Cover work Tuesday 25/11/25

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Key assessment 1: mark scheme and indicitive content

The question

Key assessment one

This exam contains one question. This question requires an extended response and will be marked accordingly. 

Total time allowed: 45 minutes. With extra time: 60 minutes

For question one you will be shown the 2025 John Lewis Christmas advert twice. John Lewis is a UK department store.

• You will be allowed one minute to read Question 10.

• The advertisement will be shown three times.

• First viewing: watch the advertisement.

• Second viewing: watch the advertisement and make notes.

• You will then have five minutes to make further notes.

• Third viewing: watch the advertisement and make final notes.

• Once the third viewing has finished, you should answer Question 10.

10 - Explore how this advertisement uses media language to communicate meaning [15, 45 minutes]

The mark scheme

Band 5 - 13 - Excellent knowledge and understanding of media language and the theoretical framework. Excellent consideration of how media language combines to create meaning. Examples given are detailed, relevant, and accurate. Appropriate theories will be accurately applied.

Band 4 - 10 - Good knowledge and understanding of media language and the theoretical framework. Good consideration of how media language combines to create meaning. Examples given are good, and generally accurate. Theories may be accurately applied.

Band 3 -  7 -  Satisfactory knowledge and understanding of media language and the theoretical framework. Satisfactory consideration of how media language combines to create meaning. Examples given are reasonable but straightforward, and may have inaccuracies.

Band 2 - 4 -  Basic knowledge and understanding of media language and the theoretical framework. Basic consideration of how media language combines to create meaning. Examples given will be limited. There will a tendency to describe. 

Band 1 - 1 -  Minimal consideration of how media language combines to create meaning. Basic, or no supporting examples

The grade boundaries

A* - 14-15

A – 12-13

B – 10-11

C – 7-9

D - 5-6

E – 3-4

U – 0-2

The indicative content

Meanings created through media language may include:

• A sense of nostalgia

• The selling of a middle-class lifestyle

• The conflict between exploring one’s hobbies and family life

• Gender roles: men and women: sexist gender standards

• The past and the present

• The relationship between fathers and sons

• Emotional manipulation

• ‘The meaning of Christmas’ 

• The sexist ideology that women do not have hobbies or interests

• Capitalism, consumerism, and the perfect lifestyle obtained through buying things

• Hegemonic norms of the nuclear middle-class family, the idea family…

• Britishness

And these may be constructed through media language in the following ways:

