A2 Media Coursework Mark Scheme For Ib

Hiya, sorry to hear that- really confirms that colleges don't care about media... we had a frequently absent teacher last year and the school didn't care:/

Just a quick summary:
1A you discuss your foundation portfolio and your advanced portfolio: for me, I made a music magazine last year and a music video this year.
Really it's just talking about your development from AS to A2- you don't necessarily have to use theorists in this question but it can be useful to back up your answers.

You could be asked about....
-Digital Technology
-Creativity
-Research and Planning
-Post-production
-Conventions of real media texts

There are some exemplar examples online if you google 'OCR media studies exemplar'.

Question 1B is the harder one:
You choose either your foundation or advance portfolio project and write about it in conjunction with either...
-Genre
-Narrative
-Representation
-Audience
-Media Language

In this question you can only score top marks by referring to theorists- some of them you will know already from AS or from your 'contemporary media regulations' unit however, i did postmodernism so I don't know exactly what you do for that.

Here are some that I write about...

David Gauntlett-Post-production, research and planning, creativity, audience.
-Web 2.0 and digital technology allow producers to be in direct contact with audiences.
-Media used to be ‘handed down by media gods’

Richard Dyer-Representation, genre, audience, media language, conventions of real media texts.
-Star Theory: icons and celebrities are manufactured by institutions for financial gain. Stars are constructed to represent ‘real people’ experiencing real emotions. “A star is an image” “…a person that is constructed out of a range of materials”.
-Typography of representation: Who? How? Why? How do the audience react?

Andrew Goodwin-Representation, media language, audience, research and planning, narrative, creativity, genre.
-Frequent reference to the notion of looking; particularly the voyeuristic treatment of the female body.
-Relationship between lyrics, music and visuals (illustrative, amplifying, contradictory)

Roland Barthes- Creativity, narrative, genre, media language, conventions of real media texts, representation, post-production
-Narrative codes…
-Enigmatic code: enigmas are any element to the texts that are not fully explained or understood and hence become a mystery to the reader, forcing them to be in an active position and ask questions. Major enigmas (someone has been murdered, who did it?) or minor enigmas (why did he walk in there?) Major enigmas drive the narrative.
-Semic code: Connotations of images
-Action code: how much action is chosen to be given to the audience. Suspense.
-Symbolic: binary oppositions- Levi Strauss.
-Referential code: The code that refers to anything in the text which refers to an external body of knowledge whether it be social, historical or scientific. How we understand when and where a film was made.

Levi Strauss-Narrative, representation, media language, conventions from media texts, genre, audience, creativity.
-Narratives arranged around conflict of Binary Oppositions.
-Discusses bricolage Vladimir Propp- Narrative, conventions of real media texts, genre, audience.
-Narratives are based around a structure of stock character types. i.e. hero, villain, helper.

Tzveten Todorov-Narrative, media language, conventions of real media texts, audience.
-Theory of equilibrium

John Berger-Creativity,
-Male/ female binary oppositions. Active/ passive. Dom/ sub. Strong/ weak.
-“Men look at women. Women watch themselves being looked at”.
-“we are preconditioned to make narrative in preference to shapeless, abstract, eventless images”

Stuart Hall-Narrative, representation, media language, audience.
-Media texts are ‘polysemic’ - have multiple interpretations
-Theories that when viewing a media text the audience can be: dominant reading (accepts the text), negotiated reading (both accepts and not), oppositional reading (oppose the text)
-Concerns with power of the media: can force dominant ideologies onto the audience and inject them with social values.

Laura Mulvey- resentation, conventions of real media texts, media language, audience, research and planning, genre.
-Women in film to be killed, raped or saved-“Visual pleasure and narrative cinema’ 1975. Her work is based on findings of Sigmund Freud. Women= passive. Men= active. -‘Male gaze’- put in POV of heterosexual male.
-The camera is male-‘Women should have a ‘to-be-looked-at’-ness

Stanley Cohen-Representation, audience,
-Certain groups in society are ‘demonised’ through negative representations which may have the effect of causing a moral panic where the rest of society fears that group.

Judith Butler- representation
-‘There is no gender identity behind the expressions of gender’ gender is not biological.
-Queer theory challenges traditional assumptions that there is a binary divide between gay and heterosexual, suggesting that sexual identity is more fluid.
-‘Gender is culturally formed’ -Gender is linked to sexuality

If you'd like any more advice on any element please let me know- i'd be happy to help! (plus it's good revision for me!)

Best of luck x

Language B Standard Level (SL) and Higher Level (HL) are language acquisition courses for students with some previous experience of learning the language. While studying the language, students also explore the culture(s) connected with it.

Higher and standard levels are differentiated by the recommended teaching hours, the depth of syllabus coverage, the required study of literature at HL, and the level of difficulty and requirements of the assessment tasks and criteria.

The range of purposes and situations for using language in the language B courses extends well beyond those for language ab initio.

The course is organized into themes. Three core themes are required: communication and media, global issues, and social relationships. In addition, at both HL and SL, teachers select two more themes from five options provided. Finally, two works of literature are studied at HL only.

Key features of the curriculum and assessment models

  • Available at standard (SL) and higher levels (HL)
  • The minimum prescribed number of hours is 150 for SL and 240 for HL
  • Interactive, productive and receptive skills are developed through contextualized study of language, texts and themes
  • Intercultural understanding and plurilingualism are key goals of the course
  • Students are exposed to a variety of authentic texts and they produce work in a variety of communicative contexts
  • Students are assessed both externally and internally
  • External assessment at SL consists of exercises to demonstrate understanding of authentic print texts based on the core themes (receptive skills), a writing exercise based on the options (productive skills), and a written assignment based on the core themes (integrating receptive and productive skills)
  • External assessment at HL consists of exercises to demonstrate understanding of authentic print texts based on the core themes (receptive skills), two writing exercises, one based on the core and the other based on the options (productive skills), and a written assignment based on one of the literary texts (integrating receptive and productive skills)
  • Internal assessment at both SL and HL tests students’ abilities in listening and speaking in a genuine conversation format (integrating receptive, productive and interactive skills). Internal assessment consists of an individual oral based on the options (presentation and discussion with the teacher), and an interactive oral based on the core (three classroom activities assessed by the teacher)

Read about group 3: individuals and societies

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