KA4/1st year mock exam 2022: feedback and mark scheme

Please, please, PLEASE read the whole of this post before asking any questions, because I promise 99% of your questions are answered below!

What's this in my email?

If your teacher is Michael, you may have received or will very shortly receive an email with your grade. But it won't look like your grade. It will look like a string of numbers.

Here's an example:

Read from left to right, this translates as:

Q1 mark - Q2 mark - Q3 mark - total mark - fine grade (1 is high, 3 is low) - feedback

Green means you exceeded your target minimum grade. Your target minimum grade is calculated from your GCSE grades. Red means you got less, yellow means you got the same, ie what is expected of you.

You can find out what the feedback means and how well you done in each question by simply checking out this post!

How we give feedback

In A-level media studies, we give feedback in four different ways:

1 - Straightforward feedback

You will get at least one piece of blunt feedback, indicated through a lower case roman numeral (eg i, ii, ii, iv...). This is the one thing (or sometimes two things) you should focus on next time. Frankly, this is the most important bit of all.

2 - A mark

A mark gives you a rough indication of how well you did in a particular question. You'll need to check out the mark scheme below for what your mark means...

Remember, in media, a mark doesn't mean a right answer. So getting 10/15 doesn't mean you got 10 things right and five things wrong! Instead it's more of a value judgement that your teacher or examiner will come to.

3  - A grade

Grades are actually the least important thing here, but they give you an indication of roughly where you are up to. Grades are not important because they are now the same as a final grade. Pedagogical studies basically suggest never giving students grades ever and only giving them suggestions for improvement. So why do we give grades? Because we have to.

4 - Qualitative feedback/indicative content

 This is the stuff that you could and should have talked about. Honestly, you should read this bit very carefully. Back in the bad old days we used to write this stuff on your sheet, but it's a total waste of time, because it takes ages writing the same old thing over and over. If one student writes something really good or misses something out that they shouldn't have, it will be included here! Digital technology rocks!

Questions and mark scheme

You can use this section to work out where your strengths lie!

Media language

1 – Explore how the combination of media language constructs meaning in the music video to Bad Habits by Ed Sheeran [15] [suggested time: at least 30 minutes]

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

5 - 13-15 marks

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

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

4 - 10-12 marks

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

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

3 - 7-9 marks

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

• Analysis of the music video is reasonable and straightforward

2 - 4-6 marks

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

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

1- 1-3 marks

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

• Analysis of the music video is superficial and generalised

0 marks

• Response not attempted or not worthy of credit

Representation 

2 – Explore the extent to which historical contexts influence representations in the set edition of Woman magazine [15] [suggested time: at least 30 minutes]

Apply knowledge and understanding of the theoretical framework of media to analyse media products, including through the use of academic theories

5 - 13-15 marks

• Excellent application of knowledge and understanding of the theoretical framework to analyse the set product 

• Analysis of the extent to which representations in the set product are influenced by historical contexts is perceptive, insightful, and informed by a detailed knowledge and understanding of relevant aspects of the theoretical framework 

4 - 10-12 marks

• Good application of knowledge and understanding of the theoretical framework to  analyse the set product 

• Analysis of the extent to which representations in the set product are influenced by historical contexts is logical and  informed by a secure knowledge and understanding of relevant aspects of the  theoretical framework 

3 - 7-9 marks 

• Satisfactory application of knowledge and understanding of the theoretical framework to analyse the set product 

• Analysis of the extent to which representations in the set product are influenced by historical contexts is reasonable and straightforward, demonstrating a generally sound knowledge and understanding of relevant aspects of the theoretical framework 

2  - 4-6 marks 

• Basic application of knowledge and understanding of the theoretical framework to analyse the set product 

• Analysis of the extent to which representations in the set product are influenced by historical contexts is undeveloped, demonstrating a partial knowledge and understanding of relevant aspects of the theoretical framework. There may be a tendency to simply describe features of the set product. 

1  - 1-3 marks 

• Minimal, if any, application of knowledge and understanding of the theoretical framework to analyse the set product 

• Analysis of the extent to which representations in the set product are influenced by historical contexts is superficial and generalised, demonstrating little or no knowledge and understanding of relevant aspects of the theoretical framework 

 0 marks

Response not worthy of credit

Media industries

3 – For 3a to 3e, define the following terms. In each instance, one mark shall be awarded for a correct definition, and a further mark will be awarded for a valid example [suggested time: 10 - 20 minutes]

Marks should be given to any reasonably complete definition, and any reasonably relevant example. Here are a selection of examples which would get both marks. Remember you should spend two minutes on a two mark question, or thereabouts, which is enough time to write two sentences.

a. Vertical integration [2]

Vertical integration refers to when a media conglomerate owns both the method of production and distribution. An excellent example of vertical integration would be Disney, who not only own a range of film studios (for example Pixar), but also the method of distribution these films directly to the audience (for example, through Disney +)

b. Conglomeration [2]

Conglomeration refers to the process of a company acquiring other companies, for the purposes of power and profit. An example of conglomeration would be Disney acquiring Marvel Studios.

c. Digital convergence [2]

Digital convergence refers to the coming together of previously separate industries thanks to digital technologies. An excellent example of digital convergence is Amazon using it's Prime distribution service to digitally distribute videogames in addition to films

d. Regulation [2] 

Regulation refers to the rules and restrictions a media industry must follow. An excellent example of regulation is the British Board Of Film Classification, who regulate the UK film industry, and mandate the inclusion of age certificates on all films released theatrically or on physical media in the country.

e. Tabloid [2]

A tabloid newspaper is a small format newspaper, that typically uses a more informal mode of address and a focus on soft news to target a working class audience. The Daily Mirror is a UK tabloid.

f. Political bias [2]

Political bias refers to the explicit favouring of one political party over another. For example, The UK tabloid The Daily Mirror is clearly biased in favour of both the labour party, as well as the royal family, which can be seen through it's selection of stories

g. Horizontal integration [2] 

Horizontal integration is where an organisation acquires another company in the same sector. An excellent example of this is the UK publisher and distributor Reach PLC, who specialise in producing and distributing newspapers, including Cambridge news and The Daily Mirror

Marks and grade boundaries 

E – 15 – 35%

D – 19 – 43%

C – 23 – 52% 

B – 27 – 61%

A – 31 – 71%

A*- 36 – 81%

Feedback legend

i - This number means you need to include more media language. Shot types, camera angles, serif font, mise en scene... this is how you get marks! If you got this numeral and you including a bunch of media language, you might be confused. "Why did I get this feedback?". Because you need to include more media language! That's it. Even more! This is and always will be the most given bit of feedback, so you're in good company!

