CONTENTS. Organisation 2 Exam Grade Descriptors Course Overview & 2 Year Calendar Plan. 3-5 Theories Component 3 (Coursework) &

Transcription

1 NAME:... TARGET GRADE:.. Media will allow you to explore media across platforms, such as magazine, newspapers, television, blogs & gaming, & in context, comparing historical & contemporary examples. You will need to understand the effect of context & know the terminology & develop the skills to analyse the range of media we cover. You will also come across a lot of new ideas & theories about media. So, you need to organise this new knowledge as you go along, & keep good notes that you can revise from. As well as this, you will need to be very organised when we start coursework, managing your time effectively outside lessons as well as in them. Use this course guide to help you start good study habits, understanding how everything links together, & put you in control of your final grade. CONTENTS Organisation 2 Exam Grade Descriptors Course Overview & 2 Year Calendar Plan 3-5 Theories Component 3 (Coursework) & Self-Evaluation of Learning 6-7 Grading Attitude 27 Component 1, (including s) 8-12 Word Search 28 Component 2, (including s) Glossary of Media Terms 29-34

2 Your Exam Folder should include: Section Called Guidance in which you should have: This guide, Notes on Course Guidance taken in lessons, Exam Topic Areas divided into two separate exam components; Component ONE, Media Products, Industries & Audiences, divided into; Advertising, Music Videos,,, Gaming, Film Cross-Media Component TWO: Media Forms & Products in Depth, divided into; Television, Magazine, Online Media Section called Terminology & Skills Section called AW Work, which should include a TRACKING SHEET Your Coursework Folder should include: Coursework Guidance Booklet, with mark scheme The Brief Research Annotated examples Drafts & final copy of aims & intentions A log of your ongoing grading/marks

3 COMPONENT ONE (EXAM) (90 marks) [35%] SECTION A [45 marks] ONE question on unseen text (or 2 texts), focusing on media language. ONE question on a different unseen text, focusing on representation, comparing it with a set product [advert, music video, Newspaper]. SECTION B [45 marks] Topic ONE: Series of questions on media industries where you comment on one or more set texts.,, Gaming, Film, Topic TWO: Series of questions on media audiences where you comment on one or more set texts. Advertising,,, Gaming, guideline:.15 marks 30 marks guideline: marks guideline: marks COMPONENT TWO (EXAM) (90 marks) [35%] SECTION A [30 marks] ONE or TWO questions on HUMANS & THE RETURNED SECTION B [30 marks] ONE or TWO questions on WOMANS REALM (1965) & HUCK (2016) SECTION C [30 marks] ONE or TWO questions on a named blog & named online magazine. COMPONENT THREE (COURSEWORK) (60 marks) [30%] Aims & Intentions (10 marks) Production (50 marks) As you go through the course, put in & regularly change what you are getting in your work. You can use this to calculate what you need in the exam to achieve each grade, & how likely this is.

4 Week 1 Induction: Theoretical framework 2 Induction: Practical Skills 3 Component One: Section A,. ML, Rep, [Tide, WaterAid, Kiss of the Vampire] 4 Component One: Section A,. ML, Rep, [Tide, WaterAid, Kiss of the Vampire] 5 Component One: Section A,. ML, Rep, [Tide, WaterAid, Kiss of the Vampire] 6 Component One: Section B,. Audience, [Tide, WaterAid,] 7 Exam Focus Advertising ADVERTISING & MARKETING 8 Component One: Section B, Film. Industry. [Straight Outta Compton]. FILM 9 Component One: Section B, Film. Industry. [I, Daniel Blake]. 10 Component One: Section A, Newspaper, ML, Rep. [The Daily Mirror, The Times]. Exam Focus 11 Component One: Section A, Newspaper, ML, Rep. [The Daily Mirror, The Times]. Exam Focus 12 Component One: Section A, Newspaper, ML, Rep. [The Daily Mirror, The Times]. Exam Focus 13 Component One: Section A, Newspaper, ML, Rep. [The Daily Mirror, The Times]. Exam Focus 14 Component One: Section B, Newspaper, Industry & Audience. [The Daily Mirror]. CHRISTMAS 1 Component One: Section B, Newspaper, Industry & Audience. [The Times]. 2 Component Two: Section B, Magazines, Introduction & Industry Overview; contexts. 3 Component Two: Section B, Magazines, Historical Product. ML & Rep 4 Component Two: Section B, Magazines, Historical Product. Industry. 5 Component Two: Section B, Magazines, Historical Product. Audience. 6 Component Two: Section B, Magazines, Contemporary, non-mainstream product. ML & Rep 7 Component Two: Section B, Magazines, Contemporary, non-mainstream product. Industry. 8 Component Two: Section B, Magazines, Contemporary, non-mainstream product. Audience. 9 Component Two: Section B, Comparison of Products. Exam Focus 10 Component One: Section A, Music Video. ML & Rep. [Formation & Riptide] 11 Component One: Section A, Music Video. ML & Rep. [Formation & Riptide] 12 Component One: Section A, Music Video. ML & Rep. [Formation & Riptide] Exam focus EASTER 1 REVISION & MOCK EXAM Component 1/Component 2B 2 REVISION & MOCK EXAM Component 1/Component 2B 3 Component 3: Introduction to Briefs, initial research/ideas/choose genre. 4 Research. Analysis of similar cross-media products (ML, reps, audience, industry, convergence) 5 Research. Analysis of similar cross-media products (ML, reps, audience, industry, convergence) 6 Draft planning. Pitch/treatment. 7 Detailed planning both cross media products. Plan for time/resources. 8 Detailed planning both cross media products. Plan for time/resources. SUBMIT STATEMENT OF AIMS & INTENTIONS. 9 Production tasks. 10 Production tasks. 11 Rough cut/draft of product 1 & teacher review 12 Re-shooting & redrafting. NEWSPAPERS MAGAZINES MUSIC VIDEOS PRODUCTION

