To help you prepare for the mock coming up in the first week back after half term take a look at the sample papers and student responses included in this booklet. James has paper copies to give out to you so make sure you pick one up! Please let Naamah know if the link does not work for you.
Need some ideas/ inspiration about how to improve your knowledge and understanding of the media texts you have covered so far before the mock exams (FIRST WEEK back after Xmas!)?
Then have a look at this advert calendar - there are a range different activities, podcasts, adverts and articles to read on texts like Black Panther, Adbusters, Tide, Kiss of the Vampire, Humans and Les Revenants which could help you shine in the exams!
Link for Calendar - https://drive.google.com/file/d/1w-Q26ecG8deNO-hTXqNyLlcL0Gy4ksfm/view?usp=sharing
Happy Revising!
The details of our first set text for television are below:
Humans
Series 1, Episode 1
Written by Sam Vincent and Jonathan Brackley
Channel 4 (UK) and ABC (US)
First aired on 14th June 2015 (UK) and 28th June 2015 (US)
Viewing figures for our episode: 5.47 million (UK) and 1.73 million (US)
The series was announced in April 2014 as part of a partnership between Channel 4 and Xbox Entertainment Studios. However, after Microsoft closed Xbox Entertainment Studios, AMC came aboard as partners to Channel 4.
During rehearsals, Gemma Chan and her fellow robot actors were sent to a 'synth school' run by the show's choreographer, Dan O'Neill, in a bid to rid themselves of any human physical gestures and become convincing synths. "It was about stripping back any physical tics you naturally incorporate into performance", explains Chan, who adds that it was a "relief to go home and slouch" after a day on set.
The series explores a number of science fiction themes, including artificial intelligence, consciousness, human-robot interaction, superintelligence, mind uploading and the laws of robotics.
You will need to watch the set text, episode 1 of series 1 very carefully. You can watch it here: https://www.channel4.com/programmes/humans/on-demand/56459-001. If you don't have an All4 account them you will need to sign up for one!These tasks have been designed to be as student lead as possible for your final week before half term, and are based around research and analysis.
Please remember, that these adverts are two out of the three that may be explicitly referenced in the final exam! So make sure your notes are as robust as possible.
For each screenshot, identify the:
Good news! With Kiss Of The Vampire, the only questions you will really be asked about it are based around audience. However, it's still really important to understand the poster based on its use of genre conventions, and its representations, as these are things which are used to market a media product to an audience!
Basically, nothing in media studies can ever be truly separated from one another. When you discuss representation, you will also discuss media language, and how this affects audience. It's all connected!
Genre conventions are the elements of a media product that show the audience what genre the product is. For example the conventions of the comedy genre include bright colours, exaggerated faces, and humorous situations. Obviously, not all comedies are like this, but enough are that we can see that these elements are conventional for comedy.
I'm going to give you a freebie: Kiss Of The Vampire is a horror film, and its subgenre is vampire. I really, really hope this is obvious when you see the poster. There's even a clue in the title.
The following music video is absolutely packed with conventions of the vampire subgenre. Perhaps you've seen a lot of vampire films, perhaps you haven't, but this video has everything you need.
You are not, I repeat NOT going to be asked to discuss the actual film, but you're going to watch the trailer for Kiss of the Vampire anyway. Why? It's an excellent example of generic fluidity
Generic fluidity - how a genre changes over time
Remember in media studies, generic usually means 'related to genre' rather that 'in general'.
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| Click image to see in full resolution |
This is what you're actually studying, so take some time now to analyse the poster.
For component two section A, you will explore two very different TV shows which broadly exist in the same genre. Humans is in many ways a conventional science fiction TV show featuring androids, which focusses on family life, sex, society, and what it means to be human. Les Revenants is a French horror TV show which is pretty much unconventional in every way, taking a decidedly different approach to the zombie subgenre.
Both of these shows can be categorised as cult TV
Cult TV shows are often based round horror, sci-fi , or other more niche subgenres, though not always. The important thing is that a devoted fanbase should be able to interact with the show. When you pick your own example, think: does this show have a big online following? Are there plenty of memes about it? Have there been books written about it? Can you buy merchandise related to this show? If the answer is yes, then it is likely that it is a cult show.
