Mr Hood's A Level Media Studies Blog 2019-2021

1st March: Revision 4: Advertising & Marketing (1)

STARTER

You studied video games with Mr Allsopp, so how about this quick Video Games Industry Quiz.

REVIEW

You now have a few minutes to review the feedback from last lesson's assignment. Use the feedback to improve future responses. Now I'd like you to colour code your response from last lesson, using a yellow highlighter to signpost any references to the theoretical framework (theories) and a green highligher to signpost terminology associated with media language (camera shots, angles, dress codes, audio codes, editing). How much media language did you use? How often did you reference the theoretical framework?

EXPLAIN & MODEL

Key Points:

Component 1, Section A (Media Language & Representation).
Set products are Tide (print advert), WaterAid (charity campaign) & Kiss of the the Vampire (film poster).
Advertisements use media language and construct representations in order to communicate meanings about their products and services.
Visual codes are used to communicate messages rapidly. Advertisements use non-verbal communications that are recognisable to audiences.
Persuasive language, including hyperbole and alliteration, is used to engage the attention of the audience.
Many adverts are similar in style to short films; they have a narrative that aims to involve the audience in the story.
Adverts, depending on the genre, use soft and hard sell techniques.
Adverts exploit the established codes and conventions of the genre.
A brand identity is established through the name, the logo, the slogan and, often, a celebrity endorsement.

Key Language:

Brand identity
Demonstrative action (using product in advert to demonstrate effectiveness)
Hard sell (direct 'in your face' advertising using insistent language)
Hyperbole (exaggerated statements)
Intertextuality (exploits a relationship with another media text)
Mode of address (direct, indirect, formal, hostile, humorous, etc)
Product endorsement (recommendation)
Soft sell (subtle, non-aggressive persuasion. Maybe 'selling' a lifestyle not a product directly.)
Typography and graphics (fonts, images, etc)
Unique selling point (USP)
Repertoire of elements (predictable elements of a specific genre)

ADVERTISING & MARKETING: KEY MEDIA LANGUAGE THEORISTS

Semiotics (Roland Barthes)
Structuralism (Levi-Strauss)
Narratology (Tzvetan Todorov)
Genre Theory (Steve Neale)

ADVERTISING & MARKETING: KEY REPRESENTATION THEORISTS

Representation (Stuart Hall)
Identity Theory (David Gauntlett)
Feminist Theory (Liesbet van Zoonen)
Feminist Theory (bell hooks)

PRACTISE (CHARITY CAMPAIGNS: MEDIA LANGUAGE)

Complete the assignment on our Google Classroom. Section 1 refers to the WaterAid advert and asks you to identify and analyse key media language. Section 2 requires you to apply your understanding to an unseen charity text.

SECTION 1

Complete the table in the assignment.

SECTION 2

Watch the charity advert below and answer the following questions:

How do technical codes construct meaning? Consider camera shots & editing.
How do language and mode of address establish meanings? Consider the use of on-screen graphics and the use of language devices.
How do visual codes influence meaning? Consider expression, clothing, colour palette & gesture.
How do setting and iconography convey meaning? Consider settings seen in other forms (e.g. news) and binary opposites.
How do audio codes establish meaning? Consider diegetic and non-diegetic sound (voice-over, ambient sounds, sound effects).
What are the recognisable codes and conventions of the charity campaign sub-genre? Consider purpose, characters, setting, narrative, etc).

NEXT LESSON:

Revising print advertising products (Tide) and film posters (Kiss of the Vampire)

23rd February: Revision 3: Representation

STARTER

Media Theories Summary Quiz

REVIEW

You now have 5 minutes to review the feedback from last lesson's assignment. Use the feedback to improve future responses.

EXPLAIN & MODEL

THEORETICAL FRAMEWORK FOCUS: REPRESENTATION

Key Points:

Representation is the way in which aspects of society and social identity, issues and events are re-presented to an audience.
All media products are constructions, they do not simply reflect the real world and the representations within them are also constructions as they are not real but are often accepted as such by an audience because they give an illusion of reality.
The creators of media products make choices about how representated through selection and combination.
The representation is controlled by the product's creators and, as such, encodes values, attitudes and beliefs.
The repetition by the media of a particular representation may result in that representation being accepted as normal.
Representations are affected by the context and purpose.
Media products may construct stereotypes which can be both positive and negative.
Representations position audiences differently and audience responses may vary.
Stuart Hall's Representation Theory: Suggests that stereotyping, as a form of representation, reduces people to a few simple characteristics or traits. 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).
David Gauntlett's Identity Theory: Suggests that while in the past the media tended to convey singular, straightforward messages about the ideal types of male and female identities. The media today offers a more diverse range from which we can pick and mix different ideas to construct our own identities.
Liesbet Van Zoonen's Feminist Theory: Suggests that media contributes to social change by representing women in non-traditional roles. Suggests the idea that the display of women's bodies as objects to be looked at is a core element of Western patriarchal society.
bell hooks' Feminist Theory: Suggests the idea that feminism is a struggle to end patriarchal oppression and feminism is a political commitment rather than a lifestyle choice. Suggests pale-skinned women are represented as more desirable in Western media. Suggests that race and class, as well as sex, determine the extent to which individuals are exploited, discriminated against or oppressed.
Judith Butler (Theory of Gender Performativity): Suggests that identity is performatively constructed by the very 'expressions' that are said to be its results (it is manufactured through a set of acts). Suggests that there is no gender identity behing the expressions of gender. Suggests that performativity is not a singular act but a repetition and a ritual.
Paul Gilroy (Ethnicity & Postcolonial Theory): Suggests that colonial discourses continue to inform contemporary attitudes to race and ethnicity. Suggests that civilisationism constructs racial hierarchies and sets up binary oppositions based on notions of 'otherness'.

Key Language:

Construction
Decoding & Encoding
Mediation
Selection & Combination
Stereotypes
Context & Purpose
Tokenism

REPRESENTATIONS OF WOMEN

The representation of women has developed to reflect changes in society in relation to women's roles, creating more realistic representations and positive role models.
However, stereotypical representations of women still exist in some media forms and products. These unrealistic representations tend to define women by how they look and their relationships. This creates unattainable aspirations for the audience.
Where women are constructed in a more positive way, challenging outdated stereotypes, they are seen as more active and have a key role in shaping the narrative. They are defined by what they do, rather than what they have done to them.
Representations of women change in order to reflect cultural shifts in relation to gender and to satisfy audience expectations.
Some theorists argue that, while women's roles and representations in the media have changed, they are equally limiting, as women are expected to be 'strong' and demonstrate masculine attributes.

REPRESENTATIONS OF MEN

While there have been some fundamental changes in representations, masculinity tends to be defined by physical strength, sexual attractiveness, success in relationships and power. This is reflected in some media forms more than others, for example, advertising.
Other forms, for example the music video, while reinforcing some typical male characteristics, have also been a platform that allows men to present themselves as more rounded, realistic individuals.
Toxic masculinity referes to harmful behaviour and attitudes commonly associated with some men, such as the need to repress emotions during stressful situations and to act in an aggressively dominant way.

REPRESENTATIONS OF ETHNICITY

Many areas of the media offer positive representations of minority groups and there are fewer instances whereby these social groups are defined as being 'other'.
However, the construction of stereotypes and the misrepresentation of these groups remains problematic. The way these groups are presented in the media is often the only experience of these cultures that an audience may encounter and so will accept it as the truth.
Certain stereotypical representations are reinforced across different forms. This perpetuates a negative representation of these groups. (E.g. young black male defined in terms of gang culture and violence).

REPRESENTATIONS OF ISSUES & EVENTS

Some newspapers make their dominant ideology evident in their front pages or articles.
Documentaries can be biased and selective in the information they give about an issue or event.
Some media forms are creative in the way they represent issues and give a very personal viewpoint.
In the representation of an issue or event by the media, it is as much to do with what is left out as what is selected for inclusion.

PRACTISE

Compare the representations of men in these two Gillette adverts (see Google assignment), referring to the theoretical framework. The first advert is from 1989 and the second is from 2019. Use key language and signpost evidence using audio visual media language.

8th February: Revision 2: Genre & Narrative Theories

STARTER

Let's start with a few quick quizzes;

Revision from last week: Semiotics Key Language
Revision from last week: Shot Distances
Media Theories Summary Quiz

REVIEW

You will now have 5 minutes to review the feedback from last week's assignment. Use the feedback to improve future responses, maintaining an academic lexis.