• Codes and conventions – Advertisement is highly conventional of Christmas adverts for department stores, as it uses narrative conventions to sell a middle-class lifestyle. A clear, easily identifiable narrative is constructed for the target, middle-class, middle-aged audience. Positioning them as a middle-aged father experiencing Christmas with his teenage song (and presumably less important wife and daughter
• Cinematography – a range of shot types are utilised, most notably the use of close-up shots, positioning the target audience with the father, and forcing them (manipulating them?) to identify with his emotional response
• Fonts and graphics – The John Lewis logo is simple, classy, somewhat minimalist and classic. It is sans serif, denoting a certain degree of confidence. 
• Mise-en-scène – colour – For the home scenes, a range of neutral, even bland tones are selected, functioning as a symbolic code for a sort of hegemonically acceptable middle-class lifestyle. This provides a diametric opposition to the intense coloured lights and high key spotlights of the club sequence. Here colour is used to construct a reality where middle aged family life and hedonistic clubbing lifestyles are incompatible
• Lighting – The lighting in the living room setting is low key, flat, yet bright, with no particular emphasis. Once more this proves a binary opposition to the darker yet high key spotlights of the club, constructing drama and intrigue for the target audience
• Setting – The living room is stereotypically middle class. The bland furnishings and abstract art suggest a stereotypical cliché of white, British middle-class lifestyle that John Lewis wish to evoke. The club scene is messy by contrast, although there is no explicit drug use or other adult activity associated with clubbing, suggesting a nostalgic mode of address
• Roland Barthes and myths – Barthes suggests that myths construct our understanding of the world. In this advertisement, the myth is one of fatherhood, with the cliched montage of high key lit close-up shots of a grinning infant and the slow motion shot of the father’s sweating, emotion wracked face. The myth constructed here is that fatherhood is preferable to youthful excitement, and that at some time in our lives, we become middle aged and accept the next stage of our journey in life. This notion is highly conservative, hegemonic and widely accepted. 
•  costume/dress – The costumes are largely stereotypically appropriate for a middle-class family, and differ wildly to the early 90s clubland sequence, which sees shaved headed ravers dancing to insipid mainstream dance music. Once more, this binary opposition reinforces the importance of a middle-class lifestyle and suggests that buying John Lewis products will help this to be accomplished. 
• Language – slogan – The slogan ‘if you can find the words/find the gift’ is displayed across a screen featuring a stereotypically middle-class household. It reinforces the ideology that the most important thing in life is to buy consumer products. This capitalist ideology is at the heart of all advertising and explicitly suggests that love can be purchased through commodities.  
• Elements of narrative – The advert uses a conventional narrative to appeal to the target audience. The trope of the crying father seeing his new born son is well worn, and the emotional impact of this advert has been carefully considered to help audiences associate John Lewis with an emotional, middle-class lifestyle
• Props – The record being unwrapped functions as both a proairetic code and a hermeneutic code. As an audience, we are forced to question the value of this product to the father figure, which only becomes clear after the flashback sequence
• Camera work – movement – The club scene uses roving tracking shots, in contrast to the static cinematography of the living room sequence, suggesting that these two locations form a binary opposition
• Editing – pace – The pace of editing changes dramatically, as we move from the internally diegetically situated reverie of the club to the extradiegetic flashes of memory. The use of slow motion here emphasises the importance of this moment. Combined with the sudden drop out in sound, an almost drug-like address is constructed, perhaps signifying to the audience that to have a child is as exciting and emotional as taking drugs at a nightclub!
• Sound – music – the diegesis of the sound is complex and confusing. Initially diegetic and situated through a record being played on a high-end turntable (which of course can be purchased at John Lewis!), the switch to the club setting sees the presence of the music increase, symbolically suggesting nostalgia. Finally, the song completely changes instrumentation, and we hear perhaps the father himself crooning in a high-pitched voice at this son. This suggests a narrative where the excitement of youth has morphed into a different excitement of adulthood
• Selection of song – the song itself is melodic and middle-of-the-road, with no aggressive bass or breakbeats, allowing it to appeal to conservative audiences 
• The lifestyle being sold in this advert is an idealised middle-aged lifestyle, of wealth, privilege and the nuclear family. It suggests that an exciting life can be lived at home, if it has been furnished with John Lewis products!

Analysing advertisements: a range of semiotic deconstructions to kick-start your unseen analysis revision

 Levi Jeans advert featuring Beyonce

• The MES of the laundrette setting is shabby, old fashioned, and symbolically represents the working class. This constructs a compelling contrast to the target audience. 
• The MES of the iconography of Beyonce’s hat makes reference to the western genre. Beyonce is symbolically constructed as a cowgirl, selling the audience an old American west lifestyle. 
• Both the hat and the jeans are the same, a bold fashion choice, symbolically suggesting that Beyonce is both confident and effortless 
• In both images, B’s posture emphasises the curves of her body, symbolically suggesting that Levi’s jeans symbolise sexuality 
• A simple, straightforward outfit, with the bleached platinum hair symbolises the working class, and in particular white working class person. For a black woman to wear this stereotypical outfit, a symbolic sense of inclusion is constructed 
• Beyonce’s pose is symbolic of her confident and independent attitude towards life. In particular, the gesture of her reaching up and leaning on the washing machine is symbolic of her relaxed attitude to the situation
• The setting is stereotypically working class, which is emphasised by the old and battered washing machines. This rough and ready setting is a clear contrast to the glamorous and beautiful Beyonce.
• The model is wearing a platinum blonde wig, which symbolically encodes a range of meanings. Firstly, it demonstrates the reality where Beyonce can change her appearance to advertise a range of products. Additionally, the platinum blonde hair and cowboy hat is stereotypically symbolic of the American white working class woman. This is in stark contrast to not only Beyonce’s wealth, but also her ethnicity. 
• Beyonce's posture and gesture demonstrates pride in her appearance, in particular her buttocks. This symbolic encoding of sexual objectification, as well as a confident and empowering body image that present a complex and conflicting ideology to the target audience 

