behaviour and thinking might be easily changed by media-makers. It assumes that the audience are passive and heterogenous. This theory is still quoted during moral panics by parents, politicians and pressure groups, and is used to explain why certain groups in society should not be exposed to certain media texts (comics in the 1950s, rap music in the 2000s), for fear that they will watch or read sexual or violent behaviour and will then act them out themselves.

2. Two-Step Flow

The Hypodermic model quickly proved too clumsy for media researchers seeking to more precisely explain the relationship between audience and text. As the mass media became an essential part of life in societies around the world and did NOT reduce populations to a mass of unthinking drones, a more sophisticated explanation was sought.

Paul Lazarsfeld, Bernard Berelson, and Hazel Gaudet analysed the voters' decision-making processes during a 1940 presidential election campaign and published their results in a paper called The People's Choice. Their findings suggested that the information does not flow directly from the text into the minds of its audience unmediated but is filtered through "opinion leaders" who then communicate it to their less active associates, over whom they have influence. The audience then mediate the information received directly from the media with the ideas and thoughts expressed by the opinion leaders, thus being influenced not by a direct process, but by a two step flow. This diminished the power of the media in the eyes of researchers, and caused them to conclude that social factors were also important in the way in which audiences interpreted texts. This is sometimes referred to as the limited effects paradigm.


3. Uses & Gratifications

During the 1960s, as the first generation to grow up with television became grown ups, it became increasingly apparent to media theorists that audiences made choices about what they did when consuming texts. Far from being a passive mass, audiences were made up of individuals who actively consumed texts for different reasons and in different ways. In 1948 Lasswell suggested that media texts had the following functions for individuals and society:

• surveillance

• correlation

• entertainment

• cultural transmission

Researchers Blulmer and Katz expanded this theory and published their own in 1974, stating that individuals might choose and use a text for the following purposes (ie uses and gratifications):

• Diversion - escape from everyday problems and routine.

• Personal Relationships - using the media for emotional and other interaction, eg) substituting soap operas for family life

• Personal Identity - finding yourself reflected in texts, learning behaviour and values from texts

• Surveillance - Information which could be useful for living eg) weather reports, financial news, holiday bargains

Since then, the list of Uses and Gratifications has been extended, particularly as new media forms have come along (eg video games, the internet)

Why Do People Watch Television? - an exploration of Uses & Gratifications by Daniel Chandler

• Uses & Gratifications/Dependency Theory - E Rossi



4. Reception Theory

Extending the concept of an active audience still further, in the 1980s and 1990s a lot of work was done on the way individuals received and interpreted a text, and how their individual circumstances (gender, class, age, ethnicity) affected their reading.

This work was based on Stuart Hall's encoding/decoding model of the relationship between text and audience - the text is encoded by the producer, and decoded by the reader, and there may be major differences between two different readings of the same code. However, by using recognised codes and conventions, and by drawing upon audience expectations relating to aspects such as genre and use of stars, the producers can position the audience and thus create a certain amount of agreement on what the code means. This is known as a preferred reading.

Thursday, 28 April 2011

A2 Advanced Production Evaluation

In the evaluation the following questions must be answered:

  • In what ways does your media product use, develop or challenge forms and conventions of real media products?

  • How effective is the combination of your main product and ancillary texts?

  • What have you learned from your audience feedback?

  • How did you use media technologies in the construction and research, planning and evaluation stages?
OCR Media Studies Specification

Monday, 17 January 2011

AS Portfolio - research into similar products

To assist students in building a picture both technically and creatively for their main tasks we have researched similar products that relate to the productions students are planning.

We then viewed the opening sequences of each text and analysed treatment, style, content and the film language used to create and introduce the story.

The five films we looked at were.

1. No Country For Old Men



2. Falling Down



3. Hot Fuzz



4. The Many Adventures of Winnie The Pooh



5. Enduring Love