GCSE Media Exam

Component One: Written examination: 1 hour 30 minutes 40% of qualification 80 marks.

Monday 3rd June 2019

Exploring the Media:

This component provides a foundation for analysing media products, introducing learners to media language

and representation through the study of print media forms. Learners will develop their ability to analyse

media language, representations and meanings in a range of media products. In addition, learners will study

products from specific media industries and audiences to develop their knowledge and understanding of

those areas of the theoretical framework. Learners will also begin to explore how media products reflect,

and are influenced by, the social, cultural, historical and political contexts in which they are produced. The

following media forms will be studied.

Section A

Magazine front covers: Pride (November 2015) GQ (July 2016)

Film posters (marketing) The Man with the Golden Gun (1974) Spectre (2015)

Newspaper front pages: The Guardian (4 September 2015) The Sun (13 December 2013?

Print Advertisements: Quality Street (1956) This Girl Can (2015)

Section B

Newspapers: The Sun

Radio: The Archers

Film: Spectre

Video games: Pokémon Go

A set of informative factsheets that provide an introduction to the set products and their contexts are

available to download on the Eduqas website. The resources offer starting points for analysis and for

developing knowledge and understanding of the relevant areas of the theoretical framework, including

theorists and theoretical perspectives.

http://resources.eduqas.co.uk/Pages/ResourceSingle.aspx?rIid=950

In addition to this the school VLE has student friendly resources and images required for revision:

http://burgate.fireflycloud.net/media/gcse-media/current-eduqas-specification/component-1

Component Two: Written examination: 1 hour 30 minutes 30% of qualification 60 marks

Monday 10th June 2019

Understanding Media Forms and Products

This is component builds on the introduction to key areas of the theoretical framework provided in

Component 1. In Component 2, learners will gain a deeper knowledge and understanding of media language

and representation, as well as extending their appreciation of these areas through the study of media

industries and audiences.

Learners will also develop knowledge and understanding of how relevant social, cultural, political and

historical contexts of media influence media products. In this component learners will explore particular

media forms in depth through both of the following topics: Television Crime Drama and Music Video.

Section A

Luther, Series 1, Episode 1 (2010), 15 Original broadcaster: BBC Plus a ten minute extract from: The

Sweeney, Series 1, Episode (1975)

A set of resources to support the component two section A is available to download on the Eduqas

website. The resources explore the set products in relation to all areas of the theoretical framework and

include interactive activities to develop learners' knowledge, understanding, and analytical skills.

http://resources.eduqas.co.uk/Pages/ResourceSingle.aspx?rIid=1054

In addition to this the school VLE has student friendly resources and images required for revision:

http://burgate.fireflycloud.net/media/gcse-media/current-eduqas-specification/component-2/section-a

Section B

Katy Perry, Roar (2013)

Pharrell Williams, Freedom (2015) 2014)

Duran Duran, Rio (1982)

A set of resources to support the component two section B is available to download on the Eduqas

website. The resources explore the set products in relation to all areas of the theoretical framework and

include interactive activities to develop learners' knowledge, understanding, and analytical skills.

http://resources.eduqas.co.uk/Pages/ResourceSingle.aspx?rIid=1053

In addition to this the school VLE has student friendly resources and images required for revision:

http://burgate.fireflycloud.net/media/gcse-media/current-eduqas-specification/component-2/section-b

Sample Questions and Answers - Component 1

1a Explore how the poster for The Man with the Golden Gun uses media language to create meanings: (20)

Typically, film posters are very visual and rely on images and limited text to promote the film.

The images need to give the audience an idea of the film genre and hint at the narrative.

There is so much going on that the reader is expected to work through the images to understand the film’s plot.

The central image is a mid-shot of JamesBond, smartly dressed holding a gun across his body.

The dominance of his image suggests he is the film’s protagonist and so probably a ‘good guy’.

Bond’s attire connotes business and professionalism and the gun, an iconic part of Bond’s ‘uniform’, signifies danger and action.

Bond is looking directly at the audience, seemingly making eye contact.

The intensity of his stare and the lack of a smile could connote how seriously he expects to be taken and that he appears calm despite the chaos surrounding him.

This informs the audience of one of his great strengths, his ability to keep his composure in any situation.

A common convention for film posters is to have the actor’s name(s) placed prominently as another way to entice the audience.

Roger Moore had become a household name after starring in the well-known TV series The Saint and playing Bond in the previous film, Live and Let Die, so his name is placed directly above Bond’s image to reinforce the link.

The title of the film appears with the name of the author who wrote the books (on which the films are based) at the bottom of the poster.

The credit block, detailing industry information such as other star’s names, directors and producers, is much smaller and tucked away so as not to divert the audience away from the main image or the rest of the poster.