Next time, go crazy with media language!

ii - This number means you need to apply your use of media language more effectively and suggest what meanings the media language constructs. For example, "Bad Habits uses low key, artificial lighting throughout the video" is great, but if you added "which creates a dark and oppressively atmosphere, reinforcing the themes of misery, death, and the vampire genre", this would be even better! Again, if you get this number and you feel you were doing this already, you simply need to include more!

Next time, really hammer home the deeper meaning of whatever it is that you are studying!

iii - This number means you should include more reference to theory. Theory is technically non-essential, but a well placed theory ALWAYS backs up your point, especially when applied in a sophisticated way. For example, "thorough the anchorage of conventional makeup and the hegemonically attractive model, the producer of Woman magazine reinforces the hegemonic ideological perspective that women's sole function within a media product is to appeal to a perceived heterosexual male audience". What this sentence does is casually make reference to Van Zoonen, without even mentioning her name. Very smooth!

Next time, cram more theory in! 

iv - This number means you should present a clear and opinionated argument, or point of view. If you get this number, it typically means that you have ticked every other box on the list, and now need to push yourself further. Presenting a clear, opinionated point of view, while backing it up with clear and appropriate examples from the text is the 'secret sauce' to getting an 'A' grade in the final exam. It's a tough road ahead, but you can do it!

Next time, be even more opinionated!

Indicative content

Question one (analysis of Ed Sheeran video)

• It was great seeing students writing plans, using paragraph structure, and clearly having taken this very seriously indeed. By and large, the students who clearly had done more revision got better marks. This should be obvious, and examiners will sniff out hard work from a mile off!
• There were some extremely strong responses here. If I was being pessimistic, I would point out that it wasn't a real unseen question, and students clearly had a lot of opportunities to      MES. You really don't need to spend an entire page analysing the rose! Much better to discuss the anchorage formed by the combination of lots of different elements of MES! Why not discuss how the symbolic, gothic connotations of the wilting rose form a binary opposition to the grimy, inner-city setting, which is further reinforced through the MES of bleak, low key artificial lighting? 

Question two

• I could have called this advance. Several students wrote excellent responses... and lost marks due to not making reference, or enough reference to the historical context surrounding the time in which the magazine was made!
• More successful students made explicit reference to a range of examples. Less successful students tended not to.
• Students tended to be very strong on referencing things like patriarchal hegemony and how the magazine manipulates the ideology of the audience. However, students were less strong at actually using media language to back these points up! You MUST back everything up with media language!

Question three - short answer questions

• After marking the first two questions, which students tended to do very well in, I was surprised by the many weak responses to this section. There is a big part of the A-level media studies course that frankly involves memorisation, and if you do not know the specific difference between vertical and horizontal integration, for example, you will find yourself in trouble
• Therefore, a lot of you need to get busy with flash cards!
• However, students who did well on this section tended to do really well. Basically this question threw the entire exam

Exam tips

Invigilating an exam, watching students write and having time to stare in to space, I came up with the following straightforward, no-nonsense exam tips to hopefully help you on your way...

1 - Work out exactly how long you should spend on each question before you get in to the exam, and then stick to that timing, no matter what!

2 - Keep things nice and structured by using DAC and PEA to structure your paragraphs

3 - Don't go back and check your answers: use the precious time you have to keep on writing!

If you finish early, you should keep writing. Pick another point, and keep writing. You can use an asterisk to tell the examiner where the paragraph should have gone

5 - It's not 'waffle' if you make reference to media language. So you can rant on about whatever you like as long as you make reference to subject specific terminology!

Essay structure practice: unseen music video (Bad Habits)

This post goes through how to construct the perfect response to any question. The example we will ne using is a media language question, related to an unseen music video, in this case Bad Habits by Ed Sheeran. It's worth pointing out that students had absolutely no help here: this is 100% student responses, transcribed by the teacher!

Underline key terms - underline as few terms as possible. You'll be using these terms a lot in your answer!

Explore how media language demonstrates different meanings

Knee jerk reaction - don't think: this is your completely honest, first reaction to the question!

Yes! The video to Bad Habits reflects lots of different meanings!

Plan - keep it simple, and whatever you do, make sure that your plan goes on the question paper, where the examiner can see it!

Polysemy 
Binary oppositions
MES
Codes
Costume
Makeup
Props
Shot types
Setting
Conventions

Introduction - use DAC for introductions. You can skip the introduction for shorter questions!

Definition - Media language is the terminology and techniques used by the producer to make a media product appeal to it's target audience

Argument - In this essay, I shall argue that the video to Bad Habits by Ed Sheeran demonstates a range of polysemic meanings to the audience

Context: A music video is a way of promoting an artist for the purpose of making money. 

Paragraphs - use PEE for paragraphs. The (p)oint relates to the question, the (e)xample comes from the media product, and the (e)xplanation usually rolls in to the (e)xample...

P - One way in which media language is used to create polysemic interpretations is through the fascinating use of setting.

EE - For example, the video is set in a run down, stereotypically working class setting. This is anchored through the MES of the artificial low key lighting, which functions as a hermeneutic code, creating a powerful mystery for the audience. Additionally, the setting of the nail parlour is presented in a colourful and highly contrasting manner, symbolic of diversity and working class, inner city lifestyles. The use of pastel pinks and grey, washed colours in the nail salon is further anchored through the MES of the dying rose, constructing a melancholic and depressing atmosphere for the target audience. The themes of depression and sadness are highly relatable to the teenage target audience, and will allow the video to maximise it's own exposure on streaming sites like YouTube. 

P - Another way in which media language is used to create meaning is through it's exciting and interesting and controversial use of costume.