5 Week 1 Production tasks. 2 Production tasks. 3 Rough cut/draft of product 1 & teacher review 4 Re-shooting & redrafting. 5 Polish & complete. 6 Submission of cross-media production 7 Component Two: Section A, TV. Introduction & Industry Overview, Contexts, 8 Component Two: Section A, TV. HUMANS, SEASON 1. ML, Rep. 9 Component Two: Section A, TV. HUMANS, SEASON 1. Industry. 10 Component Two: Section A, TV. HUMANS, SEASON 1. Audience. 11 Component Two: Section A, TV. THE RETURNED, SEASON 1. ML, Rep. 12 Component Two: Section A, TV. THE RETURNED, SEASON 1. Industry. 13 Component Two: Section A, TV. THE RETURNED, SEASON 1. Audience. 14 Component Two: Section A, TV. Comparison of Products; exam focus CHRISTMAS 1 Component One: Section B,. Industry & Audience. [Late Night Woman s Hour]. RADI 2 Component One: Section B,. Industry & Audience. [Late Night Woman s Hour]. O 3 Component One: Section B,. Industry & Audience. [Assassin s Creed III]. GAME 4 Component One: Section B,. Industry & Audience. [Assassin s Creed III]. S 5 Component One: Section C, Online Media. Introduction & Industry Overview, Contexts. 6 Component One: Section C, Online Media. Blog - ML & Rep. 7 Component One: Section C, Online Media. Blog - Industry. 8 Component One: Section C, Online Media. Blog - Audience. 9 Component One: Section C, Online Media. Online Magazine - ML & Rep. 10 Component One: Section C, Online Media. Online Magazine - Industry. 11 Component One: Section C, Online Media. Online Magazine - Audience. 12 Component One: Section C, Online Media. Exam Focus. EASTER 1 Revision/Exam Practice 2 Revision/Exam Practice 3 Revision/Exam Practice 4 Revision/Exam Practice 5 Revision/Exam Practice 6 Revision/Exam Practice 7 Revision/Exam Practice PRODUCTION TELEVISION ONLINE MEDIA

6 Your finished pieces will be. A cross-media product that responds to a BRIEF released on 1 st March, which will include two of the following three platforms; o An audio visual production (eg: sequence from a television programme, music video) o A print production (eg: magazine pages, marketing materials) o An online/digital production (eg: website, online magazine) A statement of aims for the production, of 500 words. THE PROJECT: Researching & Planning You will need to research a range of comparative products in response to the brief, looking at codes & conventions, audience, mode of address, & representations. You will use the notes & knowledge & underst&ing from this to create initial ideas for your two products, developing more detail in your planning, such as storyboards, sketches, mock-ups, & drafts, through further research. Your planning will be monitored, & although not marked, will provide supporting evidence to validate the independence & ownership of your work. THE PRODUCTION(S) Your research & planning will lead to production processes, where you will develop skills in filming, photography & Photoshop &/or digital skills. Having learnt these skills, you can really explore your potential & ideas with when creating, dressing, staging, filming & photographing your product, editing, refining, checking & re-editing, intelligently & creatively incorporating codes & conventions, addressing a specified audience highly appropriately & communicating a vision & set of values that sits comfortably but imaginatively within the limits of the brief.

7 B& 5: 8-10 marks Excellent, highly detailed, consistently relevant a & i. Clearly links to brief, target intended audience, specified industry & cohorent concept for linked productions. a&i show a plan for thorough & sustained use of appropriate codes & conventions, & insightful representations. Excellent evidence of knowledge & underst&ing of theoretical framework & highly appropriate subject specific terminology B& 4: 7-8 marks Good, reasonably detailed a & i. Reponds to brief, target intended audience, specified industry & clear concept for linked productions. a&i show a plan for consistent use of appropriate codes & conventions, & purposeful representations. Good evidence of knowledge & underst&ing of theoretical framework & appropriate subject specific terminology B& 3: 5-6 marks Satisfactory statement of a & i. Reponds to brief, target intended audience, specified industry & straightforward concept for linked productions. a&i show a plan for use of generally appropriate codes & conventions, & representations. Satisfactory evidence of knowledge & underst&ing of theoretical framework & generally appropriate subject specific terminology. B& 2: 3-4 marks Basic statement of a & i. Partially relevant but inconsistent reponse to brief, target intended audience, specified industry & basic concept for linked productions. a&i show a plan for a use of codes & conventions, & representations not always appropriate Basic evidence of knolwedge & underst&ing of theoretical framework & appropriate subject specific terminology LEVEL 5: Marks Excellent realisation of brief Consistent & relevant conventions for form, genre, industry coherently interrelated Consistent engagement & positioning of audience with highly appropriate mode of address. Brief fully met. LEVEL 4: Marks Good realisation of brief Relevant conventions for form, genre, industry clearly interrelated Likely engagement & positioning of audience with appropriate mode of address. Brief almost fully met. LEVEL 3: 9-12 Marks Satisfactory realisation of brief Generally relevant conventions for form, genre, industry clearly interrelated Likely engagement & positioning of audience with generally appropriate mode of address. Most requirement in the brief met - some detail missing. LEVEL 2: 5-8 Marks Basic realisation of brief Relevant but inconsistent conventions for form, genre, industry basically interrelated Likely to engage & position audience inconsistently with sometimes inappropriate mode of address. Some requirements in the brief met LEVEL 5: Marks Excellent, sustained use of media language in a highly complex way (intertextuality, hybridity,) with thorough control of connotations & embodying ideological perspectives. Excellent crossmedia production constructing a highly effective narrative or design Excellent, sustained language that constructs insightful & appropriate representations. LEVEL 4: Marks Good use of media language in a reasonably complex way (eg intertextuality, hybridity) & good control of connotations, & clear points of view. Good cross-media production constructing an effective narrative or design Good use of language that constructs purposefull & appropriate representations. LEVEL 3: Marks Satisfactory use of media language in a straightforward way with some control of connotations & to imply points of view. Satisfactory cross-media production constructing an satisfactory narrative or design Satisfactory use of language that constructs generally appropriate representations. LEVEL 2: 7-12 Marks Basic, underdeveloped use of media language to communicate basic meanings with occasional control of conotations, Basic cross-media production constructing a basic narrative or design Basic use of language that constructs representations not always appropriate.