Brioni advertisement featuring Samuel L Jackson 

• The model is smart, sophisticated and has a straight face and an authoritative posture. The MES of these elements connotes that he is in a position of power, and is the boss of a large and successful company. 
• The pure white background not only draws our attention to the model’s clothes, but also provides contrast between his dark suit and his dark skin, creating a striking contrast. This striking contrast suggests that this suit is exceedingly expensive. 
• The MES of the suit is connotative of wealth and luxury. This is anchored through the slogan, ‘tailored since 1945’, which reinforces these connotations of luxury. 
• The image is in black and white, which has connotations of old, established and classic design. Yet the black and white is also connotative of sophistication.
• The model is Samel L Jackson, an established actor who is famous for his intense and intimidating roles. The MES of his stern facial expression is connotative of contempt, positioning the audience in a nervous and intimidating mode of address.
• The model appears to be very classy and with expensive aspiration. The monochromatic colour palette is connotative of a sharp and clean aesthetic, which emphasises that Brioni is a particularly classy and high end designer. 
• The mid shot on the left is connotative of the quality of the suit. The audience is able to inspect it from a close up position. The image is perfectly balanced, connoting the power and the confidence of the model. The model’s body language suggests confidence. This hand on the leg suggests the model is confident in this situation, and this is an every day occurrence for him.
• The logo is in cursive font, connoting luxury and professionalism. The connotations of wearing a suit suggests a serious outlook, and a formal, serious or work based situation. 
• However, the model is static, and is completing no work. This forms a juxtaposition: while the suit connotes hard work and graft, the model is doing absolutely nothing. This suggests the model is in a financial position where he does not have to work.
• Samuel L Jackson is a famous actor, and provides the brand with star appeal

Prada dress

• The MES of the tiger constructs an hermeneutic code, forcing the target audience to ask why a deadly predator is in this room. The tiger forms a contrast with the living room setting…
• The setting is isolated and mountainous, constructing a hermeneutic code that asks the audience why this model is situated in this location. We also ask the question ‘where is this place’ 
• The model is calm, yet blank and indifferent. She lies on a sofa, speaking on a vintage landline phone, hermeneutically asking the audience why she is on the phone and who she is calling. 
• Finally, the MES of the model’s costume is fancy, luxurious, and high end, once more suggesting a complex mystery. 
• By utilising so many hermeneutic codes, the Prada advert forces the audience to consider the many mysteries of the advert, and therefore more likely to consider what the brand itself represents. 
• The MES of the tiger constructs an hermeneutic for the audience, forcing them to ask why the tiger is there, and its purpose in the advertising of this product
• The setting is somewhat ambiguous, functioning as an hermeneutic code. While the MES suggests asia, there is still no definitive answer
• The model is clutching a phone. This MES suggests that she is talking to somebody, however, this seems mysterious given the situation she is in.
• She is using an old fashioned landline, hermeneutically encouraging the audience to ask why she is using such outdated technology. The use of the old fashioned technology and the old fashioned architecture positions the audience in a confusing manner. 
• There is nothing explicit in this image to suggest what is being advertised

The Star Tuesday 9th September 2025 - Exploring composition and hierarchy in a tabloid newspaper

• The image of Donald Trump is larger than any other image, constructing a reality where Trump is the main focal point of the front page, but also incredibly important to the audience. The headline reinforces this idea, and the font is large, which shows how important the message is, and confirms the newspaper’s producers are trying to catch the audience's attention. The model’s enormous necklace here connotes a controversial opinion, and openly mocks the president of the United States. This reflects the idea that Trump is not popular with the audience of the Star. 
• A hierarchy of importance is established through image size. While Aerosmith are clearly important, their feature article is less important than the story on Trump, which indicates the target audience of the daily star are immature and less educated. 
• A tabloid newspaper - a highly informal approach 
• The most important aspect of the front page is the main image of Donald Trump, accompanied by the headline ‘fool’s gold’. By being the largest image, it is connoted that only is Trump the most important person, but this story is the most important. This constructs the message to the English audience that Donald Trump and right wing politics are the most important and noteworthy. However, despite his importance, the layout constructs trump as an idiot. Furthermore, Trump is constructed through the ridiculous MES that connotes that he is tacky and foolish. By presenting such a story, The Star appeals to it’s audience who are critical of Donald Trump. The secondary story features old rock stars sharing memories of Ozzy Osbourne, which will appeal to an older audience.
• Exploring composition and hierarchy in a tabloid newspaper
• The image of Donald Trump is larger than any other image, constructing a reality where Trump is the main focal point of the front page, but also incredibly important to the audience. The headline reinforces this idea, and the font is large, which shows how important the message is, and confirms the newspaper’s producers are trying to catch the audience's attention. The model’s enormous necklace here connotes a controversial opinion, and openly mocks the president of the United States. This reflects the idea that Trump is not popular with the audience of the Star. 
• A hierarchy of importance is established through image size. While Aerosmith are clearly important, their feature article is less important than the story on Trump, which indicates the target audience of the daily star are immature and less educated. 