EE - For example, while the setting is clearly drab and depressing, a binary opposition is formed between this and Sheeran's vibrant, glamourous, and even funky bright pink suit. This further reinforced through the challenge to gender stereotypes that is formed through Sheeran's bold and glittery pink makeup. This is contrasted with his heavy black eyeshadow, a style typical of the gothic subculture, creating a binary opposition between drag and goth subcultures constructs an inclusive ideology for the target audience, allowing the producer to appeal to multiple and diverse audiences.

Mock revision lesson 1: unseen music video analysis

This blog post is a combination of answers and suggestions made by U2 and Q blocks. Aside from the odd prompt to include more media language or to focus on media language, no teacher help or suggestions were given at all. There is absolutely no way you could include all of this information in your own mock exam response, so you are going to have to get selective!

Ed Sheeran's transformation from middle of the road pop star to a working class queer-coded vampire may allow this video to target completely new audiences who previously had no interest in Sheeran at all!

What is media language?

Media language is the terminology used in media studies. The specific terminology that makes up a media product

What are some examples of media language in an audio-visual product?

• Colour
• Shot type (extreme CU to an Extreme long shot)
• Lighting (low key and high key, natural)
• Binary oppositions
• Mise en scene (what is in the scene!)
• Zoom
• Lexis (choice of language)
• Codes
• Costume
• Editing (rapid fire, fast paced, slow paced)
• Lip syncing
• Performance
• Modes of address (direct mode of address, indirect, how the product speaks to it's audience)
• Setting
• Sound (diegesis, is the sound in the world of the narrative?)
• Breaking the fourth wall (where the characters are aware of the audience)
• Mise-en-scene - anything in the frame 
• Close up, long shot, ECU, ELS, Mid shot
• Camera angles, birds eye view, front facing, high angle, low angle
• Diegetic sound (in the world of the narrative) 
• Non-diegetic sound (soundtrack)
• Editing (fast paced, slow paced)
• Modes of address (how a media product talks to the audience)
• Audience positioning (where the audience is placed by media language)

How do we write about media language in an exam or essay?

Paragraphs are structured in a PEE structure. This stands for 'point', 'evidence', 'explain'. The point is always rephrasing the question. The evidence always comes from the unseen or the seen case studies. The explain allows you to elaborate and to use theory if required.

Point - related to the question

Evidence - taken directly from the unseen or 'seen' media product

Explain - where you explain why this is important. How does it construct an ideology?

If there is no 'wrong' answer in media language/textual analysis questions, then why do some students get higher marks than others?

You will be marked on both your knowledge and understanding, and your ability to apply this knowledge and understanding.

What is Barthe's semiotic theory and how can we use it in textual analysis?

Codes

Anything in a media product that means something. This is 'encoded' by the producer of the media product. However, the audience are free to interpret this as they wish. In the 1970s Barthes wrote his most famous article, 'the death of the author', where he argued that once a product is released, the producer no longer has any say in how it is interpreted, and it is completely up to the audience. This is related to the idea of polysemic interpretation. 

The hermeneutic - something that suggests a mystery or a question. Something which asks a question of the audience. EG a mysterious shadow

The proairetic - action code, something is going to happen! EG CU of cracking knuckles + ipending fight scene

The symbolic - something that holds a deeper meaning. For example the MES of a red rose symbolises love, death, anger, sex, romance 

The semantic - the basic, surface level meaning of something. For example 'Ed Sheeran is a man wearing a pink suit'

The referential - something which refers to something else

Anchorage is where a meaning is weighed down y context. The combination of media language can make it clear to the audience what is happening

Polysemy is where a media product has many meanings

Myths are stories and legends that tell us about our world. The stories we learn as a child often give us important lessons on how to live our lives. For example, while vampires do not exist (sorry), the message that we should not trust creepy guys who break in to our bedrooms at night is a pretty good one! The music video to bad habits uses the myth of the vampire as a shortcut to tell an exciting story

What is Levi-Strauss's structuralist theory and how can we use it in textual analysis?

Binary oppositions/diametric oppositions: where two things contrast completely with one another. This creates conflict and interest for the audience

Media language and Bad Habits

Please note that ALL of these points were suggested by students in U2 and Q block media. Yes, there is some repetition. There are also lots of things that I wanted students to talk about, but I am not allowed to give you any answers. But the suggestions here are great!

• The MES of Sheeran's pink costume functions as an hermeneutic code, and symbolises both femininity and romance. This is further anchored through the title of the song, 'Bad Habits', and reinforces the notion of love fore the target audience.
• The MES of the setting being a pink nail constructs a binary opposition between the dystopian setting of the run.-down shopping centre 
• The run-down, inner city setting is relatable to the working class target audience
• Is the video a criticism of toxic masculinity? A shot of Sheeran assertively fixing his shoe with his chest out creates a binary opposition with his pink costume, constructing a complex representation of masculinity
• The symbolic code of the dying rose symbolises death and destruction. This communicates to the audience that vampires are associated with death
• The rose also symbolises the ending of love. By shifting from pink to grey, it suggests the conclusion of a relationship, which is relatable to the target audience. This allows the producer to market their music and to increase profitability
• Conflicting colours connotes a conflict between happiness and depression, which has symbolic themes which might symbolise the emotional state of the audience 
• MES of the costumes of Sheeran's cool and threatening vampire gang. Connotations of violence are anchored through the MES of the dark colours of their costumes, the proairetic code of the CU of Sheeran's fangs
• The costumes of the vampires are modern and make reference to punk music, which may appeal to a more alternative target audience, and also gives Sheeran a subcultural appeal
• Connotations of poverty and working class lifestyles are symbolised through torn clothing, chains and mismatched costumes. The ketchup is a polysemic symbolic code that symbolises both working class lifestyles and blood, which creates an appealing mode of address for the target audience
• Direct mode of address
• Low key, harsh, unnatural lighting
• Pace of editing
• Shot types
• The MES of Sheeran's costume is comical, and creates a binary opposition and the idea that vampires are scary. This constructs an unsettling mode of address for the target audience
• The uncoloured, pallid rose is a symbolic code for the loss of love. What once was red is now dead, and this could symbolise death and a loss of life. It could also signify being heartbroken
• The MES of ketchup also functions as a symbolic code, representing blood. This reinforces the idea that vampires drink blood, but it also reinforces the comical elements of the music video. It also allows the video to stick to regulation guidelines, and allows children to watch the video
• The MS of the child functions as a binary opposition between innocence and monsters. This constructs an interesting mode of address for the target audience
• The performance of bystanders being thrown around functions as a hermeneutic code, as there is no real reason for this happening 
• The urban inner city setting functions as a symbolic code of working class lifestyle. This is anchored through the MES of the cheap Thai food and the flickering lights. The run down inner city setting connotes violence, which is a clear example of stereotyping
• By being associated with working class iconography, Sheeran can appeal to working class target audiences
• CU of Sheeran's vampire teeth, is further anchored through the MES of the magnifying glass, reinforcing the primary theme of this music video: vampires and the horror genre
• ECU black cat lives up to the horror genre, and further anchors the themes of the video 
• Representation of drag culture and costume allows the producer to target a wider, LGBT audience
• The video is radically different to Sheeran's other videos and forms a binary opposition. Allows him to target a new audience
• LA of all the vampires making direct eye contact with the camera. A direct mode of address, positions the audience below the vampires, and reinforces the themes of intimidation and horror 
• Sheeran's bright pink suit means that even though we are presented with many exciting scenes, the audience are anchored in to believing that he is the most important and exciting
• The MES of being surrounded with a gang represents that Sheeran is in a position of power
• Sheeran is conventionally unattractive, yet he surrounded by a range pf attractive, cool characters, which function as a proairetic code for excitement and sex
• Many intertextual reference s to other vampire films, including the Chinese takeaway box, which could be a reference to the lost boys
• The queer coded drag like costumes may be an intertextual reference to RuPaul's Drag Race
• The run down urban setting could be an intertextual reference to a UK hip-hop video