8 SET TEXTS for SECTION A Advertising: TIDE PRINT ADVERT (1950s) & WATERAID TV ADVERT (2016) & KISS OF THE VAMPIRE FILM POSTER (1963) Music Video: FORMATION, BEYONCE (2016) & RIPTIDE, VANCE JOY (2013) : THE DAILY MIRROR, NOV 10, 2016 (cover & article) & THE TIMES NOV 10, 2016 (front & back pages.) You will study the above SET TEXTS in detail (alongside some comparative media examples), & compile revisable resources, on the following areas: - Media language - Representation - Media Context Your studies should mean that eventually, you should BE ABLE to - analyse critically & compar e how media products construct & communicate meanings through the interaction of media language & audience response. - use a range of complex theories of media studies & use specialist terminology appropriately & in a developed way - debate key questions relating to social, cultural, political & economic role of media - construct & develop a sustained line of reasoning which is coherent, relevant, substantiated & logical. Language Theories: Barthes (Semiotics), Neale (Genre) Representation: Hall, Gauntlett (Identity), Van Zoonen (Feminist), hooks (feminist), Gilroy (ethnicity & Postcolonial), Butler (Gender Performativity) You will: - View a piece of media - Explain how it has been constructed - Explain how the construction creates a range of meanings (interpretations) - Explain the role of genre, narrative, technical & symbolic codes in this construction - Incorporate theoretical discussions & debates - Explore the relationship of the media extract/example & wider society, including values in that society. - Comparison Question: intelligently compare constructions, cultural values, social contexts, influences & assumptions, representations of the unseen with one of your set texts. - Consider audience positioning in relation to representations, & emotional & ideological manipulation THEORIES DECONSTRUCTION SKILLS

9 SET TEXTS & Unseen Examples in.. SET TEXTS & Unseen Examples in.. How the different modes & language in different media forms (& their combination) communicate many meanings How & why stereotypes can be used positively & negatively How developing technologies affect media language How codes & conventions of include processes through which media language develops as genre How meanings are established through intertextuality How & why particular social groups, in a national & global context, may be underrepresented or misrepresented How media representations convey values, attitudes & beliefs about the world & how these may be systematically reinforced across a wide range of media How audiences respond to & interpret media representations How audiences respond to & interpret the above aspects of media language The varieties of ways intertextuality can be used in the media How media language incorporates viewpoints & ideologies Semiotics (including Barthes) Structuralism (including Lévi-Strauss) How events, issues, individuals (inc. selfrepresentation) & social groups (inc. social identity) are represented through selection & combination How the media, through representation, construct versions of reality What leads media producers to make choices about how to represent events, issues, individuals & social groups The effect of social & cultural context on representation How representations make claims about realism How industry contexts impact the choices media producers make about how to represent events, issues, individuals & social groups The effect of historical context on representations How representations invoke discourses & ideologies & position audiences How audience responses to & how interpretations of media representations reflect social, cultural & historical circumstances Theories of representation (including Hall) Theories of identity (including Gauntlett) Feminist theories (including Van Zoonen & hooks) Theories of ethnicity & postcolonial theory (including Gilroy)

10 SET TEXTS for SECTION B Advertising: TIDE PRINT ADVERT (1950s) & WATERAID TV ADVERT (2016) : THE DAILY MIRROR & THE TIMES : LATE NIGHT WOMAN S HOUR: HOME, 28 OCT 2016 Gaming: ASSASSIN S CREED III, LIBERATION (2012) Film Cross-Media Study: STRAIGHT OUTTA COMPTON (2015) & I DANIEL BLAKE (2016) You will study the above SET TEXTS in detail (alongside some comparative media examples), & compile revisable resources, on the following areas: - Media Industries - Audiences - Media Context Your studies should mean that eventually, you should, for AREA ONE (industry), be able to answer a Stepped question on media industries including a requirement to comment on one or more set texts from the following industries:,, Gaming, Film This means being able to critically discuss, with knowledge, understanding, theory & appropriate terminology, the following: This means being able to critically discuss, with knowledge, understanding, theory & appropriate terminology, the following: Your studies should mean that eventually, you should, for AREA TWO (audience), be able to answer a Stepped question on media audiences including a requirement to comment on one or more set texts from the following industries: Advertising,,, Gaming.

11 SET TEXTS & other examples SET TEXTS & other examples SET TEXTS & other examples Production, distribution & circulation by organisations, groups & individuals in a global context Film How digitally convergent media platforms impact media production, distribution & circulation, + individual producers Film How audiences interpret the media, including how & why audiences may interpret the same media in different ways Advertising The specialised & institutionalised nature of media production, distribution & circulation The relationship of recent technological change & media production, distribution & circulation The significance of patterns of ownership & control, inc. conglomerate, vertical integration & diversification The significance of economic factors, inc. commercial & not-forprofit public funding, to media industries & their products How media organisations maintain, including through marketing, varieties of audiences nationally & globally The regulatory framework of contemporary media in the UK The impact of 'new' digital technologies on media regulation, including the role of individual producers How processes of production, distribution & circulation shape media products Film Film Film Film Film Film Film Film The role of regulation in global production, distribution & circulation The effect of individual producers on media industries Power & media industries (including Curran & Seaton) Regulation (including Livingstone & Lunt) Cultural Industries (including Hesmondhalgh) How audiences are grouped & categorised by media industries, including by age, gender & social class, as well as by lifestyle & taste How media producers target, attract, reach, address & potentially construct audiences How media industries target audiences through content & the appeal of media products & how they are marketed, distributed & circulated The interrelationship between media technologies & patterns of consumption & response Film Film Film Film Film Advertising Advertising Advertising How audiences interact with the media & can be actively involved in media production How specialised audiences can be reached, nationally & globally, through different media technologies & platforms How media organisations reflect the different needs of mass & specialised audiences, including through targeting How audiences use media differently, reflecting demographic factors, aspects of identity & cultural capital The role & significance of specialised audiences, including niche & fan, to the di The way in which different audience interpretations reflect social, cultural & historical circumstances Media effects Cultivation theory (including Gerbner) Reception theory (including Hall) Fandom (including Jenkins) 'End of audience' (including Shirky) Advertising Advertising Advertising Advertising

12 C1, SECTION A REVISION HEADINGS Codes: technical, symbolic, visual, theories Genre: conventions, hybridity, homage, pastiche, parody, Narrative: approach, terminology, theory Representation: messages, values, assumptions, theories Context: historical, social & cultural, economic, political Theories: semiotics, structuralism, representation, identity, feminism, gender performativity, C1, SECTION B REVISION HEADINGS Audience: grouping/categorising, targeting, attracting, reaching, addressing, constructed, marketing, distribution & circulation, interrelationship between technologies & consumption & response, how audiences interpret & interact with media, specialised, niche & fan audiences, Industries: production, distribution, circulation, specialised, institutionalised, technological change, patterns of ownership, economic factors, marketing, regulation, digital convergence, individual producers) Context: historical, social & cultural, economic, political Theories: media effects, cultivation, reception, fandom, end of audience, power & media industries, regulation, cultural industries KNOWLEDGE is essential for underpinning SKILLS & UNDERSTANDING, so record new VOCABULARY, concepts & KNOWLEDGE you will need to learn. This section of the exam is highly SKILLS-BASED, upon which critical thinking is then layered. So PRACTICE is essential to achieve well in it. This, of course, assumes you have the KNOWLEDGE in place. So you must learn the terminology. Have you got the SHOWBIE resources & notes from class for each Topic? Have you got full vocabulary lists for each section? To keep an eye on your progress, fill in the checklist at least 3 times a year (e.g., December, March & May), using list, then share with your teacher. O Good Understanding Developing: I need more work Not enough yet Don t just leave it there! Return to the area that is weak check your notes, ask for help, read more & then re-assess yourself! Have you practiced using these new terms, spoken & in your writing? Have you practiced on a range of different texts?