EXPLAIN & MODEL

KEY THEORY: GENRE THEORY

Key Points:

Each genre has a repertoire of elements that are recognisable to audiences due to repetition over time.
However, some contemporary media products may be less easy to categorise; they may belong to sub-genres or hybrid genres.
The typical codes and conventions may also be subverted by the creator of the product in order to challenge audience expectations while still including familiar elements.
Steve Neale's Genre Theory:
Suggests that genres may be dominated by repetition, but they are also marked by difference, variation and change.
Suggests that genres change, develop and vary as they borrow from and overlap with one another.
Suggests that genres exist within specific economic, institutional and industrial contexts (broadcaster ethos, existing audiences, revenue & market).

Quick Question: What is the difference between a sub-genre and a hybrid?

Key Language:

Conventions
Repetition
Difference
Sub-Genre
Hybrid

KEY THEORY: NARRATIVE THEORY

Key Points:

All media products, both audio-visual and print, have a structure or narrative.
Narratives are important to construct meaning. The narrative is a way of organising a text so that it makes sense to the audience.
Narratology is the study of narrative.
Tzvetan Todorov's Narrative Theory:
Suggests that all narratives share a basic structure that involves movement from one state of equilibrium to another (Equilibrium, Disruption, Recognition, Repair, New Equilibrium)
Suggests that the two states of equilibrium are separated by a period of imbalance or disequilibrium.
Suggests that the way in which narratives are resolved can have a particular ideological significance.

Quick Question: Can you think of any media texts that do not share this basic narrative structure?

Key Language:

Equilibrium
Disruption
Enigma Codes
Flexi-Narratives
Linear
Manipulation of Time and Space
Non-Linear
Privileged Spectator Position
Three-Strand Narrative (E.g. Casualty)
Cliffhanger

PRACTISE

Genre Theory:

Examine the media text below and answer the question that follows (Google Assignment).

How does this film poster illustrate elements of Steve Neale's Theory? Consider the following;

What are the typical codes and conventions of the film genre used in the poster?
What elements of hybridity are evident?
How is the repertoire of elements subverted in order to appeal to a specific audience demographic?

Narrative Theory

Click on this link and suggest captions for the image to anchor meaning, constructing two opposing narratives. Screenshot your suggestions and post in your blog.

Click on this link and complete the narrative structure summary for a media text you know well. Screenshot your response and post in your blog.

2nd February: Revision 1: The Theoretical Framework

Each lesson we will revise an aspect of the course. You will then be asked to demonstrate your understanding of that aspect by completing an unprepared task. Let's make a start...

KEY THEORY: SEMIOTICS

Key Points:

Roland Barthes
Suggests the idea that all texts communicate their meaning through a series of signs, the meanings of which are decoded by the audience.
Signs function at the level of denotation and connotation.
Signs can communicate the ideology of a society and, as such, become accepted because they appear natural through repetition over time.
Audiences may not decode signs in the same way; their responses will be affected by a range of other factors.

Quick Question: What are the range of factors that may affect the audience's response?

Key Language:

Semiotics
Denotation
Polysemic
Connotation
Decoding
Encoding
Sign
Codes

Application:

To test your ability to define and apply the key language, complete the Educaplay activity on our Google Classroom.

VISUAL CODES

Clothing
Colour
Expression
Gesture
Graphics
Iconography
Images
Technique (see below)

TECHNICAL CODES (Audio Visual Products)

Camera Shot (distance)
Camera Shot (focus)
Camera Angle
Camera Movement
Transitions
Lighting
Diegetic / Non-Diegetic Sound
Contrapuntal / Parallel Underscore

TECHNICAL CODES (Print Products)

Design & Layout
Graphics
Image shot types
Image colour, etc

TIP: When exploring technical codes, you must make sure that you don't just describe / label the technical code. You must focus on the purpose and the effect of it too!

TASK

Use the extract below to answer the question in the 'Unseen Analysis 1' assignment on Google Classroom. You have 20 minutes to complete your response. At the end of the 20 minutes, we will review the responses, signposting excellence and suggesting EBIs. Use time references to signpost examples. I will model a review before sending you to breakout rooms in pairs.

Additional Information: Villanelle (Blonde) and Eve (Dark Hair).

We will use Google Doc comments to review each other's work. Once the review process is over, you will have time to make improvements to your response, using a different colour to identify these improvements. Once this is complete, you will hand in your assignment.

Podcasts

Just listened to your podcasts. Obviously, I can't give you feedback but just wanted to say...