Everything you need to know about the component one exam in 2022

If you are reading this in 2023 or beyond, hold your horses! This information ONLY applies to the May 2022 version of the component 2 exam! Check out elsewhere for information, because this will just confuse you!

General

 

• Your first exam is on Friday morning
• It is called component one
• There are two sections in this exam, section A (media language and representation, UNSEEN), and section B (industry and audience)
• You should spend 90 minutes on section A and 45 minutes on section B
• Each question is on a different aspect of media (media language, representation, industry and audience). You should make sure you are talking about the right thing in the right question. ALWAYS LINK EVERYTHING BACK TO THE QUESTION
• Underline the key terms in each question
• Do a plan for question one and question two (music video and film poster), and put it on your answer paper. You get marks for the plan

 

Section A

 

Question 1

 

• You will be shown a music video you have never seen before, twice.
• This will link to a media language question.
• This question will be 15 marks and you should spend 30 minutes on it
• Good theorists to use here are Roland Barthes and Claude Levi-Strauss

 

Question 2

 

• You will be given a film poster you have never seen before.
• You will be asked to write about it and also the poster to Kiss Of The Vampire.
• You will not be given the Kiss Of The Vampire Poster
• This question will be a representation question, but you will also have to talk about media language (analysis)
• This question will be 30 marks, and you should spend 60 minutes on it
• Good theorists to use here are Liesbet Van Zoonen, Stuart Hall (representation), Gilroy and hooks

 

Top tips

 

• if the exam starts on time, then you should move on to section B no later than 10:30 am (10:50 if you have extra time)
• Don’t worry if you get through section A more quickly than 90 minutes, but don’t spend too little time on it. The examiner is expecting to see a LOT of writing!

 

Section B

 

Question 3

 

• This question is split in to lots of sub questions
• The questions will add up to 25 marks
• It will be on the newspaper industry
• You should spend 25 minutes on the newspaper industry
• The questions will be about industry
• You should spend one minute per mark
• You will be expected to talk about the newspapers we studied during revision (the ‘Nazanin papers’)
• You will also be expected to talk about the websites for both the Mirror and The Times
• A good way to revise for this question is to make flashcards for all the industry terms, to re-read the ‘Nazanin papers’, and to check out the websites for the Mirror and The Times (you can use any stories you want to back up your answers)
• Good theorists to use here are Livingstone and Lunt, Curran and Seaton and Hesmondhalgh

 

Question 4

 

• This question is also split in to sub questions, probably two
• The questions will add up to 20 marks
• You should spend 20 minutes on this question
• This question/s will focus on WaterAid and audience
• A good way to revise this question is to watch the WaterAid advert 10000000 times and make notes on how it appeals to it’s audiences and how audiences can respond to it
• Good theorists to use here are Stuart Hall (reception) and David Gauntlet (identity)
• If you talk about representations here, good! But Always link them back to audience, otherwise you won’t be answering the question

 

Top tips

 

• Be strict with timings in section B
• Don’t worry if you don’t write quite as much. The examiner is expecting to see ten minutes of work for a ten mark question

 

Advanced media session 3: applying postmodern theory to a music video

Postmodernism - a series of theoretical frameworks that are characterised by the deliberate breaking of rules and a criticism of the framework of society. It's a deliberately difficult theoretical concept, but from our perspective, anything which deliberately challenges convention can be described as being.

This is a short and highly debatable list of postmodern-y themes, mainly cribbed from a mark scheme for a past paper question. Do NOT mention all of these in the exam. In fact, mention very few! 

• self - reflexivity - where a media product makes reference to itself
• bricolage - combination of different media forms
• hybridity - mixing of genres
• parody - deliberately poking fun 
• irony - a deliberately contradictory mode of address, eg smoking in front of a no smoking sign. Edgy!!
• intertextuality - when a media product makes reference to another
• hyperreality - where a representation is better than reality
• simulacra - a representation of something that has never existed 
• the collapse of metanarratives - big 'story' that helps us to lead out lives

So how can we apply this to a music video?