How do iconographic referents construct complex meanings in the theatrical trailer to Strange World (2022)?

• The iconic animation style in Strange World is highly reminiscent of recent Disney films, for example Encanto and Big Hero 6, with highly expressive and exaggerated facial expressions. These exaggerated facial expressions are iconic and easy for a younger target audience to understand. The use of bright colours is also iconic, appealing to a young audience who are familiar with Disney films, constructing a sense of comfort. 
• Additionally, while this is a family adventure film, it also uses the conventions of the science fiction, for example high tech weapons, spaceships and other retro sci-fi elements. The title card makes explicit reference to a number of 80s franchises, which appeals to older audiences but also younger audiences who are interested in a diverse range of media. Finally, the environmental message of the film is clear, with the world being threatened by evil aliens, and a farmer having to sort the issue out.
• The trailer includes themes of the supernatural and science, making reference to many other films. This helps the audience to understand the scenario of the film, and to come to a conclusion as to whether they will enjoy the film. Additionally, the film includes the iconography of the adventure film, and the font of the title makes iconographic reference to Indiana Jones and Duck Tails, allowing the target audience to make a decision as to whether or not they will see the film. 
• The wicker hat worn by the father is an infographic of south America and the south of America, helping the audience to understand where this film is set. Additionally, the hat connotes the protagonist is a farmer, and is therefore working class, providing a relatable mode of address to the target audience. 
• The film focuses on family issues and problems, which is encoded through the depiction of complex family relationships. Additionally there are themes of queer identity and relationships. The main character is quite flamboyant and camp, which constructs an inclusive representation that demonstrates an inclusive brand, and attempts to maximise revenue. 

Montage in the opening of Chainsaw Man

• The rapid fire editing of the opening sequence constructs an overwhelming and confusing narrative for the target audience. Some audience members will take this as a challenge, and will want to understand what this show is about. Anime typically targets a niche audience, and therefore focuses on scenes of intense and chaotic violence which are contrasted with gentle slice of life moments including the characters bowling. 
• The OP makes iconic reference to a number of other films and media products, including Quentin Tarantino, The Cohen Brothers, and other big Hollywood productions. This helps to target an audience with a comprehensive knowledge of film and comics. Therefore this show targets fans. 
• The fact that there is so much editing in this opening sequence connotes that lots will happen in this show 
• Many cuts emphasise the violence and action that the show is known for.
• The opening rapidly cuts from extreme long shots to mid shots to extreme close ups, constructing a fast paced and exciting set of symbolic connotations. However, in this rapid fire montage, we also cut to mundane and slice-of-life scenarios, for example the characters bowling, watching films, and walking down the street. This creates contrast, and temporarily takes the audience’s mind away from the violence. 
• The chaotic and sporadic montage suggests that the show is nowhere near as serious as we might expect, providing the audience with a fresh new perspective. 

Positioning in Titanic

‘Are you ready to go back to Titanic’

• These words are spoken by the chief scientist, who is directly addressing the old woman. However, in doing so, he also addresses the audience. We are addressed in a way which assumes our interest and excitement. We are positioned with the old woman through a montage of POV shots, positioning us directly as the old woman. Through the framing and composition of the shots of the old woman, a visual hierarchy is constructed where she is clearly the most important aspect, further positioning the target audience. Finally, the old woman is a stereotype of a nice old woman, constructed through her soft voice, her generic grandma look…
• 1st Class dinner - the audience is positioned with Jack throughout this sequence. He occupies the most screentime, and the shot types and camera angles position us at the table, directly with him. 
• 3rd class party - the audience are initially positioned with rose, using an over the shoulder shot
• A range of sophisticated techniques are used to position the audience in a complex array of positions, even shifting our perspective on multiple occasions. 
• Jack is instantly constructed as a working class outsider, and this encourages the audience to root for him. Jack is clearly not comfortable with this situation, increasing our affinity with him. A range of close up shots track Jack's facial expressions, and we cut away to reaction shots of the group of snooty socialites judging him. Additionally, the actor playing jack is famous and attractive, allowing the audience to position themselves with him more easily.
• In the following sequence, we are instantly positioned with Rose. An over the shoulder shot establishes the chaotic and exciting party scene, and the audience are positioned with Rose. Then, a cut to a mid shot reveals Rose’s uncomfortable expression and the laughing passengers in the background. We cut to Jack pulling Rose, and therefore the audience into the dance floor. We cut to an ECU of Jack’s hand gripping Rose’s waist, which positions the audience in a scandalous position  

