KA6 mock - questions, indicative content, feedback and mark scheme

 The KA6 mock was short and sweet this year: two questions, and both of them on the film industry. While you will not get a 30 mark and a 15 mark question for the same industry in the final exam, it still gave you a good impression of the level of detail and analysis you need to get in to in the final exam

Questions and mark scheme

Liesbet Van Zoonen argues that gender is constructed through media language, to reinforce patriarchal hegemonic values. Evaluate this feminist theory. Make reference to the set episodes of Black Mirror and The Returned in your response [30]

Explore how the television industry ensures economic success in the 21st century. Refer to the set episode of Black Mirror to support your answer [15]

Indicative content - what you could have written...

Liesbet Van Zoonen argues that gender is constructed through media language, to reinforce patriarchal hegemonic values. Evaluate this feminist theory. Make reference to the set episodes of Black Mirror and The Returned in your response [30]

Answers may consider:

● The strengths and limitations of feminism as a critical ontology for exploring the televisual medium

● The idea that patriarchal structures are embedded within media products, or actively resisted from an ideological perspective

● How normative hegemonic values have shifted over time

● The idea that representations are wielded by a privileged elite, and construct reality from the ideological perspective of a select few

● The idea that contemporary televisual media constructs a diverse range of representations to appeal to a perceived diverse audience 

● Both TV shows resist traditional patriarchal power dynamics in a variety of ways. For example, SJ features a complex, queer relationship that would have been highly unusual in television just 20 years earlier, while LR features a range of complex representations of gender

● The idea that contemporary televisual media constructs a diverse range of representations to appeal to a perceived diverse audience is reflected in the complex, surprising and often flawed representation of women as autonomous and complex individuals. 

● SJ makes heavy use of intertextual relay as a representational device, suggesting that characters form their identities through the consumption of media, a highly postmodern and perhaps perceptive notion 

● LR utilises the metanarrative of grief as a representational device, constructing a range of complex and damaged characters that may resonate with audiences

● Textual representation devices such as the utilisation of the intradiegetic gaze in SJ, as well as costume, setting and so on

● The use of genre conventions constructing complex representations of gender. For example, SJ uses the concept of simulation to consider the notion that gender is a construct and a performance, while LR uses the horror genre to explore the pain of being alive, and the idea that being in a gendered body is complex and problematic 

● The complex representations of gender in these shows may be better served through the intersectional feminism of hooks or the performative, reconstitutive apparatus of Butler

● While SJ features a complex queer relationship, its focus on almost universally hegemonically attractive characters may invoke accusations of pretty privilege, or worse, completely undermining the liberatory ideological perspective. Again, hooks may prove usual here

● Julie as a character whose textual construction actively resists the notion of the woman as spectacle for heterosexual male audiences

● LR completely omits and indeed symbolically annihilates any notion of representation of PoC. Again, this can be seen as a limitation of Van Zoonen’s theoretical perspective

● Representations are a reconstruction of reality, nothing is real. Both of the worlds are not real, SJ even goes as far as to make this a plot point! Since everybody is a simulation, what does this say about gender?

● Hegemony as the dominant ideological construct: both shows are the product of enormous conglomerate interests, and are therefore dedicated by the logic of capitalism over actual emancipatory ideology

● The utilisation of hegemonically attractive lesbians as a spectacle for a heterosexual male audience, as written and constructed by a heterosexual cis man (Brooker)

● Complex and fragile representations of masculinity abound in both texts. From the awful Wesley in SJ to the mopey Simon in LR, there may be many critical aspects of traditional hypermasculine and patriarchal power dynamics

● The eradication of toxic masculinity in SJ (“do I have to red light you?”) constructs a hyperreal utopia that allows the show to focus exclusively on queer relationships

● Gender is constructed = gender is a construct. Gender is fluid, complex and potentially only exists through performativity (Butler: “there is no identity behind these [gendered] acts”. Can be used to contrast the apparently more straightforward notions of Van Zoonen. 