Lemonhead - Tyler, The Creator

• Close up, slowly transitions to a long shot through a slow zoom, shows Tyler on the MES of a yacht set against the setting of the desert. This highly unlikely combination creates a hugely confusing binary opposition for the target audience. These two objects do not belong with each other, and the video completely lacks a conventional narrative or even a conventional ideology. This dream like fantasy creates a hyperreal expectation that the audience can never realise, which constructs a highly postmodern mode of address. 
• The highly atypical use of a long take is completely unconventional for a music video. The final shot focuses on the artist looking forwards, backwards, and then back towards the camera in a manner creates a highly confusing and discomforting mode of address for the target audience. This use of parody deliberately makes fun of the conventions of music videos, and may highly appeal to the artist's young and educated target audience.
• The use of loud pastel colours is further anchored through the highly desaturated use of colour. Rather than looking like a modern rap video, LEMONHEAD bizarrely looks like a classic Technicolor Hollywood film. This is a classical example of the postmodern technique of bricolage where one media product uses a variety of different forms
• While the video to Lemonhead is clearly confusing, it also uses several conventional elements of the rap genre, for example the CU of the artist's grills and the high angled shot of the various classic cars. However, there are also a number of subversive elements. Despite being a rap video, the artist subverts many of the conventions of black masculinity that are associated with the genre. Dressed in a pink golf outfit, a binary opposition is constructed between stereotypical conventions of the rap genre, and the almost feminine presentation of the artist. 

Exploring stereotypical representations of ethnic minorities in music videos

When we watch each video, we must consider...

• What are the key representations in this video?
• What choices has the producer made in representing these groups?
• What connotative aspects encode representational meaning?
• Who is the target audience for this video (think carefully)?

How is the representation of young black people constructed in the video to The Race by Tay-K?

• Video has considerably lower production values than usual. The grainy footage and muddy sound. This encodes a filthy, grimy, threatening atmosphere.
• MES of guns and gang signs are frequently repeated through the video, which has clear connotations of criminality and crime
• Wanted Criminal poster draws attention to the artist's criminal status. There is no attempt to distance him from this criminal act, 'self-snitching'. The video has clearly been made for the artists own exposure and reputation
• MES of thick cannabis smoke, people dancing, and vodka being poured on the floor are all connotative of crime and rebellion
• Video reinforces the ideological perspective that young black men are dangerous and involved

Lil Pump - Gucci Gang

• Song is lazy, amateurish and repetitive, which may well be frustrating, annoying and even offensive to certain audience. It reinforces a stereotype of non-white people as being users of drugs, through the slurred delivery of lyrics
• Song is bass heavy, with connotations of aggression, violence and conflict
• MES of big bags of cannabis reinforces stereotype of non-white people being both users and sellers of drugs
• depiction of blatant acts of breaking the la
• School setting forms a binary opposition with the constant MES of drugs, which anchors the suggestion that Lil Pump is selling drugs to schoolchildren. This in turn reinforces his status as a dangerous criminal
• Use of many bright, garish colours, in particular purple. Purple here is symbolic of lean, an abuse of prescription drugs. Codeine is an addictive painkiller with euphoric effects. The drug itself is dangerous, especially when taken in large quantities and over a period of time. The drug is represented as being fun and exciting, which is highly problematic
• MES of tiger is connotative of fearlessness and aggression, which reinforces the ideological perspective that people of colour are violent and dangerous
• White people in this video are represented as boring, uptight, older and lacking power. This forms a binary opposition to the representation of Lil Pump, which confirms his status of powerful, criminal and anti authoritarian

Mobb Deep - Shook Ones, Pt. II

• Theme of the song is about how pop culture is idolising gang violence, yet the rapper confirms that this life is difficult and horrible. However, the theme of this song reinforces the stereotype young black males are involved in drug dealing and gang violence
• The setting of this video is exclusively run down 'projects' or American social housing, which reinforces the ideology that young black men lead a dangerous, gritty, authentic lifestyle
• MES of bin liners, rubbish and graffiti connotes poverty and crime 
• Lyrics focus on themes such as crime and sex, which reinforces reference to a criminal, outlaw lifestyle
• Costumes including baggy oversized shirts and trousers also function as a proairetic code for violence

Zone 2 - No Censor

• Fast paced editing constructs a startling, confusing and threatening atmosphere for the target audience
• Fast paced vocal delivery, low quality distorted production and heavy use of slang constructs an intimidating and threatening atmosphere
• Use of repetitive and ugly and bass makes the song louder and functions as a proairetic code that something violent and bad is going to happen
• Performers all wear a similar 'uniform' tracksuits and balaclavas with are connotative of crime and aggression 
• MES of mobile phones and packets of crisps infer the performers absolutely do not not care about making a music video, which again reinforces their outlaw status 

Formation: Beyonce - how are themes of conflict encoded in this video?

Conflict can refer to...

• Questioning or challenging an ideology...
• An aggressive tone...
• Two opposing opinions...
• Binary oppositions...
• War, battle, fights...

Structuring a response

Every response you write in media should be structured. The structure we are going to be using is as simple as possible. Basically, the last thing you should be worrying about in the exam is structures or formulas. The structure we will use will reflect the verbal responses you make in class

Point 
Evidence
Analysis

Point: One way in which the video to formation constructs conflict is through the use of atypical and edgy locations. 

Evidence: Beyoncé is situated in an empty swimming pool, surrounded by a series of synchronised backing dancers. Her dancers are all black and athletically built, and dressed in vintage leotards. They are established through a high angled long shot, which has connotations of isolation and vulnerability. 

Argument: Furthermore, this shot represents how black women may feel in American society, and clearly draws attention to issues of race and racism. 

Examples

U block

• Frequent use of binary oppositions, most notably the image of a young black boy challenging a group of police officers. This representation is constructed through a low angle shot of the white police officers standing in line, which reinforces their power and dominance. Additionally, the black child is constructed through a high angled wide shot, which reinforces his vulnerability. However, his vulnerability is subverted through the gesture of the white police officers putting their hands up in surrender. The young black boy is therefore constructed in an atypical manner, and this shot may represent hope in the next generation of American black activism.
• Big focus on black working class women as being strong and empowered. This is most notability constructed through a powerful shot of Beyoncé lying motionless on top of a police car. This shot clearly functions as a symbolic code, representing this black woman's rebellion against a powerful and destructive. 
• Conflict between Beyoncé, a powerful black woman dressed as a stereotypical 1800s slave owner, which arguably reasserts and reassigns power. Reverse colonisation? Reappropriation
• Video exclusively represents black people, which presents an important and controversial message. By drawing attention to both black vulnerability and black empowerment, this video reinforces and draws attention to serious issues that affect black people in America today