TWICE "THIS IS FOR" M/V - how does this music video use MES to construct a range of polysemic connotations?

• The matching outfits construct a symbolic connotation of power and unity. The red knitted costumes are connotative of an attainable and crafty sense of fashion, and is essential to positioning the target young female audience and to help them identify with the performers. 
• The performers are stereotypically beautiful, not only constructing an aesthetically pleasuring music video, but also provide an aspirational role model for the young women this video targets.
• The video frequently changes setting, and in doing so, shifts the narrative. This helps the audience to pay attention, and indicates the target audience is younger and predominantly female 
• The video uses a variety of settings including rooftops, a street scene, and most strikingly a subway. These normal settings provide a contrast to the glamorous performers, and construct a symbolic connotation of unexpectedness and surprise. Additionally, this setting is highly relatable to the young target audience, who will live in cities and commute to work or school. 

How does the combination of media language construct meaning in the ‘Gandalf returns to the Shire scene in The Lord Of The Rings: The Fellowship Of The Ring (Jackson, 2001)?

• A sense of community and friendship is constructed between Frodo and Gandalf, constructed through a montage of close up shots of the characters laughing. This constructs a sense of friendship, and an idea that this friendship started before the film began. Furthermore, a midshot of the two friends sitting together on the cart is reinforced through the facial expressions, especially Frodo gazing lovingly at Gandalf.
• The audience are positioned in a range of situations, sometimes as the little guy, using low angle shots to the adience with him, and constructs gandalf as a delightful grandfather figure. As we travel with G and F, a range of tracking shots establish and construct a peaceful and happy village, filled with friendly farmers, belonging to the working class. 
• Ultimately, a friendly and wholesome atmosphere is constructed, which is reinforced through the final shot of the children laughing and running after Gandalf in excitement. We are positioned briefly in a childlike state of wonder 

