Assessment Schedule 2009 Media Studies: Demonstrate understanding of a specific media industry (90599)

Transcription

1 NCEA Level 3 Media Studies (90599) 2009 page 1 of 5 Assessment Schedule 2009 Media Studies: Demonstrate understanding of a specific media industry (90599) Evidence Statement The candidate names an appropriate media industry. The candidate responds to ONE option (there is no penalty for not identifying the option, but the selection must be evident in the answer). The response is appropriate to the chosen option: Option A: response discusses how and / or why regulations and industry practices are significant controls on a media industry. Option B: response discusses how and / or why commercial (economic) considerations are the most important control on a media industry. Option C response discusses how and / or why media industries are ultimately controlled by their audiences. The candidate s discussion may agree or disagree with the statement OR consider both viewpoints. Describes at least TWO features of organisation and / or control, eg: ownership local / national / global / international, crossmedia, chains vs independents, etc financial controls box office receipts, ratings, budgeting and funding restraints, market demands, management structure, news path (any medium) sales / marketing (any medium) a key person and their role and relationships with other personnel director, producer, on-air host, editor production processes technology, editorial policy, time constraints, industry selfregulation government policies codes and regulations, statutory bodies, legislation pressure groups market demands societal standards / values digital / technological advancements internet and internet applications. May introduce material to refute or support the statement.

2 NCEA Level 3 Media Studies (90599) 2009 page 2 of 5 (cont d) Explains in some detail how and / or why these organisational and / or control features operate AND Gives supporting evidence relevant to the chosen industry in the explanation for BOTH features, eg: details of specific businesses and their practices other related media organisations detailed examples of specific media texts specific examples of the features of organisation and control in action detailed activities of named personnel quotes or critical commentary from media analysts, academics, commentators, or other relevant persons. Analyses the significance / effect of these organisational and / or control features on a media industry. Analysis may include a detailed examination of how or why these organisational and control features operate in an industry or specific company. This analysis could: show the complexities of industry operations, structures, organisations give detailed background into the development or influence of specific features allow a discussion of the effects of particular features of organisation and control, of which discussion could include, but is not limited to, the effect on: the overall industry structure / organisation companies, their personnel and work practices specific products audiences. May discuss possible changes, future developments or alternatives. May discuss wider implications, such as long-term future effects on products, the industry, the market and / or audiences or wider society. Examples of wider implications include, but are not limited to: effects on audience size and composition narrowing or expansion of range / variety of media products manipulation of audience / society values and tastes changes in packaging and sale of audiences to advertisers loss of media impartiality downsizing changes in costs selectivity / bias changes in media ownership overseas control / globalisation profits draining offshore narrowcasting media fragmentation niche broadcasting Analyses perceptively the significance / effect of these organisational and / or control features on a media industry and / or wider society. Perceptive analysis will show insight some indication of conclusions drawn from the candidate s own investigation or analytical thinking into the industry s organisation and / or controls, the effect these structures and boundaries have on the industry, and how / why these have arisen. Some historical perspective may be appropriate at least an understanding of the forces / rationales at work. May discuss possible changes, future developments or alternatives. May discuss wider implications, such as long-term future effects on products, the industry, the market and / or audiences or wider society. Perceptive analysis may be reflected in the way that the chosen statement is argued, eg: a balanced and considered analysis of the statement which looks at the question from different perspectives a proven hypothesis about the organisation and / or control of the industry refuting or proving the statement with considered analysis.

3 NCEA Level 3 Media Studies (90599) 2009 page 3 of 5 restriction of choice / variety lack of reflection of local / national culture political interference and implications (eg National Radio, TVNZ charter) censorship PC or specific political / social / religious / philosophical biases cheaper high entertainment / low value productions dumbing down of content loss of market-share cross-media ownership impact of digital technological change media convergence or development of synergies. Uses evidence relevant to the chosen industry. May include a critique of established perceptions of industry organisation and / or controls, and suggest new interpretations of evidence.

4 NCEA Level 3 Media Studies (90599) 2009 page 4 of 5 Explains TWO features of organisation or control over a media industry (describes feature and explains how and / or why it operates) AND Gives supporting evidence for EACH feature [F1, F2]. Analyses the effects or implications of the organisational and / or control features on a media industry [SW1, SW2 So What ]. Analyses perceptively the effects or implications of the organisational and / or control features on a media industry and / or wider society, with evidence as support [PA]. eg Option B / New Zealand Music Industry Financing [partial answer only] Introduction: The New Zealand music industry is, of course, ultimately controlled by economic considerations. Artists want to make money from their music, as do music producers, the record label, the promoters, and all of the many people involved in the industry. One important economic control is the way that artists only get a small part of the per-unit sales. Another is the small size of the New Zealand market. F1 The hip hop music scene in New Zealand is a very important sector of the market, but it is often difficult for artists to be able to get a good, steady income from sales of their music. Artists only get a small part of the per unit sales. Even if an artist manages to sign with one of the big, major labels (Sony, EMI, Universal, or Warner), they are likely to get only 21 cents per unit (per CD), according to Wendy Day, the founder of Rap Coalition. This can be a big return if you really make it though. X1 For example, Scribe s album, The Crusader, went platinum and sold albums in the first three months of its release. However, the hard truth is that most New Zealand album sales number in the hundreds, and it is very difficult to make a profit. For those not contracted to one of the major labels then it is difficult, if not impossible, to make a real living out of this. SW1 In hip hop, the economic considerations are not just about profits from the music sold. There is a huge commercial tie-in to a huge variety of other products, which use not just hip hop music as a marketing tool to sell these products, but also the style and culture of hip hop. This is another way that the big music companies can make money from particular artists, ie if they are selling clothing, jewellery, books, promoting movies, or selling food and drink. Hip hop style has become an important marketing tool to sell these products and this is true in New Zealand as much as it is in the USA. For example, in New Zealand in 2007, rap artists fronted the Boost Mobile advertisements, and the New Zealand branch of the company sponsored such events as The Boost Mobile Hook Up Tour, The Boost Mobile MC Battle for Supremacy, The Boost Mobile Aotearoa Hip Hop Summit, and dedicated TV music slots. Through this, the company promoted its products and sales. These commercial link-ups are also an important part of the way that artists can gain an income as well, through such promotions, and the marketing of merchandise at concerts, etc. In 2002, King Kapisi started his own clothing label, Overstayer Clothing, and this was the first local urban street label to be made available in Farmers Trading Stores nationwide. PA Although it is obvious that economic considerations are an important driving force in the hip hop music industry in New Zealand, the drive to promote this music has had interesting cultural spinoffs as well, particularly within the Pacific Island community. In the 1990s, the development of the Urban Pacifika style of hip hop created a new, distinctive variant. For example [specific example(s) given to support this point] The identification with hip hop culture has become an important point of cultural difference for many Pacific Island teenagers. They identify with many of the ideas of independence and defiance. Examples of this include [specific examples given to support this point] And, of course, this music and style has been heavily exploited by the major record labels, as music videos and MTV have sold Pacific Island teenagers a dream they now see hip hop as part of their culture, while marketers simply see the selling of hip hop as another way to make money...

5 NCEA Level 3 Media Studies (90599) 2009 page 5 of 5 Judgement Statement F1 F2 SW1 + SW2 PA Codes: The following Media Studies-specific marking conventions may also have been used when marking this paper: F = Explanation of feature with supporting evidence. SW = Implication (So What). PA = Perceptive Analysis.