According to Vladimir Propp’s theory, he would be considered the ‘hero’. This is reinforced by the use of colour – Bond’s white jacket connotes his heroic status, contrasting with the dark, shadowed antagonist in the background. Bond’s clothing connotes business and professionalism and the gun, an iconic part of Bond’s ‘uniform’, is a common prop used in the action/thriller genre and so audiences can expect violence, action and danger.

The film was set in the middle of the 1973 energy crisis,when the oil producing Arab nations proclaimed an oil embargo causing an oil crisis which had both short and long-term effects across on politics and the economy across the globe. This is hinted at through the poster’s iconography of the power plant in the lower left corner and the energy beam directed at Bond.

The colour of the gun connotes wealth and status and the fact we can only see the hand of the shooter creates intrigue and what Roland Barthes would term an enigma code for the audience, as we want to find out who is trying to kill Bond.

Also, continuing Propp’s character theory, we would consider this person to be the ‘villain’.

Surrounding Bond are even more enemies and people trying to kill him.

These images, combined with the images of destruction and explosions, are codes that signify to the audience the genre.

As is typical of Bond films, the protagonist is flanked by females wearing very few clothes: Two of these women are highly sexualised.

Body language: one appears to be looking at the golden gun assassin whilst pointing at Bond whilst the other seems to be putting her arm out in front of him, seemingly protecting him.

Barthes might argue that this is another enigma code, suggesting to the audience that Bond has female allies and enemies, yet all look the same making it hard for him to distinguish between them.

1b Explain how social context influences film poster. Refer to Spectre to support your points. [5]

The opening sequence to the film shows a ‘Day of the Dead’ parade in Mexico City, which isn’t something that actually took place in real life.

However, the interest in the film, and the government’s determination to promote pre-Hispanic Mexican culture, meant that one year later the local authorities decided to organise such a parade (Dia de los Muertos) on October 29th 2016.

It was a huge success and attended by 250,000 people.

The Tom Ford white tuxedo worn by Daniel Craig revived a fashion trend from the 1970s.

Previous Bonds have worn a white tuxedo, and John Travolta famously sported one in the film Saturday Night Fever in 1977.

The central image is a long shot of James Bond, smartly dressed, arms folded, with the gun pointing to his left..

The dominance of his image suggests he is the film’s protagonist and so probably a ‘good guy’.

James Bond represents our cultures masculine ideal. Whatever he is, is what so many young men are wishing they could become.

2. Question 2 is based on the 1950s advertisement for Quality Street from the set products. Use the advertisement when answering the question. 2 Explore how the advertisement for Quality Street uses the following elements of media language to create meanings: (a) images [5] (b) language [5] (c) layout and design. [5]

(a)Responses are likely to analyse aspects of the images in the advertisement, such as: the rich colour palette of primary and secondary colours, including

the gold picture frame, connotes 'quality' and wealth associated with the brand the centrality of the male character, seated between two women, reflects

his importance and power the formal clothing and appearance of the seated male character suggests high-earning, professional men being able to buy the

product and therefore being attractive to women the visual contrast of the blonde and dark haired women links to the idea of 'delightfully different' in the text.

(b) Language Responses are likely to analyse aspects of language in the advertisement, such as: the use of persuasive language techniques such as

alliteration ('delightfully different'), and hyperbole ('what a delicious dilemma!') to engage audiences the inference of a dilemma on two levels: o the man's

choice between two different women o the women's choice of chocolate, related to stereotypes around women and chocolate the use of the phrases

'delightfully different' and 'delicious dilemma' to anchor the meanings of the main image and the advert's main theme the use of descriptive language including positive adjectives such as 'distinctive' underneath each sweet to connote a 'quality' product being consumed by a wealthy and discerning consumer.

(c) Layout and design Responses are likely to analyse aspects of layout and design in the advertisement, such as: the use of italicised font and the colour

purple for the brand name connotes 'quality' and class the positioning of the gold frame with historic imagery in the background suggests tradition and an

established brand, whilst the seated characters in the foreground implies a modern approach to the brand the geometric composition of the advert leads

the audience from the male character's face down to the centrally framed tin of sweets to the text at the bottom of the page the similarities in colour scheme between the wrappers of the products and the characters in the background image creates a brand identity