(Q block)

• The MES of the police car and Beyoncé on it is symbolic of the brutality experienced by black perpetrated by the American police force. This establishing shot reinforces the primary ideology of this video, and themes of racism 
• Furthermore, the long shot of Beyoncé standing upright on the police car is further anchored through her costume, which is stereotypically working class, and demonstrates through this binary opposition themes of rebellion and empowerment
• Mid shot of Beyoncé dancing energetically and even aggressively in a narrow and claustrophobic environment emphasises the conflict between freedom and oppression 
• Old vs new - can be interpreted in many ways!
• Binary opposition between the young black boy and the police officers creates a juxtaposition between powerlessness and being powerful. The boy is presented as being in a position of power, and, through his dancing, even mocking the police. This further reinforces the conflict between black people and the police 
• Conflict between traditional gender roles. Gender roles are subverted through the lyrics, including taking her boyfriend out shopping and spending money on him, which symbolised female empowerment 
• Many shots, eg the long shot of three women standing together in the wig shop, leaning on each other in a symbol of collective female empowerment. This forms a binary opposition with the apparent economic status of these women. They are poor, but powerful
• Binary opposition between red and white costumes creates an exciting and varied mode of address for the audience
• MES of graffiti reading 'stop shooting us' functions as a symbolic, suggesting the threat that exists against black people wielded by the police force
• MS of man (minister) wearing a large cross round his neck is symbolic of black people finding religion important to them, as society has abandoned the black population of Louisiana, and religion has taken the place of the police
• Beyoncé is dressed as a stereotypical slave owner, which forms an ironic binary opposition, as Beyoncé is black. In doing so, Beyoncé is not only being deliberately controversial, but is reposing and appropriating the power wielded by white slave owners in the American south 

Riptide: complete analysis and representational issues

Jean Baudrillard and hyperreality

Jean Baudrillard argued that there is no such thing as reality. How does this work? Basically, there could never be such thing as reality, as reality itself is subjective. We each have our own subjective worlds that are constructed through our own experiences and ideologies. And media products are to blame for this. By constantly consuming and mediating a range of media on a minute by minute basis, our perception of reality has been completely decimated. 

Baudrillard was fascinated with media saturation, and the effects that this has on our collective perception of reality. Given that there is no such thing as reality (reality cannot exist, as our perceptions of reality are so radically different from one another), we instead look to representations, which are more real than real. Baudrillard refers to this concept and process as hyperreality, where the representation is more important and more real than the thing it is representing. 

And, because there is no way to implement an objective reality, Baudrillard posits we are all living in a simulation, a fantasy world constructed by representations. Even more freakily, since there is no reality under this collection of symbols (Baudrillard refers to this as a 'procession of images'), this simulation might as well be reality for us. We simply couldn't tell it apart anyway!

These ideas can broadly be slotted in to the concept of postmodernism. Baudrillard himself hated this term, but for us at least, it provides a (sort of) straightforward way of understanding these concepts. Postmodern media is media that breaks rules. It challenges conventions, and it does so deliberately, for the simple reason that nothing matters anyway. If life is simply a simulation, than surely there's no point in considering the deeper meaning to things?

Postmodern media can often be confusing, extremely stylish, or even deeply hateful and nihilistic. It is media that reflects a broken and fractured world, where nothing can be understood, and nothing is as it seems.

If all this seems a bit confusing, GOOD. Postmodernism as a concept is deliberately anti-theory. It denies the existence of everything, including objective reality. And, from an exam perspective, it gives you an excellent excuse to write in an analysis that a media product is deliberately confusing to challenge and confuse the target audience!

But basically, all we really need to know is that modern life is confusing and alienating, and we need media that reflects this confusion and alienation. Riptide is arguably an example of this!

In what ways does the video to Riptide challenge typical conventions?

• The dark nature of this video is highly contrapuntal when compared to the bright, chirpy song
• Contrapuntal sound is sound which doesn't 'fit' the visuals
• A completely confusing and distracting narrative, that features a range on non-connected stories
• Constant breaking of the fourth wall. Characters often look in to the screen
• Use of unpleasant, creepy and violent imagery creates an uneasy atmosphere for the audience 
• Lack of explication of narrative. Why is the singer being 'abused'?
• A range of different and seemingly unrelated narratives. Multi strand narrative
• Every lyric has a literal direct visual accompaniment
• The subtitles do not match up exactly with the lyrics being sung
• Video is highly polysemic and has no real conclusion 
• Extreme low key lighting
• Lack of music video conventions, including choreographed dancing, and a complete lack of the performer himself
• Terrible quality of lip syncing
• Unclear setting and time period or even genre
• This video is deliberately confusing in order to challenge its target audience. Because it is so confusing, it will encourage further analysis
• A long shot of a stereotypical cowboy standing in the middle of the desert makes intertextual reference to the Western genre for no particular reason. This creates an exciting yet confusing mode of address for the target audience
• Video jumps from location to location, creating a deliberately disorientating mode of address
• Binary opposition between day and night frequently used to construct symbolic reference to good and evil, light and dark 
• Use of the term and the visual representation of 'left hand' has clear symbolic connotations. Left can by symbolic of evil and the devil, and the term 'left' here could be symbolic of abuse, being a binary opposite of 'right hand man' (a protector)
• Frequent use of zoom shots deliberately dates the video, and infers the action is taking place in 'the 1970s'
• Symbolism of red lipstick. Red lipstick can be symbolic of love, sex and passion, yet the colour red can also be symbolic of blood, abuse, anger and torture. This video clearly is playing with the the nature of polysemy. This is further anchored through the MES of smudged red lipstick, and smudged, smeared eyeliner
• Elements of the horror genre are used throughout the video, including through shocking clos ups of a woman being dragged away, the CU of a female hand being stabbed, the swinging chandelier, the first shock cut to the dentist/torture CU, 
• Continuous narrative, with shots having cause and effect, yet not necessarily in order
• Use of tarot cards as a symbolic code, with certain cards having certain signification, eg: the hangman: a symbol of surrender
• Negotiated readings: audiences are expected to come to their own conclusions, and may make significant research in to deeper meanings of this video
• Extreme low key lighting in the graveyard scene has connotations of mystery and suspicion 
• HA or BEV shots of 'riptide' (the choppy waves) has symbolic connotations of of something that is about to go dramatically wrong. Potentially triggering, extremely upsetting image
• Other 'nightmarish' imagery include the CU 'dentist'/torture shot
• Imagery becomes more explicit and violent as the video continues
• Editing is confusing and discontinuous
• Surreal imagery, which follows the logic of dreams
• MES of suitcase is anchored through the reference to Australia and the Romanian passport, which combined, creates a strong theme of travelling and going on a journey
• MS of man at beach in a floral shit is further anchored by the ocean in the background, which constructs a series of symbolic codes, making reference to 1970s crime films. This reference to 70s iconography is extremely important in indie-pop fashion 
• 'Left hand' has associations with abnormality and even Satanism and witchcraft 
• Close up master shot of woman being forced to sing features smudged mascara, which is highly symbolic of misery, being upset and crying. This furthered anchored by the high key lighting, used in an unconventional low angled manner, which creates a juxtaposition between happiness and misery, and the excessive darkness also functions as an hermenuetic code, literally shrouding the performer in mystery
• Master shot - a shot, usually a performance shot that the video keeps returning to

