Year 11 Paper 1 Assessment: Learner Response

 1) Type up your feedback: didn't get one.

a. What Mark and Grade did you get? mark- 22/42 grade- 5 

b. What targets were you given for the longer written questions?

For question 4 class stereotypes are not gender.

2) Look at the mark scheme for this assessment. For Question 2 (12 mark unseen) use the indicative content in the mark scheme to identify three points that you could have referred to in your answer.

• Representation is generally positive: character represented as smiling/

laughing/happy.

• Character seems healthy and robust, perhaps challenging stereotypical

representations of older people being unhealthy or frail, makes being

older seem something positive and enjoyable (although there may be

some debate as to why Specsavers might therefore need to visit them at

home in the first place).

3) For Question 3 (Galaxy - Propp's Character Theory) use the mark scheme to write down the main characters that you could have referenced and how we can link them to the Galaxy advert CSP. 

• Audrey as princess and car driver as hero creates a simple Romeo and

Juliet romantic narrative.

• Audrey as hero driving the narrative – her quest to get off the bus and

eat her chocolate creates the story.

4) Now look at Question 4 (Galaxy - Class Stereotypes). Use the mark scheme to identify three points you could have made in your answer here.

.Audrey is a stereotypically powerful 1950s Hollywood rom-com lead:

feisty, attractive, smartly dressed, slightly shallow (in a comedic and

endearing way) 

.apparently wealthy, given her outfit and make-up –

the audience is invited to want to be like her (and thus want the

chocolate).

 .She looks out of place on the bus, which might suggest a

countertype to traditional ideas of class and wealth (why is such a

wealthy character travelling in this way?)

5) Next, look at Question 5 - Blackpink & Globalisation. Use the mark scheme to identify three ways the How You Like That music video has been tailored to Black pink's global fanbase.

• The success of platforms like YouTube has allowed artists from a range

of backgrounds to reach international audiences, promoting a globalised

music culture; this is often reflected in the content of videos which adopt

diverse cultural references.

• Music videos thus often blend elements from various cultures,

demonstrating how globalised music trends influence local styles and

vice versa. To be successful, music videos need to have global appeal.

• Western pop music, particularly from the UK and US, often dominates

global charts, exemplifying cultural imperialism through the widespread

influence of Western music videos which subsequently influence

domestic artists; the US is particularly dominant.

6) Lastly, look at Question 6 - Kiss FM & Money. Use the mark scheme to idea two revenue streams that you didn't consider in your response. How do they help to generate money for Kiss FM?

•The main source of income for commercial radio stations comes from

selling advertising slots, which can include local, regional and national

advertisements.

• Stations often build partnerships with businesses to sponsor specific

shows or segments, providing financial support in exchange for

promotional opportunities.

6) Thinking ahead, write down three things you are going to work on before your next mock exam in December (e.g. time management; revising CSPs etc.)

I'm going to work on getting full marks on the 12 marker

I'm going to revise more

I'm going to mention codes in my question more

OSP: Marcus Rashford - Context & LIAR

Context:

1. Open his official website (marcusrashfordofficial.com). Find ONE thing that is about FOOTBALL and ONE thing that is about CAMPAIGNING. What does this balance suggest about his brand priorities?

One thing about his website is a large amount of his photos are him wearing his football shirt and him playing football. This shows that football is very important to him and he wants to show what he's been doing since he was younger. Another thing on his website is his colour scheme which is black and white which is practical and is reusable. This shows that his brand is also as important to him as football and he's passionate about both equally.

Language:

Analyse the website (or a page of it) using the denotation/connotation method, then judge its coherence.

1.  Write 3 things you DENOTE (literally see).

- the layout

- the logo

 -the photos

2.  For each, write what it CONNOTES (suggests).

 -That its practical and not to flashy

- Its simple since its just his initial.

- There things that are special and important to him

3.  Identify ONE technical code and ONE genre (website) feature.

-  The filter over the photos on his page

4.  Judge: Is the site 'bitty' or 'well-integrated and coherent'? Why - and what does that say about his brand?

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5. Describe 3 differences between his website and his Instagram/Twitter (look / content / purpose).

6. How does Marcus Rashford's online presence use the narrative of his childhood upbringing to create a positive brand identity?

GCSE Media Studies: Coursework

 Summer Project Tasks

Task 1: Research and Textual Analysis

Pharrell Williams - Happy

1. Mise-en-scène & Visual Style: Take 3 screenshots. Use the CLAMPS acronym (Costume, Lighting, Actor placement/movement, Make-up, Props, Setting) to explain how a specific mood or brand identity is created. What are the denotations and connotations of these choices?