3. Compare the representation of women in the Pride front cover and the Glamour front cover. [25] Use aspects of representation from the theoretical framework, such as: o the selected, constructed and mediated nature of representations and the choices that construct them. Stereotypes and misrepresentations of women messages, values and points of view inherent in representations of women o theoretical perspectives on representation, for example feminist approaches or notions of selection, construction and mediation. Analyse each media product in terms of the choices made by media producers to construct the representations, including: choice of cover model, including dress, make-up, hair, pose, gesture and expression o shot type and size, framing and composition of the image, title and sell lines – content, language and mode of address. Analyse key similarities between how women are represented in the two magazine covers, for example: o the representations of stereotypical femininity in both covers created through: selection of image, including choice of female celebrities and the focus on their visual images, clothing, hairstyle, make-up and jewellery – elegant and flowing dresses, flawless skin emphasised by uncovered arms and shoulders, long hair, understated make-up construction: use of medium long shot in a straight on angle to emphasise both women’s slim figures and create a sense of openness and appeal to the audience mediation: inclusive mode of address – pose, smile and eye contact with reader, use of first person in quotation on Glamour cover, 'we' in sell line on Pride cover o emphasis on stereotypically female interests and concerns, such as beauty and fashion, in the sell lines the representation of a black celebrity on the Pride cover and a white celebrity on the Glamour cover

the more politicised or feminist representation of women on the Pride cover created through explicit reference to feminism and focus on gender issues such as female objectification in the sell lines

the representation of issues specifically relevant to black women on the Pride cover, such as FGM and 'Black Women's Bodies Examined'

the different, more political connotations of the title Pride which suggests a celebration of black beauty in response to the under-representation of black women in mainstream women’s magazines, compared with the connotations of the title Glamour, which suggests a focus on stereotypically female concerns such as appearance, typical of women’s magazines more generally

linking of these differences to the respective target audiences for each magazine, such as the more niche or specialist audience of black British women for Pride and the mainstream audience of white women for Glamour

Make judgements and draw conclusions regarding how far the representation of women in the two magazine covers is similar and different, for example: o although the magazines differ in their representation of ethnicity, the representation of women is largely similar and stereotypical in both o although the magazines are aimed at different audiences, the representation of women is largely similar and stereotypical in both

Although there are some similarities in the representation of women across the two magazines, Pride focuses more on serious issues related to

gender and ethnicity than Glamour.

Section B: Exploring Media Industries and Audiences

4. Media Industries

a. Name the organisation that regulates films in Britain. [1] British Board of Film Classification or BBFC

b. 12 and 12A are examples of age certificates used in the UK. Give two other examples of age certificates used in the UK. [2] U PG 15 18

R18

c. Briefly explain the difference between the 12 and 12A age certificates. [2]

The 12 certificate is for video releases or home viewing only, whereas the 12A certificate means that children under 12 must be accompanied by an adult for films shown at the cinema

d. Explain why a film may be given a 12A or 12 certificate. Refer to Spectre to support your points. [12]

the BBFC as the UK film regulator o the functions of regulation, such as to protect vulnerable audiences from content that may be offensive or harmful, or to help film audiences make decisions according to personal choice regarding content that may harm or offend o the requirements for and distinction between different age certificates such as 12/12A and 15 the aspects of a film that may raise regulatory issues, for example the BBFC's description of Spectre as containing 'moderate violence and threat'

the relationship between film distributors and regulators o how film distributors may make cuts to a film to achieve a particular certificate, for example the cuts that the distributors of Spectre had to make to gain a 12A/12 certificate, including reference to the BBFC categories of advice such as threat, violence and swearing

how the film industry operates as a commercial industry

how film distributors, including the distributors of Spectre, aim to reach large global audiences

the importance of attaining the desired certification to maximise audience numbers and profit, for example

5. Audiences

a. Which radio station broadcasts The Archers? [1] BBC Radio 4 or Radio 4

b. Identify one audience for The Archers. [1]

Older demographic/audience Middle class audience Higher socio-economic groups (A, B) Radio 4 audience Niche/specialised audience

Fans of radio drama Fans of soap opera

c. Explain two ways in which The Archers is aimed at the audience you have identified [4] Aimed at an older demographic/audience through being a long-running programme first broadcast in 1950, whose listeners are loyal to it and have listened

to it for a long time Aimed at audiences from higher socio-economic groups through the inclusion of middle class characters such as the Archers and the

Aldridges to appeal to the typical radio 4 listener Aimed at a niche audience through being a rural drama broadcast on radio 4, whose audience is

generally smaller and more specialised than television audiences Aimed at fans of soap opera through using the familiar and appealing conventions of the genre such as stock characters, communal settings and ongoing narratives

d. Explain why audiences listen to The Archers. Refer to the Uses and Gratifications theory in your response. [12] Answers are likely to demonstrate knowledge and understanding of the theoretical framework of media with specific reference to audiences, Uses and Gratifications theory and the set product, for example:

the role of media technologies in reaching the audience, such as digital forms of exhibition, the impact of convergence and cross-platform opportunities for audiences to access the programme o ideas of fandom and a community of loyal fans of The Archers who have invested in the programme over many years

the role and pleasures of radio and how it can fit into audience's lives and homes in a variety of ways, including portability, ease of access and use as background sound

the importance of identity - audiences may listen to The Archers because it is connected to their identity as, for example, Radio 4 listeners or country dwellers

the importance of the themes and issues addressed in The Archers, such as domestic abuse and infidelity, to audiences.

