Key assessment one 2022: questions, mark scheme, feedback, and indictive content

Introduction

The Waitrose Christmas 2022 advertisement takes an unconventional approach, focussing on the supply chain, and how food reaches us

You've now completed key assessment one, your first mock exam. Well done! 

In A-level media studies, you are given feedback in four different ways:

1 - A fine grade, for example B2. This would indicate a mid or safe B.

2 - A mark. Lots of marks, actually. You'll have to use the mark scheme to work out how you did in each question

3 - A feedback numeral. This will be a Roman numeral, i.e i, ii, iii, iv etc. This will link to one piece of feedback that you will have to address next time

4 - Verbal, 1-1 feedback. This will be given in your upcoming progress audit 

Questions

Section A – Media language (please spend 30 minutes on this section. Your time starts the second the advert is first shown)

Advertising

• The advertisement will be shown twice.

• First viewing: watch the advertisement and make notes.

• You will then have five minutes to start your response.

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

• Once the second viewing has finished, you should answer Question 1

You can view the advert by clicking here

1 - Explore how media language combines to create meaning in the It’s Beginning to Look a Lot Like Christmas Waitrose advert you have been shown. [15]

Section B – Media industries (please spend 20 minutes on this section)

Film industry

2a) Briefly explain what s meant by an independent film [2]

b) Briefly explain what you understand by horizontal integration [2]

c) Explain two features of independent film production? Refer to I Daniel Blake to support your points [6]

d) Explain how mainstream films are shaped by the means of their production. Refer to Black Panther to support your answer. [10]

Marks and grades

Above is a hypothetical stat block. You will be emailed something VERY similar. From left to right, these are the marks you got for all five of the questions in this exam, the total mark you received, the fine grade you received (in this case a high C), and the feedback you received, in this case a 'i'.

The colours are related to your target minimum grade. This comes from your average GCSE grade. Yellow means you achieved your TMG. Red is below, and green is above. In the example above, this person did pretty well!

Feedback

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% - 29/35

A - 71% - 25/35

B - 61% - 21/35

C - 52% - 19/35

D - 43% - 16/35

E - 35% - 13/35

U - 0 - 12/35

Indicative content

This will be added to as your teacher marks your papers...

1)

2c)

2d)

Mark scheme

1 - Explore how media language combines to create meaning in the It’s Beginning to Look a Lot Like Christmas Waitrose advert you have been shown. [15]

Apply knowledge and understanding of the theoretical framework of media to analyse media products

5/A

13-15 marks

• Excellent, consistent, and accurate application of knowledge and understanding of the theoretical framework to analyse the advertisement

• Analysis of the advertisement is perceptive, detailed and is likely to be informed by relevant theories

4/B

10-12 marks

• Good, accurate application of knowledge and understanding of the theoretical framework to analyse the advertisement

• Analysis of the advertisement is logical and may be informed by relevant theories

3/C

7-9 marks

• Satisfactory, generally accurate application of knowledge and understanding of the theoretical framework to analyse the advertisement

• Analysis of the advertisement is reasonable and straightforward

2/D

4-6 marks

• Basic application of knowledge and understanding of the theoretical framework to analyse the advertisement, although this is likely to lack clarity, relevance, and accuracy

• Analysis of the advertisement is undeveloped and there may be a tendency to simply describe features of the advertisement

1/E

1-3 marks

• Minimal, if any, application of knowledge and understanding of the theoretical framework to analyse the advertisement with significant inaccuracies, irrelevance, and a lack of clarity

• Analysis of the advertisement is superficial and generalised

0 marks

• Response not attempted or not worthy of credit

Section B – Media industries (please spend 20 minutes on this section)

Film industry

2a) Briefly explain what s meant by an independent film [2]

Two marks: A film made outside of the commercial mainstream and outside of the financial and artistic control of a large film company. A film which is privately conceived and funded or is made by a smaller film company on a low budget. A reasonably detailed and elucidating example may be included in addition to a satisfactory definition

One mark:  One that is not mainstream, a film that costs less to make, etc

Credit any valid responses

b) Briefly explain what you understand by horizontal integration [2]

Two marks: Where an organisation acquires another organisation at the same level of industry, or at the same level of the supply chain. A reasonably detailed and elucidating example may be included in addition to a satisfactory definition

One mark: when companies work together, when a company buys a similar company or something similar. 

Credit any valid responses

c) Explain two features of independent film production? Refer to I Daniel Blake to support your points [6]

Demonstrate knowledge and understanding of the theoretical framework

5-6 marks/A/B

• Excellent, detailed, and accurate explanation

3-4 marks/C

• Good, accurate explanation

1 - 2 marks/D/E

• Basic explanation which may be undeveloped or contain some inaccuracy

0 marks/U

• Response not attempted or not worthy of credit

d) Explain how mainstream films are shaped by the means of their production. Refer to Black Panther to support your answer. 

Demonstrate knowledge and understanding of contexts of media and their influence on media products and processes

5/A

9-10 marks

• Excellent, detailed, and accurate knowledge and understanding of how production contexts shape mainstream films, with possible reference to relevant theoretical perspectives

• Detailed reference to the set film to support points made

4/B

7-8 marks

• Good, accurate knowledge and understanding of how production contexts shape mainstream films

• Reasonably detailed reference to the set film to support points made

3/C

5-6 marks

• Satisfactory knowledge and understanding of how production contexts shape mainstream films, although this may lack development

• Straightforward reference to the set film to support points made

2/D

3-4 marks

• Basic knowledge of economic contexts, but there is limited, if any, understanding of how production contexts shape mainstream films

• Partial reference to the set film to support points made, but this is undeveloped

1/E

1-2 marks

• Minimal knowledge of economic contexts, but there is very limited, if any, understanding of how production contexts shape mainstream films.

• Very limited or no reference to the set film to support points made

0 marks/U

• No response attempted or no response worthy of credit

Exemplar answers

Teacher exemplar

Section A – Media language

1 - Explore how media language combines to create meaning in the It’s Beginning to Look a Lot Like Christmas Waitrose advert you have been shown. [15]

Media language refers to the combination of elements that constructs meaning for an audience. The Waitrose Christmas Advert uses a complex set of media language in order to construct a complex range of meanings, that predominantly construct a nostalgic mode of address for its middle-class target audiences. Waitrose is a UK supermarket that appeals in particular to middle class shoppers, and UK supermarkets will typically use expensive advertising campaigns to compete with one another directly at Christmas.

