IMPROVING STANDARDS IN G.C.S.E. MEDIA STUDIES USING MEDIA LANGUAGE

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1 IMPROVING STANDARDS IN G.C.S.E. MEDIA STUDIES USING MEDIA LANGUAGE

2 Section A Written Paper Advertising / Magazines Deconstructing the text Genre genre signifiers Codes and conventions repertoire of elements Technical codes: camera shot angle editing transitions SFX CGI Symbolic codes: body language, gesture, setting, dress, colour, composition Sound codes: music, dialogue, sound effects Narrative codes: storyline, plot, structure, characters Representations: age, gender, ethnicity, nation stereotyping PowerPoint by John Ashton, WJEC available at 2

3 CODES AND CONVENTIONS Camera shot Close up, Medium shot, Long shot ECU, MCU, MLS, ELS or BIG CLOSE UP, BIG LONG SHOT Camera angle High, low, eyelevel Two shot Over the shoulder Tilted frame Camera movements Pan, tilt, tracking shot, dolly Lighting High key / low key Hard and soft Editing Cutting, shot / reverse shot Jump cut, cutaway Cross cutting Transitions, fades, wipes, dissolves Sound codes Music: genre, motif, instruments Diegetic / nondiegetic sound Ambient sound Dialogue: narration, speech PowerPoint by John Ashton, WJEC available at 3

4 Symbolic codes Symbolic codes are hugely significant. Candidates should identify y the range of symbolic codes and explain why they have been used by the t makers of the text. Candidates should use the word SIGNIFY or CONNOTE when describing symbolic codes. Body language Gesture Dress Setting Object Composition: rule of thirds, perspective Colour Typographic codes: fonts, plain, bold, italic, decorative, serif / sans serif Mise en scene - a useful word here which often describes many symbolic codes Denotation and connotation Signifiers PowerPoint by John Ashton, WJEC available at 4

5 Narrative Codes : Plot, storyline, structure, character Plot, storyline Fabula, sychuzet Beginning, middle, end Tension, closure, resolution Harmony, dis-equilibrium, equilibrium Open narratives / closed narratives Linear, multi-strand, chronological Flashback Time condensing, time expansion Dramatic irony Dual narrative / triple narrative Binary oppositions Enigma and action codes Characters Protagonist / antagonist Propp Hero Villain Princess Messenger Rescuer Donor Anti hero Femme fatale PowerPoint by John Ashton, WJEC available at 5

6 Representations Key areas: age, gender, ethnicity, nation Positive / negative Stereotyping Categorisation Repetition Evaluation Both the areas for study for 2005 address key areas of representation and stereotyping. Candidates should be well prepared to look out for these issues and work which addresses issues of providing alternatives to these stereotypes will be highly rewarded. This applies equally to coursework both pre-production production and production work and to the pre-production production tasks on the examination paper. PowerPoint by John Ashton, WJEC available at 6

7 Intertextuality Candidates should address the text in the examination by asking Does it remind them of any other texts they have seen in photography, film, television etc? How does it remind them of the text? Genre, music, style, camera shots, narrative etc. For teaching strategies choose texts for study which have intertextual references. PowerPoint by John Ashton, WJEC available at 7

8 Organisations Marketing and promotion Branding, brand identities, brand image Distinctiveness and audience appeal Competition Cross media campaigns Schedules and ratings Audience research and targeting Distribution / Point of sale Pressures and constraints Taste and decency Institutional factors such as: costs, contracts, deadlines, franchises Intrusion and privacy The public interest The lives of the rich and famous Regulation and control Self regulation v. external regulation Codes of practice and monitoring PowerPoint by John Ashton, WJEC available at 8

9 Audiences Everyday uses and pleasures Strategies of audience appeal and interpretations Target audiences Reception and influence PowerPoint by John Ashton, WJEC available at 9

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