Please choose a show which doesn't have mass market appeal. Love Island does have a cult following of sorts... but it's too mainstream to be truly cult... Basically don't pick Eastenders or Cash In The Attic or The One Show or The News At Ten or something
Present your work as a single long blog post, and make sure it's illustrated throughout. Lots and lots of pictures. Make it look really good!
Find a scene, or a trailer from your show, and conduct a detailed analysis using the toolkit for textual analysis. Remember to discuss how shot types, camera angles, colour, mise-en-scene and so on construct meaning for the audience. What does this show accomplish aesthetically that sets it apart from every other show?
Use this list to structure your response:
Select three characters from your show. Find images of each one of them. What groups do these characters represent? What elements of media language construct these characters? To what extent are these characters stereotypes? Are they a positive representation of the group they represent?
(just so you're in no doubt, when I say groups, this could refer to ethnicity, age, sexuality, gender, location, physical appearance, superpower... it really depends on the show you have selected!)
Who is the exact target audience for your TV show? How do you know? Pick a key scene (which you can hopefully find easily enough on YouTube), and write a short bullet point analysis of how the product appeals to its audience.
Then, after you've analysed the scene, make a pen portrait of the exact 'perfect' audience who is targeted by your show.
Check out this site for a description of what a pen portrait is. It's a proper marketing technique, and it's strangely fun too!
For this, you're going to focus on advertising and marketing. This includes official marketing, and fan made products. Here's a list you should/could tick off:
Below are some examples of cult TV.
So just pick one of these if in doubt! Some genres, for example horror, science fiction and anime are basically automatically cult!
Binary oppositions, or diametric oppositions are a way of structuring the world around us. Put simply, we cannot recognise what something IS, unless we also realise what it is NOT.
Binary oppositions are often used by media producers to quickly and easily encode meaning within a media product. Certain character archetypes will occur in narratives over and over again. Why? Because not only do we understand this, we also see the world we understand being reinforced before our eyes.
Sitcoms are an excellent example of how producers use binary oppositions to create exciting and amusing situations for the target audience.
The 90's US sitcom Friends makes almost aggressive use of diametric oppositions in order to construct meaning for it's audience, and in order to make things as funny as possible in only 22 minutes of air time/ Friends focusses on six main, very different characters:
Most of these characters conflict with each other on an episode by episode basis! Phoebe's messy lifestyle might upset prissy Monica. Chandler's uncool way of living rubs up against Joey's carefree existence. And Ross, the worst person in the world, is the binary opposition of Rachel... which is why they end up going out!
The following print advert makes extensive use of binary oppositions in order to construct a cool, confusing and edgy narrative. But how does it do it?
Time allowed: up to three hours
Conditions: Please complete the assessment in silence. All students are encouraged to use headphones to drown out the noises of other classes. You may NOT ask questions after the examination has started. Please ask all questions prior to commencing the exam
Submission: please submit your completed aims and intentions essay to the Google Drive
Word limit: the aims and intentions essay must be around 500 words. Please use techniques such as bullet points to actively limit your word use
Disclosure: this essay contributes to your overall grade, as part of component 3, even if exams are cancelled again. Please take it seriously
Explore how you will address the criteria of the brief, and how you will make an effective and generically appropriate cross media production (music video and double page spread)
Use evidence from your research into similar products; the industry context; your target audience, as well as theoretical perspectives, to explain your creative decisions.
As you answer the above questions, please remind yourself of the brief you were set:
You must produce:
For this three hour long 'collapsed' session, we've decided to do something completely different, and basically skip ahead in terms of course content to discuss the issues and ethics surrounding social media usage.
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| The theatrical release poster for Te Social Dilemma proairetically encodes many of the themes that are explored in the film itself. It also nicely establishes the central ideology of the film |
This is a vital part of the course, and essential for students who wish to get an 'A' in the exam. Luckily, it's simple. Watch loads of films, TV shows, music videos, read loads of newspapers, online media, magazines, play lots of games. Keep up to date with what's going on!
In your A-level media lessons so far, through your analysis of semiotic theory, you have leanred that language is power. When we use the term 'language' in media, we are not simply talking about words, but everything you can find on the textual analysis toolkit. And the use of symbols, images, lexis and so on can not only shape an advertisement, but can also influence and potentially manipulate an audience. As we have seen from our analysis of the Tide advert, such techniques were readily used in the 1950's. Modern, digitally convergent media platforms have allowed producers to disseminate ideologies more effectively that ever before.
