KA4 exemplar

You can find two student exemplar papers below. Both papers are absolutely excellent and we would like to thank the students in question for kindly volunteering to have their anonymised work hosted on the blog.

While this is a mock exam, and has therefore been completed, marked and standardised in a different way to the final exams, we have determined that both of these papers are at least of 'A' grade standard. They will be very useful for students who wish to visualise what a truly excellent response actually looks like.

These exemplar responses were completed for the 2023 KA4 exam, which can be found archived here, along with mark scheme and feedback

Exemplar 1 (49/65)

Exemplar 2 (61/65)

KA4 AKA the end of year mock exam: questions, feedback, mark scheme

KA4 is also known as the end of first year mock exam, for obvious reasons. It's a good opportunity to show off your hard work and ability to revise. This mock exam was marked exactly as a final exam would be marked. So while you will not get advanced notification of subjects or a focused pre-exam revision session, your marks, bands and overall grade will give you a pretty good indication of where you are up to at the moment. We will certainly improve on this grade for the final exam, as long as you respond to feedback and continue revising to a high standard. 

The exam

1 – Advertising and representation – 30 marks/60m

Compare how audiences are positioned in the Super.Human advertisement you have studied and the Dolce & Gabbana S/S 2014 print advertisement you have been provided with. 

In your answer you should:

• consider how the representations construct versions of reality.

• consider the similarities and differences in how audiences are positioned by the representations.

• make judgements and draw conclusions about how far the representations relate to relevant media contexts [30]

2 – Newspaper audience – 10 marks/10m 

Explore the ways in which the newspaper industry uses digital technologies to meet the needs of its audiences. Refer to The Daily Mirror to support your answer [10]

3 – Film industry – 10 marks/10m

Explore how economic factors shape the production and distribution of films. Refer to I, Daniel Blake to support your answer [10]

4 – magazine media language (woman magazine) – 15 marks/25m

Discuss the influence of historical context on representations in the set edition of Woman magazine. [15]

TOTAL: 1h45m

Simplified mark scheme

This is a simplified, yet accurate version of the mark scheme that the examiner who marks your final exam. It's worth noting that examiners will never 'grade' your work. Grade boundaries change every year, and are decided after everything has been marked, based on a number of factors.

However, examiners DO allocate 'bands' . Bands never change: the description for what is a band 3 is the same as it was in 2019, and it will always be the same until the specification is updated. Most students tend to get an upper band 2, a band 3 or a lower band 4. Band 1 and band 5 allocations are comparatively rare.

Band 5 - Excellent response that goes significantly beyond what would normally be expected of an A-level media studies student. At this level there are sophisticated arguments, and it is clear that the student has extensively read around the subject, for example reading a newspaper every day and reading the work of theorists and products beyond the set texts. This student presents perceptive and insightful conclusions. Reference will be detailed and always accurate (unless it's a little mistake that doesn't matter). Band 5 responses will flow and will demonstrate an ability to link concepts in a sophisticated manner, eg "The thumbnail preview that invites audiences to engage with Sugg's most recent video is not only typical of vlogs as a genre; it also demonstrates the binary dichotomy that exists between the construct of her reality as a 'cosy' and approachable media influencer, and the naked capitalist principals that exist behind her industry. Audiences must negotiate this hyperreal simulacrum, and must ultimately hold two thoughts simultaneously in their heads; one where Sugg is a benevolent and relatable neo-housewife archetype, and one where she is a mercenary neoliberal businesswoman. This lack of a semblance of clear interpretation is key to understanding the concept of the collapse of meaning that lies at the heart of postmodern theory."

Q1 - 25-30/30

Q2 - 9-10/10

Q3 - 9-10/10

Q4 - 13-15/15

Band 4 - These are GOOD. These responses are accurate, with a clear knowledge and understanding, with a logical, clear analysis. Theories may well be accurately and logically applied. There will be a reasonably detailed knowledge of concepts such as representation that tend to go beyond the basics (eg ‘representations reflect deep seated prejudices that exist within our world, and always reflect the hegemonic norms that exist in society’). Additionally, the use of facts and examples will be clear, accurate and relevant, for example "as is typical of an independent feature film, I, Daniel Blake is funded by a number of different producers including Film 4, the BBC and The National Lottery".