● Representation as a representation: the inherent untruthfulness of representations, and how none of the representations in either text are remotely ‘realistic’ or even desirous 

● May consider how representations are considerably more complex now that in the past, and that straightforward gender binaries no longer exist. Perhaps some male audiences may identify more with female characters. 

● you may take a more complex argument, that VZ theory is useful for textual analysis, yet fails to anticipate the complexities of modern representations and audience identities…

● When discussing Lena and Simon, it might be interesting to consider how Simon is sexualised: his open shirt, hegemonic attractiveness, but also the fantasy scenario of a moody, sad handsome stranger suddenly appearing on the scene all seem to position the text towards heterosexual female audiences: I feel Lena is a lot more relatable in this scene, which may position the audience and her gaze upon Simon!

● Men are represented as a threat, violently and sexually in both episodes. Mr Costa’s capture and murder of his wife, the underpass stabbing, and [that guy] harassing Kelly in the club. Could it be argued that the representation of men is stereotypical and reductive?

● Van Zoonen’s pivotal assertion is that gender norms and values have shifted over time. The setting of the regressive 80s and 90s stands in contrast to the overtly queer relationship presented in SJ, with this binary opposition emphasising this change!

● Perhaps be cynical of Netflix’s ideological perspectives. Queer representations are progressive and challenging and potentially even a financial risk. However, this risk is offset by the completely different content that Netflix also hosts, including some very politically incorrect standup and explicitly conservative shows too. Clearly, they are having their cake and eating it…

Explore how the television industry ensures economic success in the 21st century. Refer to the set episode of Black Mirror to support your answer [15]

Answers may consider:

● The significance of conglomerate ownership, and how this has actively shaped the content of BM

● A consideration of the balance between ‘culture’ and ‘industry’, as explored by Hesmondhalgh, and the implications that this has had on BM

● The difference in tone between early episodes of BM and Brooker’s earlier output, as contrasted with the more upbeat and ideologically friendly outlook of SJ

● The acquisition of a pre existing franchise allows the show to target a pre sold audience, and for Netflix to buy this audience, a privilege reserved for the conglomerate

● The importance of genre in terms of appealing to a pre existing and potentially highly motivated audiences

● Brooker’s devoted fans will doubtless follow him from platform to platform, functioning as an auteur figure for active and partisan fandom manifestations

● The utilisation of international iconography within the MES and narrative structures of the show allow it to target a more international, and crucially, American audience

● Regulation: while Netflix effectively bypasses any regulation from OFCOM, instead it appears to adopt a form of self-regulation by limiting the harmful and upsetting ideologies that BM was previously known for

● The high production values of the show, and how they are textually explicated (e.g. the eye wateringly expensive rights to Girlfriend in a Coma…)

● Students may question or critique the need to make money (industrial concerns) with the desire to create life-changing art (cultural concerns). Can culture and industry ever truly exist side by side?

Whole class feedback low level and high level responses

The following resource was created by Naamah

 

DAC –  you need to write an introduction for ALL questions in Component 2, the 30 mark representation question in Component One and try to write one for the 15 mark Media Language question in Component One as well. Intros for 15 mark question are shorter than 30 markers.

Definition	Show that you understand the Theoretical Framework (ML, Rep, Industries, Audiences), the key focus of the question and if applicable the theory focus of the question.
Argument	What is your position, do you agree/ disagree, what is the most important factor, is this true/ not true, how significant is this etc
Content and Context	What are your case studies, what key ideas are you going to cover, is when/where it was made something significant etc

 

Question One – DAC

Liesbet Van Zoonen's feminist theory argues that gender is socially constructed through media representations, reinforcing patriarchal values and maintaining male dominance in society. While Van Zoonen’s theory highlights media's role in perpetuating gender norms, critics suggest it may overlook instances where media challenges these traditional roles, offering subversive representations. This essay will evaluate Van Zoonen’s theory using Black Mirror’s "San Junipero" and Les Revenants’ "Camille" to assess how these episodes address and potentially subvert gender norms in their use of characters. As media continues to evolve, examining shows like Black Mirror's "San Junipero" and Les Revenants' "Camille" helps us explore whether gender representations in these texts reinforce or challenge patriarchal values.