Language is power. Language shapes the world around us. And language can be used by those in power to reinforce certain societal hierarchies and to reinforce certain societal ideologies. In short, media can shape what we believe to be right and wrong.
This is clearly pretty scary stuff. So let's watch a scary film and have a chat about it.
This session shall be split in to two sections:
Doing textual analysis of a social media platform might seem a bit weird, but frankly, online media uses the same trick and techniques that print adverts do to engage their audiences. You're still new to media, but let's break down exactly how these platforms work!
You can use the following prompts to help you with your analysis:
Media studies is an opinionated subject, and in order to hit an 'A' grade, you need to present an opinionated argument. This is very different from other subjects such as sociology, where your answer must be balanced. In media, you will argue that your point is more valid than any other!
The following questions will raise some issues:
The following, high resolution images will allow you to take a closer look at the Tide advert, and crucially allow you to read and to analyse the advert's significant amount of copy!
Make sure to click on the below images to view in full resolution:
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| You can click this image to see it in full resolution |
Analyse this print advert, which is promoting Gucci's A/W 2019 collection
You may wish to make reference to:
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| You'd better get used to this advert, because you need to know it front and back! |
Hi everyone
In order to access the presentations that I will be using in class please use this link - https://drive.google.com/drive/folders/1ZQYgkKmcjQ-3yDNCH6_ZB9u3ZDn068tI?usp=sharing
If possible I would save/ bookmark this link as you will need it most lessons!
Hello everyone, and welcome to Long Road. You've had a strange two years, and unlike almost every student in history, you're coming to sixth form without having completed GCSE exams. We hope you're ready for the challenges ahead, and ready to push yourself harder than you ever have before (in a good way!)
We have the following expectation of A-level media studies students:
Every subject requires you to get a few things, and media is no different. You must get the following, please:
About 32gb would be perfect. I recommend getting one from a supermarket, as there are loads of pirate copies online. Good brands include Sandisk and Seagate. Aim to spend about a tenner. You can get cheaper memory sticks, but they're more likely to fail
You'll be using a memory stick to back up your work and transfer files. It's a good investment for all of your subjects!
They don't need to be good. You've probably got a pair of these hanging around your house
You'll be using headphones for some video editing projects. Bluetooth is blocked on college computers for security reasons
As an A-level media student, you will be completing all of your work, taking all of your notes and submitting all of your coursework through a blog. In A-level media, we'll be using Blogger.
Making a blog is a bit of a faff first time, but you only need to do it once. You can find instructions by clicking here. Please skip step five and six. It'll save time.
All of the above may be completed in your first lesson. In your second week (the week starting 13th September), you will plan, film and edit a short film sequence. It's likely to be absolutely awful, but you will learn so much about how and why media products are made.
Judith Butler is one of our key theorists, and her work on gender performativity is essential to understanding current debates around gender and sexuality. Unlike many of the theorist we study, Butler is alive and well and is in the process of publishing a new book!
This article in the Guardian gives a nice a straightforward primer on her theoretical perspectives. In particular, this quote really clarifies what can be a complex and difficult to understand concept:
“Performative” speech acts are the kind that make something happen or seek to create a new reality. When a judge declares a sentence, for instance, they produce a new reality, and they usually have the authority to make that happen. But do we say that the judge is all-powerful? Or is the judge citing a set of conventions, following a set of procedures?
Gender performativity is NOT, therefore, simply how we 'act' our gender, though this is an important concept in itself. The ways in which we act, walk, talk, dress, and how these may be seen as masculine, feminine, or more fluid have an active affect on the world around us. This can challenge conventions and expectations, but due to the complex nature of gender performativity, can also serve to reinforce certain hegemonic expectations of gender. Yet,
At the same time, none of us are totally determined by cultural norms. Gender then becomes a negotiation, a struggle, a way of dealing with historical constraints and making new realities.
This idea of a negotiation is completely essential to all aspects of media studies, from the negotiation we have with our gender identity, to the negotiations we have with the director every time we watch a film and must choose which aspects of the ideology to accept or reject.
Welcome back, second year media students! We hope you had a restful summer (and frankly extremely long), and that you're ready to hit the ground running with the magazine project and Aims and intentions mini essay.
In this post you will find all the information you need to take you through the first half-term. You may wish to bookmark it, so you can use it as a checklist and get the highest possible grade with the least amount of stress...