San Junipero: analysis, genre, intertextual relay and allegory

San Junipero: Initial discussion

• Genre, narrative, aesthetic, soundtrack, themes, sociocultural context, sociohistorical context, personal response…
• Distributed and broadcast on Netflix, an online video streaming platform that operates on a subscription model. Models such as Netflix have shaped the way that we consume television. In fact Netflix is not even televisual technology, but uses this terminology to construct a nostalgic mode of address. Netflix provides the audience to schedule their own programming, including watching something from halfway through. 
• The episode is fixated on the idea of death, and the function of death as a concept to give life as meaning. In one startling scene, Kelly gets into a car crash on purpose,, yet there is no shocking gore, only her undamaged body, lying on the floor in the rain. This apparent suicide here has no repercussions, and resembles an action film or even a videogames. Before this, Kelly muses on the fact her husband and daughter died without the opportunity to live forever ion the virtual world, suggesting in this future, there is an inequality.
• A complex representation of queer identity. Both the main characters are completely different. Yorkie is a lesbian, yet her parents never accept this, which leads to her suicide attempt and her being comatosed for her entire life. Kelly is bisexual, (“men, women, what’s the difference?”), a non traditional and even subversive representation of sexuality. Yorkie on the other experiences intense shame, and is monogamous in her relationship. 
• Kelly and Yorkie’s relationship is toxic, with Yorkie in particular being manipulative. She blatantly encourages Kelly to kill; herself in order to spend eternity with her. Kelly often seems unsure about this, initially ghosting Yorkie and after she gets too intense, and clearly stating that she does not wish to ‘pass over’, where digitised consciousness are uploaded to a server farm somewhere in Texas. 
• Negotiated readings: Kelly very strongly and forcefully does not wish to pass over. Yet minutes in the narrative, she decides to do so,. This aspect provokes a number of negotiated readings. It can be read as bad and inadequate writing, where the character development is insufficient to justify this. However, this can also be read as Kelly’s sudden and overwhelming fear of death. It also reinforces the ideology that the only way to be happy is to ‘settle down’ and to engage in a hegemonic and even heteronormative ‘married’ situation. Yet Kelly completely contradicts this, by giving a monologue on her own family situation, the strength of her marriage, and how she sees this as being superior. Other audiences may consider that Kelly simply gives in to the manipulation because Yorkie has manipulated her to such an extent. 
• Copy anxiety, simulation anxiety, teleportation anxiety. Simulation - a hypothetic perfect recreation of another world. The simulation hypothesis. It cannot proved that we do not live in a simulation.
• Five minutes in to the future 
• Genre, narrative, aesthetic, soundtrack, themes, sociocultural context, sociohistorical context, personal response…
• The episode uses science fiction conventions to explore the representation of queer people in the 1980s. The episode is not set in the 1980s, yet it constructs a representation of the 1980s, and uses this this to explore themes of homophobia and queer acceptance. 
• The episode is initially highly ambiguous, and constructs a compelling and highly recognisable representation of the 1980s. Cutting between the characters as older and younger versions of themselves seems to suggest a time travel narrative . Instead, the episode takes the form of a ‘science half-fiction’. Set ‘five minutes in to the future’, it depicts a world completely like our own yet with a few fundamental changes. In this world, a virtual reality simulation has been achieved that is indistinguishable from our own world. 
• Examples of simulation narratives within the science fiction genre include Tron, Inception, Ready Player One, Assassin’s Creed, Free Guy, The Truman Show, Jumanji, The Matrix, The Ninth Floor, Pixels…
• One big theme of this episode is aging, life and death. Death in particular is a point of fascination for humanity. Not only do we disagree on what happens ‘after’. It is also a universal truth, which is why so many sci fi narratives explore the concept of the afterlife
• The show constructs a depressing and stereotypically tragic representation of queer love, that does not do enough to distance itself from previous negative portrayals. It reinforces the ideological perspective that to be gay is to be a victim and to live a tragic life
• Many audiences consider this episode to be the most positive out of every episode of Black Mirror. It has a ‘happy ending’. And ends with a vision of eternal bliss. However, Kelly has completely reneged on her previous feelings for her dead husband and daughter. The couple have a toxic relationship which is based on disagreement and a completely different perception of the world. Yorkie is exceptional naïve, and this is due to the alarming reason that she has been in a medically induced coma for around 60 years.
• The aesthetic of the episode is highly nostalgic, and uses a range of media language to construct a nostalgic aesthetic. The 80s is constructed in a relentlessly positive light, with 80s fashion, music, and atmosphere all being fetishised. However, this completely ignores issues such as the miners strike, political tensions, a financial collapse in the UK.
• A nostalgic atmosphere here highlights a problem with nostalgia. Constantly looking back rather than forward can be politically disastrous, and ensures that society never progresses. 
• The soundtrack is completely composed of 80s songs which have been officially licensed. This adds great expenditure to the production, yet also provides the audience with a range of well known songs that sets the scene for the audience regardless of how old they are. However, most of the songs included explore the themes of the episode (eg Heaven Is A Place On Earth by Belinda Carlile introduces the theme of death, the afterlife and simulation.
• There is also a heavy emphasis on videogames throughout the episode. Yorkie Plays a game called Bubble Bobble, reflecting the nature of the simulated world that they are in. Videogames function as a metanarrative, and allow us to understand what is happening in this episode. 
• The ending of the episode positions the target audiences in a range of negotiated positions. 

Intertextual relay and the dress-up montage

• The use of intertextuality, so typical of the sort of 80s dramas that this episode pastiches utilises intertextual relay in a sophisticated and complex manner to help the audience to understand not only the supposed setting of the episode, but also the deeper motivations and personalities of the protagonists. 
• The montage uses the iconography of the mid-1980s to construct a nostalgic mode of address. This sense of anomia is highly involving and yet also highly controversial.
• By identifying with Ally Sheedy’s recluse, a complex construction of identity is formed. Our intertextual relay allows us to understand how chaotic and confused Yorkie’s life, and functions as a proairetic code, suggesting Kelly will ‘save’ Yorkie’ 
• The use of the Smiths song ‘Girlfriend in a Coma is highly polysemic, functioning not only as a reference to Yorkie’s depressed introversion, but also explicitly referencing the fact she is in a coma

San Juipero and the utilisation of generic paradigmatic features: in what ways is this episode conventional and unconventional of the science fiction genre?