Point - the key idea you are going to talk about is clear, is explicitly linked to the question, is the first sentence of the paragraph and is concise.
Low 1 - Another example of gender stereotypes being broken in Black Mirror is the character, Kelly.	High - Again it is clear that Black Mirror is not following PHV when considering the representation of Kelly.
Low 2 -  In The Returned Claire does clearly follow the idea that women are caring, nurturing but also emotional.	High – It is clear to see the influence of patriarchal structures in The Returned in the mise en scene choices around Claire which reinforce traditional values about gender roles.
Low 3 - Most of the time Black Mirror does not follow traditional ideas about gender.	High - On the surface level BM could be interpreted as following PHV but as a more progressive text it has more complex, nuanced considerations which highlights the need to think beyond VZ ideas. (could cut and it would still be H)
Low 4 – Most of the time The Returned does fit with VZ ideas but there are examples of when it does not
Example and Term – the example is specific and clear, correct terms have been used (especially media language and theory buzz words)
Low 1 – Kelly comes across as a strong and confident woman in the way she dresses and acts.	Kelly’s costume design in the nightclub scene highlights her confident personality as her clothes (tight pants, purple jack and dramatic makeup) draws attention to her. Her bold rejection of Wes (dialogue – ‘Do I have to red light you’) again shows that she is self assured and knows her own worth.
Low 2 – Claire is always seen in the house and the props in Camille’s room show that she is still upset about losing her.	Claire is associated with the domestic sphere as she is never seen outside the family home. She has created a shrine in Camille’s bed (via props like candles, photos etc ) and this is the first location we see her in connoting that is she is a mother and emotional despite losing Camille 4 years ago.
Low 3 – The character of Wes is first shown as the popular cool guy through his clothes but later in the episode we see how upset he is to have lost Kelly.
Analysis and Linking – analysis focuses on why things have been done, how they create meaning, the impact on the audience. Linking to the question (often using specific words/ ideas from the question), linking back to your central argument, linking to a theory, linking to a point you have made elsewhere, linking to context, linking to other theoretical frameworks, linking/ comparing texts. EVALUATION!!!!
Low 1 – San Junipero is a modern text and does show some more modern ideas around gender roles as that is what the audience would also think.	This is a clear challenge to VZ ideas suggesting that VZ theory has limited application in modern progressive texts. However this would fit in with VZ belief that media can act as an agent of social change by challenging hegemonic ideologies. This challenge of ideology could also act as a USP for Netflix and help them to drive up profit and would engage an often mis/ under represented section of potential audiences.
Low 2 – This representation of Claire is a pretty standard one that we see in the media all the time and fits with VZ ideas. It would be comfortable and familiar for the audience. They would recognise it immediately.
Low 3 – This is not the stereotypical representation of men and shows that Wes does not have the power in his relationship with Kelly. This is not how the patriarchy normally works.

 

Your DAC:

 

PETAL 1:

 

PETAL 2:

 

Question Two – DAC

Economic success (ie profit/ revenue) is extremely important to conglomerates like Netflix in the highly competitive 21^st century. There are a wide range of strategies that can be used to boost the chances of success such as marketing, addressing global audiences, and effective budget spending. These techniques were effectively used for Black Mirror.