Uses and Gratifications theory: audiences actively choose to listen to The Archers to fulfil their need for information, entertainment, escapism, identification with characters and/or social interaction.

Answers in the higher bands may draw together knowledge and understanding of other areas of the theoretical framework and/or media contexts, for example:

the historical context of The Archers and its social and cultural significance for audiences as the world's longest running radio soap opera o the narrative appeal of the form for audiences, including continuing narratives, enigma codes, multi-strand narratives and the conventional nature of the narrative construction

how generic conventions of radio soap opera engage audiences through aspects such as typicality, variation, a repertoire of elements and the dynamic nature of genres reflected in how The Archers has changed over time to remain contemporary through its characters and storylines

how the BBC uses distribution and marketing strategies to reach audiences, including new audiences, which may encourage them to listen to The Archers

Sample Questions and Answers Component 2:

Section A – Television – Luther (and The Sweeney)

1. Media Contexts

a. Explore the connotations of the costume of two characters in the extract. [8]

Luther’s costume in the extract of a shirt and tie connotes his official status and authority as a police detective

Luther’s costume in the extract of an undone top button and loosened tie connotes that he is not conventional and doesn’t conform to rules In the extract, Luther’s puts his wedding ring back on; this part of his costume connotes his commitment to his wife and reluctance to accept that his marriage is over Alice Morgan’s long, red hair in the extract connotes that she is volatile, dangerous and sexual. It contrasts with her short, messy hair at the beginning of the extract when she is pretending to be innocent. Alice Morgan is wearing a smart jacket, trousers and boots in the extract. This gives her a business-like appearance which connotes that she is an efficient and ruthless criminal. Alice Morgan’s costume in the extract contrasts with her costume at the beginning of the episode when she is pretending to be innocent, wearing an ordinary raincoat and looking dishevelled. This contrast connotes her ability to disguise herself and her sociopathic nature.

b. How far are the characters in Luther typical of the genre? Explore two characters. [12]

Luther finds the gun in the urn containing the ashes of Alice Morgan's parents.

This is typical of the detective character in crime drama who uses his Intelligence to solve the crime. Luther is not initially wearing his wedding ring, but declares his love for his wife and warns Alice Morgan to stay away from her, suggesting a troubled detective with a difficult personal life.

This is a typical convention of crime dramas as it makes the character more ‘human’ and easy for the audience to relate to Luther picks the lock to Alice Morgan’s flat and steals the urn.

This shows him as a brilliant maverick who doesn’t always stay within the law to achieve results, which is a typical convention of many crime dramas where the line between ‘good’ and ‘bad’ or heroes and villains is often blurred Alice Morgan taunts Luther with how carefully she has ensured there is no evidence of her crime - this shows her as highly intelligent and is a distinctive character for the genre which varies the conventions and challenges stereotypes within the genre and in society more broadly of men being more intelligent than women.

Alice Morgan threatens Luther with a kitchen knife and says 'kiss me, kill me'. This shows her as a dangerous woman and relates to the stock character or archetype of the ‘femme fatale’ which is typical of ‘noir’ as a cultural context, but less common in television crime drama

Alice Morgan is shown as a complex character who commits crimes but also relates to Luther – this is an unconventional relationship between the two characters and varies the female role in crime drama where women are sometimes the heroes (police/detectives) or typically the victims of crime.

c. How do crime dramas reflect the time in which they are made? Refer to examples you have studied to support your response. [10]

The Sweeney (1970s) and Luther (2010)

The Sweeney reflects 1970s culture and social context through the visual conventions of the mise-en-scène (the vehicles, including Regan’s iconic Ford

Consul Granada, the costumes, the areas of social deprivation in London).

The Sweeney represents the police as violent and willing to bend or break the rules in order to gain a conviction. This reflects policing in the 1970s, exemplified by the investigation and conviction of real-life police Flying Squad detectives for bribery and corruption.

The Sweeney reflects 1970s values in relation to gender, especially gender roles in the workplace – the Flying Squad is male-dominated, patriarchal and characterised by a stereotypically macho culture of drinking, violence etc. This reflects gender roles within society at the time, particularly within the police force where women in the UK police force had a different rank structure to men.

Luther reflects contemporary London culture through the use of media language – shots of the London skyline, sleek office buildings, period town houses etc. represent the city as a prosperous and diverse place.

Luther reflects contemporary attitudes to policing and constructs both positive and negative representations – Luther is a maverick who is brilliant at solving crimes, but breaks protocol in the way he deals with suspects e.g. threatening Alice and breaking into her flat. His boss is extremely logical and insists that proper procedure is followed, reflecting the institution of the police and balancing Luther’s more extreme approach.