Conventional 

• Progressive, complex representation of queer identity
• Forces us to confront modern issues in a futuristic setting
• Themes of VR and simulation
• Happy ending??????!!!!?????
• Layer of depth and complexity open to interpretation. Challenging to audiences!
• Sci-fi jargon
• Glittering LEDs, robotic arms, glitchy noises 

Unconventional 

• Lacks any reference to aliens, robots, spaceships and the archetypal conventions of the sci-fi genr
• The queer relationship is atypical of media in general
• 80’s setting. Arcade games, music, costume, club…
• No clear monster or antagonist…?
• Bleak, miserable, open ended ending

The rooftop scene: how does this sequence utilise generic paradigms of the science fiction genre to engage audiences with intertextual relay?

• In the bathroom, Kelly punches the mirror, which is fixed within the same shot. Although a clear reference to the fact the episode is set in a simulation. The pan back up to the intact mirror functions as both an hermeneutic code and a proairetic code. It is confusing and mysterious, constructing enigmas, yet it also suggests to the observant viewer that this is a simulation. 
• On the rooftop, the women discuss a confusing array of topics, referring to the inhabitants as dead, and terms such as ‘full timers’ 
• “I hope your pain slider is set to zero” - a clear science fiction convention
• The soundtrack uses bleak, drawn out synthesisers. This cold, dead music production technique is typical of the sci fi genre, referencing everything from Ghost in The Shell , to vintage sci-fi films like the star trek series. 
• The performance is serious, with the characters discussing the nature of humanity itself.

How does San Junipero use science fiction elements to construct a dense and complex allegory for the target audience?

• Virtual reality, videogames and social media networks. These can be extremely distracting, and arguably can remove our ability to think for ourselves. It is mentioned that if living people use SJ for more than an hour a day, they lose touch with reality
• A fear of the future and what it will bring. Specifically, a fear of the intrusiveness of AI. It could take our jobs, it has a huge environmental impact, and it encourages dependence and we may be controlled by it. The bots, generated environments, weather systems etc in San Junipero all require AI.
• Death, and what happens after we die. We have no control over death. It is a complete mystery. Judeo-Christian ideology suggests there are a number of afterlives that can be accessed from living a good life. There are several references to religion: Heaven Is A Place On Earth, the MES of a priest, and Kelly discussing her family’s beliefs. In this episode, heaven is made explicit. 
• Assisted dying and euthanasia. Euthanasia is an extremely controversial idea. Some people may seek assisted suicide if their living conditions make it painful to continue living. By discussing this in a sci-fi setting, this controversial idea can be explored in depth. 
• Serious illnesses, mortality, aging, the inevitability of death… Our values when we are young are radically different!
• Sexuality and homophobia - Yorkie grows up in a conservative and homophobic household. Kelley is literally from another time. Kelly is bisexual, yorkie is a lesbian, Kelly is poly, Yorkie is monogamous… sexuality is very complicated!
• How technology revaluates the meaning of our lives. The current debates around AI have us talking about how our day to day existence has changed. By automating our lives, we potentially stop learning and having experiences. In SJ, every day is automated, by a series of algorithms and programming that ensures that things run smoothly. Nothing changes…
• What comes after death? Christian ideology suggests there is an afterlife, which is accessed through obeying the 10 commandments. However, in SJ, this has been circumvented. Perhaps explores the fear of death, and our relationship with Christianity… Do we even need an afterlife? Who is it for?
• Sexuality and sexual identity. Yorkie is gay, and desires a monogamous, conservative relationship. However Kelly is bisexual, seeking a noncommittal, polygamous adventurous lifestyle. 
• Issues of persecution. Yorkie is persecuted by her family for her sexuality. This manifests in her coma, and also in her anxiety attacks. 
• Euthanasia and assisted suicide. This can be criticised, as some believe that no one can consent to dying, yet advocates claim that some people simply are too miserable to live. This episode uses the conventions of sci-fi to deal with a particularly difficult issue
• Nostalgia, and believing the past was better. Escapism. This episode uses sci-fi conventions to explore the idea of the issues with our own lives, and to challenge the audience to explore their own preconceptions 