 

Point - the key idea you are going to talk about is clear, is explicitly linked to the question, is the first sentence of the paragraph and is concise.
Low 1 – Netflix used a range of marketing techniques to promote Black Mirror so that it would be successful.	As series 3 of Black Mirror was the first series that Netflix produced it was imperative that they nailed marketing to both engage the existing fanbase but also subscribers who would be new to the franchise to ensure economic success.
Low 2 – Another way for Black Mirror to make more money would be to increase the target audience so Netflix made sure it had wide appeal.	Globalisation is an increasing important consideration in the 21st century and it is an effective way to grow an audience and therefore increase revenue.
Low 3 – A lot more money was spent on San Junipero which audiences would like
Example and Term – the example is specific and clear, correct terms have been used (especially media language and theory buzz words)
Low 1 –Netflix used both traditional forms of marketing like trailers and newer methods like social media. The trailer for series 3 featured exciting moments from all episodes (including San Junipero) and this trailer was added to Youtube so people could comment on it and share it with friends.	The official trailer for series 3 makes it clear that while it was now ‘Netflix’, the programme would remain true to its origins with its gritty feel and emphasis on the dark side of technology. The teaser trailer clearly states the involvement of the ‘original creators’. They also developed a ‘Adblockers’ themed viral campaign which tricked people into clicking on marketing material
Low 2 – San Junipero included a range of themes that would have universal appeal. For example it dealt with the themes of death, love and family through the characters of Yorkie and Kelly	The episode San Junipero, for instance, incorporates universal themes such as love, death, and family, making it relatable to viewers across cultures. The relationship between Yorkie and Kelly transcends boundaries by exploring timeless human experiences like grief, connection, and self-discovery
Low 3 – San Junipero featured a lot of music from the past which Netflix had to pay to use. For example ‘Girlfriend in a Coma’ by The Smiths and Heaven is a place on Earth by Belinda Carlisle.
Analysis and Linking – analysis focuses on why things have been done, how they create meaning, the impact on the audience. Linking to the question (often using specific words/ ideas from the question), linking to your central argument, linking to a theory, linking to a point you have made elsewhere, linking to context, linking to other theoretical frameworks, linking/ comparing texts.
Low 1 - These marketing methods would let past audiences know that the show was now on Netflix but would also increase the audience as new people might see it and want to watch it. And the more viewers who see it, the more economically successful it would be.	By making it clear that Black Mirror under Netflix would maintain the same style and themes existing fan who watched it for free on Channel 4 would be encouraged to subscribe in order to keep watching, therefore increasing the revenue and economic success for Netflix. These fans could also play a key role in introducing new audiences to the show as they would be likely to engage in fandom, spreading the reach of marketing campaigns to new audiences who might value/ trust fans opinions more than conglomerate marketing.
Low 2 – By including themes like this the programme could appeal to more than just British people as these ideas and experiences are something that are common all around the world. So more people could be interested in watching BM and because they have to pay Netflix would make more money.
Low 3 – By featuring well know songs from a range of different time periods a wide audience would be attracted to the show as there would be a song that they would recognise. This would make them interested in watching it which they would have to pay for so Netflix would make money.

 

Your DAC:

 

PETAL 1:

 

PETAL 2:

A Man With no Shame - Daily Mirror DPS analysis

How is meaning constructed in the ‘A Man With No Shame’ double page spread?

