January mock 2023 - TV industry

You need to read each and every word of this post to get the most from your feedback. If you have any questions after reading this post, please ask me and I'll help you out!

Stat block

Depending on your teacher, you may get your result and feedback in different ways. However, everyone will get marks, a grade, and feedback.

Michael will send you a 'stat block'. From left to right, this is your mark for q1, mark for q2, mark q3, total mark, fine grade and feedback numeral. 

A fine grade is your grade (A, B, C) etc followed by a number. 1 is 'high' and 3 is 'low'. So C3 is 'scraping a C'.

The colours relate to your target minimum grade. This grade is based on your GCSE grades. Simply put: green = better than expected. Yellow = exactly what we expect. Red = less than we expect. 

Mark scheme

1 - Explore how Humans and The Returned both target and maintain a specialised audience [30, 50 minutes]

 

Band	AO1 1a and b Demonstrate knowledge and understanding of the theoretical framework of media	AO2 3 Apply knowledge and understanding of the theoretical framework of media to make judgements and draw conclusions
5 - 26	13-15 marks • Excellent knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is perceptive, insightful, and critically informed by a detailed knowledge and understanding of the television industry and consideration of audience.	13-15 marks • Excellent application of knowledge and understanding of the theoretical framework to make judgements and draw conclusions. • Judgements and conclusions are perceptive, insightful, and fully supported with detailed reference to specific aspects of the set products.
4 - 20	10-12 marks • Good knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is logical, coherent, and informed by a secure knowledge and understanding of the television industry and consideration of audience.	10-12 marks • Good application of knowledge and understanding of the theoretical framework to make judgements and draw conclusions. • Judgements and conclusions are logical, coherent, and well supported with reference to relevant aspects of the set products.
3 - 14	7-9 marks • Satisfactory knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is reasonable and straightforward, demonstrating a generally sound knowledge and understanding of the television industry and consideration of audience.	7-9 marks • Satisfactory application of knowledge and understanding of the theoretical framework to make judgements and draw conclusions. • Judgements and conclusions are reasonable and supported in a straightforward manner with some reference to relevant aspects of the set products.
2 - 8	4-6 marks • Basic knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is likely to be undeveloped, demonstrating a partial knowledge and understanding of the television industry and consideration of audience. There may be a tendency to simply describe.	4-6 marks • Basic application of knowledge and understanding of the theoretical framework to make judgements and draw conclusions. • Basic judgements are made, and some conclusions are drawn, but these are undeveloped and only partially supported by relevant examples.
1 - 1	1-3 marks • Minimal, if any, knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is likely to be superficial and generalised, demonstrating little or no knowledge and understanding of the television industry and consideration of audience.	1-3 marks • Minimal application of knowledge and understanding of the theoretical framework to make judgements and draw conclusions. • Any conclusions drawn are superficial, generalised and lacking supporting evidence from the set products.
0 marks Response not worthy of credit.

 

 

Answers may include…

 

• ·        Distinguishing between maintaining and targeting as concepts, both of which are essential in ensuring long term success and profitability for a media franchise
• ·        The differences between the two shows in terms of how they target and maintain audiences
• ·        The importance of specialised audiences, and how specialised and general audiences can be simultaneously targeted
• ·        Cult appeal of genre - ‘speculative ethics’ (Humans), ‘The New French Extreme’ (The Returned
• ·        Fandom, audience communities and participatory ways of interacting with these media products
• ·        Modes of address, and the utilisation of specific elements of lexis, generic conventions and so on to appeal to audiences
• ·        The value of genre. Both shows use generic conventions of genres that are historically associated with fans as opposed to generalised audiences. More sophisticated answers will discuss the importance of balancing core generic elements, for example the MES of cybernetics and technology in Humans, with more generalised and relatable elements, for example the cast of relatable character archetypes, that ensure broader financial success
• ·        Utilisation of narrative elements, eg The Returned’s preponderance of hermeneutic codes to construct an unrelenting atmosphere of mystery
• ·        The importance of ‘cult television’, for eg how The Returned has many stylistic similarities to other texts such as Lost, Twin Peaks and so on
• ·        The use of niche, atypical characterisation, and narrative elements, especially in The Returned singles this out as a cult show
• ·        The heavy use of intertextuality in Humans (eg ECU establishing shot of eye makes explicit reference to Blade Runner (1982) appeals to specialised audience
• ·        Intertextual references in The Returned include Switchblade Romance, The Texas Chainsaw Massacre, and (less explicitly) Let The Right One In
• ·        The use of problematic and thought-provoking representations
• ·        Deliberately challenging and uncomfortable representations of sex and sexuality
• ·        Lots of opportunities to challenge the idea of a preferred reading, as both shows provide lots of examples of radically different audience interpretations
• ·        Both texts simultaneously challenge and cultivate dominant hegemonic ideological perspectives
• ·        The use of cult, post-rock band Mogwai in Les Revs targets and maintains a pre-sold cult audience
• ·        Humans’ synth pop/techno soundtrack
• ·        Humans’ highly atypical and digitally convergent marketing campaign
  