13 SET TEXTS for SECTION A Television: HUMANS, SEASON 1. (2015) & THE RETURNED, SEASON 1. (2012) EXAM: COMPONENT 2, SECTION A: The exam will do one of two things. It might ask you to respond to only ONE question (worth 30 marks) where you are required to discuss BOTH television products. It might, however, split the question into two separate questions, with one on the English language product () & one on the non-english language product (). Each would be worth 15 marks, & you would spend 25 minutes on each. Media Language: meaning creation (& polysemy), genre (codes, conventions, forms & processes), dynamic nature of genre, intertextuality (HUMANS ONLY), audiences interpretation & response to codes, genre hybridity & historic relativity, genre subversion (HUMANS ONLY), values & ideologies, Media Industries: processes of production, distribution & circulation [pdc], specialised & institutionalised [pdc], patterns of ownership & control, economic factors, marketing, audience varieties, regulatory framework, impact of new digital technological on regulation, how [pdc] shapes products, regulation impact on [pdc], effect of individual producers on television (HUMANS ONLY). Media Audiences: how audiences are targeted, attracted, reached, addressed, constructed, how content appeals to audiences, including marketing, distribution & circulation, how audiences interpret media, organisations reflecting differences in mass & specialised audiences, how audiences use media reflecting demographics & cultural capital, niche & fan audiences, how audience interpretations reflect social, cultural & historical circumstances. Media Representations: how groups, individuals, events, issues social identity, are represented (including self-representation), social & cultural context of representations, stereotyping, under/misrepresentation, global constructions of values, attitudes & beliefs, audience responses & interpretations of media representations, industry & historical context impact of representations, creation of discourses & ideologies, social, cultural & historical circumstances.

14 TEXTS SET TEXTS How the different modes & language associated with different media forms communicate multiple meanings How the combination of elements of media language influence meaning The codes & conventions of media forms & products, including the processes through which media language develops as a genre The dynamic & historically relative nature of genre The processes through which meanings are established through intertextuality How audiences respond to & interpret the above aspects of media language The way events, issue, individuals (including self-representation) & social groups (including social identity) are represented through processes of selection & combination The effect of social & cultural context on representations How & why stereotypes can be used positively & negatively How & why particular social groups, in a national & global context, may be underrepresented or misrepresented How media representations convey values, attitudes & beliefs about the world & how these may be systematically reinforced across a wide range of media representations How genre conventions are socially & historically relative, dynamic & can be used in a hybrid way How audiences respond to & interpret media representations The significance of challenging &/or subverting genre conventions The significance of the varieties of ways in which intertextuality can be used in the media The way media language incorporates viewpoints & ideologies Narratology (including Todorov) Genre (including Neale) Structuralism (including Levi-Strauss) Postmodernism (including Baudrillard) The impact of industry contexts on the choices media producers make about how to represent events, issues, individuals & social groups The effect of historical context on representations The way in which representations make claims about realism The impact of industry contexts on the choices media producers make about how to represent events, issues, individuals & social groups The effect of historical context on representations How representations may invoke discourses & ideologies & position audiences

15 SET TEXTS & other examples SET TEXTS & other examples How audience responses to & interpretations of media epresentations reflect social, cultural & historical Circumstances Theories of representation (including Hall) Feminist Theories (including bell hooks & Van Zoonen) Theories of gender performativity, (including Butler) Processes of production, distribution & circulation by organisations, groups & individuals in a global context Processes of production, distribution & circulation by organisations, groups & individuals in a global context The specialised & institutionalised nature of media production, distribution & circulation The significance of patterns of ownership & control, including conglomerate ownership, vertical integration & diversification The significance of economic factors, including commercial & notforprofit public funding, to media industries & their products How media organisations maintain, including through marketing, varieties of audiences nationally & globally The regulatory framework of contemporary media in the UK How processes of production, distribution & circulation shape media products The role of regulation in global production, distribution & circulation The effect of individual producers on media industries Cultural industries (including Hesmondhalgh) Regulation (including Livingstone & Lunt) How media producers target, attract, reach, address & potentially construct audiences How media industries target audiences through content & appeal of media products & how they are marketed, distributed & circulated How audiences interpret the media, including how they may interpret the same media in different ways How media organisations reflect the different needs of mass & specialised audiences, including through targeting How audiences use media in different ways, reflecting demographic factors as well as aspects of identity & cultural capital The role & significance of specialised audiences, including niche & fan, to the media The way in which different audience interpretations reflect social, cultural & historical circumstances Reception Theory (including Hall) F&om (including Jenkins)

16 SET TEXTS for SECTION B Magazine: TBA EXAM: COMPONENT 2, SECTION B: The exam will do one of two things. It might ask you to respond to only ONE question (worth 30 marks) where you are required to discuss BOTH magazine products. It might, however, split the question into two separate questions, with one on Woman s Realm (historic, mainstream), & one on Huck (contemporary alternative). Each would be worth 15 marks, & you would spend 25 minutes on each. Media Language: meaning creation (& polysemy), genre (codes, conventions, forms & processes), dynamic nature of genre, audiences interpretation & response to codes, genre hybridity & historic relativity, values & ideologies, Media Industries: processes of production, distribution & circulation [pdc], repcialised & institutionalised [pdc], significance of technological change on [pdc ] (Huck Only), patterns of ownership, economic factors, audience varieties, regulatory framework, impact of digital convergence on [pdc] (Huck Only), Media Representations: how groups, individuals, events, issues are represented (including self-representation), social & cultural context of representations, stereotyping, under/misrepresentation, global constructions of values, attitudes & beliefs, audience responses & interpretations of media representations, the way media makes claims about realism (Huck Only), industry & historical context impact of representations, creation of discourses & ideologies, social, cultural & historical circumstances. Media Audiences: how audiences are grouped/categorised, how audiences are targeted, attracted, reached, addressed, constructed, how content appeals to audiences, including marketing, distribution & circulation [mdc], how audiences interpret media, reaching specialised audiences (Huck Only),, organisations reflecting differences in mass & specialised audiences, how audiences use media reflecting demographics & cultural capital, niche & fan audiences (Huck Only), how audience interpretations reflect social, cultural & historical circumstances.