What does it mean?

If we are to consider Baudrillard's theory, then it is perfectly acceptable to argue that riptide doesn't mean anything, is deliberately confusing and alienating, and only exists to provoke a response... any response will do.

But, for fun, let's try and point to a deeper meaning...

Possible meanings

Roland Barthes argued in his 'death of the author' theory than a media product ceases to be the property of the producer the second it is made. All that matters is the interpretation of the audience

• Theory one - Riptide challenges the nature of reality itself 
• Theory two - Riptide is a video equivalent of a 'shitpost', which is designed to annoy and confuse the audience. The lyrics of the song mean absolutely nothing, and so does the video!
• Theory three - The video is escaping a cult or a religious fanatics. It includes the MES of religious/spiritual imagery, inc 'the illuminati, tarot card, a hand being stabbed through the palm, themes of hypnosis and brainwashing. There is also lots of imagery of escaping, fleeing, running away, often to a different country
• Theory four - the video is about kidnap and abuse. With each shot of the 'performer' singing, she looks more abused, as if she has been tortured. Not for any particular reason
• Theory five - There are many creepy themes of watching, photographic, filming women. We as an audience are often placed in a voyeuristic mode of address.
• Theory six - the video is focussed on crime and committing crimes. Crimes committed include kidnapping, (anchored through the extreme cu of hands being dragged), voyeurism (the creepy, dressing shot) and the POV stalking/chasing shot which positions the audience as a murderer
• Theory seven - The video itself is a form of torture for the audience. There are many themes of Satan and sadism and the occult throughout the video, including the MES of the Ouija board, the continued defence to the 'left hand', and the reference to tarot cards as well. The video additionally makes reference to many common fears, including the ocean, the dentist, darkness, cutting, torture, stalking, graveyards, which are all edited in to the video in a confusing and unpleasant way. Potentially, this video could attract larger audiences through becoming notorious 
• Theory eight - The video is about dream... and nightmares. The reason why it males no sense is that it follows dream logic. It is closer to surrealist cinema than something logical, to allow audiences to relate to these difficult and creepy themes 

Discussion: is Riptide drawing attention to issues surrounding women, or reinforcing misogynist values?

Voyeurism  - taking pleasure at watching someone when they do not know they are being watched

Throughout Riptide, we, the audience are positioned in a voyeuristic mode of address, which is deeply disturbing to the audience

Misogyny - the hatred of women 

Is Riptide misogynistic? Pain is inflicted on women throughout this video, and exclusively on women . The women being tortured are exclusively hegemonically attractive, which also reinforces certain fetishistic qualities, and might even make reference to 'incel' culture (in a roundabout way). The conflation between sex and violence is particularly disturbing

Conclusions

Arguably, Riptide doesn't mean anything. This is completely atypical and surreal 

Riptide is highly polysemic, and can mean completely different things to different audiences

However, if Riptide is about anything, then it could be about the representation of women, and it could deal with themes of abuse and misogyny. The video features shots of women being attacked, stalked, chased, tied up, abused, tortured

We could argue that Riptide is feminist, and is criticising and drawing attention to the negative representation of women in media

Regulation issues: Meghan Markle vs The Daily Mail

1

Check out this link. How important is Meghan Markle to The Daily Mail?

2

Read this article

3

Introduction to music videos

What is a music video?

A combination of video and music? But this refers to everything!

A video that tells a story that goes with the music? Well, so is a film...

A music video is an advert for a song. It is a promotional item

Yet, music music follow their own specific conventions. Even though they are arguably just a form of advertising, they are also objectively an art form in their own right

How can we demarcate music videos from cinema?

Demarcation: the process of splitting things in to sperate, distinct categories. Also known as delineation

Both films and music videos combine sound and vision to create meaning for the audience. But they are absolutely, totally different. But how?

• In general, films may have significantly higher budgets 
• Films tend to have a significantly longer run time
• Audiences typically expect to pay to watch a film
• Exhibition context: films are traditionally shown in cinemas, while music videos are now typically streamed online
• Music takes a different function in films. 
• The use of sound in music videos is often extremely complex, and extradiegetic in nature (see below)
• Music videos typically lack dialogue
• Music videos feature the artist as a characters rather than actors
• Music videos may lack a conventional narrative
• Music videos are regulated differently to films
• Music is the primary focus of music videos
• In music videos, typically there is a stronger relationship between video and music (cutting to the beat)

Diegesis and the world of sound

Diegetic: in the world of the narrative

Diegetic sound: sound situated within the narrative. Typically, the characters in the product could hear this sound!

Examples: birds squawking, speech, dialogue, Atmospheric sound, music with an onscreen source

Non-diegetic sound: sound outside of the world of the narrative

Examples: 99% of the time, this refers to 'score' music

Extra-diegetic sound: sound which exists between diegesis, for example narration, or music in a music video

How is celebrity encoded in the video to Judas by Lady Gaga?