One excellent example of how the Waitrose adverts constructs meaning is through it’s inviting and inclusive use of representation A variety of different groups of people are represented in a variety of different ways. In the first half of the advert, a montage of predominantly working-class characters is constructed. Farmers and labourers are represented in a number of frankly stereotypical ways, including through the anchorage of working-class iconography such as tractors, the MES of tan lines on arms, and the depiction of traditionally working-class settings, such as a muddy field. This reinforces the idea that working class people are essential to Waitrose producing it’s food, However, the advert switches in a sharp binary opposition to a stereotypical middle class household. The MES of luxurious golden lighting, as well as the MES of thick cardigans and plentiful food constructs a stereotypical and highly leading representation of a middle-class family. The producer has chosen this family to be represented by mixed race actors, which provides a sense of inclusion for the target audiences and allows it to maximise profit. However, the message is still constructed that Waitrose is targeting affluent, middle-class families with the promise of working class labour.

A highly nostalgic mode of address is constructed through the use of stereotypically Christmas associated MES, that will allow the older, middle class target audiences to remember their own childhood. This is particularly evident in the second half of the advert, which is set in a stereotypical middle-class household. The use of low key, golden lighting is further reinforced through the luxurious MES of stereotypically Christmas food, which constructs a highly comforting and delightful mode of address for the target audience. The house itself is old and traditional, which reinforces an ideological perspective that tradition and conservative values are preferable. This is further anchored through the highly conservative and stereotypical selection of song, ‘It’s Beginning to Look A Lot Like Christmas by Bing Crosby (I THINK?), which once more reinforces and anchors a nostalgic mode of address. By reinforcing these conservative values, Waitrose communicates to it’s target middle class audience that it is the correct, traditional, and ‘real’ choice to make this Christmas.

Additionally, the advert uses media language to construct a compelling and highly relatable narrative to it’s middle-class audience. This is constructed through the use of mysterious hermeneutic codes in the first half of the advert, which use low key natural lighting, bleak use of setting, and miserable, affecting MES such as mud and rain. This constructs a mysterious, confusing and provocative mode of address to the target audience, which is further anchored through the diametrically opposed, cheerily happy soundtrack. The preferred reading of this advert is doubtless that audiences should be confused, at least for the first half of the advert. However, when we switch to the more traditional setting of the middle-class household, audiences will recognise the genre conventions of the Christmas advert, and will realise that the producer’s ideological perspective is to infer how much graft and effort has gone into the production of it’s good. This compelling narrative will doubtless encourage audiences to engage with the second half of the advert, therefore maximising profit for the conglomerate.

The narrative, of course continues in the second half, with a highly relatable (to middle class people) slice of life story, with a young boy crying because he does not get a sausage. The emotional impact of this scene is emphasised by the use of a mid-shot, which emphasises the emotion of his crying face. This is yet further anchored through his age, and the MES of his soft, fuzzy cardigan, which functions as a symbolic code for innocence and purity. This supposedly delightful scene constructs a highly emotionally manipulative mode of address, made more affecting through the non-diegetic soundtrack being removed at the point of him crying. The narrative is concluded with a girl, presumably the crying boy’s sister cheerfully intoning “don’t worry, you can have mine”. Once more, this delightful scene allows Waitrose to associate it’s own produce with the so-called ‘magic’ of Christmas, and arguably functions as a proairetic code, indicating the exciting and delightful Christmas adventures that should occur should the audience choose to shop at Waitrose.

It is interesting that Waitrose have chosen a straightforward Christmas advert this year, with no hint of animation, big name celebrities or grand, complex narratives. In fact, the montage of the bleak realities of farming in the opening half of the advert reinforces the harsh realities of agricultural work, and symbolises the thankfulness that even well-off, middle-class families should experience when purchasing food. The second half of the advert is also remarkably straightforward. Although the family are mixed race, which could point towards a more modern, inclusive Britain, the MES of the household and the set design is fiercely traditional, and suggests far more conservative, old-fashioned, and traditional values. Once more this will appeal to Waitrose’s more conservative, older, and comparatively wealthy target audience, with an advert that proairetically encodes themes of value over more flashy, expensive, and ‘modern’ Christmas adverts that rival supermarkets tend to release.

Section B – Media industries 

Film industry

2a) Briefly explain what s meant by an independent film [2]

An independent film is a film produced outside of the mainstream, and without the financial backing of major producers, distributors, and conglomerates. An excellent example of an independent film is Primer (2002), which was independently financed, and cost only $8000 to produce.

b) Briefly explain what you understand by horizontal integration [2]

Horizontal integration refers to when an organisation buys out another organisation in the same sector, or at the same level of the production chin. An excellent example of this would by Disney forcibly acquiring Pixar. This invariably happens to minimise risk and to reduce competition.

c) Explain two features of independent film production? Refer to I Daniel Blake to support your points [6]

One essential feature of independent film production is that they will usually be financed by a range of different companies rather than one single financer. This is because even a small film like I, Daniel Blake (IDB) will cost a not insignificant $2million. IDB was funding by a range of organisations, including BBC Films, the BFI, The National Lottery and so on in the UK, and with additional funding from several French interests, including Canal + and related subsidiaries in France. Germany’s Wild Bunch also helped to finance it. This highly collaborative approach to financing is typical of independent film production

A second feature of independent film production is the often less mainstream themes, genre conventions and ideologies that they will evidence. For example, IDB, rather than being shot on sound stages in Los Angeles, like stereotypical Hollywood films, was shot on location in the streets and rundown flats of Newcastle. This led to the film having remarkably low production values. This production context extends to the choice of actors: IDB, like many independent films, uses ‘unknown’ or less successful actors, who perform in a more naturalistic and therefore ‘realistic’ way, which will appeal to the target audience. This reflects the political ideology of the film IDB has been constructed to present a blunt and straightforward political ideolog to it’s audience, in this case criticising the UK government. This criticism extends to the unusual promotion of the film, where the director Ken Loach went of Channel 4 news to argue with conservative MP Kwasi Kwarteng about the economic impact of Tory austerity.