Q1 - 19-24/30

Q2 - 7-8/10

Q3 - 7-8/10

Q4 - 10-11/15

Band 3 - Satisfactory! This one is bang in the middle and is the easiest to assign. Band 3 answers do everything right, but not particularly well. Theories may well be used, but in a fairly straightforward way, and may not always be appropriate to the question, for example using mainly industry theory in a representation response. Knowledge and understanding is generally accurate. Knowledge of concepts such as representation and industry are reasonable but straightforward. There will be some relevant reference to the set product, and it will be straightforward (eg the bright colours symbolically encode a bright and inviting atmosphere). For industry questions, facts will be woolly and more generalised, for example "I Daniel Blake is shot in Newcastle, which gives it a low budget feel"

Q1 - 13-18/30

Q2 - 5-6/10

Q3 - 5-6/10

Q4 - 7-9/15

Band 2 - Basic knowledge and understanding. Analysis is there but may be inaccurate, for example not knowing the difference between camera angles and shot types along with other significant and clear gaps in knowledge. Basic considerations of concepts such as representation with clearly little understanding. Arguments and judgements beginning to emerge but lack confidence and/or reference to explicit and relevant examples. For example "Woman magazine has a picture of a woman wearing makeup on the front, which some women might think is being sexist."

Q1 - 7-12/30

Q2 - 3-4/10

Q3 - 3-4/10

Q4 - 4-6/15

Band 1 - Absolutely minimal knowledge and understanding. Likely to focus on a single case study where more would be appropriate, lacking media language, and lacking any judgement, argument or conclusion 

Q1 - 1-6/30

Q2 - 1-2/10

Q3 - 1-2/10

Q4 - 1-3/15

Band zero - Where a student hasn’t written anything or nearly enough to justify a mark. This also includes answers that are 100% incorrect, for example 'superhuman is a website about fashion' or something

Indicative content - or 'what you could have written'

General feedback

• Use the language of the question to get marks. The first question is a representation question regarding audience positioning. therefore, it would be advantageous (if a little inelegant) for each paragraph to start with something like "One striking representation that is used in the D&G advert is of hegemonically attractive women, which ultimately positions the audience as a heterosexual man..." or something similar
• Many answers lacked sustained reference to media language (usually abbreviated to ML on your feedback). This is, by and large the most simple way to get marks. Please make sure that every media language and representation question uses reference to shot types, camera angles, MES, editing, colour, diegesis, editing... whatever! If you are not using these words, you are probably not getting marks

Q1 - General

• The bit about 'relevant media contexts' may have stumped you. What this means is issues, events, problems and 'stuff going on' related to these adverts. This might include, but is definitely not limited to - sexism - racism - stereotyping - body image - class - high end fashion vs high street fashion - the purpose of advertising - audience manipulation - the UK government - the UK response to COVID - the Paralympics vs the Olympics - being disabled in the UK today
• The main crux of the question is related to audience positioning. Audience positioning is how the audience have been 'placed' by the producer. The example I always use is (literally) any James Bond Film. Bond runs around killing lots of people and generally being awful. But we know we are supposed to like him. This is because we have been expertly positioned with him. He is physically attractive, he is consistently in (almost) every scene, he is constructed through CUs and MSs, and he is diametrically opposed to the 'ugly' villains. We are also positioned AS HIM. We as an audience are positioned as a heterosexual, posh British man who solves problems through violence. Even if we are, for example a gay, disabled middle class Nigerian man, we are still positioned as a heterosexual, posh British man. This is important, as it helps the producer to (often aggressively) reinforce and communicate their dominant ideological perspective!
• Across these two adverts, some of the ways in which the audience have been positioned is as - a heterosexual man - British - an outsider - a voyeur - as disabled - as able bodied - as supportive - as sympathetic

Q1 - Super.Human

• You can find some good suggestions for analysis here and here. 
• Audience positioning is complex and is facilitated through a diverse and challenging set of representations, and audiences are positioned in a highly relatable, yet also highly confrontational mode of address.
• Please remember the advert title is stylised as 'super.human', not superhuman, and certainly not superhumans. The full stop is there for a reason, presumably! 