17 TEXTS SET TEXTS How the different modes & language associated with different media forms communicate multiple meanings The processes which lead media producers to make choices about how to represent events, issues, individuals & social groups How the combination of elements of media language influence meaning The effect of social & cultural context on representations The codes & conventions of media forms & products, including the processes through which media language develops as a genre How & why stereotypes can be used positively & negatively The dynamic & historically relative nature of genre How & why particular social groups, in a national & global context, may be underrepresented or misrepresented How audiences respond to & interpret the above aspects of media language How media representations convey values, attitudes & beliefs about the world & how these may be systematically reinforced across a wide range of media representations How genre conventions are socially & historically relative, dynamic & can be used in a hybrid way How audiences respond to & interpret media representations The way media language incorporates viewpoints & ideologies The way in which representations make claims about realism Semiotics (Barthes) The impact of industry contexts on the choices media producers make about how to represent events, issues, individuals & social groups The effect of historical context on representations Structuralism (Levi-Strauss) How representations may invoke discourses & ideologies & position audiences The way events, issue, individuals (including self-representation) & social groups (including social identity) are represented through processes of selection & combination How audience responses to & interpretations of media representations reflect social, cultural & historical circumstances

18 SET TEXTS SET TEXTS Theories of identity (Gauntlett) How audiences are grouped & categorised by media industries, including by age, gender & social class, as well as by lifestyle & taste Feminist Theories (including bell hooks & Van Zoonen) How media producers target, attract, reach, address & potentially construct audiences Processes of production, distribution & circulation by organisations, groups & individuals in a global context How media industries target audiences through content & appeal of media products & how they are marketed, distributed & circulated The specialised & institutionalised nature of media production, distribution & circulation How audiences interpret the media, including how they may interpret the same media in different ways The relationship of recent technological change & media production, distribution & circulation How specialised audiences can be reached, both on a national & global scale, through different media technologies & platforms The significance of patterns of ownership & control, including conglomerate ownership, vertical integration & diversification How media organisations reflect the different needs of mass & specialised audiences, including through targeting The significance of economic factors, including commercial & notforprofit public funding, to media industries & their products How audiences use media in different ways, reflecting demographic factors as well as aspects of identity & cultural capital The regulatory framework of contemporary media in the UK The role & significance of specialised audiences, including niche & fan, to the media The impact of digitally convergent platforms on media production, distribution & circulation The way in which different audience interpretations reflect social, cultural & historical circumstances Power & media industries (including Curran & Seaton) Cultivation theory (including Gerbner) Regulation (including Livingstone & Lunt) Reception Theory (including Hall)

19 Section C: Media in an Online Age (30 Marks = 50 minutes) SET TEXTS for SECTION C Blog: Online Magazine: EXAM: COMPONENT 2, SECTION B: The exam will do one of two things. It might ask you to respond to only ONE question (worth 30 marks) where you are required to discuss BOTH products. It might, however, split the question into two separate questions, with one on the blog & one on the online magazine. Each would be worth 15 marks, & you would spend 25 minutes on each. Media Language: meaning creation (& polysemy), how combined codes create meaning, how developing technologies affect media language, genre (codes, conventions, forms & processes), audiences interpretation & response to codes, values & ideologies, Media Industries: processes of production, distribution & circulation [pdc], significance of technological change on [pdc ], economic factors, impact of digital technology on regulation, impact of digital convergence on [pdc], the effect of individual producers on the industry, Media Representations: how groups, individuals, events, issues, social identities, are represented (including selfrepresentation), how processes lead producers to make choices about how to represent, social & cultural context of representations, stereotyping, under/misrepresentation (only Desimag or Attitude), global constructions of values, attitudes & beliefs, audience responses & interpretations of media representations, the way media makes claims about realism (only Desimag or Attitude), creation of discourses & ideologies (only Desimag or Attitude), social, cultural & historical circumstances. Media Audiences: how audiences are grouped/categorised, how audiences are targeted, attracted, reached, addressed, constructed, how content appeals to audiences, including marketing, distribution & circulation [mdc], the interrelationship between media technologies & consumption & response, how audiences interact with media (active involvement), reaching specialised audiences (only Desimag or Attitude), organisations reflecting differences in mass & specialised audiences, how audiences use media reflecting demographics & cultural capital, niche & fan audiences,

20 TEXTS SET TEXTS How the different modes & language associated with different media forms communicate multiple meanings The processes which lead media producers to make choices about how to represent events, issues, individuals & social groups How the combination of elements of media language influence meaning The effect of social & cultural context on representations How developing technologies affect media language How & why stereotypes can be used positively & negatively The codes & conventions of media forms & products, including the processes through which media language develops as a genre How & why particular social groups, in a national & global context, may be under-represented or misrepresented How audiences respond to & interpret the above aspects of media language How media representations convey values, attitudes & beliefs about the world & how these may be systematically reinforced across a wide range of media representations The way media language incorporates viewpoints & ideologies How audiences respond to & interpret media representations Semiotics (Barthes) The way in which representations make claims about realism Structuralism (Levi-Strauss) How representations may invoke discourses & ideologies & position audiences How audience responses to & interpretations of media representations reflect social, cultural & historical circumstances Postmodernism (Baudrillard) Theories of representation (Hall) The way events, issue, individuals (including self-representation) & social groups (including social identity) are represented through processes of selection & combination Theories of identity (Gauntlett)