Clearly IDB targets a niche audience, and, like many indie films, this is reflected in its production context

d) Explain how mainstream films are shaped by the means of their production. Refer to Black Panther to support your answer. [10]

Mainstream, big budget, blockbuster films are typically highly shaped by the ways in which they are made. Black panther is an excellent example of how a blockbuster film is shaped by the company that makes it. 

One way in which Black Panther is shaped by being produced by a major film producer (Marvel Studios, a subsidiary of Disney), is that it has very high production values. This is shown off in the promotional trailer through the use of highly polished CGI, well known and hegemonically attractive actors, huge, expensive special effects and sets, and easily identifiable themes of good vs evil. It is absolutely essential that mainstream, big budget films demonstrate these qualities, in order to minimise risk and to maximise profit for Disney.

Another way in which BP has been shaped by being owned by a major conglomerate is the fact that it was constructed to receive a 12A rating. Film regulation can easily stop a film from maximising profit, and a 15 certificate would stop the younger, teenage target audience from watching this film in the first place. Therefore, while BP is filled with violence and conflict, it is only ever ‘fantasy violence’ which is deemed more acceptable by the BBFC. The BBFC explains how BP does not show excessive injury detail, and that there is only brief use of swearing (for example a middle finger gesture made in jest), which allows the film to achieve a 12A rating and therefore appeal to and be accessed as many audiences as possible.

Another way in which BP has been shaped by it’s ownership by Disney, a vast multinational conglomerate, is it’s highly expensive and expansive promotional campaign. Unlike an independent film such as IDB, a vast number of different marketing techniques have been used to advertise the film, from traditional (cinema trailers, teaser trailers, billboard posters and newspaper adverts and publicity interviews), to modern, digitally convergent methods, for example viral marketing campaigns on social media featuring catchy hashtags, banner adverts on websites and so on. Additionally, a vast range of additional merchandise, including toys, games, statues and clothes allows the vast conglomerate Disney to use its vertically integrated business practices to maximise revenue by using the Black panther branding in a variety of different products. This avenue of marketing would simply not be available to indie film producers.

Finally, Black Panther himself is an established superhero brand, from Marvel, a brand synonymous with superheroes. Audiences will be presold on the character, and Disney will be able to rely on the enormous amount of pre-existing fans coming to the cinema, and subscribing to Disney +, it’s digital streaming service, in order to maximise profit

The function of independent cinema

In media studies, we quickly learn that every media product exists to make money. However, clearly a film about a middle-aged, disabled, working class man with a strong Geordie accent trying and failing to tackle to injustices of the UK benefits system is not going to have mainstream appeal. In fact, it doesn't sound like a very good way of making money at all. Why does it not include any fight sequences? 

The function of I, Daniel Blake, and all social realist cinema, is to spread awareness of particular issues. 

• The difficulty of accessing the benefits systems
• The uneven distribution of technology in our society 
• Poverty exists, and being poor makes absolutely difficult
• The existence of food banks to fill in the gaps of the failures of the befits system 
• The shame which exists with desperate poverty, and the difficulty in living a proud life 
• Criticism of the conservative government, limits the film's financial potential

Advertising and promoting independent cinema

Traditionally, mainstream cinema is promoted in part through actors and directors etc appearing on talk shows and news broadcasts around the world to promote the film. However, to promote I Daniel Blake, Loach went on to Channel 4 news, and engaged in an argument with conservative MP Kwasi Kwateng 

Chadwick Boseman gives an interview at a promotional event

Ken Loach criticises Kwasi Kwateng on a live Channel 4 news broadcast

Criticisms of I, Daniel Blake

While Blake certainly succeeds in promoting a clear political ideology, it arguably fails as a film. This is highly contentious, but the following are criticisms of this film:

• Dull, straightforward cinematography
• Unnecessarily long with lots of padding
• It doesn't suggest any meaningful changes, but instead is constant misery throughout 
• Blunt, unappealing dialogue 
• Some scenes are played out far too long 
• A number of subplots just don't go anywhere, or feel forced 
• Stereotypical caricatures of a feckless working class
• No shades of grey: every character is either completely good or completely bad
• Unrelenting misery throughout, which makes it hard to pick out individual scenes
• Poverty porn - where representations of deprivation, for example MES of council estates, graffiti and urban decay are used to appeal to predominantly middle class audiences. Top Boy is an excellent example of this!
  
  

Awards 

While Blake didn't make anyone rich, it was extremely critically successful, and even won the Palme d'Or, perhaps the most prestigious award in all of cinema. The following is a neat snapshot of awards that Blake has received and been nominated for. For a smaller, independent film, film awards can give an otherwise forgettable film a prestigious status, which can allow it to more effectively target an enthusiastic, niche audience. 

Production and distribution

Blake was produced by many smaller production companies and supporting organisations, including 

• Sundance Selects
• BBC Films
• Wild Bunch
• Sixteen Films
• eOne Films
• Why Not Productions
• Canal +
• Cine +
• BFI
• National Lottery

There are many different producers and distributors for I, Daniel Blake, which is typical of a film of this nature and this budget. This is a complicated method of distribution and funding, which independent films must rely on.

Marketing

eOne, the UK distributors of the film utilised a range of guerrilla marketing techniques, such as projecting quotes from the film on to buildings in Newcastle, and even projecting the name of the film on the houses of parliament. These marketing techniques occupy a legal grey area, and reinforces the radical political ideologies of the film. These marketing techniques reflect the themes presented in the film. 

• Twitter hashtags were used to raise issues online using a form of viral marketing 
• Approached local newspapers with 'buy one get one free' offers, appealing to a working class audience. Also 'pay what you can screenings', often screened in places like function halls and village halls, and community centres, which allows access to working class audiences 
• These methods work, as the film has a radical socialist political message. They clearly would not work for a mainstream big budget film

International distribution

Blake received a limited theatrical release in many countries, for example Japan, France, Germany and Spain. This was largely due to winning the Palme d'Or. It is fascinating to think of how audiences in Japan, for example, responded to such a British film! Clearly the film has limited international appeal.