There's pretty much one thing and one thing only that your teacher will consider when marking your magazine: does it actually look like a magazine?
If you tick off all the minimum requirements, you will get a high mark for the magazine project.
If you don't, you will not.
ALWAYS have at least two or three examples of mainstream magazines in front of you at all times throughout this project. If you are doing anything significantly different from these magazines, then your magazine is simply not generically appropriate, and will lose marks as a result.
Additionally, ALWAYS have this post open in front of you, particularly the MINIMUM REQUIREMENTS list as seen below.
This could be for a number of reasons, but digital versions posted online often are missing a barcode for whatever reason. Yours has to have everything on the list. Sorry!
Could you find this magazine in Tesco? Then it's mainstream. There may be a few exceptions to this, but in general the Tesco rule should work out fine.
It's the final week of the (academic) year! Sorry it's not a week long party, but for the vast majority of you, this week should be WAY more relaxed now your music video has been submitted!
Here are some things you need to complete before you go on holiday...
This is this week's BIG TASK. The Aims and Intentions essay is a short but important bit of writing where you explain how you met the restrictions of the brief, and why you made the decisions you made.
You can find everything you need to know about aims and intentions in your coursework workbook, which you worked on when I was off having a baby.
Basically, you need to answer these five questions, so copypaste them in to a word doc and get going:
You all will have submitted a music video. But it may or may not be up to your standards. Perhaps you've had issues and need more time. Or maybe you want to dump more crazy effects on it. This is something you may be able to do this week. But please remember: this will be on a case-by-case basis.
This is important too.
All will be explained there. Please make sure you publish this to your blog, it will be checked and used to help write your UCAS reference!
Your next coursework task is to complete a magazine front cover and double page spread. It must be a mainstream magazine, by which I mean "it could conceivably be sold in Tesco". Mainstream has a very broad meaning, so don't worry too much: pretty much every magazine genre is mainstream. But you need to research magazine covers. What do they look like? What conventions do they have? Where does everything go?? This is what you are marked on!
Flatplans are sketched out drafts of a media product, in this case a magazine. What you will quickly learn when making a magazine is that you must be as conventional as possible otherwise your product will not look like a magazine. I cannot stress this enough: you will need to ape every convention of a magazine (creatively and in a beautiful manner...) in order to make sure your magazine actually looks like a magazine and not... somkazine actually looks like a magazine and not... something else...
This is a detailed 'behind the curtain' blog that explains exactly how and why students who graduated in 2021 were assessed the way that they were. These students were, through no fault of their own affected by the coronavirus pandemic, and were unable to sit conventional end of year exams. Instead, students sat a number of very similar 'exam like assessments', which covered almost every part of the standard media studies course (with one exception, see below).
None of this is new information for students graduating in 2021: they have been made aware time and time again of how they are assessed. However, this post allows for full transparency on this issue. It is, if anything a glimpse in to the kind of paperwork teachers need to complete, which might be something to take note of if you are considering a career in education...
Oh, and if you are NOT graduating in 2021, this post will be of VERY little use to you... sorry!
1. There are three assessed ‘components’ to A-level media studies. One is coursework, and two are exams. All three have been covered by the assessment plan we have implemented as a response to the Covid-19 pandemic.
2. Component three is NEA. Marks are awarded based on producing a technically competent media production that demonstrates a clear sense of audience and knowledge of appropriate media conventions. We have covered and completed coursework in its entirety. Aside from not being externally moderated, coursework has been completed to the same standard and procedure as a ‘normal’ year and I have confidence the grades we have assigned are accurate and fair. C3 is worth 30% of all overall marks. Therefore coursework has been taken in to less consideration than the below assessments that emulate C1 and C2.
3. Component one is called ‘Media Products, Industries and Audiences’. Many topics are covered for this assessment, though not all topics will come up in the final exam. Therefore C1 assesses breadth over depth of knowledge. It is normally assessed through an exam. It covers Ao1 and 2 in particular, though there are some opportunities to evidence AO3. We have emulated C1 through two ‘unseen assessments’ which closely mirror the questions typically found in component one. C1 is worth 35% of the overall grade.