21 SET TEXTS SET TEXTS Theories of gender performativity (including Butler) Theories around ethnicity & postcolonial theory (including Gilroy) Processes of production, distribution & circulation by organisations, groups & individuals in a global context The relationship of recent technological change & media production, distribution & circulation The significance of economic factors, including commercial & not-for-profit public funding, to media industries & their products The impact of new digital technologies on media regulation, including the role of individual producers The impact of digitally convergent platforms on media production, distribution & circulation The effect of individual producers on media industries Regulation (including Livingstone & Lunt) Cultural industries (including Hesmondhalgh) How media producers target, attract, reach, address & potentially construct audiences How media industries target audiences through the content & appeal of media products & how they are marketed, distributed & circulated The interrelationship between media technologies & patterns of consumption & response How audiences interact with the media & can be actively involved in media production How specialised audiences can be reached, both on a national & global scale, through different media technologies & How media organisations reflect the different needs of mass & specialised audiences, including through targeting How audiences use media in different ways, reflecting demographic factors as well as aspects of identity & cultural capital The role & significance of specialised audiences, including niche & fan, to the media Cultivation theory (including Gerbner) How audiences are grouped & categorised by media industries, including by age, gender & social class, as well as by lifestyle & taste Fandom (including Jenkins) End of audience theories (including Shirky)

22 Component 2, SECTIONs A, B & C REVISION HEADINGS Media Language (Codes): technical, symbolic, visual, theories, Genre: conventions, hybridity, homage, pastiche, parody, theories, Narrative: approach, terminology, theories, Representation: messages, values, assumptions, stereotyping, theories, Context: historical, social & cultural, economic, political, Media Industries: production, distribution, circulation, regulation, digital & convergence, specialised & mainstream, economics, Theories: language, genre, narrative, representation & industry theories, KNOWLEDGE is essential for underpinning SKILLS & UNDERST&ING, so record new VOCABULARY, concepts & KNOWLEDGE you will need to learn. In this section of the exam it is particularly important to blend theoretical discussion & debate within critical discussion & analysis of the set texts. You must know & understand the theories & practice debating them in your essay writing.. Have you got the SHOWBIE resources & notes from class for each Topic? Have you got full vocabulary lists for each section? To keep an eye on your progress, fill in the checklist at least 3 times a year (e.g., December, March & May), using list, then share with your teacher. O Good Understanding Developing: I need more work Not enough yet Don t just leave it there! Return to the area that is weak check your notes, ask for help, read more & then re-assess yourself! Have you practiced using these new terms, spoken & in your writing? Have you practiced on a range of different texts?

23 B& 5: Marks B& 4: marks B& 3: 7-9marks B& 2: 4-6 marks Excellent, consistent & accurate application of knowledge & underst&ing of theoretical framework in analysis Analysis is perceptive, detailed & likely to be informed by relevant theories Good, accurate application of knowledge & underst&ing of theoretical framework in analysis Analysis is logical & may be informed by relevant theories Satisfactory, generally accurate application of knowledge & underst&ing of theoretical framework in analysis Analysis is reasonable & straightforward Basic application of knowledge & underst&ing of theoretical framework in analysis, although lack of clarity, relevance & accuracy Analysis is underdeveloped, with tendency to describe. B& 5: Marks B& 4: marks B& 3: marks B& 2: 7-12 marks Excellent, consistent & accurate application of knowledge & underst&ing of theoretical framework in analysis of set & unseen texts Analysis of how representations construct reality are perceptive, detailed & may be informed by relevant theories Detailed & appropriate comparisons of audience positioning Judgements & conclusions relating texts to media contexts are perceptive, insightful & fully supported with detailed reference to specific textual evidence. Good, accurate application of knowledge & underst&ing of theoretical framework in analysis of set & unseen texts Analysis of how representations construct reality & may be informed by relevant theories Reasonably detailed, appropriate comparisons of audience positioning Judgements & conclusions relating texts to media contexts are logical & supported with appropriate reference to relevant textual evidence. Satisfactory, generally accurate application of knowledge & underst&ing of theoretical framework in analysis of set & unseen texts Analysis of how representations construct reality is reasonable & straightforward Satisfactory comparisons of audience positioning, though maybe unbalanced Judgements & conclusions relating texts to media contexts are straighforward & supported with some reference to relevant textual evidence. Basic application of knowledge & underst&ing of theoretical framework in analysis of set & unseen texts, although lacking clarity, relevance & accuracy Analysis of how representations construct reality is underdeveloped, with tendency to describe. Basic comparisons of audience positioning, (likely to be unbalanced) Basic judgements relating texts to media contexts & some underdeveloped conclusions, partially supported with textual evidence TOTAL FOR SECTION SPLIT INTO THE QUESTION AREAS: AUDIENCE & INDUSTRY Marks marks marks marks Excellent, detailed, accurate knowledge of media area raised in the question Thorough understanding evident in response Detailed & appropriate reference to set text, and examples to support points Possible appropriate reference to relevant theoretical perspectives. Good, accurate knowledge of media area raised in the question Secure understanding evident in response Reasonably detailed reference to set text, and examples to support points. Satisfactory knowledge of media area raised in the question, although lack of development Reasonable understanding evident in response Appropriate reference to set text to support points. Basic knowledge of media area raised in the question Basic understanding evident in response Partial reference to set text to support points. Out of 20: Out of 25: Out of 20: Out of 25: Out of 20: 9-12 Out of 25: Out of 20: 5-11 Out of 25: 6-10

24 TOTAL FOR EACH SECTION (APPLY CRITERIA ACCORDING TO QUESTION) Marks marks marks 8-13 marks Excellent knowledge & underst&ing of the topic raised by the question. Detailed underst&ing of significance. Links between products & question are perceptive & insightful Excellent application of knowledge & underst&ing of the theoretical framework related to question Perceptive & insightful analysis Detailed knowledge & underst&ing of the theory (or theories) relevant to the question Detailed knowledge & underst&ing of relevance of context (historical, social & cultural, economic or political) Judgements & conclusions are perceptive, insightful. Evaluation of theory is insightful, thorough & critically informed Arguments are fully supported with detailed reference to products Good knowledge & underst&ing of the topic raised by the question. Secure underst&ing of significance Links between products & question are logical Good application of knowledge & underst&ing of the theoretical framework related to question Analysis is logical Secure knowledge & underst&ing of the theory (or theories) relevant to the question Good knowledge & underst&ing of relevance of context (historical, social & cultural, economic or political) Judgements & conclusions are logical & coherent. Evaluation of theory is logical Arguments are well supported with relevant reference to set products Satisfactory knowledge & underst&ing of the topic raised by the question Reasonable underst&ing of significance Links drawn between products & question are generally sound Satisfactory application of knowledge & underst&ing of the theoretical framework related to question. Analysis is reasonable & straightforward Generally sound knowledge & underst&ing of the theory (or theories) relevant to the question (sometimes may be undeveloped) Reasonable knowledge & underst&ing of relevance of context (historical, social & cultural, economic or political) Judgements & conclusions are reasonable & straightforward Evaluation of theory is reasonable & straightforward, with tendency to apply rather than evaluate. Arguments are supported with some appropriate reference to set products Basic knowledge & underst&ing of the topic raised by the question Basic underst&ing of question area. Links between question & products are undeveloped Basic application of knowledge & underst&ing of the theoretical framework related to question. Analysis is undeveloped, Partial knowledge & underst&ing of the theory (or theories) relevant to the question with tendency to describe. Basic knowledge & underst&ing of relevance of context (historical, social & cultural, economic or political) Basic judgements & some conclusions linked to the question, but undeveloped. Description is likely to be inplace of evaluation with a tendency to describe features. Arguments are undeveloped & only partially supported by reference to the set products