Regulatory context

Click here to read the story of how Blake received a UK BBFC 15 certificate, straight from the horse's mouth

I, Daniel Blake and audience appeal

I, Daniel Blake is an independent film that arguably does not follow a capitalistic agenda to minimise risk and maximise profit. Instead, it has a specific moral and political ideology that it seeks to disseminate to it's niche audience. However, it's marketing still evidences explicit examples of audience appeal. Even independent films must strive make money, otherwise they would not be funded in the first place!

How does the theatrical poster to I, Daniel Blake utilise elements of audience appeal?

• Selection of colours on the poster tend to be greys. However, reviews are written in red. This provides a subdued mode of address for the target audience
• Emphasis on words over visuals may suggest that the audience are more interested in a strong message than exciting visuals
• Huge emphasis on reviews suggests that the film is totally unknown to audiences and must rely on critic reviews in order to sell the film to its audience
• Average and hegemonically unattractive man on the poster may appeal to audiences through it's relatability
• Clothing is stereotypically working class: bootcut jeans and an oversized waterproof jacket, along with his beanie had, and the age of the protagonist suggest that the film is targeting a more mature, older audience
• Dull, grey concrete background suggests an industrial British setting, perhaps appealing to British working class people??????
• Title is written in graffiti, which has connotations of crime and deprivation. Could appeal to audiences who live in the place represented?????
• Heroic, powerful pose of actor may connote power, which again may be relatable to audiences  
• Clearly attempting to appeal to a niche audience (small and specific)
• Appeals to film enthusiasts rather than children 
• Features the name of the director and the writer, giving credit to them rather than actors
• Appeals to pre-existing fans of Ken Loach
• Relatable themes to a working class audience
• MES of graffiti on wall again is relatable to a working class audience 
• Use of colour red contrasts with grey background
• Lots of critic reviews suggests critical acclaim 
• Themes of protest and passion may appeal to an audience 
• MES of costume is relatable to working class audience 
• Hegemonically unattractive actor subverts assumptions of how to sell a film
• Name of director: Ken Loach is a cult director with a niche following. Will allow film to target a niche audience 
• Title is spray painted on the poster, resembling vandalism and protest, again themes which may appeal to a niche audience
• Stereotypical British man and stereotypically British setting may appeal to British audiences
• Symbolic code of first represents unity and togetherness
• Plain background draws to actor, and suggests a straightforward film with a straightforward
• Straightforward, simple poster with low production values makes it more 'real'

The conventions of the social realist film

Social realist cinema, also known as 'kitchen sink dramas', are a niche genre of media that spans many media types and countries, the the genre is certainly particularly 'popular' in the UK

• 'realistic' setting, themes, narrative and characters
• Relatable to working class audiences
• Representation of working class people
• Educational value - to draw attention working class issues such as poverty, drug addition and so on 
• Not traditionally entertaining
• Dull, muted, depressing colour schemes 
• Reflects the reality of peoples lives, and the lives of the majority 
• Highly critical of conservative governments, he education system, the police, and any form of authority
• Non-trained actors
• Social realism: a genre of film that explores real issues, such as poverty, deprivation, social issues and so on
• Gritty, dirty, 'realist' settings
• Themes of violence used to alienate the audience
• Filmed in rundown, real locations 
• Use of local actors and regional accents 
• Issues with authority. Criticisms of authority, eg the police and schools
• Focus on poor, deprived and 'real' characters
• Verisimilitude 
• Low budget, lack of CGI and other expensive techniques
• Handheld cinematography
• Unknown actors
  
  

This post is the combined work of two classes so there's some repetition. If you see something twice, that means it's REALLY important! 

Black panther and audience appeal (and exam structure)

It is essential for major film producers to minimise risk and to maximise profit. Explore this idea with reference to Black Panther [15]

The character Erik Killmonger is highly appealing to audiences of Disney's Black Panther for a number of reasons, not least because he represents a straightforward and conventional villain that audiences of the genre have come to expect. Being the product of an enormous multinational corporation, every aspect of Black Panther was constructed in such a way to appeal to as many audiences, both new and pre0existing, as possible, and therefore to minimise risk and to maximise profit. 

Introduction

DAC

Definition, argument, context

D- The only reason a media product exists is to make money. 

A - In this essay, I shall argue that it was essential for Disney to make the largest profit possible from Black Panther, which they achieved in a number of different ways. 

C - Black Panther is a sci-fi/superhero hybrid blockbuster that cost a total of $350million and made $1.34billion in total. 

Paragraph one: audience appeal

Point

One way in which Disney minimised risk and maximised profit with Black Panther is ensuring that it appealed to its multiple audiences. An excellent example of it doing so can be seen in the Black Panther/Killmonger fight scene.

Evidence

•  As an enormous blockbuster film costing a total of $350million (including marketing and advertising), Disney ensured that Black Panther was a guaranteed hit that would certainly APPEAL to it's audiences, in every aspect of its production, distribution and marketing. Examples of its appeal include:
• High quality cinematography indicates high production values
• The selection of actors: fight scenes involve topless hegemonically attractive men, allowing the film to appeal to heterosexual women, who may not be traditionally the target audience for superhero films
• The setting is a beautiful fantasy world, which provides the audience with escapism 
• The exciting and interesting costumes of the characters appeal to fans of superhero cinema 
• Black Panther is a pre-existing character with a long history, who could appeal to older comic book fans
• Majority black cast, African setting, African accents and afro-themed soundtrack could appeal to a black audience, who would not traditionally engage with superhero products
• Ryan Coogler, the director ,also directed creed, a proven, blockbuster action film, which
• Star power: Michael B Jordan already associated with big budget action films, and already has a proven fan base
• Clear and easy to follow narrative, that follows established genre conventions
• Black Panther functions as a standalone film, with a clear beginning, middle and end. This could potentially appeal to a casual, parental audience who may accompany their children to he film
• Significant use of CGI, exciting and intriguing for the target audience
• Black main cast and themes are unusual in mainstream cinema, and may appeal to black audiences who historically have not been involved in nerd culture 
• Black Panther has been in development hell since 1992, perhaps due to the potential difficulty in marketing a 'black film'...
• Chadwick Boseman gives a convincing performance as an African superhero and his authentic accent may appeal to black and minority ethnic groups who do not feel represented 
• Representation of African people, as opposed to just African Americans is potentially highly appealing to many target audiences
• Many action scenes and a big focus on action will appeal to pre-existing fans of the superhero genre 
• Clear distinction between good and evil, and right and wrong allows even the youngest of audiences to follow this film
• A famous and well known cast will appeal to pre-existing fans of the cast. For example, Michael B Jordan appeared in Creed, another breakout action film with a black lead actor
• Star power: the stars are famous celebrities, and are potentially talking points for the audience
• Hegemonically, conventionally attractive men could appeal to heterosexual female audiences, who are not traditionally the target audience for comic book films 
• Mothers are catered for through the use of attractive male actors... sex sells!
• Superhero genre conventions easily appeal to younger audiences, while violent struggles between good and evil may appeal to older teenagers
• Use of fantasy action violence, rather than extreme violence and gore is far more appealing to mass audiences
• Strong, powerful, aspirational female actors may appeal to a female target audience, including a black female audience 
• Film was released in the thick of the black lives matter movement, which means it tapped into zeitgeist 