• Eccentric, over the top and striking makeup choices throughout the video
• Her costume is even more outlandish than her backing dancers, who are typically wearing uniforms. She forms a binary opposition to everyone else
• She has a designated colour, blue, which is striking and makes her stand out, yet it also anchors significant religious significance, creating a blasphemous and controversial mode of address
• Revealing and daring costumes symbolise sexual confidence and attractiveness
• Use of high key lighting creates a spotlight effect, emphasising Gaga's attractiveness and importance
• Use of colour isolation constructs a binary between the colourful Gaga and the colourless apostles 

Newspaper case studies Tuesday 22nd March 2022

 The Daily Mirror selected pages Tuesday 22nd March 2022

The Times selected pages Tuesday 22nd March 2022

These images are being used for educational purposes. Thank you to Big Sam for scanning these images. It took him ages. 

Revision: a textual analysis of WUSYANAME by Tyler, The Creator WITH EXEMPLAR TEACHER ANSWER

How does media language incorporate viewpoints and ideologies in this music video? [15]

Timings 

Component one

Section A - unseen section

Two questions

Music videos and media language

KOTV and representation

Two minutes per mark

Section B - Industry and audience

Newspaper industry

Wateraid and audience

One minute per mark

Component two

50 minutes per industry

Knee jerk reaction

The Tyler The Creator video uses media language to create a challenging and atypical ideology for the target audience

Plan

Unconventional MES

Single tracking shot

generally tracks Tyler

Extreme shot duration

Long take

Extreme long take

Outfits/costumes challenge black stereotypes

Challenge rap/hip hop stereotypes

Early 90s

Retro

Postmodern

Desaturated

Amateurish 

Romantic narrative

Sex pest

Creepy

Lip syncing is poor and amateurish 

Intradiegetic gaze - where one character looks at another character

Only major representation of black people

Symbolic annihilation

lack of white representation in a stereotypically white setting

Exemplar answer - Michael's response

Ideology refers to the beliefs and values of the producer. Typically, producers will attempt to engage audiences through ideology, and audiences themselves will interact with media products through a process of negotiation. The video to WUSYANAME by Tyler, The Creator presents a subversive and atypical ideology, that challenges not only many of the conventions of the rap and R&B genres, but also the representation of men and women, in order to both confuse and delight the target audiences. Music videos are typically uses as promotional material for a musical artist, but in many instances, they function as a complete media product themselves.

WUSYANAME begins with an establishing montage of Ariel tracking shots, following the protagonist's vehicle as he approaches his destination. The colour is both desaturated yet vibrant, and the MES is rich and suggestive of a warm, west coast summer. The stacked boxes on top of the car function as a proairetic code, suggesting an important journey. However, it is essential to point ut that this is never realised in this video. These opening shots additionally do not show Tyler, the performer, which is also highly unconventional for a rap video, which typically will feature the performer in every shot. However, this opening montage does construct a continuous and conventional narrative, that raises many exciting hermeneutic codes for the audience.

This smooth montage is completely disrupted in the master shot of this video, which features a single handheld panning shot, painfully zoomed in and nauseatingly shaky, that follows Tyler as he bothers an uninterested women in to going out with him. It is essential to note that this scene has little to no relation to the establishing montage, and thus is particularly disruptive and confusing for the target audience.

This master shot breaks the conventions of the hip-hop/R&B video in many ways. For example, the lip syncing is poor and unsynchronised with the singing, with the performer frequently giving up and rubbing his face instead of performing. The complete lack of cuts, focusing instead on a single extreme long take is also highly atypical of music videos in general, which are generally cut to the beat and beat matched in order to provide as much pleasure to the audience as possible. It is clear that from an ideological perspective, the producers of this video are attempting to subvert and to deny the enjoyment of the audience, which raises many issues about the function of the music video.

The video is also highly atypical when it comes to its ideological perspectives on gender. Tyler is represented and coded throughout as being a pathetic and belligerent sex pest, which is a highly self-depreciating representation that subverts typical representations of hegemonic masculinity in hip-hop. Tyler runs in in an undignified manner, and immediately begins gesturing wildly, pushing himself in to the young woman's immediate proximity. His facial expressions are often over exaggerated and is anchored by the bizarre and even creepy lyrics "Aw, you look malnourished/Let's get some bread, fry it in egg yolk and drown it in syrup". Tyler's exaggerated gestures are further anchored through the excessively colourful and elaborate costume he is wearing, which combines a Russian bear trapper's hat and a tiger print tank top in a confusing, highly postmodern mode of address. This forms a stark binary opposition to the clean and conservative style of the woman he is bothering, who is wearing a white buttoned short and slate grey cardigan. This binary opposition diametrically reinforces and elaborates a critical issue that exists in contemporary society, one of male entitlement, and one of assumed female submissiveness, where women are expected to cave in to the desires of men., This video draws attention to this issue in a humorous and stylish way.

However, the video is not only subversive in its representation of gender, it is also subversive in its representation of race and ethnicity. Tyler is black, and every other main performer in this video is also black. While this is typical of rap and hip hop videos, the setting and MES is very much stereotypically white, and perhaps subversively presents a symbolic annihilation of white people. The spacious, chilled MES of the café garden, combined with the conservative, middle class white American costumes of the performers (including cardigans, chinos, three quarter length trousers and pastel tank tops) are clearly demonstrating a subversive and atypical mode of address for the target audience. By challenging the conventional representation and ideological assumptions of black people in hip hop videos, who are often stereotypically represented as thuggish and/or highly sexualised, WUSYANAME presents a delightful and exciting address to its target young black audience. 

To conclude, the video for WUSYANAME is both challenging and atypical in every sense. It challenges and breaks the paradigmatic conventions of music videos and hip hop videos. It also challenges gender stereotypes, by presenting a crude, embarrassing representation of male bravado. And finally, it challenges representations of race and ethnicity, by subverting stereotypical assumptions of black people and their role in rap music videos. These elements combine to create a subversive music video. However, it must also be noted that these elements, despite being confusing and even off-putting, the video is constructed in such as way as to use atypicality and subversion to appeal to the target audience through carefully constructed hermeneutic codes, this ensuring the financial viability of the product. After all, the primary function of a music video is to sell the music of the artist