25 Structuralism - Claude Lévi-Strauss the idea that texts can best be understood through an examination of their underlying structure the idea that meaning is dependent upon (& produced through) pairs of oppositions the idea that the way in which these binary oppositions are resolved can have particular ideological significance. Postmodernism - Jean Baudrillard the idea that in postmodern culture the boundaries between the real world & the world of the media have collapsed & that it is no longer possible to distinguish between reality & simulation the idea that in a postmodern age of simulacra we are immersed in a world of images which no longer refer to anything real the idea that media images have come to seem more real than the reality they supposedly represent (hyperreality). Genre theory - Steve Neale the idea that genres may be dominated by repetition, but are also marked by difference, variation, & change the idea that genres change, develop, & vary, as they borrow from & overlap with one another the idea that genres exist within specific economic, institutional & industrial contexts. Semiotics - Roland Barthes the idea that texts communicate their meanings through a process of signification the idea that signs can function at the level of denotation, which involves the literal or commonsense meaning of the sign, & at the level of connotation, which involves the meanings associated with or suggested by the sign the idea that constructed meanings can come to seem self-evident, achieving the status of myth through a process of naturalisation. Narratology - Tzvetan Todorov the idea that all narratives share a basic structure that involves a movement from one state of equilibrium to another the idea that these two states of equilibrium are separated by a period of imbalance or disequilibrium the idea that the way in which narratives are resolved can have particular ideological significance. Theories of representation - Stuart Hall the idea that representation is the production of meaning through language, with language defined in its broadest sense as a system of signs the idea that the relationship between concepts & signs is governed by codes the idea that stereotyping, as a form of representation, reduces people to a few simple characteristics or traits the idea that stereotyping tends to occur where there are inequalities of power, as subordinate or excluded groups are constructed as different or other (e.g. through ethnocentrism). Feminist theory - Liesbet van Zoonen the idea that gender is constructed through discourse, & that its meaning varies according to cultural & historical context the idea that the display of women s bodies as objects to be looked at is a core element of western patriarchal culture the idea that in mainstream culture the visual & narrative codes that are used to construct the male body as spectacle differ from those used to objectify the female body. Theories of gender performativity - Judith Butler the idea that identity is performatively constructed by the very expressions that are said to be its results (it is manufactured through a set of acts) the idea that there is no gender identity behind the expressions of gender the idea that performativity is not a singular act, but a repetition & a ritual.

26 Power & media industries - Curran & Seaton the idea that the media is controlled by a small number of companies primarily driven by the logic of profit & power the idea that media concentration generally limits or inhibits variety, creativity & quality the idea that more socially diverse patterns of ownership help to create the conditions for more varied & adventurous media productions.

27 CHECK OUT YOUR LEARNING HABITS & ATTITUDE Excellent Good Ok poor Bad Rate your attitude to all your lessons (take an average view) in terms of; concentration & focus how much you remember how determined you were to learn how much you wrote down how often you tried to come up with your own answers, ideas & how much you took responsibility for making sure you understood (asking questions, checking/testing your understanding, noting things you were unsure of How effective are your notes this term? Take into account whether they are legible, interpretable, useful to you, & can you revise from them? How would you rate your ability to meet deadlines for assessments & tasks outside the classroom? How would you rate the care you took over assessments & tasks outside the classroom? How good were you at reading, & if necessary improving, your notes after the lesson (at home/independent learning time)? How good were you at reading your feedback, & using it to affect your next piece of work? ADD UP YOUR TICKS FOR EACH COLUMN HERE: & TIMES BY THIS NUMBER x5 x4 x3 x2 x1 YOUR TOTALS If you scored 50 or over, you are improving your chances of getting more than ONE GRADE above your target grade. If you scored 45-50, you are improving your chances of getting ONE GRADE ABOVE YOUR TARGET GRADE. If you scored 33 44, you are working at the rate expected to reach YOUR TARGET GRADE If you scored 22 32, you are very likely to achieve at least ONE BELOW YOUR TARGET GRADE If you scored 11 22, you are very likely to gain a U, or fall at least TWO GRADES below your TARGET GRADE. IT IS NOT TOO LATE. AUTUMN TERM1: AUTUMN TERM 2 SPRING TERM 1 SPRING TERM 2

28

29 ACTIVE AUDIENCE APPEAL ASPIRATIONAL AUDIENCE CONSUMPTION AUDIENCE POSITIONING AUDIENCE SEGMENTATION AVATAR Binary BROADSHEET Catharsis CIRCULATION Connotation/ Connote Audiences actively engage in selecting media products to consume & interpreting their meanings. The way in which products attract & interest an audience, e.g. through the use of stars, familiar genre conventions etc. In terms of a media text, one that encourages the audience to want more money, up-market consumer items & a higher social position. The way in which audiences engage with media products (e.g. viewing a TV programme, playing a video game, reading a blog or magazine). Methods of consumption have changed significantly due to the development of digital technologies. The way in which media products place audiences (literally or metaphorically) in relation to a particular point of view. For example, audiences may be positioned with a particular character or positioned to adopt a specific ideological perspective. Where a target audience is divided up due to the diversity & range of programmes & channels. This makes it difficult for one programme to attract a large target audience. A player's representation of themselves within a game. Opposites a structuralist term A larger newspaper that publishes more serious news, for example The Daily Telegraph has maintained its broadsheet format. Enjoying violent/sexual content as a way of venting emotions The dissemination of media products to audiences/users the method will depend on the media form e.g. circulation of print magazines, broadcast of television programmes etc. What a code could mean potential meanings. ANCHORAGE ARC OF TRANSFORMATION ATTRACT AUDIENCE INTERPRETATION AUDIENCE RESPONSE AUDIO BACK STORY BRAND IDENTITY CAPTION CHANNEL IDENTITY Composition CONVERGENCE The words that accompany an image (still or moving) contribute to (stabilise) the meaning The emotional changes a character goes through in the process of the narrative. How media producers create appeal to audiences to encourage them to consume the product. The way in which audiences 'read' the meanings in, & make sense of, media products. How audiences react to media products e.g. by accepting the intended meanings (preferred reading). How sound is used to communicate meaning - voice-over, dialogue, music, SFX, etc. Part of a narrative which may be the experiences of a character or the circumstances of an event that occur before the action or narrative of a media text. It is a device that gives the audience more information & makes the main story more credible. The association the audience make with the brand, for example Chanel or Nike, built up over time & reinforced by the advertising campaigns & their placement. Words that accompany an image that help to explain its meaning. That which makes the channel recognisable to audiences & different from any other channel. Presenters, stars, programme genres & specific programmes all contribute to a channel's identity. The arrangement of items in an image The coming together of previously separate media industries &/or platforms; often the result of advances in technology whereby one device or platform contains a range of different features.

