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
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.
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Definition
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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.
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Argument
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What is your
position, do you agree/ disagree, what is the most important factor, is this
true/ not true, how significant is this etc
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Content and
Context
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What are your
case studies, what key ideas are you going to cover, is when/where it was
made something significant etc
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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.
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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.
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Low 1 -
Another example of gender stereotypes being broken in Black Mirror is the
character, Kelly.
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High - Again
it is clear that Black Mirror is not following PHV when considering the
representation of Kelly.
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Low 2 - In The Returned Claire does clearly follow
the idea that women are caring, nurturing but also emotional.
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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.
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Low 3 - Most
of the time Black Mirror does not follow traditional ideas about gender.
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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)
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Low 4 – Most
of the time The Returned does fit with VZ ideas but there are examples of when
it does not
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Example and
Term – the example is specific and clear, correct terms have been used
(especially media language and theory buzz words)
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Low 1 – Kelly
comes across as a strong and confident woman in the way she dresses and acts.
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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.
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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.
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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.
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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.
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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!!!!
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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.
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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.
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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.
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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.
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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 21st
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.
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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.
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Low 1 –
Netflix used a range of marketing techniques to promote Black Mirror so that
it would be successful.
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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.
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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.
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Globalisation
is an increasing important consideration in the 21st century and
it is an effective way to grow an audience and therefore increase revenue.
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Low 3 – A lot
more money was spent on San Junipero which audiences would like
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Example and
Term – the example is specific and clear, correct terms have been used
(especially media language and theory buzz words)
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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.
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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
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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
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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
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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.
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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.
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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.
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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.
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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.
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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.
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Your DAC:
PETAL 1:
PETAL 2:
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