NEA Aims & Intentions Document

Live Lesson at 11:00am on Monday 25th January

SMART START

The often visited Media Quiz checking that you can link theories and theorists. The year 12 students use this every lesson and now over half the class gets full marks every time (the order of questions and answers changes, so not just a familiarity thing). Therefore, I highly recommend taking this quiz on a regular basis; it takes less than 3 minutes. The minimum expectation for today is to achieve 20/26 at this point in the course. If you get below that, please try again.

INTRODUCTION

The Aims & Intentions document is the only assessed non-exam piece of writing you complete for A-Level media. It is short but it's worth a suprising amount of marks; 17% of the total Component 3 marks!

The Aims and Intentions document should be written BEFORE you start the NEA, so should always be written in the future tense, E.g. "I will..." or "It is my intention to...", etc.

You are restricted to a maximum of 500 words for this document but your probably won't be wondering what to write; it'll be getting what you need to write down to just 500 words.

SUCCESS CRITERIA

To begin with, let's have a look at the success criteria;

THE BRIEF

Use evidence from your research into: similar products; the industry context; your target audience, as well as theoretical perspectives, to explain your decisions:

How and why will you use media language in your cross-media production?
How and why will you construct representations of individuals, groups and issues/events?
How will you target your intended audience?
How will your production conform to its industry context? How will your cross-media production demonstrate digital convergence?

SUPPORT FOR EACH QUESTION:

Explain how you intend to use media language in your production, e.g. visual codes, technical codes, narrative and design.
You should include people in your products to allow you to construct appropriate representations. Outline how you intend to do this, e.g. costume, gestures, setting, props, voices, etc
Who is the intended audience for your production (it says in the requirements below). How do you intend to target this audience in your products? How do you intend to use model of address to target your audience (informal, formal, direct, etc). How will your product appeal to your target audience?
How do you intend to use the conventions of the genre to illustrate the industry context (context identified in the requirements below).

GENERAL SUPPORT

You should refer specifically to the research you completed. What similar products did you examine? What did you take from that research (conventions, stereotypes, etc).
A should refer to each of the magazine elements (front cover, double-page spread, advertorial).
A final paragraph should tie all your products together, referring to the podcast and explaining how it complements your main print product.
Refer specifically to elements of our theoretical framework (reference theories / theorists).
Use product-specific terminology and language (masthead, page furniture, close-up, caption, anchor, stand first, sound bed, fade-in, jingle, on-location interview, etc)

THE NEA REQUIREMENTS

When answering these questions, you should always keep in mind the requirements of the NEA (target audience, industry context, etc). Here is a reminder of the requirements;

MODELS

Here is one Aims and Intentions Doc that is quite good (band 4); it's just missing a final paragraph referring to the other products in the cross-media portfolio of products and there's no specific reference to the theoretical framework.

This one is ok (band 2) but it doesn't make reference to identified similar products or the theoretical framework and is a bit too generic (not enough details about how representations will be constructed).

Here is another one that is good (band 5) and the only thing missing are the specific references to the theoretical framework.

And finally, a couple of ours from last year. These are both excellent (band 5) submissions:

ADDITIONAL SUPPORT

Here are some resources I found relating to this task. They may help you too;

Audio Blocks

I have been informed (by Joe & Cole) that the AudioBlocks subscription has run out. It will be a few days before I can renew the subscription so, in the meantime, use free sound effects websites. A few are listed below;

YouTube Sound Library

If you are having difficulty finding a specific sound that you need to complete your podcast, let me know and I'll join the search!

Annoucement

I've posted the Theory Summary document we spoke about on our Google Classroom. Hope it helps.

5th Jan - 25 Jan

At the start of each of these timetabled lessons, you should take our media quiz, maintaining a familiarity with our theoretical framework. I will be monitoring results live! I will base the register on who completes this quiz (i.e. you need to complete the quiz to get an attendance 'present' mark).

NEA Completion & Support

Ok, with mock exams and remote learning requirements it's not a clean start to the term. Unfortunately, once again, I have to shield until the 1st Feb. Really sorry!

With all of this in mind, I have extended the deadline for the podcast NEA which means, despite the exams and disruption, you should now have plenty of time to plan and record your podcast. You have 3 weeks to complete the work and the final submission date is 25th January, 9:00am.

As usual, I will be online during our timetabled lessons to answer any questions you have relating to the use of the software which, in this case, is Adobe Audition (remember, I can't help you with the creative aspects of the NEA or provide any feedback).

Hopefully see you soon!