30 COVER LINES CULTURAL CAPITAL These suggest the content to the reader & often contain teasers & rhetorical questions. These relate to the genre of the magazine. The media tastes & preferences of an audience, traditionally linked to social class/background. CROSS- PLATFORM MARKETING DEMOGRAPHIC CATEGORY DENOTATION The literal meaning of a sign. DIEGETIC SOUND DISCOURSE DIVERSIFICATION ENIGMA CODE ETHNOCENTRIC FAN FOUR CS GENRE The topics, language & meanings or values behind them within a media text. The discourse of lifestyle magazines, for example, tends to revolve around body image & narcissism. Where media organisations who have specialised in producing media products in one form move into producing content across a range of forms. A narrative device which increases tension & audience interest by only releasing bits of information, for example teasers in a film trailer or narrative strands that are set up at the beginning of a drama/film that make the audience ask questions; part of a restricted narrative A belief in the superiority of one's own ethnic group or culture. For example, a newspaper will be more concerned to cover stories that are closely related to the reader & their concerns. Tabloid & local papers only tend to cover international news stories if they can relate them specifically to their readers. An enthusiast or aficionado of a particular media form or product. This stands for Cross Cultural Consumer Characteristics & was a way of categorising consumers into groups through their motivational needs. The main groups were Mainstreamers, Aspirers, Explorers, Succeeders & Reformers. Media texts can often be grouped into genres that all share similar conventions. Science fiction is a genre, as are teenage magazines, etc. DISTRIBUTION ENCODING & DECODING EQUILIBRIUM ETHOS FEATURE GATE KEEPERS HEGEMONY In media terms, a text that is distributed & exhibited across a range of media formats or platforms. This may include film, television, print, radio & the Internet. A group in which consumers are placed according to their age, sex, income, profession, etc. The categories range from A to E where categories A & B are the wealthiest & most influential members of society. Sound that comes from the fictional world, for example the sound of a gun firing, the cereal being poured into the bowl in an advert, etc. The methods by which media products are delivered to audiences, including the marketing campaign. These methods will depend upon the product (for example, distribution companies in the film industry organise the release of the films as well as their promotion). Media producers encode messages & meanings in products that are decoded, or interpreted, by audiences. In relation to narrative, a state of balance or stability (in Todorov's theory the equilibrium is disrupted & ultimately restored). The beliefs, values & customs of, for example, media organisations. In television, for example, what the channel believes in & what it sees as its role. The ethos is usually set out in the channel's charter. In magazine terms, the main, or one of the main, stories in an edition. Features are generally located in the middle of the magazine, & cover more than one or two pages. The people responsible for deciding the most appropriate stories to appear in newspapers. They may be the owner, editor or senior journalists. They will only let the stories most appropriate for the ideology of the paper 'through the gate'. This derives from the theory of cultural hegemony by Antonio Gramsci. Hegemony is the dominance of one group over another, often supported by legitimating norms & ideas. For example, the dominant social position in society is taken by men & the subordinate one by women.

31 SPECIALISEDAUD IENCE STEREOTYPE SUB-GENRE TABLOID TEXTUAL POACHING VERTICAL INTEGRATION VIRAL MARKETING 'WINDOW ON THE WORLD' A non-mass, or niche, audience that may be defined by a particular social group (for example young, aspirational females) or by a specific interest (for example skydiving). An exaggerated representation of someone or something. It is also where a certain group are associated with a certain set of characteristics, for example all Scotsmen are mean, blondes are dumb, etc. Stereotypes can be quick ways of communicating information in adverts & dramas, e.g. the rebellious teenager in a soap opera, as they are easily recognisable to audiences. Where a genre is sub-divided into smaller categories each of which has their own set of conventions. For example, the television drama genre can be sub-divided into teen drama, hospital drama, costume drama, etc. Refers to the dimensions of a newspaper; a tabloid is smaller & more compact in size. However, there are further connotations attached to the term & it also tends to refer to a newspaper whose content focuses on lighter news, for example celebrity gossip, sport & television. The way in which audiences or fans may take particular texts & interpret or reinvent them in different ways e.g. by creating fan fiction. Vertically integrated companies own all or most of the chain of production & distribution for the product. For example, a film company that also owns a chain of multiplex cinemas to exhibit the film & merchandise outlets. Where the awareness of the product or the advertising campaign is spread through less conventional ways including social networks & the Internet. Viral marketing is so named because many of the messages use 'hosts' to spread themselves rapidly, like a biological virus. The idea that media texts, particularly those that present aspects of reality, for example news programmes, are showing the audience the 'real' world as it happens. SPLASH STRIPPED SYNERGY TECHNICAL CODES USES & GRATIFICATIONS THEORY VIEWPOINTS VISUAL CODES The story that is given the most prominence on the front page of a newspaper. A technique used in radio & television whereby a certain programme is broadcast at the same time every day. In radio this attracts an audience who associate a particular programme with their daily routine, for example driving home from work. The combination of elements to maximise profits within a media organisation or product. For example, where a film soundtrack sells the film & the film sells the soundtrack. These are the way in which the text has been produced to communicate meanings & are part of media language Suggests that active audiences seek out & use different media texts in order to satisfy a need & experience different pleasures. Different perspectives in relation to values, attitudes, beliefs or ideologies. The visual aspects of the product that construct meaning & are part of media language, for example clothing, expression, & gesture.