Paragraph two - regulation

In addition to its many appealing qualities, Black Panther was also expertly and specifically cut to ensure it would achieve a 12A certificate theatrically

Paragraph three - Disney the multinational conglomerate 

It was clear that Black Panther would make a significant amount of money, as the film was produced by an enormous multinational conglomerate

The regulation of the film industry, and how to discuss it in your exam

Example question: 'Explore how the film industry is regulated. Make reference to Black Panther to support your answer' [12]

Black Panther features a number of scenes categorised by the BBFC as 'moderate violence'. There are a number of contextual factors that differentiate the violence in Black Panther from the violence in other films, such as Fight Club

How are films regulated in the UK?

The film industry in the UK is regulated by the BBFC. a non-governmental regulatory body. The BBFC principally regulates film through reviewing and assigning age certificates. This form of regulation is largely ineffective due to digitally convergent technologies. However, the BBFC is one of the strictest film regulators in a non-totalitarian country. 

Films in the UK are assigned age certificates based on the following factors:

• Harm and offense
• Imitable behaviour
• Context

Essay structure

Explore how the film industry is regulated. Refer to Black Panther to support your answer [12] 

Introduction – Definition, argument, context (DAC)

Regulation is the rules and restrictions that a media industry must follow. In this essay I shall argue that while the regulation of the film industry is broadly effective, the invention of digital technologies limits the effectiveness of film regulation. Additionally, film makers will intestinally make their film to as large an audience as possible, which they will achieve through creating a film that has content suitable for a 12A rating. In order to illustrate this I shall be using the action adventure superhero hybrid film Black  Panther as an example. Black Panther is a blockbuster film, and must make the largest amount of money possible by appealing to the largest audience possible. 

Paragraph one – Fight scene (PEA)

Point

When it comes to regulating film, context is absolutely essential, and the fight scenes in Black Panther tiptoe a line between savage violence and being suitable for all audiences

Evidence

• No realistic depictions of violence shown
• Fast paced editing obscures injury detail
• Brief flashes of blood, but not gratuitous 
• Clear distinction between good and evil is established through context. The villain is called 'Killmonger' and acts in a theatrically evil way 'I've killed people before' 
• Film takes a clear moral viewpoint
• A 'duel to the death' and a fight to be crowned king, clear conventions of a fantasy adventure 
• Beautiful fantasy setting with clearly high production values softens the impact of the violence
• Death in superhero films is different, and audiences will be comfortable that Black Panther is not actually dead
• No on screen deaths, at least for the main character
• The death that does occur does so for moral reasons
• Audiences will be aware of narrative conventions, the ups and downs, the heroes journey 
• Fight scene is fast paced and with little injury detail 
• Fight scene is choreographed and highly stylised, resembling a dance routine 
• There is a specific purpose for the battle, which is made clear to the audience
• Clearly fantasy violence, with no instances of actual trauma or extreme gore
• A little blood on teeth, but no excessive blood splatter
  
  

Analysis/argument

All of these elements allow the film to achieve the most desirable 12A rating. A 12A allows audiences of all ages to potentially view the film, while still including elements of violence which may appeal to older audiences. Additionally, younger audiences not only have time to visit the cinema, but also expendable income, which allows Disney to minimise risk and to maximise profit.

How is Black Panther an example of a blockbuster film?

Potential exam question: To what extent could Black Panther be considered a mainstream film? 

Black Panther is a perfect example of a big-budget, mainstream ,blockbuster, tentpole production. And since it cost so much to produce and market, Disney, it's multimedia integrated distributer must ensure that it is as profitable as possible

KEY FACTS

•  Highest grossing film made by a black producer, and the 14th highest grossing film of all time 
• Originally shown on Netflix, but then the rights reverted back to Disney
• First planned in 1992, with the actor Wesley Snipes in the main role
• Budget of 200million$$$,
• Marketing budget of 150million$$$
• First two months: 1.34billion$$$

An enormous blockbuster film, which carries significant risk for Disney

What makes Black Panther a blockbuster?

• High production values
• Hybrid of three mainstream genres (action, superhero, science fiction)
• Genre conventions are extremely clear. for example, Marvel logo, futuristic cityscape, exciting soundtrack, big explosions...)
• Significant mainstream actors, including Chadwick Boseman, Andy Serkis, Martin Freeman, Michael B Jordan, Lupita Nyong'o...
• Extensive use of expensive CGI, including spaceships, armour transitions, fantasy cities, explosions, 
• Stunts and stunt actors
• Marvel branding and Marvel logo demonstrates a certain level of quality
• Kenrick Lamar poster referenced
• Film clearly ties in to the black lives matter movement
• Wakanda Forever slogan

Subversive elements

While Black Panther is clearly a mainstream film, there are several elements that are rather more subversive, and arguably could limit the film's profitability. Major studios have historically been hesitant tp produce mainstream 'black cinema', on the assumption that 'black films' will only appeal to 'black audiences'. Perhaps the universal critical and audience appeal of Black Panther will change this?

• A clear political message 
• Black main cast
• African setting
• Accents of the actors 

Considering audience appeal and theatrical posters

First year KA2 mock exam: feedback and indicative content

Please note: this information mainly is related to Michael's classes. Naamah may well give feedback in a different way!