Luther reflects the diversity of contemporary British society in the representation of Luther as a high-ranking black police officer, communicating a message of racial equality.

Luther reflects some degree of gender equality in contemporary society in the representations of strong, powerful females (Luther’s boss is female, his wife Zoe is a successful lawyer, Alice is a prodigiously intelligent astrophysicist). However, these females are not all represented positively or as being totally independent – Alice is a narcissistic murderer and Luther’s boss has a patriarchal male superior for example.

Section B – Music

2. Representations Use the two set music videos you have studied from those listed below in your answer to Question 3. Roar, Katy Perry (2013) AND Freedom, Pharrell Williams (2015)

'Music videos reinforce stereotypes of ethnicity.' How far is this true of the two music videos you have studied? [20] Freedom

Diverse representations of ethnicity, for example ethnic minorities with specific religious beliefs, such as the close up of a woman in a hijab, reflective of contemporary cultural contexts

Representations of oppressed minorities including links to contexts of slavery indicated via long shots of black workers carrying out physical manual labour under the rule of a white aggressor

Use of images of positive black representations such as Mohammed Ali Ideas about unity between races presented through examples such as the bird's eye view shot of all races joint hands

Roar

Use of white westernised couple in apparent 'Tarzan and Jane' parody and arrogant white male explorer, ill-equipped to deal with the wild, dressed as anexplorer in an apparent homage to Indiana Jones and recognised cultural contexts

White woman as animalistic, subverting common racial stereotypes, depicted through costume e.g. leopard print and lion iconography used throughout

Instances of 'white washing' through the use of direct references to Katy Perry as

Mowgli from The Jungle Book

Lack of ethnic minority characters in the video

3. Media Industries

Explain why websites are important to the music industry. Refer to the official Katy Perry website to support your response. [10]

the nature of media production in the music industry, with reference to mainstream music labels and conglomerate ownership and power

the importance of new digital technologies, including reference to convergence, and synergies with other media such as film and television

the importance of online media in terms of marketing and distribution to global audiences and large, mainstream audiences

the importance of links to participatory media such as social networks in reaching specific audiences, especially younger audiences

the profitable nature of online identities, including links to online stores to purchase merchandise and digital content

the development of an identity and branding associated with the release of media products by each artist, created through aspects such as typography, colour, animation and user interface, replicated in other media texts such as albums, singles and digital artwork on music streaming sites

Katy Perry - Witness

The website includes updated links to her latest tour dates providing fans with the opportunity to purchase online. Locations of shows suggest her audiences is global.

The website features prominent merchandising: merchandising is an important revenue channel for artists in an age of Spotify and streaming.

Updated photos from her live shows keep the brand image fresh and made the audience feel connected with the world of Katy Perry

The website links to various other media platforms that are used to promote Katy Perry's music including Instagram, Twitter and YouTube. Social media makes Katy Perry seem more authentic and helps her connect with her fans in a 360 degree way.

In her new YouTube Red Original Movie, KATY PERRY: WILL YOU BE MY WITNESS?, the colourful pop icon puts her life on camera 24/7 for four whole days, in her most intimate reveal yet. Join Katy as she takes us behind-the-scenes in the creation and aftermath of this unprecedented live-streaming event with friends, artists and celebrity guests.

Pharrell Williams

Conceptualized by creative workshop five hundred, the site archives over 20 years of Pharrell’s music, style, art, film and philanthropy.

Users can browse through over 500 tracks or learn more about his collaborations with the likes of Takashi Murakami and Chanel.

Fan engagement is the focus of the redesign, with visitors encouraged to log in through Facebook to create a fan card.

A three step process requires fans to select one of five categories: music, fashion, art/design, tv/film or social good, then choose their favourite project within the category, and upload their unique card to the homepage where it serves as a tout to access the project of their choice.

Internet users aren’t usually ones to jump through hoops, so this really separates the casual listener from the devotees.

Cataloguing a diverse collection of 20 years’ worth of work, the interface is as fun and colourful as his persona. Designed in effort with creative agency, five hundred, the new site allows users to explore his music, film and tv, social justice, fashion, art, and design projects.

Upon landing on the home screen users are met with an array of multi-color cards, submitted by fans to share their favourite Pharrell pieces.

As you navigate your way through, you’re invited to make and share your own personalized card.

So far, popular favourites include his collaboration with Takashi Murakami, Friends With You, Adidas Originals, G-Star, and Chanel to name a few.

Glossary

A SIGN/CODE – something which communicates meaning, e.g, colours, sounds. The meaning of the sign changes according to

the context, e.g, the colour red can mean passion, love, danger or speed depending on how and where it is used.