Finally, a reminder of the NEA requirements for this element.

Monday 14th December: Podcast NEA Practice

SMART START

What about a short, but extended, media Quiz to start the lesson?

BIG PICTURE & EXPLANATION

The first thing we are going to do is to answer the following questions;

How do I record a single audio file using Adobe Audition?
How do I trim my audio recording?
How do I add effects to improve the quality of my audio recording?
How do you export individual sound files from Adobe Audition?

These questions are answered in the following tutorial;

We are then going to answer these questions;

How do you make multiple audio recordings using Adobe Audition?
How do you import other sound files into Adobe Audition?
How do you set up a multitrack session in Adobe Audition?
How do you mix tracks in Adobe Audition?
How do you add key frames to change the volume of tracks at various points?
How do you export your completed multitrack mix?

These questions are answered in the following tutorial;

Once you've had a 'play' and got more familiar with the interface, complete the following task...

PRACTISE

NEA PRACTICE INTERVIEW

As a group, record, edit and mix a short interview for our 'Sixth Form Weekly' podcast. One of you will be the interviewer and somebody else will be the interviewee. The focus of the interview should be 'How to Pass A Level Media Studies'. You have 5 minutes to prepare questions and consider reponses.

Once the audio is recorded, share the individual audio files between you and, on an individual basis, complete the final mix before submitting your exported WAV file to our Google Classroom. You must include the following elements in the final mix...

An opening (and appropriate) jingle
A presenter introduction (who will be the presenter?)
A continous soundbed that is edited so the interview can be heard clearly throughout.
An appropriate ending to the interview (thanks, goodbye and jingle).

GOOD LUCK!

Tuesday 8th December: Podcast NEA Preparation

I have to go to the doctors first thing, so I'm going to be a little late this morning. Sorry.

Please make a start on the podcast/radio interview script; the last piece of work to complete our NEA. Examine the requirements below. If you have written your script, have a look at Adobe Audition, the software we are going to use to record, arrange and mix our interview.

When I arrive, you must be able to answer the following questions;

Which of your magazine front page cover lines are you focusing on?
Who will be the presenter?
Who will be interviewed?
Where will your second location be?
Which social group will be represented?

See you in a bit!

Monday 30th November

This is your last opportunity to complete the final piece of NEA (advertorial) without having a penalty for missing a formal NEA deadline. Please make the most of your time this lesson as the deadline is tomorrow! All of your print-based NEA should have been submitted by the end of tomorrow. Good luck!

Next week, we will start to focus on the audio NEA. There is only a single task and it shouldn't take too long to complete.

24th November: Magazine Advertorial

Ok. your magazine double-page spread is due today. Please submit via Google Classroom (Please don't put me in a position where I have to penalise you for missing a formal NEA deadline).

You now have a week to complete and submit your magazine advertorial, again via Google Classroom. The deadline is Tuesday 1st December, meaning you have at least 100 mins today and 100 mins next Monday. You are, of course, encouraged to use your own time too.

Here are some resources to help you, making sure that you follow industry conventions. I will also post the NEA requirements. I will be online to support you between 9:15am and 10:30am during our lesson (use the live meeting link on our Google Classroom if you need help).

Helpful Resources

The Ultimate Guide to Advertorials

Examples of Advertorial Designs

The 14 Keys to Writing Advertorials That Sell

Remember that, by law, advertorials have to be easily identifiable as an advert and not just an editorial (story). You may include the word 'sponsored' or 'advertisement' in a prominent position to stay within the law. Alternatively, you may think that your advertorial is obviously an advert and not need additional labelling.

Exam Board Requirements

16th November: Magazine Double-Page Spread

Morning.

Your task for today's lesson is straigthforward; complete the Dream video annotation (and hand-in via Google Classroom) and work on your NEA (to make sure you meet the published deadline). You are, of course, welcome to work from home on your own machines.

Currently, only Tyler has handed in his Dream annotation, so work on that first.

I will be online (see link on our Google Classroom) for the first hour if you need help or want me to check out your double-page spread.

Magazine Front Covers

Thanks for submitting these before the deadline. Some massive improvements. Well done. See what you can do when the pressure is on!

10th November: Dream by Dizzee Rascal

TODAY IS THE DAY YOU MUST HAND IN YOUR FINAL VERSION OF THE MAGAZINE FRONT COVER VIA GOOGLE CLASSROOM. THERE WILL BE NO FURTHER EXTENSIONS FOR THIS PIECE OF NEA.