If you are being taught by Michael, you will (soon) receive an email with a colourful set of numbers and letters. In order to understand this, you MUST read the whole of this post!

Percentages

Please not U block did a slightly different exam, omitting a single question due to over half of the class being affected by public transport issues. Your grade boundaries are different. 

80% - A* (Q40) (U33)

70% - A (Q35) (U29)

58% - B (Q29) (U24)

47% - C (Q22) (U19)

35% - D (Q17) (U14)

20% - E (Q10) (U8)

Possible indicative content

This is the kind of stuff you could have written about. It doesn’t necessarily mean that you have to write about it. 

Overall feedback

Absolutely everybody (in Q block and U block at least) needs to use more media language. Many used a ‘satisfactory’ amount, but even this isn’t enough. This is something we will practice extensively going forward, so it’s not a concern. Yet the amount of C/D grades are very much indicative of not using enough media language. Without media language, your answer will be superficial, common sense, rambling and lack specificity. So, all of you, please, get to the textual analysis toolkit, and make sure you have it open in front of you in every lesson when giving responses

Question 1: Media Language A. How does The Daily Star use technical and written codes on their front page to influence meaning? [15]

• Stuart Hall’s reception theory would be useful here, as a means to explain how audiences could agree with or reject the ideology of the producer. Remember: simply name checking Hall is not going to get you many marks. Better responses integrated the analysis in to the response in a more organic way, for example:
• Please don’t say ‘they’. It’s the producer. The producer made this newspaper and encoded ideological perspectives, not ‘they!
• Many of you use the phrase ‘grabs attention’ or ‘holds attention’, especially when referring to the use of the colour red in the masthead. There’s technically nothing wrong with this, but there are a few more sophisticated ways of writing this. For example: “the prominent use of the colour red is used to appeal to the target working class audience”, or “the symbolic connotations of the colour red, including of death, violence, passion and love position the working class target audience in an exciting and involving mode of address.”
• When making reference to theory, generally you do not need to make reference to the theorist. Why? Because it wastes precious time, and gets you very few marks. So instead of trying to explain Stuart Hall’s theory of audience negotiation (reception theory), instead just use the theory! For example, “reception theory is useful here when considering the many different ways in which the audience can respond to this front cover. The preferred reading is clearly that the working class target audience should despise Prince Andrew while supporting the monarchy. However, some audience members may take an oppositional reading, feeling belittled and disempowered by the newspaper’s deliberately childish lexis, and the informal connotations of the mise-en-scene of the speech bubble”.
• Quite a few people suggested that the target audience for The Daily Star is younger. This might seem logical, but it isn’t true. Print newspapers primarily target a middle aged+ audience. This really hammers home exactly how simple the lexis is: while this tabloid uses language and imagery appropriate for a child, it is aimed at people significantly older than you!

Question 2: Media Industries A. Briefly explain how the film industry is regulated in Britain [2]

B. What is an independent film? [1]

C. Explain how some films challenge the idea that profit is the main purpose of film-making. Refer to I, Daniel Blake to support your points [12]

Twelve marks here is still only twelve minutes of writing, so remember: there is not an expectation to write loads. 

AO1 

Responses will demonstrate knowledge and understanding of the commercial imperative within the film industry, and how this may shape products, such as:

• the nature of media ownership and funding models for film

• the economic and commercial benefits of different models of funding

• the ideological implications of different models of funding

• the importance of funding to media products

• issues of political bias and editorial control within different models of funding

• theoretical approaches such as Curran and Seaton's discussion of 'the logic of profit and power' in media industries, and/or Hesmondhalgh's views on the cultural industries

Responses should refer to I, Daniel Blake to support points and show an understanding of how this film operates within and outside the drive for commercial success, such as:

• The impact of funding by the BBC, which is a public service broadcaster, and the BFI (British Film Institute), funded itself by the National Lottery.

• The BFI has a remit to promote the development of film in the UK.

• Both the BBC and the BFI may be seen as outside the commercial mainstream, as they gain funding from public bodies such as the licence fee (BBC) and the National Lottery Social Fund (BFI)

• Gaining funding from public bodies avoids media concentration and may support a less generic and more adventurous film by allowing the director to work with fewer pressures to produce a commercially successful film

• I, Daniel Blake is directed by Ken Loach, a famous British director who has had critical success with many previous films

• I, Daniel Blake was shown at film festivals, where it won the Palme d'Or at Cannes. This suggests the film is a critical success and demonstrates the variety and diversity of the British film industry.

• '1 Daniel Blake is a British social-realist film with an anti-government bias and what may be considered a non­mainstream approach and message.

• The film is unlikely to have been funded by commercial film companies, suggesting its audience would be too small to guarantee profit.

• This raises questions about the purpose of using public money to fund films that the public do not want to watch, and whether this is important for diversity and a good use of public money.

Answers which achieve marks within the higher bands are likely to draw on knowledge and understanding of other areas of the theoretical framework and/or media contexts; for example:

• the media language of I, Daniel Blake such as the realistic dialogue, use of regional accents, use of real-life locations for settings, lack of special effects, etc., and how this might enhance or restrict the appeal of the film

• the appeal to a narrow 'pre-sold' audience of potentially left-wing, media-literate film fans

• the 'star appeal' of director Ken Loach to audiences

• the representation of Northern working-class people who are living in poverty, showing a group of people who are rarely represented in films

• the impact of a social context of poverty and the benefits and welfare system in england, and the film's political stance of critiquing government policy

• the impact of an economic context of 'austerity Britain'

Question 3: Media Audiences A. Explain how patterns of consumption can be influences by media technologies. Refer to The Times to support your points. [8]

Responses will demonstrate knowledge and understanding of media audiences and how changing technologies affect patterns of consumption in audiences, such as:

• The rise in digital technology has led to changes in how audiences access and consume the news, with a drop in print sales and an increase in catch-up and watch-again services for news bulletins on line, news apps, live news updates to phones, and news via social media channels such as Twitter and Facebook.

• Audiences tend to consume news 'on the go' and throughout the day, rather than reading a morning newspaper or watching an evening news bulletin.

• Newspapers have had to make changes to appeal to the digital generation.