  
  

2- To what extent do the representations in Humans reflect the time in which it was made? [15 marks, 25 minutes]

 

Band	AO1 2a and 2b Demonstrate knowledge and understanding of contexts of media and their influence on media products and processes
5	13-15 marks • Excellent knowledge and understanding of historical context and its influence on the set TV show product • Links drawn between the representations in the set TV show product and the historical context in which it was produced are perceptive and insightful • A detailed understanding of the significance of representations in the set TV show is shown
4	10-12 marks • Good knowledge and understanding of historical context and its influence on the set TV show product • Links drawn between the representations in the set TV show product and the historical context in which it was produced are logical • A secure understanding of the significance of representations in the set TV show is shown
3	7-9 marks • Satisfactory knowledge and understanding of historical context and its influence on the set TV show product • Links drawn between the representations in the set TV show product and the historical context in which it was produced are generally sound • A reasonable understanding of the significance of representations in the set TV show is shown
2	4-6 marks • Basic knowledge and understanding of historical context and its influence on the set TV show product • Links drawn between the representations in the set TV show product and the historical context in which it was produced are undeveloped • A basic understanding of the significance of representations in the set TV show is shown
1	1-3 marks • Minimal knowledge and understanding of historical context and its influence on the set TV show product • Any links drawn between the representations in the set TV show product and the historical context in which it was produced are superficial and generalised • A very limited understanding of the significance of representations in the set TV show is shown
0 marks Response not worthy of credit

 

 

 

Answers may include…

 

• ·        It is likely that students will argue ‘to a great extent’, and ultimately this is the expectation here. However, all answers should be considered equally valid when supported by explicit reference to key scenes and media language
• ·        Humans, produced in 2015, broadly reflects the here and the now, and answers should reflect how the show draws attention to contemporary issues
• ·        Students may choose to focus on how Humans functions as an allegory, and captures the zeitgeist of contemporaneous UK socio-political issues
• ·        The value of the sci-fi genre as allegory
• ·        Clear allegories of racism, slavery and so on
• ·        Anita as a hyperreal simulacrum
• ·        Issues of sex, sexualisation, consent and power
• ·        Issues of immigration, race, ethnicity, slavery, and power
• ·        The Hawkins family as a hyperreal metonymy of a British middle-class family
• ·        Use of stereotypes, which may ultimately be more damaging than positive
• ·        Anita’s gender performativity and the radically different ways she affects the Hawkins family
• ·        Niska both fulfils the notion of the heterosexual male gaze, and deliberately positions the audience in an uncomfortable mode of address
• ·        Many opportunities for audiences to explore and to relate to a diverse and conflicting range of identities
• ·        Postcolonial readings: Anita’s representation as an Asian ‘other’ draws attention to Britain’s uneasy relationship with its colonial past

 

3 - Explore how The Returned has been shaped by the contexts of its ownership [15, 25 minutes]

 