NOTICE

Unfortunately, I'm not in school today as I have to isolate until 2nd December. I'm really sorry about that and wish I could be there for you. However, because I blog our lessons and we have access to a Google Meet via Google Classroom, this won't stop us learning. The only difference is that you are allowed to work from home rather than attend the classroom.

UPDATE: Because so many of you can't access the live lesson, I've added recorded tutorials to the blog instead, so that you can work your way through today's lesson. However, I will be online between 9:30am and 11:00am to answer any questions or guide you through a review of your NEA work (or anything else you need). Just come online and join the lesson from our Google Classroom when you need me. Hope that works better for you?

EXPLAIN

I believe we are yet to cover our set text, Dream by Dizzee Rascal. You will need your copy of Adobe Premiere Pro downloaded and installed on your computer (from Adobe Creative Cloud) for this task. If you have an alternative video editor, you may use that too (including WeVideo on Chromebooks).

The first thing we must do, however, is to understand the information in the Dream Factsheet, identifying and highlighting the key facts. If you are using a physical copy of the factsheet, you can use a highlighter pen. If you are downloading the facsheet as a pdf, you can use the highlighting tool in Kami. You will have 15 minutes to read the sheet and to highlight the key facts. Here is a link to a tutorial, showing you how to download the factsheet and annotate in Kami.

MODEL

In this tutorial I will show you how to complete the following tasks using Adobe Premiere Pro;

Import a video
Insert a video into the timeline
Add text to a video
Slice a video to provide room for an inter-title
Export a video, selecting an appropriate format

Adobe Premier Pro Tutorials

Importing into Adobe Premiere Pro

Adding Text Annotations to your Video

Exporting your Video

PRACTISE

Now, to demonstrate your understanding of the Dream video, you should annotate a copy using all the key facts you have identified.

Download the Dream video from our Google Classroom.
Take the key facts from the factsheet and annotate the Dream Video using Adobe Premiere Pro.
Use a combination of text overlays and inter-titles. Remember, the information must be on screen long enough for someone to read it!
Once completed, export the edited video as a H.264 video.
Hand in the annotated video via Google Classroom.
Upload the annotated video to your Google Drive too
Post hyperlinks to the Dream Factsheet and your annotated video on your online learning journal.

_____________________________________

NEA FINAL SUBMISSION (DOUBLE PAGE SPREAD)

MODELS OF EXCELLENCE

Here are some examples of double-page spreads from published magazines. Use these as models for your own submissions.

CLICK HERE TO ACCESS REAL MEDIA EXAMPLES

REQUIREMENTS

Firstly, let's just remind ourselves of the requirements set out by the exam board.

MODEL

Now let's remind ourselves of the definitions:

DRAFT NEA REVIEW

Now Let's consider your draft submissions. For each, let's consider the following questions. I've added some key questions under each of your individual submissions too.

Have all the requirements been met?
Does the product look authentic? Does it resemble the model images?
What works well (so far)?
What needs to be improved?

Wrote by? Pull-quotes? Font size & colour? Folio? By-line? Standfirst?

400 words? 2 smaller images? Standfirst? Gutters? Folio? Page No.? Website?

Folio? Web address? Magazine title? Bottom of page?

400 Words? Page No.? Website? Standfirst? Pull-Quotes?

Looking pretty good. Not sure about the positioning of the pull-quote on the left though. Can it be nudged right amongst the text a little? Might not look great but worth a try. What about the magazine web address in the white space at the bottom of the page too? Perhaps a couple of bits of page furniture too; a trendy short but thick line at the end of the copy or something similar?

You now have TWO weeks to complete your final double-page spread submission. This includes replacing Lorem Ipsum for original copy (you are assessed on the register you use; does it address the needs of your target audience?). You must also place images in all of your placeholders. Make sure you check your page against the list of requirements before handing in your final submission via Google Classroom.

You Owe Me!

All missing work must be completed by Monday 9th November. Failure to meet this deadline will result in the use of a Sixth Form Workplan (following a meeting with parents).

2nd Nov: My Magazine Front Cover Model

SMART START

How are women represented in the Kiss of the Vampire film poster?