4. Component two is called ‘Media Forms and Products in Depth’. As the name suggests, students are expected to have a significant and explicit knowledge of the set texts for this assessment. There is a big emphasis on AO3 for this unit, but AO1 and AO2 are also essential to evidence. Students are aware of what topics will come up for this exam, and are expected to prepare accordingly. Therefore, we have chosen a longer formal ‘final assessment’ to emulate this component, with the style of question, the timings and the conditions being identical to a ‘real’ exam. It is split into two questions, both worth 30 ‘marks’ (see points 6 to 9 for clarification as to why the term ‘mark’ is contentious in this context). C2 is worth 35% of the overall grade.
5. In addition to the summative assessment detailed above, this year we are placed in to the somewhat enviable position of being able to take in to consideration formative assessment in order to form a detailed and holistic picture of our often disparate cohort. In order to surmise the myriad of low stakes assessments, which are routinely documented by our team on a series of well-maintained spreadsheets, we used a seventh assessment which stood in for all of these varied assessment methods. These low stakes tests and assessments were, of course not billed as high stakes, summative assessment, and thus are only considered in a supplementary capacity.
6. Grades and marking are different concepts. Marking, when undertaken for a formal exam, has an initially nebulous relationship with the eventual grades. This is of course because a mark can only be converted in to a grade when all marks are examined in totality at a national level. On a particularly ‘good’ year, where students are able to demonstrate higher marks within the assessment bands distributed to examiners, then the resultant grade boundaries will be adjusted downwards. The opposite is true for the inverse situation. As teachers, when faced with the necessity of providing grades, and indeed marks to students to provide feedback for formatively assessed mock grades, we must twist this absolute somewhat, and will present students with grades based on grade boundaries assigned in previous years. Of course, we will correctly inform students that grades are subject to change based on student performance at a national level. However...
7. This year there is no ‘performance on a national level’, as centres have effectively assigned their own assessment methods based on the needs of their learners. Therefore JCQ and OFQUAL have distributed not ‘grade boundaries or ‘marks’ of any sort to be used by centres, but instead a series of grade descriptors, which are to be used instead. These grade descriptors are similar to those assigned in previous years, summed up in four discreet AOs which broadly can be assigned to the pre-existing AOs. It is worth noting that these AOs differ slightly from the AOs utilised by EDUQAS. When AOs are referenced in this document, it can and should be assumed that we are referring to the JCQ AOs as opposed to any other AOs.
8. These grade descriptors apply to all three components, and therefore superseded any pre-existing method of ‘marking’ student work. We have, of course, used these grade descriptors as has been mandated.
9. We have, however, used ‘marks’ for each assessment, in the starkest possible manner, with each ‘mark’ rigidly assigned to a grade description. However, these ‘marks’ do not exactly corroborate with marks assigned in a ‘normal’ formal end of course exam (how could they?). We have marked each assessment where appropriate out of 30. Additionally we have ‘decoupled’ two elements of coursework (the music video A/V task and the magazine print media task) to provide two separate grades, each marked out of 30. This allows greater granularity in the assignation of grades. This decoupling is of course made possible through the mandated use of grade descriptions published by JCQ.
The following grade descriptors were provided by JCQ and explicitly ratified by EDUQAS, making them the sole and only recognised way to assess work.
To achieve grade A*, students’ evidence will show that they have securely met all the statements within the grade A descriptor, with stronger performance in most or all aspects of the grade A statements.
To achieve grade A, candidates will be able to:
• demonstrate a detailed and accurate knowledge and understanding of the theoretical framework of media and the influence of relevant contexts on media products and processes
• analyse media products coherently and in detail, including in context, making accurate, often perceptive and critically informed use of the theoretical framework of media and relevant, advanced academic theories
• apply a detailed knowledge and understanding of the theoretical framework of media to make coherent, often perceptive and fully-supported judgements and conclusions, and to offer a critically informed evaluation of academic theories, where appropriate
• create a coherent and highly effective cross-media product/prototype/mock-up that explicitly targets an intended audience, applying a thorough knowledge and understanding of the theoretical framework, and making purposeful and controlled use of relevant codes and conventions to communicate meaning
Characteristics that differentiate a grade B from a grade A:
• knowledge and understanding are accurate rather than accurate, detailed and consistent
• analysis is logical rather than coherent, detailed and often perceptive
• judgements and conclusions are logical and well-supported rather than coherent, often perceptive and fully-supported
• the creation of cross-media products/prototypes/mock-ups for an intended audience is appropriate and effective rather than purposeful, controlled and highly effective
To achieve grade C, candidates will be able to:
• demonstrate a generally sound knowledge and understanding of the theoretical framework of media and the influence of relevant contexts on media products and processes
• analyse media products in a straightforward manner, including in context, making appropriate and generally sound use of the theoretical framework of media and relevant academic theories
• apply a generally sound knowledge and understanding of the theoretical framework of media to make reasonable judgements and conclusions, supported in a straightforward manner, and to offer a straightforward evaluation of academic theories, where appropriate
• create a generally appropriate cross-media product/prototype/mock-up that targets an intended audience in a straightforward way, applying a generally sound knowledge and understanding of the theoretical framework, and making satisfactory use of relevant codes and conventions to communicate meaning
To achieve grade D, students’ evidence will show that they have securely met all the statements within the grade E descriptor, with stronger performance in most or all aspects of the grade E statements. However, their evidence does not meet the minimum requirements of most of the grade C statements.