• A number of different images from a number of different times and placers have been selected and combine to create a sense importance and business. It emphaises the idea that this is hard news and important. It also flattens time and space, combining a range of exciting events to create an entertaining mode of address. 
• The main image of the hospital sits in the fold of the double page spread. Spread across the two pages, it connotes importance. The image itself uses the MES of protective gear, which symbolises the fight against covid. Here the NHS are represented as selfless and heroic. The MES of the patient ltying on the bed lacks a face, depersonalising and anonymising them. This removal of identity allows the target audience to project their own experiences on to the figure, making it a relatable mode of address. 
• The composition of the NHS image is chaotic, and lacks a point of focus, yet the binary opposition of Johnson standing in a brightly lit exterior location draws the audience’s eye to him.
• The narrative of the chaotic and terrifying experiences of the emergency room is contrasted with the narrative of Johnson enjoying himself. This sense of enjoyment is anchored through the MES of the champagne flute, which has connotations of upper class lifestyles and luxury. It also has conotations of celebration. The high production values suggest this is a professional photograph, reinforcing the luxury of the situation.
• Johnson is not smiling with his facial expression connoting a smug and relaxed attitude. When anchored with the NHS image, it constructs a version of reality knowingly putting people’s lives in danger for his own comfort and enjoyment
• The inset image of Johnson  functions as a referential code, and references Bond villains. Johnson is compared to a cartoon villain, which reinforces the ideology that he is evil
• Rule breaker: Boris Johnson took us for fools. Achilles the ideology that Johnson is insulting the british public. The use of the word ‘us' constructs a personal mode of address: we, the readers are British, and we all share an ideology, and we all despise Johnson. This lexis constructs a sense of community, which ensures the newspaper sells copious day after day
• Main image
• Subheadings
• A personal, human interest story about a covid victim
• A letter from Kier Starmer, the leader of the labour party
• Interviews with ‘ordinary people’ affected by covid
• A poliutical cartoon
• An editorial, the view of the editor, often extremely biased 
• The serious tone, in addition to the significant amount of copy opposes and is atypical of the standard tabloid. Perhaps the mirror is actually treating their working class audience with respect and an expectation they will understand. 
• The headline ‘A Man With No Shame’ reinforces the notion that Johnson has no shame. This jnhot only makles clear the ideological perspective of the newspaper (left wing), but it also repeats the lexis of the font page headline story, and cultivates the idea that ‘Johnson=shame’. By using such simple and repetitive language, it is inferredf the target audience have a lower level of education
• Intertextual reference to ‘the man with no name’, a character in a series of 60s Westerns suggests an older target audience. Additionally, this use of pun is childish and informal
• The main image and secondary main image form a binary opposition between the luxurious image of Johnson sipping champagne from a champagne glass, to the chaotic, serious hard news coded image of the emergency room udring the covid pandemic. 
• A binary opposition is constructed between the struggles of the general public, and the privileged lifestyle of the PM. This notion of privilege is encoded and anchored through the MES of the champagne flute, the expensive suit, and the pleasant outdoor location
• US vs them
• Composition - johnson has his back to the medics, suggesting that he does not care. This is further anchored through Johnson’s casual posture and dismissive facial expression
• Layout of double page spread is intense filled with a variety of modes of address. It combines a political cartoon, several interviews with ‘ordinary people’ and their exoperiences, a letter from Kier Starmer, an editorial (an opinioned piece written by the editor)...
• The colour palette resembles the union flag, anchoring the ideology that Johnson has disgraced the country. This is anchored through the lexis ‘Johsnon has disgraced the country's highest office’. This patriotic mode of address will appeal sterotypically to the working class target audience
• ‘Labour Leader’s Message To You’, aligning audience with then opposition party, and providing a direct response by the leader of the opposition himself

Kier Starmer’s letter 

• The use of red contrasts with the blue of the main image, but also symbolises the ideologies of the labour party. Red is the colour of revolution, and here Starmer premises a change of power
• Towards the end of the letter, Starmer sets out his manifesto, and his series of promises. Clearly Starmer has written this column in order to promote the labour party 
• The font used to sign off the letter confusingly makes starmer appear less educated and more relatable. The font resembles comic sans, which has connotations of simplicity and clarity and informality. This suggests that Starmer is attempting to emphasise and appeal to the working class audience 
• Kier Starmer’s l;ack of tie and relaxed postured suggests he is leaning in l;ike a confident, and sharing vital information with the audience. His relaxed depression suggests a conversation in the pub, which will appeal to the working class target audience
• The lexis ‘we’ suggests Starmer is on level ground with the public, and is not untouchable and even cultured like Boris Johnson
• The use of flattering language, eg ‘the british people aren’t fools’ helps to anchor and position the target audience
• Takes the form of an ad hominem attack on Brois Johnson, frqeuntly insulting him,l and calling for him to resign. This brutal attack helps keep the message clear and easy to understand
• Red here is connotative of many things: it is polysemic. It represents political violence, the passion of patriotism, and the official colour of the labour party. These meanings combine to reinforce the message
• The choice of italic comic sans resembles handwriting. It signifies that Starmer cares about the public, and by extension, Mirror readers
• The British People aren’t fools: they never believed any of it. Colloquial language, that acknowledges the feelings of the public. Assumes the same ideological perspective and also infers the audience are intelligent. Flattering lexis
• Lexis is informal, blunt and straightforward
• The anchorage provided with the selection of image of Starmer suggests that he is talking, providing a direct mode of address. The casual posture and relaxed facial features suggest a friend chatting to another friend at the pub. Additionally, the title ‘sir’ is omitted, keeping him more relatable
• Cultivates an ideology that the Labour Party are competent and clearly should be in power