Explore how a combination of media language is used to create meaning in both the Black Mirror episode San Junipero and The Returned [30]

• How does the opening sequence of San Junipero use semiotics, structuralism and bricolage to construct complex meanings?
• The gesture code of the dancing clubbers constructs a nostalgic mode of address. Alongside a world where most people are in a simulation. This is highly conventional of mainstream television, and the presence of hegemonically attractive people constructs a reality where looks are the most valuable aspect of a functioning society. 
• The title card, with the broken screen functions as a symbolic code,as well as a proairetic code, informing the audience that nothing is what it seems. 
• 80’s MES, bright lights, cultural references, and several references to the precise year construct a representation which is hyperreal, which is too perfect. This reinforces the ideological perspective that perfection is unattainable and can only be achieved through simulation
• We are initially positioned with Yorkie with an over the shoulder (O/S) shot, which blends into a tracking shot, following yorkie round the club. This allows the audience to identify the protagonist of the episode, and positions the audience with the values of Yorkie. This is highly conventional of mainstream television products. 
• The costumes are stereotypically 80’s. Eg Kelly’s costume strongly resembles something worn by the musician Prince. This act of intertextual relay helps communicate to the audience Kelly’s party girl persona. 
• Binary opposition between K&Y functions as a proairetic code. The differences in their performance of sexuality, their opinions, their personalities all create conflict, essential to a successful narrative. 
• Binary opposition is constructed between the use of the diegetic soundtrack and the non-diegetic soundtrack. In the establishing montage, a car blares out the 80s pop song ‘Heaven is a place on earth’, which functions as a proairetic code, suggesting to the audience the complex themes of this episode. However, this is overlapped with the dark, bleak non0-diegetic soundtrack constructing a binary opposition, creating a sense of unease. This is anchored through the use of low key lighting, in combination with Yorkie’s confused and depressed performance. Finally, the audience’s knowledge of Black Mirror functions as an intertextual relay. Fans of the show will understand that this show is dark and depressing, dealing with times of rogue technology. 
• The dialogue is mysterious and confusing, highly conventional of the science fiction genre. Wes announces “we’ve only got til midnight’, which functions as a hermeneutic code for the audience. Additional hermeneutic codes are constructed through the club Tuckers. A binary opposition of the later Quagmire, the setting is period appropriate. However, it is clean, with music being played at a reasonable volume. Additionally, nobody is taking drugs, or is particularly drunk or under the influence. In fact, tuckers is hyperreal: a representation which is better than reality. 

Exploring genre conventions

 First year version

Lesson 1

• Select one horror film poster and one horror film trailer by using Google image search and Youtube.
• The films you select can be of any horror subgenre. Subgenres of horror include psychological horror, zombie films, vampire films, supernatural horror and so on.
• Two examples of very different horror films are The Shining and Twilight.
• Using PowerPoint or even a notepad and pen, analyze how media language constructs meaning in these media. 
• This task is very simple, but it links to your next mock exam, so please complete extensive notes!

Lesson 2

Click here. Click on the theatrical poster for Kiss Of The Vampire, copy it, and paste it in to a PowerPoint slide.

Using the toolkit for textual analysis, label and analyze this poster in terms of what meanings it constructs. The more meanings, the better, but please make sure to link each one to a specific example of media language, eg lexis, MES, costume

Click here to watch the trailer to Kiss if the Vampire. What genre conventions are used in this film? In what ways can this film be seen to be British? And, most importantly, why do horror films not look, sound and feel like this any more?

Second year version 

Watch the trailers to at least two of the following science fiction films, and make extensive notes on how these trailers use genre conventions both conventionally and atypically in order to address and to target their audiences.

The Matrix

Split Second

Blade Runner2049

Arrival

High Life

Starship Troopers

2001: A Space Odyssey

Star Wars Episode One

Ghost In The Shell

Close Encounters

Johnny Mnemonic

Independence Day

The Thing

The Blob

Or absolutely any sci-fi films you want!

Having knowledge and understanding of sci-fi conventions is essential for not only the final exam, but also your KA6 mock exam, coming up just before Christmas!