ACTION CODE – something that happens in the narrative that tells the audience that some action will follow, for example in a

scene from a soap opera, a couple are intimate in a bedroom and the camera shows the audience the husband's car pulling up

at the front of the house.

ANCHORAGE – the words that accompany an image (still or moving) give the meaning associated with that image. If the caption

or voice-over are changed then so is the way in which the audience interprets the image. An image with an anchor is a closed

text; the audience are given a preferred reading. A text without an anchor is an open text as the audience can interpret it as they

wish. The same image of a local school in a local newspaper could run a negative or a positive headline, which would change the

way in which the same image is viewed by the reader.

ARC OF TRANSFORMATION – the emotional changes a character goes through in the process of the narrative. The events in the

story mean that they will 'transform' by the end of the story.

ASPIRATIONAL – in terms of a media text one that encourages the audience to want more money, up market consumer items

and a higher social position.

AUDIENCE SEGMENTATION – where a target audience is divided up due to the diversity and range of programmes and channels.

This makes it difficult for one programme to attract a large target audience.

AVATAR – the player's representation of themselves within the game.

BACK STORY – part of a narrative and may be the experiences of a character or the circumstances of an event that occur before

the action or narrative of a media text. It is a device that gives the audience more information and makes the main story more

credible.

BINARY OPPOSITES – where texts incorporate examples of opposite values; for example, good vs evil, villain vs hero. These can

be apparent in the characters or the narrative themes.

BRAND IDENTITY – the association the audience make with the brand, for example Chanel or Nike, built up over time and

reinforced by the advertising campaigns and their placement.

BROADSHEET – a larger newspaper that publishes more serious news, for example The Daily Telegraph has maintained its

broadsheet format.

CAPTION – words that accompany an image that explain its meaning.

CHANNEL IDENTITY – that which makes the channel recognisable to audiences and different from any other channel. Presenters,

stars, programme genres and specific programmes all help to contribute to a channel's identity.

CONNOTATION – the meanings attached to that description, e.g. the red car in the advert suggests speed and power.

CONVENTIONS – what the audience expects to see in a particular media text, for example the conventions of science fiction

films may include: aliens, scientists, other worlds, gadgets, representations of good and-evil, etc. Useful headings to discuss

conventions are: characters, setting, iconography, narrative, technical codes and representation.

CONVERGENCE – the coming together of previously separate media industries; often the result of advances in technology

whereby one device contains a range of different features. The mobile phone, for example, allows the user to download and

listen to music, view videos, tweet artists etc. All this can be done through one portable device.

COVER LINES – these suggest the content to the reader and often contain teasers and rhetorical questions. These relate to the

genre of the magazine.

CROSS-PLATFORM MARKETING – In media terms, a text that is distributed and exhibited across a range of media formats or

platforms. This may include film, television, print, radio and the Internet.

DEMOGRAPHIC CATEGORY – a group in which consumers are placed according to their age, sex, income, profession, etc. The

categories range from A to E where categories A and B are the wealthiest and most influential members of society. DENOTATION

– the description of what you can see/hear in a media text, e.g. the car in the advert is red.

DIEGETIC SOUND – sound that can be seen, for example the sound of a gun firing, the cereal being poured into the bowl in an

advert, etc.

ENIGMA CODE – a narrative device which increases tension and audience interest by only releasing bits of information, for

example teasers in a film trailer. Narrative strands that are set up at the beginning of a drama/film that makes the audience ask

questions; part of a restricted narrative.

ETHNOCENTRIC – this means that the newspaper will be more concerned to cover stories that are closely related to the reader

and their concerns. Tabloid and local papers only tend to cover international news stories if they can relate them specifically to

their readers.

ETHOS – what the channel believes in and what it sees at its role. The ethos is usually set out in the channel's charter.

FLEXI NARRATIVE – a more complex narrative structure with layers of interweaving storylines. This challenges the audience and

keeps them watching.

FOUR Cs – this stands for Cross Cultural Consumer Characteristics and was a way of categorising consumers into groups through

their motivational needs. The main groups were mainstreamers, aspirers, explorers, succeeders and reformers.

FRANCHISE – an entire series of the film including the original film and all those that follow.

GATEKEEPERS – the people responsible for deciding the most appropriate stories to appear in the newspapers. They may be the

owner, editor or senior journalists. They will only let the stories most appropriate for the ideology of the paper 'through the

gate'. GENRE – media texts can be grouped into genres that all share similar conventions. Science fiction is a genre, as are

teenage magazines, etc.

HEGEMONIC MALE REPRESENTATION – this derives from the theory of cultural hegemony by Antonio Gramsci. Simply put, it

asserts that the dominant social position in society is taken by men and the subordinate one by women.

HORIZONTAL INTEGRATION – where the conglomerate is made up of different companies that produce and sell similar products.