Q1 - D&G print advert

• A highly stereotypical representation of hegemonically attractive men and women is constructed through media language
• The mid shot and the intimidating status of the models could position the target audience in an uncomfortable and challenging mode of address. This is typical of the address of luxury brands such as D&G
• The use of conventionally hegemonically attractive women in the foreground also position the audience through the assumption that they are heterosexual men, which conforms to Van-Zoonen's male gaze theory
• This positioning is further anchored through the intradiegetic gaze of the (working class) male model's gazing in wonder at the female models in the foreground. This not only sexualises the female models, but also cultivates a heteronormative ideological perspective
• Furthermore exclusively white representation cultivates ethnocentric ideological perspective that positions the audience as a white person 
• A stereotypical Italian representation is constructed through the symbolic codes of glamourous costumes and fresh local produce. This also constructs a binary opposition between tradition and modernity, old and new, which is fairly common in high end fashion adverts 
• A binary opposition is constructed between representations of working class and upper middle class people, which the intradiegetic gaze being fixated on the middle class luxury
• Models are all able bodied and hegemonically attractive, which cultivates hegemonic expectations of beauty

Q1 - general 

• A few students said things along the lines of 'a binary opposition is constructed between the two adverts'. This is not strictly true, in the the producers would likely be unaware of the other advert when producing their own. You can however point out that the two adverts are so different a binary opposition is constructed, or even that the advert to Super.Human seeks to diametrically oppose itself to the stereotypical representations seen in adverts like the Dolce and Gabbana one. This is a subtle criticism, I know, but I feel it is an important one!
• An introduction presenting a few facts about Super.Human really helped to open up band 4 right from the off
• A few students claimed that Super.Human was "realistic". This is wrong. No media product is realistic. The video is making claims about reality (great phrase to use), but it in no way resembles real life. My 40 minute bike ride in to college this morning was very exciting to me, but there was no mixed media, contrapuntal sound, rapid fire montage editing or anything. So, instead of saying "realistic", please say "constructs a relatable mode of address" or "constructs a reality where...". This point is REALLY REALLY REALLY IMPORTANT when accessing top grades in A-level media studies. As Baudrillard argues, nothing is real, not even reality. Especially not reality...

Q2 

• Digital technology here means reference to the website, to social media accounts, and to ways that audiences can interact and be positioned and addressed by these 'new' technologies
• However, you must include reasonably clear and explicit examples to push beyond a band 2 or 3
• Some students were REALLY helped by theory here. This really confirms how important theory is for these small questions. Uses and gratifications, as well as classics like Gerbner and Hall were particularly useful. Shirky and Jenkins would also be useful in talking about active audience engagement and fandom.
• The responses to this question were not as good as the  responses to Q1. Clearly we need to do some work on both audience and digital technologies!

Q3 

• Much better responses than Q2. The best responses basically reeled off a list of facts about IDBs production and distribution, including production companies and distribution channels
• Examples here must be explicit. Yes, it is correct that IDB was produced and funded by many different production companies, but how many? (one estimate is 72!). Who are a few of them? Why is this important in terms of production and distribution? 

Q4 

• Historical context here would refer to contemporary 60's sexist attitudes to women's lives and roles, vs an emergent strand of second wave feminism that challenged this. 
• However, Woman magazine in 1964 chooses to ignore not only the emergence of 2nd wave feminism, but also exciting developments in fashion, music, and sex.
• Arguably the producers of woman magazine present simple, straightforward and sexist representations to reinforce hegemonic ideological discourse and to reassert patriarchal values.
• Stronger answers will engage with this aspect using explicit examples from the set magazine pages in order to explore WHY representations of women are so reductive and simplistic
• The very best responses will consider how these constructions of reality not only present a manipulative force for the audience, but also how they would directly affect how women in the 1960s would have been treated
• Clearly there's a lot to consider here, and it's worth nothing that this is a component 2 question, which may explain why your mark is lower than you may have expected: expectations for this one are higher and there are more boxes to tick!