To achieve grade E, candidates will be able to:
• demonstrate a basic knowledge and understanding of the theoretical framework of media and the influence of contexts on media products and processes
• offer a basic analysis of media products, although this may be descriptive, undeveloped or lacking in clarity, making some use of the theoretical framework of media
• apply a basic knowledge and understanding of the theoretical framework of media to make some basic, undeveloped or partially supported judgements and conclusions
• create a basic cross-media product/prototype/mock-up that targets an intended audience in a basic way, applying some basic knowledge and understanding of the theoretical framework, and making some use of relevant codes and conventions to communicate meaning
A student should be graded unclassified (U) if their evidence does not meet the minimum requirements of most of the statements within the grade E descriptor.
With extra time: 38 minutes
Media language
For this assessment, you will analyse the print resource, which is the theatrical poster for the 2019 South Korean drama film Parasite [STUDENTS WERE PROVIDED WITH A COLOUR REPRODUCTION OF THE THEATRICAL POSTER FOR PARASITE]
Explore the ways in which media language combines to create meaning in the theatrical poster to the drama film Parasite (2021).
You could make reference to
Genre conventions
The relationship between independent and mainstream cinema
Target audience and audience appeal
Time allowed: 30 minutes (exclusive of screening time)
With extra time: 38 minutes (exclusive of screening time)
Compare how this music video extract to Black by Dave and the video to Formation by Beyoncé represent social groups.
In your answer you must:
• consider how media language constructs representations
• consider the role of stereotypes
• make judgements and draw conclusions about how far representations reflect social and cultural contexts
Time allowed: 100 minutes
With extra time: 125 minutes
1 - For Stuart Hall, stereotypes reflect the social attitudes of the culture and the time in which a media product is made.
Evaluate this theory of representation. Make reference to Humans and Les Revenants in your response [30] (50 minutes)
2 Explore the ways in which magazines target their audiences. Make reference to the set editions of Woman and Adbusters [30 marks, 50 minutes]
Time allowed: 100 minutes
With extra time: 125 minutes
1 - To what extent can audiences respond to the TV shows you have studied in different ways? Make reference to Les Revenants and Humans [30] (50 minutes)
2 - Liesbet Van Zoonen suggests the idea of what is male and what is female has changed dramatically over time. Explore this feminist theory. Make reference to Woman and Adbusters to support your points [30] (50 minutes)
A number of processes of standardisation and moderation were carried out in order to further legitimise the assessment process detailed in this document.
• All student music video coursework (referred to as 'assessment 2' as above), was initially marked and moderated internally immediately following the 'final extended deadline' on 19/10/2020
• All remaining student coursework (referred to as 'assessment 1 through 3' as above), was initially marked and moderated internally immediately following the 'final extended deadline' on 1/12/2020
• All grades and marks have been RAG rated/colour coded on the master assessment spreadsheet to allow teachers to easily get a sense of progress. The coding can be surmised: green: better than MEG, yellow, equal to MEG and red, less than MEG.
• A sample of student work was selected for each assessment. Four individual students were selected in advance for each assessment. These moderated marks and grades are indicated with purple cells on the grade excel sheet.
• All student grades, both formative and summative were discussed frequently throughout the standardisation process. Student progress, attainment, and historical precedents were taken in to account where necessary. This discussion was formally conducted on 10/06/2021 when all grades were individually discussed by the A-level media studies team. A ‘second pass’ was made on 11/06/2021, whereupon minor changes were made.