Band	AO1 1a and b Demonstrate knowledge and understanding of the theoretical framework of media
5	13-15 marks • Excellent knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is likely to be perceptive, insightful, and critically informed by a detailed knowledge and understanding of the TV industry.
4	10-12 marks • Good knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is likely to be logical, coherent, and informed by a secure knowledge and understanding of the TV industry.
3	7-9 marks • Satisfactory knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is likely to be reasonable and straightforward, demonstrating a generally sound knowledge and understanding of the TV industry.
2	4-6 marks • Basic knowledge and understanding of relevant aspects of the theoretical framework.
1	1-3 marks • Minimal, if any, knowledge and understanding of relevant aspects of the theoretical framework. • Discussion of the set products is likely to be superficial and generalised, demonstrating little or no knowledge and understanding of the TV industry.
0 marks Response not worthy of credit.

 

 

Answers may include

 

• ·        It is highly likely that successful answers will start with the show’s producer, Canal+, an established, prestigious vertically and horizontally integrated media conglomerate
• ·        Answers are likely to focus on the balance between presenting a niche, unique experience, and the necessity of financial successes
• ·        The seemingly non-commercial and highly atypical nature of this show is typical of a prestige, subscription-based channel
• ·        Surprisingly high budget and production values
• ·        Broadcast contexts, streaming, franchising, and international distribution models that are only made possible through its funding model
• ·        Unique funding model
• ·        Graphic themes of sex and violence, which can only be achieved through an independent and commercially adventurous producer
• ·        1.91 million views for the first episode, which is significant for a niche show
• ·        2 seasons of 8 episodes demonstrates high production costs (8-episode model as opposed to tradition, US style 24 episode ‘season’)
• ·        Funded through grants from Creative Europe and The French Alps Tourist Board. A diverse range of funding, typical of an independent production
• ·        Shot in Haute-Savoie, in the French Alps
• ·        US distributor: Sundance TV, a premium US subscription channel
• ·        Grant of 450000 euros for 1st season and 1000000 euros for the second, which indicates a return on the investment
• ·        Aired at 2050 on Canal+. Prime time! Indicates strong producer confidence

Feedback legend

i - You must include more media language. Shot types, camera angles, mise-en-scene, lexis, colour, setting, whatever, if you're not using these words, you're not getting marks!

ii - You must focus on analysis and suggesting meanings. What do the de-saturated colours mean? How does the lexis target a working class audience? Don't describe... analyse!

iii - Focus on theory. You don't use enough. You should use more. Make sure to properly revise at least three theories for the next mock!

iv - Focus on presenting a clear argument or point of view. You've ticked every other box, so what do you think? Get argumentative! Get angry! And make a big conclusion!

v - Avoid colloquialisms and find your academic tone. Check out the detailed feedback below for more information on this. This one will take time: there's no quick fix!

Grade boundaries 

This assessment didn't have a lot of questions, so the grade boundaries are really close together! That's life!

A* - 81% - 48

A - 71% - 42

B - 61% - 36

C - 52% - 31

D - 43% - 25

E - 35% - 21

U - 20 or below

General feedback

In addition to the 'indicative content' included above, please pay close attention to this more general feedback, which detailed things we saw students doing time and time again... good and bad!

Missing intros

A surprising amount of you didn't include an introduction. I can only assume this is because you feel it will waste time. Well, let me tell you, a good introduction will SAVE you time! You use it to DEFINE the key term, present your ARGUMENT and then detail a bit of CONTEXT about (in this case) the TV shows. This means you can just jump in to the analysis for the rest of the essay! ALWAYS DO AN INTRODUCTION FOR EVERY QUESTION IN COMPONENT 2!

Short industry answers

A less surprising number of you wrote very little for the last question, on industry and Les Revs. This is for one of two reasons. 

One, you run out of time. You need to make sure to spend the right amount of time on each question. This means doing past paper questions under timed conditions. 

Two, you hadn't revised the industry context for Les Revs. You need to visit this post and this post, and cram this information in your head, probably using flash cards!

"Anyone can watch it/the audience is everyone!"