• In 1996, The Times placed all its content on line on its website for free. In 2010 it introduced a paywall for its on line content. It was one of the first newspapers to charge for on line content. Initially, site visits dropped c;lramatically, by almost 90%. Since then The Times has found ways to increase site traffic, and profits for the newspaper as a whole have increased.

• The paywall protects web content and gives The Times an air of exclusivity, emphasising its place as a quality news provider. It has focused on a smaller, more exclusive audience, rather than the free-to-all model. This appeals to its audience demographic which has the highest number of ABCl readers of any newspaper in the UK. It also has the most London-based readers and has a reputation of being the newspaper of the educated establishment elite.

• Digital media allows the audience to become less passive and more active, personalising the experience and enabling them to select news and standpoints to suit them, rather than relying on what a newspaper thinks they should be interested in.

• Audiences can also 'speak back' to news sites and contribute their own opinions. Reference can be made to Shirky's 'end of audience' theory.

• The tag line for a recent advertising campaign by The Times was 'Don't read everything you believe' - drawing attention to The Times' 'unbiased' reporting and the 'echo chamber' effect of only reading the news on social media sources which only provide opinions that match those of the audience.

• The rise in 'fake news' has led to some loss of faith in social media to provide unbiased and real news. The Times focuses on its reliability and trustworthiness as a news provider, emphasising that 'you get what you pay for' - suggesting that using a paywall site newspaper allows you to get 'real' news and 'real' investigative journalism, even online.

B. How do newspapers appeal to different needs of audiences? Refer to the Daily Mirror to support your points. [12]

Answers will demonstrate knowledge and understanding of media audiences and how newspapers appeal to the different needs of different audiences, such as:

• the difference between mass and niche/specialised audiences

• an understanding that newspapers are commercial organisations whose success is largely dependent on profits

• the varied marketplace for newspapers, and the range of audiences addressed by various titles

• the patterns of ownership within the newspaper industry and how these might affect the appeal of newspapers to mass and niche audiences

• the way newspapers appeal to and satisfy audiences

• cultivation theory and whether this influences audiences

Specific examples from the Daily Mirror may be offered, depending on the edition(s) studied, potentially relating to points such as:

• The position of the Daily Mirror within the marketplace and how this affects audience:

o Tabloid rather than broadsheet- e.g. large pictures dominate the front page; use of colour; the red top masthead; the size of the newspaper; the large headlines; the sensational language; the relative lack of copy.

o As a red top tabloid, the Daily Mirror is in the same category as The Sun and the Daily Star, etc. The Daily Mirror sees itself as a 'mid top,' straddling the line between the red tops (sensational, entertaining) and the middle-market black tops (still entertaining but with more serious news). Black-top tabloids are considered more middle market, lying between the red top tabloids, and the 'quality' newspapers.

o Redesigned in 2013 and an advertising campaign titled #Madeuthink, emphasising its new focus on including more serious news and branding the newspaper 'the intelligent tabloid' and 'a tabloid with a brain' - may suggest it aims at a relatively niche audience.

• Audience size: circulation figures (around 600,000) place it lower than other red tops, such as The Sun, with a circulation of over 1.5 million, and the Daily Mail, with a similar 1.5 million circulation. But the Daily Mirror has a larger circulation than, for example, The Times (450,000) and other quality newspapers.

• Appeals to a niche audience through its social and political standpoint - the Daily Mirror is the only red top with a bias towards left-wing politics. The Daily Mail and The Sun, for example, both support the Conservative Party. The Daily Mirror usually supports the Labour Party.

• Awareness that newspapers tend to appeal to a relatively narrow demographic:

o The Daily Mirror has a large share of the millennials market- 29% of its readership are millennials

o The Daily Mirror's readership is 53% male

o The Daily Mirror has a largely working-class C2, D and E audience; it tends to support the rights of the working class and is unafraid to criticise the elite or ruling class and champion the rights of 'ordinary' people

• Awareness that newspapers tend to appeal to a relatively narrow demographic and reflect rather than challenge the views and values of that demographic.

Marks mean nothing. Grades mean nothing.

This is quite difficult to get your head around, but marks are not grades. Marks don’t mean anything. They’re just a number. So why do we give marks? Because they do make sense, but only when the entire country is taken in to account. That way the examiner knows for sure how difficult or easy the question has been. Then the marks get transformed in to grades.

When we ‘mark papers’, we are not adding up ‘good points’ or media language or references to theory or whatever. Instead, we read through your answer. Then we read through the level descriptors we have been given. Then we work out how high or low you are in that grade descriptor. Then we give you a mark.

This mark and this level basically mean nothing until the grade boundaries are defined, which can only be done when everybody in the country has been assessed. 

So,

PLEASE DO NOT THINK ABOUT MARKS. Please don’t even think about grades!

Please only think about...

Feedback

Please take your time to get your head around my feedback system! It's actually very simple, and saves a lot of time. This is important!

In media, we give feedback in four different ways. First, you will get a mark. You can cross reference this mark with the grade descriptors to work out how secure your grade is. You will also get a grade, for each question, and an overall grade. This will allow you to see where your strengths and weaknesses lie. 

However, even more important than marks and grades is feedback. You will get a single roman numeral, which will link to one basic piece of feedback. This is the one thing you should focus on next time. This strategy works really well, definitely loads better than giving you eighteen detailed things to focus on. You can also find detailed generalised feedback for the whole cohort below. 

Remember why we do exams: not to freak you out, but to give you an opportunity to prove your specialism in a subject, and to improve next time. No matter how well or badly you think you have done, you can always do better next time, even if you get an A*!

There is only one reason why you do a mock: to get feedback, and to do better next time. 

This time, for Q and U block (Michael’s classes, I have almost always given the same feedback for everyone: media language. Do more of it. Use more of it. Use more media language. Please, use more media language!

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!

First year mock exam - R block

 

1) Explore the ways in which media language combines to make meaning in this film poster (30 marks, 40 minutes)

2) With reference to The Daily Mirror, explore how newspapers can guarantee their financial success (20 minutes, 15 marks)

3) How can adverts attract their audiences? Make reference to the WaterAid advert (20 minutes, 15 marks)

First year mock exam - T block

Please note that this mock exam is for T block first year only. If you are in P or R block, you will have a different exam (though with very similar questions). Mock exam information and help was published almost two weeks ago, and can be found here.