        

2.) Target audience: Who is this media product aimed at? Explain how the language tone and visual style appeal directly to this target audience.

The tone, language and visual style is targeted to the audience to make them feel happy and positive. I think the media product is aimed at everyone as it is something that is enjoyable to all ages.

  3.) How does the video make the audience feel like they are part of a fan community? How does it build the artist's brand?

I think the video makes the audience feel like there part of a fan community by including anyone of all ages to sing and dance to the song. This can build the artists brand by having a more mainstream audience as the song doesn't feel targeted at a certain group or age range.

Task 2: Establishing a Concept & Brand Identity

 What is the name of the band/artist? What is their musical genre? What is the core style/vibe of their brand?

The name of the artist is Katherine smith, there music genre is pop and the vibe of their brand is entertaining and positive.

Task 3: Website/Music Video Planning

1. Plan for music video/website (narrative/performance/message etc.):  My plan is for the music video to be about two friends who had a friendship breakup and to show the two perspectives of how the friendship ended and for them to accept it and move on.
2. Link to brief (positive role model for website/sense of community for music video):For the music video to show something that is relatable for a large audience 
3. Actors/performers you plan to use: I'll add a few friends to help with performance and recording  
4. Locations: My house, central London, the park  
5. Costume/make-up/props required: phone, photos, 

Task 4: Statement of Intent

Write the rough first draft of your 300-word Statement of Intent for the website/music video you plan to create. The final draft of this document will be submitted to the exam board alongside your music video production/website and is worth 10 marks of the overall 60 marks available.

For my music video cast study, I have chosen the song "Godspeed" by Frank Ocean. I've picked this song because the lyrics are similar to the message I want to show in my video. The lyrics are about wishing nothing but the best for someone who was a big part of your life at one point. I think this can give the audience  something to connect to. The plot of my video is about two best friends who were extremely close at one point but gradually grew apart due to misunderstandings. There isn't a big argument or conflict between them which makes the situation more relatable to the audience. The video is going to show there friendship before the misunderstanding and the aftermath with them still wishing the best for each other. This will highlight the idea that people can still care and respect others even if there not part of there lives anymore. I plan on recording the  music video at places like the park, central London and somewhere indoors. I also plan on showing flashbacks in the video and they will have bright lighting whereas in the aftermath, the lighting will be dark and contrasting. At my ending scene, the video will show how the two friends are going on with there separate lives and this reflects on the songs message which is to accept the ending of something and moving on. lastly, I will also use  different type of camera shots to show the different emotions of the friends. I'll mainly use close up and medium shots during the music video to capture how the friends may be feeling. During the friendship breakup, I may use wide shots to show the distance between the two friends and to show the aftermath on how they don't talk anymore. 

GCSE Media Autumn term index

1.) First 10 questions

2) Poster Analysis
3) Denotation and Connotation

4) Introduction to Photoshop
5) Mise-en-scene: Stranger Things
6) Camerawork - Doctor Who: Shots and angles

7) Camera Movement and Editing

8) Blog feedback and learner response

KISS Breakfast on KISS Radio: Blog Tasks

Context: Deregulation and the Evolution of Radio

 1. What is meant by the term ‘deregulation’ in the context of the UK radio industry? How does this contrast with how the UK government historically controlled the airwaves up until the 1970s?

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2. Explain how deregulation dismantled ownership laws. How did this change allow multinational media conglomerates to sweep in and build massive national brand networks?

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3. In a heavily regulated era, radio stations faced strict penalties or license loss if they abandoned local programming or dropped community news quotas. How has modern deregulation allowed Bauer Media Group to cut expensive local production costs for KISS Breakfast? 

Modern deregulation has drastically relaxed these format restrictions. This allows Bauer to strip away expensive local studio productions, standardise their music playlists nationally, and broadcast Kiss Breakfast across the entire country from a single studio hub

4. How does the regulation of traditional AM/FM radio frequencies differ from digital-only streams? Explain how this "light-touch" digital regulation allows Bauer to launch niche sub-stations instantly on apps without complex government approval.

Bauer can launch niche sub-stations (like KISS Afro beats or KISSTORY R&B) on the Rayo app instantly without needing complex government approval or strict license applications

Industry: Conglomerates, Monetisation, and Multi-Brand Ecosystems

1. Who are Bauer Media Group (BMG)? Detail their scale in the UK market and contrast their commercial intent with the public service remit of the BBC.