For example a film producer, a TV company, a magazine and a newspaper.

HOUSE STYLE – what makes the magazine recognisable to its readers every issue. The house style is established through the

choice of colour, the layout and design, the font style, the content and the general 'look' of the publication.

HYBRID GENRE – media texts that incorporate elements of more than one genre and are therefore more difficult to classify. Dr

Who is a science fiction/fantasy television drama.

HYPER REALITY – a state where what is real and what is fiction are blended together and become indistinguishable. It may be,

particularly in the case of computer games that some gamers may feel more in touch with the hyper-real world than the physical

one.

HYPODERMIC NEEDLE MODEL – generally acknowledged to be an out of date theory which suggests that an audience will have a

mass response to a media text. The idea is that the media injects an idea into the mind of an audience who are assumed to be

passive and as a result they will all respond in the same way.

ICONOGRAPHY – the props, costumes, objects and backgrounds associated with a particular genre; for example, in a police

series you would expect to see, uniforms, blue flashing lights, scene of crime tape and police radios.

INDEPENDENT FILM – a film made outside of the financial and artistic control of a large film company. A truly independent film

should be privately conceived and funded. However, few films made are really 'independent'. This more commonly refers to a

film that is made by a smaller film company on a low budget.

INDEPENDENT RECORD LABEL – a record label that operates without the funding of and is not necessarily linked to a major

record label.

INTELLECTUAL PROPERTY – a legal concept which refers to creations of the mind for which the owner's rights are recognised.

These rights cover such intangible assets as music, literary and artistic works; discoveries and inventions; and words, phrases,

symbols, and designs.

INTERTEXTUAL – where one media text makes reference to aspects of another text within it. For example, reconstructing a short

scene from a film in a television advertisement. The text chosen will usually appeal to the target audience.

LAYOUT – the way in which a page has been designed to attract the target audience. This includes the font styles used, the

positioning of text and images and the use of colour.

LINEAR NARRATIVE – where the narrative unfolds in chronological order from beginning to end.

LUDOLOGY – the study of games and those who play them.

MALE NARCISSISM – this literally means 'self-love' and its derivation is from the Greek god Narcissus who mistakenly fell in love

with his own reflection. In media terms it suggests an obsession with body image and looking good.

MASCULINITY – the perceived characteristics generally considered to define what it is to be a man. These can adapt according to

sociological variations and cultural changes.

MEDIA CONGLOMERATE – a company that owns other companies across a range of media platforms. This increases their

domination of the market and their ability to distribute and exhibit their product.

MEDIA PLATFORM – the range of different ways of communicating with an audience, for example newspapers, the Internet, and

television.

MEDIATION – the way in which a media text is constructed in order to represent the producer of the text's version of reality;

constructed through selection, organisation and focus.

METROSEXUAL MAN – an urban male who is narcissistically concerned with his physical appearance and fashion. He would

acknowledge being sensitive, romantic and in touch with his feminine side. He first appeared in the pages of men's lifestyle

magazines like GQ and a good example is David Beckham.

MISE-EN-SCÈNE – in analysis of moving image – how the combination of images in the frame creates meaning. How individual

shots in a film or photograph have been com posed.

MMORPG – massively multi-player online role-playing game.

MODE OF ADDRESS – the way in which a media text 'speaks to' its target audience. For example, teenage magazines have a

chatty informal mode of address; the news has a more formal mode of address.

NARRATIVE – the 'story' that is told by the media text. All media texts, not just fictional texts, have a narrative. For example,

magazines have a clear beginning, middle, and end. Most narratives are linear and follow a specific structure (Todorov).

NARROW CAST – where a text, for example a magazine about sea fishing, will target a very specific, narrow audience.

NEWS AGENDA – the list of stories that may appear in a particular paper. The items on the news agenda will reflect the style and

ethos of the paper.

NICHE AUDIENCE – a relatively small audience with specialised interests, tastes, and backgrounds.

NON-DIEGETIC SOUND – sound that is out of the shot, for example a voice-over/romantic mood music.

NON-LINEAR NARRATIVE – here the narrative manipulates time and space. It may begin in the middle and then include

flashbacks and other narrative devices.

OPEN WORLD – in an open world computer game the player can move freely though the virtual world and is not restricted by

levels and other barriers to free roaming. OPINION LEADERS – people in society who may affect the way in which others

interpret a particular media text. With regard to advertising, this may be a celebrity or other endorser recommending a product.

PICK AND MIX THEORY – suggested by British sociologist and media theorist, David Gauntlett. He asserted the autonomy of the

audience and challenged the notion that audiences are immediately affected by what they read. He maintains that audiences

are more sophisticated than this and will select aspects of the media texts that best suit their needs and ignore the rest.

PLURALITY – in a media context, this refers to a range of content to suit many people.