This isn't true. This is never true. Please don't say this. Especially when the question is about a specialised audience (see below)

Use the question to answer the question

The first thing you should do is underline the key terms of the question. This is because you are going to be using them over and over and over again. For example, TARGET, MAINTAIN, SPECIALISED, AUDIENCE. A straightforward technique is to use these words at the start of every paragraph, for your POINT. For example, "Another way in which Humans maintains a specialised audience is through it's use of extremely specific science fiction genre conventions. The opening scene is the perfect example of this...". There we go: a simple, straightforward, yet clear and sophisticated way of structuring your response!

Specialised audience

A specialised audience can be interpreted as niche, small, cult, active, involved. The first question required you to discuss and explore how this specialised audience was targeted and maintained (i.e, what techniques were used to keep them watching). However, WAY too many of you just wrote about audience in general. This wasn't a tragedy, but essentially it means you were not answering the question. See above for more advice on using the question to answer the question.

Audience theory in an audience question

The big 30-marker here was an audience question. There's no issue with using non-audience theory in this question. Someone (let's call him James) effectively used Barthes' semiotic theory to talk about how hermeneutic codes appeal to a niche audience in Les Revenants. Perfect! However, when the question uses the word 'audience', that should be your cue to include audience theories. Here's a couple of examples:

Stuart Hall - Reception theory - "Hall argues that audiences can decode media products in a variety of different ways, and Les Revs takes this to an extreme level. In fact, I would argue that the show has no one preferred reading, and encourages infinite audience negotiation. For example, the scene where Camille comes home..."

Henry Jenkins - fan theory - "Producers must ensure that their product appeals to a generalised audience in order to ensure financial success. however, producers must balance the needs of a general audience with a specialised audience. Perhaps the most significant example of a specialised audience is what Jenkins refers to as fans; active, participatory audiences who engage with media products in a variety of different ways. Humans provides fans a significant number of ways in which to heavily engage with the show. For example, the opening montage..."

Use explicit examples

Question 2 was all about historical representations in Humans, or rather how the representations in Humans reflect what is happening in the UK, RIGHT NOW. So it's a great opportunity to rake in two or so key scenes, and then explore how media language constructs representations! Yet while many of you correctly identified Humans functioning as an allegory, a surprising amount of you included basically no textual analysis, which was a BIG SHAME, as you really should have rinsed this question for tonnes of marks. Here's a few examples of key scenes you could have analysed, the media language you could have referred to, and the issue it represented:

Buying Anita- montage, ECU, reaction shot, setting, MES - the fetishistic close ups not only refer to the fetishization and sexualisation of women in society, but also the issue of slavery and postcolonial attitudes

The brothel scene - tracking shot, POV, lighting, montage, diegetic sound - the threatening combination of bassy diegetic music and low key lighting reinforce the dangers that women face in society, dangers that the producer argues are perpetrated by men

Reflecting the time it was made

The Humans 25 marker was a representation question. But that doesn't mean you can just bang on about sexism and the nuclear family and everything we talked about. Instead, the question is asking you how these representations 'reflect the time in which it was made'. Once more, that time is NOW. This is (just about) a modern show. So everything needs to be linked to contemporary issues. Sexism, the nuclear family and even postmodernism are all good, but this must be related to answering the question!

I feel that I was VERY generous with some marks I gave for this question. Some examiners would give a zero for general representation answers that don't attempt to engage with the 'reflect the time it was made' aspect. Please, UNDERLINE KEY TERMS AND USE THEM CONSTANTLY!

Don't lead with theory

Some students leaned way too hard on postmodernism for the representation question. First of all, this is a media language theory, but if used appropriately it can back up points about representation. But spending an entire essay mainly trying to define it is not appropriate. Generally, theory should be saved for the 'A' of a PEA paragraph. So after making your point and providing detailed evidence of Anita's highly sexualised/fetishised representation, you could add to your 'A', 

"...through these highly sexualised and even fetishistic establishing shots, Anita is not only presented as an object of desire for a heterosexual male audience, but also a hyperreal representation of a hegemonically ideal woman. Simply put, Anita is perfect because she is NOT real and can never exist. This postmodern ideological perspective not only constructs a confusing and compelling mode of address to the science fiction fan target audience, but it also allegorically presents a highly challenging and problematic issue affecting women today..."