1) Explore the ways in which media language combines to make meaning in this film poster (30 marks, 40 minutes)

2) With reference to The Daily Mirror, explore how ownership can shape newspapers (20 minutes, 15 marks)

3) How can audiences interpret adverts in different ways? Make reference to the WaterAid advert (20 minutes, 15 marks)

First year mock exam - P block

 Please note that this mock exam is for P block first year only. If you are in T or R block, you will have a different exam (though with very similar questions). Mock exam information and help was published almost two weeks ago, and can be found here. 

1) Explore the ways in which media language combines to make meaning in this film poster (30 marks, 40 minutes)

2) With reference to The Daily Mirror, explore how economic factors can shape newspapers (20 minutes, 15 marks)

3) How do adverts appeal to their target audiences? Make reference to the WaterAid advert (20 minutes, 15 marks)

First year mock exam

• Name: end of year mock
• Total length: 80 minutes
• W/ Xtra time : 100 minutes

Collapsed timetable

You will have a different timetable, with three hour rather than two hour blocks. Check out your timetable (which has been emailed to you) to find out when your exam is

• P block: Monday 09:00 - 12:00
• T block: Monday 13:00 -16:00
• R block: Tuesday 13:00 - 16:00

There are three questions

1 - unseen question - textual analysis of a film poster - 40 minutes

Media language questions will ask you about how meaning is made. You will need to refer extensively to the toolkit for textual analysis (media language). Revising for this question is simple: simply look at as many film posters online as possible! Get familiar with their form and structure...

2 - Newspaper industry - industry question - Daily Mirror - 20 minutes

Industry questions are mainly about facts, figures, and the financial success of the product. Therefore, contextual knowledge is really important for industry questions. Therefore, you will NEED to know at least the following:

• What kind of newspaper is The Daily Mirror?
• What audience is is targeting?
• Who publishes it?
• What kind of company are they?
• Are they vertically or horizontally integrated?
• What is The Mirror's brand identity?
• Why is this stuff important?

3 - Advertising - audience - WaterAid - 20 minutes

There are only two types of audience question:

How does the producer use media language to target the audience?

or

How can audiences respond to this media product?

Of course, the wording can vary wildly, but this is audience in a nutshell. The most important theory to understand is Stuart Hall's reception theory, AKA the encoding/decoding model. Producers will encode (or 'put in') an ideology in to a media product using media language. But rather than just accepting this, the audience will decode (or 'take out') what they choose. They may agree, disagree, or partially agree with the messages and values of the media product.

So ask yourself the following:

• What is the preferred reading (intended message) of the WaterAid advert?
• Who is the target audience (be specific)?
• What does the producer want to happen?
• How do they use techniques like positioning to make this happen?

Structuring your answer

We'll go over paragraph structure a little during the 3 hour session. But basically, no matter what structure you want to use, it's fine. Just be consistent. Here's a few examples you may have used already, and ALL of them work for media:

• PEA
• PEE
• PEE
• PEEL
• PEETL...

Example questions

Every single last possible question can be found in the checklist section of the revision guide. If you're not familiar with this yet, it's time to get very familiar with it! You will find the revision guide under the key resources heading (and if you don't know where this is, please spend some time getting used to the blog). Luckily for you guys, you know what industries and types of questions are coming up, which means you can use the revision guide more efficiently. 

Under the key resources subheading, you will also find the past papers repository, which contains... every past paper for A-level media studies, both official, unofficial and most mocks too. Since the same kind of questions come up again and again, it is a very good idea to scan through, find the industries and topics which are being covered, and get prepared.

Hints and tips

• A mock is just a mock. It's not the end of the world if things go wrong. But if you don't try, you're wasting an excellent opportunity to work out how and where you should improve. Please don't waste your time. 
• I've given you the industries and general topics, though I haven't given you the questions, natch. This is more information than you'll get for the final exam. However, it means that I will be marking these to a slightly higher standard. I expect you to revise. You cannot wing this!
• Since you don't know the exact questions, you can't plan exactly what you're going to write. But you pretty much can. Make sure you know what theories you're including, make sure you watch and re-watch the WaterAid advert to familiarise yourself with editing and mise-en-scene, make sure you know everything there is to know about the Daily Mirror
• Make sure to do a plan, and to write your plan on your question paper. You wouldn't believe how many marks I can give to a good plan!
• The only way to absolutely fail the exam is by not using media language. Yet it's surprising how many students don't use enough. Go to the textual analysis toolkit, and make sure you're confident with EVERY term on the list!
• There's no specific representation question. But don't worry: you can and should use representational theories to answer an audience question, say. 

U block textual analysis - Nobody (2021)

 Analyse the genre conventions of this trailer, and explore how have they changed over time

Knee Jerk reaction: a highly conventional action/crime hybrid, with some unconventional elements

Plan

MES: binary opposition of mundane clothing and gang

Setting: bus: working class and poverty

Mid shot of actor emphasises star appeal

MES of guns: clear convention of crime and action

Proairetic code: guns signify action and violence

Binary opposition: family/crime

Conventional: powerful male protagonist 

Lexis of 'fuck' indicates an older target audience

Steve Neale: repetition and difference

USP: older family man as protagonist

Low key lighting

Night setting

Grey, bland colours

Fast paced editing conventional of trailer

Intertextuality

Generic paradigm

Introduction

Definition: Genre conventions refer to the typical elements found in a particular genre. 

Argument: Nobody is a highly conventional crime/action film, that fulfils many genre conventions

Context: Film trailers exist to advertise the content of a film to the target audience before its general release.

Sample paragraph structure (cheers Dom!)

Point: women are only shown as vulnerable and scared in the trailer, which is a generic paradigm because women tend to be the 'damsel in distress' in typical crime films, in clear contrast to the powerful male protagonists

Evidence: the women are always positioned as below the men in scenes, often more highly-lit than the male characters. Their facial expressions connote fear and vulnerability. The audience are positioned with them in order to feel the fear they feel

Analysis: the women are always positioned below the men and scared of them, because this is meant to reinforce that the men are powerful and that generic paradigms of how women characters behave in crime films