POLITICAL BIAS – where a newspaper may show support for a political party through its choice of stories, style of coverage,

cartoons, etc. It may be subtle and implicit or explicit as in the case of the tabloids on election day.

PRIVILEGED SPECTATOR POSITION – where the camera places the audience in a superior position within the narrative. The

audience can then anticipate what will follow.

PUBLIC SERVICE BROADCASTER – a radio and television broadcaster that is independent of government, financed by public

money and is seen to offer a public service by catering for a range of tastes.

RED TOP – a British newspaper that has its name in red at the top of the front page. Redtops have a lot of readers, but are not

considered to be as serious as other newspapers.

REGULATOR – a person or body that supervises a particular industry.

REPERTOIRE OF ELEMENTS – key features that distinguish one genre from another.

REPRESENTATION – the way in which key sections of society are presented by the media, e.g. gender, race, age, the family, etc.

One important example in the media is how women are represented in magazines.

RHETORICAL QUESTION – a question asked for effect where no answer is expected. For example, in magazines the focus of the

question may encourage the reader to engage in self-reflection.

SEXUAL OBJECTIFICATION – the practice of regarding a person as an object to be viewed only in terms of their sexual appeal and

with no consideration of any other aspect of their character or personality. SIMULCAST – the streaming of live radio

programmes from the website at the same time as they are broadcast on the radio. SPLASH – the story that is given the most

prominence on the front page of a newspaper.

STEREOTYPE – an exaggerated representation of someone or something. It is also where a certain group are associated with a

certain set of characteristics, for example all Scotsmen are mean, blondes are dumb, etc. However, stereotypes can also be

quick ways of communicating information in adverts and dramas, e.g. the rebellious teenager in a soap opera, as they are easily

recognisable to audiences.

STRIPPED – a technique used in radio and television whereby a certain programme is broadcast at the same time every day. In

radio this attracts an audience who associate a particular programme with their daily routine, for example driving home from

work.

STUART HALL'S AUDIENCE RESPONSE THEORY – Stuart Hall is a cultural theorist who researched how audiences respond to

media texts. He suggested that producers encode texts, and audiences may take on the preferred meaning, have a negotiated

response where they accept some aspects of the text and disagree with others, or have an oppositional response where they

reject the ideology of the text.

SUB-GENRE – where a large 'umbrella' genre is sub-divided into smaller genres each of which has their own set of conventions.

For example, the television genre can be subdivided into teen drama, hospital drama, costume drama, etc.

SUBJECT-SPECIFIC LEXIS – the specific language and vocabulary used to engage the audience. Subject-specific lexis used on the

front cover of the magazine will make the reader feel part of the group who belong to the world of that magazine. For example,

terminology used on the front covers of gaming magazines.

SUSPEND DISBELIEF – here, an audience may be aware that where they are positioned by the camera, for example, is

impossible, but they do not challenge this and instead believe it because it enhances their involvement in the story.

SYNERGY – the interaction and co-operation of two or more media organisations in order to produce mutually beneficial

outcomes. For example, the combination of the artist and the recording company.

TABLOID – refers to the dimensions of a newspaper, a tabloid is smaller and more compact in size. However, there are further

connotations attached to the term and it also tends to refer to a newspaper whose content focuses on lighter news, for example

celebrity gossip, sport and television.

TARGET AUDIENCE – the people at whom the media text is aimed.

TECHNICAL CODES – these are the way in which the text has been produced to communicate meanings and include: • Camera

shots – for example, close-up shots are often used to express emotion. • Camera angles – a shot of a character from above

makes them appear more vulnerable. • Editing – the way in which the shots move from one to the other (transitions), e.g. fade,

cut, etc. This may increase the pace and therefore the tension of the text. • Audio – how is the sound used to communicate

meaning - voice-over, dialogue, music, SFX, etc.?

USES AND GRATIFICATIONS THEORY – suggests that active audiences seek out and use different media texts in order to satisfy a

need and experience different pleasures.

VERTICAL INTEGRATION – vertically integrated companies own all or most of the chain of production for the product. For

example a film company that also owns a chain of multiplex cinemas to exhibit the film and merchandise outlets.

VIRAL MARKETING – where the awareness of the product or the advertising campaign is spread through less conventional ways

including social networks and the Internet. Viral marketing is so named because many of the messages use 'hosts' to spread

themselves rapidly, like a biological virus.

VISUAL CODES – the clues in the text to help the audience analyse and understand it. Visual codes are split into: Code of clothing

– what is worn says something about the character and makes them easier to understand, e.g. uniforms, followers of football

teams and bands, etc. Code of expression – facial expressions give clues to emotions, e.g. a smile, a frown, etc. Code of gesture –

the way that bodies are moved communicates messages, e.g. a wave, thumbs up.