Key terms you must use in your response;

Represented
Dress code
Sexualised
Gesture code
Stereotypical / Stereotype
Role Model
Co-antagonist
Damsel in distress
Patriarchy (Patriarchal Society) / Matriarchy (Matriarchal Society)

Elements of the theoretical framework that you should reference;

David Gauntlett's Identify Theory
Liesbet Van Zoonen's Feminist Theory
Bell hooks' Feminist Theory

Additional Challenge: See if you can incorporate the following elements of our theoretical framework;

Claude Levi-Strauss' Structuralist Theory
Stuart Hall's Theory of Representation
Laura Mulvey's Male Gaze Theory

I will present the KOTV film poster on the board, so the only tab you need open is your Google Document. Anyone found 'cheating' will be given an alternative question, a piece of paper and a pen (you've been warned).

MODEL

Here is a my magazine front cover model, showing how you can construct a simple front cover in about 30 minutes using a main image, some smaller images and a variety of fonts, font sizes and colours. In this case, the photography is original too.

Just noticed I missed the cover price off. Doh! Imagine there's another text element just above the masthead that says £5.99 (or could have placed it by the barcode). Sorry! I've added it to the final export...

Questions to ask yourself once you have constructed a magazine cover;

Does it include all the required elements? (This is where I picked up my mistake!)
Does the layout reflect magazine conventions?
Are the proportional sizes of elements appropriate?
Have you used a variety of fonts and font sizes?
If there a recognisable house style?
Does it look authentic? Could you imagine it on the shelf in WHSmith?

Now we will provide peer-feedback on each of your magazine covers, considering each of these questions in turn. The feedback will be recorded.

You will then be asked to provide a grade using the following criteria;

Meets the Requirements of the Brief

1-2 : Includes only a small number of the brief requirements

2-3 : Includes the majority of brief requirements

3-4 : Includes all of the brief requirements but the layout is inappropriate

5-6 : Includes all of the brief requirements and the layout is mostly appropriate

7-8 : Includes all of the brief requirements and the layout is appropriate but the product lacks authenticity

9-10 : Includes all of the brief requirements and the layout is totally convincing as an authentic product

The Use of Media Language to Construct Meaning

2 marks : The main image used is well-selected, well-framed and likely to attract an audience

2 marks : There is a variety of font sizes and colours that represent the importance of articles within

2 marks : The proportions of elements is appropriate, manipulating the audience's attention appropriately

2 marks : Smaller images are well-selected, well-framed and likely to attract an audience

2 marks : The strapline provides an appropriate clue as to the contents of the magazine and is likely to attrack an audience

This will give you a total mark out of 20 for your magazine cover.

After reviewing the feedback and grades you received, you will have one week to refine your magazine cover before next week's final submission.

Here is a reminder of the NEA requirements;

If you did not submit a draft submission of your magazine cover, you have today's lesson to complete it. You may use a stock images.

13th October:

SMART START

How does Late Night Women's Hour support and/or challenge Curran and Seaton's Power and Media Industries Theory?

Answer on a Google Doc and submit via our Google Classroom.

REVIEW

Please go back and review last week's Smart Start submission. Make changes to your answer, reflecting the feedback you were given.

LEARNING CHECK

Then complete this simple quiz, repeating it until you achieve 10/10.

NEA

Your magazine front covers are due today. You should now have submitted all of your NEA print products. Let's take a look...

6th October: NEA Submission

First things first... please make sure you have submitted your double-page spread.

SMART START

Complete a Google Document for this smart start and submit via our Google Classroom.

How does this print advert reinforce the conventions of other adverts from the 1950s?
Review this advert with regard to Structualist Theory.
Review this advert with regard to Identity Theory.
Does this print advert reinforce or challenge the feminist theories we have studied?

NEA Review (Double-Page Spread)

Let's check your submissions against the requirements. As a group, we will then ask the following questions;

Does the double-page spread look authentic?
Have all the requirements been met?

Here is a reminder of the requirements to each piece of NEA:

Late Night Woman's Hour Revisited

We will go through the fact sheet and the pages from the revision guides to make sure that we've covered everything. Find your post from early April (Late Night Woman's Hour) and add clarification and any further information.

Resources

Late Night Woman's Hour Extract

Late Night Woman's Hour Fact Sheet

AS Revision Guide, Pages 86 - 89

A2 Revision Guide, Pages 108 & 109

Remote Learning

Make sure that you have read, understood and made notes about Late Night Woman's Hour. Your Smart Start question will probably be about LNWH next week!
Complete and submit your next NEA submission (Magazine Front Cover).