Bauer Media Group (BMG) is a massive, multinational cross-media conglomerate. They don't just own KISS; they operate a dominant portfolio of over 60 radio stations in the UK alone. Unlike the BBC, which is a public service broadcaster funded by the license fee to inform, educate, and entertain, Bauer is a commercial enterprise driven strictly by profit and power.

2. Rather than relying on a single radio station to capture young people, Bauer utilises a multi-brand strategy. Name the spin-off sub-brands built around the flagship product and explain the industry logic behind this network. What competitors are they trying to stop young audiences from turning to?

This network includes:

• KISS: The main flagship commercial station targeting a mainstream 15-34 music audience
• KISSTORY & KISSTORY R&B: Targeted older-skewing variants focusing on "old school" dance and anthems
• KISS Extra & KISS Dance: Targeting more niche sub-genres or club music tastes

3. What is the Rayo platform, and how does it change BMG's monetisation model? Explain how moving from standalone station apps to a unified streaming platform allows them to shift from relying solely on advertising to securing direct consumer payments.

Audience: Targeting Gen Z, Rebranding, and Media Reception

1. Define the specific age bracket, socio-economic profile, and gender bias that KISS Breakfast targets. What are the distinct media consumption habits of this core demographic?

2. Gen Z rarely consumes media via traditional schedules.

a. What percentage of Gen Z listening to Bauer stations happens strictly via digital devices?

b. How does BMG package KISS Breakfast content to satisfy the visual, short-form demands of audiences on platforms like TikTok and Instagram?

3. What interactive strategies does the KISS Breakfast show rely on to drive instant audience interaction, and how are these entries seamlessly completed by the listener?

4. Using the theoretical frameworks discussed in class, note down how a listener might interact with KISS Breakfast:

a. Give an example of a Preferred Reading vs. an Oppositional Reading of the show.

b. Apply Blumler & Katz's Uses and Gratifications Theory to KISS Breakfast. How does the show fulfil an audience's need for Diversion/Entertainment, Personal Relationships, Personal Identity, and Surveillance?

His Dark Materials: LIAR blog tasks

 

Language and close-textual analysis

1) How does His Dark Materials fit the conventions of the fantasy TV genre?

  

• Iconography including magic, mystical creatures or similar
• Often set in imagined worlds or time periods

2) Applying Propp's character theory, what character roles do some of the main characters in His Dark Materials fit into? 

The Hero: Lyra Belacqua (and Will Parry) undertake the central quest to discover the truth about Dust and ultimately defeat the oppressive Authority.

The Villain: The Magisterium and Metatron oppose the heroes, enforcing strict religious dogma and attempting to suppress free will.

The Dispatcher: Lord Asriel sets the plot in motion. He acts as the catalyst who sends Lyra on her journey by revealing the existence of Dust and opening the portal to other worlds.

 

3) What enigma and action codes (Barthes) can you find in His Dark Materials? Make specific, detailed reference to the text using media terminology (e.g. media language - camera shots, diegetic/non-diegetic sound, mise-en-scene etc.)

Early on, the concept of "Dust" is presented as a profound mystery. In adaptations, this is coded visually through a high-key, sparkling mise-en-scene of luminous golden particles contrasting against the dark, gritty backgrounds of Jordan College. The audience asks: What is Dust? Why do adults fear it?

What examples of binary opposition (Levi-Strauss) can you find in His Dark Materials? How do these create narrative or drama for the audience? You can find reminder notes on all these narrative theories here - just scroll down to narrative. 


Representations

1) How are women represented in His Dark Materials? Are gender stereotypes reinforced or subverted? Think about Lyra and Mrs Coulter here.

2) How are men and masculinity represented in His Dark Materials? Think about Will and Lee Scoresby here.

3) How is age (e.g. teenagers; adults) represented in His Dark Materials? Does the show reinforce or challenge stereotypes about young people? Think about Lyra and Will plus the abandoned children they meet. Also think about Mrs Coulter and other adults.

4) How is race and ethnicity represented in His Dark Materials? Are stereotypes reinforced or subverted?

5) What representations of the world can you find in the episode - is it like real life? A fantasy world? Something from the past or future? Give examples from the episode.

Audience

1) What audience do you think His Dark Materials is aimed at and why? Think about demographic and psychographic groups. You can revise Pyschographics here.