Exploring the double page spread from the Zero Shame set edition of The Daily Mirror

 

Considering representation and ideology in classic American holiday specials

 In this session, you will be exploring the messages and values that are encoded in the following films:

Santa Claus is Coming to Town

• There is a distinct anti-German ideology throughout the film. The comedy German accents, the names and also the distinctive, nazi-esque costumes of the soldiers all confirm their nature. The burning of toys ins a clear reference to Nazi book burning, and constructs a very deliberate ideological perspective that America is the most powerful and moral nation.
• Gift giving is fundamental to Christmas, and we should give as well as receive
• Furthermore, there is the alarming ideology that even in times of extreme poverty and deprivation, children must smile and be happy. This clearly capitalist ideology reinforces the idea that life is terrible and we must endure at all costs. Rather than actively changing our material conditions, we should live through little treats like toys. 
• Jessica is a fully grown woman who is instantly won over by being given a child’s toy. This reinforces a stereotypical ideological perspective that women only carte about material things. Jessica’s job is stereotypically feminine and reflects 1970s gender norms
• Jessica helps to get the team out of prison, but only with the help of Winter
• SCICTT takes the form of an origin story, taking something familiar, and providing explanations 

Rudolph the Red-Nosed Reindeer 

• The film is based upon the ideology of societal approval. Rudolph’s nose seems to cause absolute hatred in everybody around him, until finally it is essential to use him. The red nose could be symbolic of simply being different. His father’s hatred of rudolph is particularly surprising, and the drama in this narrative is depressing and hard hitting
• Stereotypical representations of gender. Clarice is heavily sexualised and is constructed based on stereotypical assumptions of sex and gender, and is constructed from the MES of eyelashes and a high pitched voice. She functions only as a love interest, reinforcing a patriarchal ideology
• Everyone in the narrative is white with no exceptions, which reflects the desires and the ideologies of the time. 
• The stigma that Rudolph faces for having a red nose, is symbolic of racism. He is mocked in the street, is treated with hostility, and is segregated from the rest of the group. He ends travelling with the dentist elf to the Island Of Misfit Toys, and ends up being refused access here as well. 
• The narrative is outdated and mean spirited, with every character being absolutely awful

A Year Without Santa Claus

• The vast majority of characters are white, which reinforces a dominant, hegemonic perspective that white people are privileged, and exert more power. However, later on, all the children of the world unite and combine to bring Santa his presents, which suggests not only that the entire world follows a broadly Christian ideology, but also reflects a post-colonial attitude to the world and it’s different people can simply get along by believing in Santa Claus
• The central narrative is that children are the glue holding together Christmas, yet they have lost their faith in Santa. 
• The vast majority of characters are male, with the only two female characters being stereotypical mothers, which reinforces patriarchal ideological perspectives 
• Stereotypical Christmas iconography that reinforces certain values 
• The character of Snowmeiser is not only completely confusing but also visually terrifying 

While these films are pretty much unknown in the UK, outside of some of the songs featured in them, they are cultural artefacts in America, and children are still forced to watch them for this day. Furthermore, they have been referenced in lots of US media, and reflect lots of dominant US hegemonic ideological positions. So they are perfect for analysis!

We're going to watch them, then we're going to discuss them. Here are some potential talking points:

• Representation of gender
• Themes
• Ideologies
• Dominant hegemonic values
• Genre and narrative
• Shifting normative values and ideologies
• Cultural resonance
• Style and content

P block student newspaper 2024 - The Trumpet