2) What audience pleasures are offered by His Dark Materials - The City of Magpies? Apply Blumler and Katz's Uses and Gratifications theory to the episode. Make sure you provide specific examples from the episode to support your ideas.

Personal Identity: 

Personal Relationships: 

Diversion (Escapism): 

3) Thinking of the 3 Vs audience pleasures (Visceral, Vicarious and Voyeuristic pleasures), which of these can be applied to His Dark Materials? Refer to specific scenes or moments in the episode to explain your answer. 

4) How did fans react to Season 2 of His Dark Materials? What about critic reviews? You can find some possible answers for this in this BBC website article on the critical reception for His Dark Materials and watch the fan reaction video above.

5) What might be some of the preferred and oppositional readings for His Dark Materials? Why did some fans love it? Why have other people criticised it? 

Industries

1) Which companies produced this His Dark Materials series?

2) What were the UK viewing figures for A City of Magpies? How did this compare to season 1 of His Dark Materials?

3) What was American network HBO's role in making His Dark Materials and why is this important? Look at the notes above for more on this.

4) What famous stars are in His Dark Materials and why do you think they were selected for the show? Watch the Comic Con panel video in the notes above to see the stars talking about the show.

5) Who are Bad Wolf and what do they produce?

Comparison: Doctor Who - An Unearthly Child and His Dark Materials - The City of Magpies

1) How are the technical conventions different between 1963 Doctor Who and 2020 His Dark Materials (e.g. camerawork, editing, sound and mise-en-scene)?

2) What similarities and differences are there between Doctor Who and His Dark Materials in terms of genre and narrative?

3) How are representations of people, places and groups similar or different in the two shows?

Radio 1 Launch CSP

 Historical, Social and Cultural Contexts

1) What radio stations were offered by the BBC before 1967?

BBC Radio Light (1945-1967) broadcasting mainly light entertainment (comedy / drama) and music. Replaced by Radio 2.

2) How was BBC radio reorganised in September 1967? What were the new stations that launched?

  On 30 September 1967, the Light Programme was split into Radio 1 offering continuous "Popular" music and Radio 2 for more 'Easy Listening'.

3) What was pirate radio and why was it popular?

This led to the growth of ‘pirate’ radio stations who could produce these shows for young people, 

4) Why did pirate radio stop broadcasting in 1967?

Pirate stations did not have these restrictions imposed on them because the law was difficult to apply offshore

5) How did the BBC attract young audiences to Radio 1 after pirate radio stations were closed down?

they could only play five hours of music per day. 

6) What was 'needle time' and why was it a problem for BBC Radio?

 This was called ‘Needle Time’ and in 1967 meant they could only play five hours of music per day. They were, more popular with young people than the BBC.

7) How did BBC Radio 1 offer different content to previous BBC radio stations?

Radio 1 also developed better content more suitable to the target audience as it became more popular. In the 1970s and 1980s, Radio 1 became the most listened to station in the world with audiences regularly over 10 million. 

8) Who was the first presenter for BBC Radio 1 and why did these new Radio 1 DJs cause upset initially at the traditional BBC?

Tony Blackburn was the first presenter to broadcast on BBC radio1 when it launched on September 30, 1967. The new DJs, many of whom were poached from illegal offshore pirate stations, caused significant upset among the traditional BBC establishment. 

9) Listen to excerpts from the Tony Blackburn's first 1967 broadcast - how might it have appealed to young listeners

It may have been considered cool and exciting to them as it may have been more modern to them

10) How was Tony Blackburn's radio show more like pirate radio rather than traditional BBC radio content?

The music was fit for a younger audience and was seen as cool to them.

Audience and Industry

1) What was the target audience for BBC Radio 1 in 1967?

the BBC Radio 1 target audience is 15-29 year olds

2) Why did Radio 1 initially struggle to attract young listeners?

 The median age for a Radio 1 listener is 32 and only 41% of the audience today are aged between 15-29.

3) What audience pleasures did Radio 1 offer listeners in 1967? (Use Blumler and Katz Uses and Gratifications theory).

Entertainment & Diversion: Listeners sought pure enjoyment, upbeat music, and escapism from the daily routine through the station's lively presentation.

4) How is the BBC funded?

  The tv license fee 

5) Applying Stuart Hall's Reception theory, what would the preferred and oppositional readings have been for BBC Radio 1 in 1967?

preferred

The Audience: Mainstream teenagers, young adults, and families who missed pop music after the pirate stations were outlawed.

oppositional

The Audience: Hardcore fans of offshore pirate radio and members of the late-1960s counter-culture.