Grade boundaries

To work out your grade, just add up the four marks, and then check the total below! 

We used a slightly less generous version of the 2022 grade boundaries to come up with your grades. Please remember these change from year to year. Also, there are two exams (which are weighted differently despite being worth the same marks!) and of course coursework to be factored in too. Basically it's a broad estimation of your current progress. The bands included on your paper are far more important. 

A* - 81% - 52

A - 72% - 47

B - 60% - 39

C - 49% - 32

D - 37% - 24

E - 23% - 15

Applying postcolonial theory to Attitude Online

 Attitude Online is a strange choice of text!

• This is an online gay lifestyle magazine that is updated fairly regularly. This means that your case studies can vary day to day

• Attitude Online is arguably a promotion for Attitude the magazine. It has fairly low production values and through its lexis is clearly targeting a more working class audience. This differs wildly to Attitude the magazine, which is more middle class. This is to target a larger, more more diverse audience who may not otherwise read the magazine

Media language and website anatomy

Applying postcolonial theory to Attitude

Paul Gilroy argues that representations of ethnicity are formed through a complex system of othering. Evaluate this theory of representation. Make reference to Attitude to support your answer [15]

• Paul Gilroy argues that postcolonial attitudes still exist in British society, and these are reflected in media products. Gilroy argues that British ideologies are still primarily ethnocentric, and that this is reflected through the lack of representation of people of colour. By choosing not to represent black people, or severely underrepresenting them, producers are engaging in a process of othering, a process of segregation a group away from mainstream, hegemonic society. However, through focussing on LGBTQ+ issues, I will argue that Attitude represents communities who have previously been marginalised. 

• One way in which attitude uses representations of ethnicity to form a complex system of othering is through the representation of [INSERT REPRESENTATIONAL GROUP HERE!!!] 

• White people - lack of representation of POC, a diverse and inclusive representation of white people! Yet this reinforces certain hierarchies through this overrepresentation, and serves to other POC

• Black people - a representation of black people as stylish, confident and aspirational. In the article “It’s all a blur in the Attitude March/April Issue Let's get lost in the haze.”, two hegemonically attractive black models are constructed in an aspirational confident mode of address, which initially seems to dispel Gilroy’s argument. However these representations are few and far between, and there is a massive emphasis on stories representing white celebrities. Black people are consistently underrepresented, which not only marginalises POC, but also others them. 

• Gilroy would argue that the producers of Attitude are not overtly racist, yet living in a postcolonial society, are demonstrating unconscious bias, and are reinforcing certain hegemonic ideological expectations. However, one marginalised group the attitude certainly does represent in a complex and fascinating manner is queer people. In the article “Brandon Flynn sheds the layers for Calvin Klein’s 2023 Pride campaign”. The MES of the model’s tight and heavily suggestive underwear is further anchored through the lexis ‘this is love’, printed directly on the underwear itself. Far from seeming ashamed of his sexuality, the model’s facial expression encodes a presentation of pride and confidence. The notion of pride suggests confidence in the face of years of social exclusion, and this is especially important considering that gay marriage in the UK was only officially recognised in 2014. 

• The extensive use of queer coding in this article constructs a highly complex representation of gay people that challenges the notion that they should be closeted and othered. 

Stories We Tell - final discussion

 What is a documentary?

• A film that purports to document reality, and to demonstrate a sense of verisimilitude 
• However, the notion of reality is highly contentious, and ultimately highly subjective 
• Every single decision, every single shot, edit, choice of subject, aesthetic decision etc is a reconstruction of reality 
• It is impossible to truly ‘document reality’. Yet Polley in SWT accepts this conceit from the very beginning.

Grierson - “I want to make drama out of the ordinary”

• This acknowledges that the ordinary is not interesting, and therefore documentaries provide the spectator with an escape from reality, back in to a new and constructed reality. This highly postmodern form therefore also acknowledges that the fake is more more real and more inviting than 'reality'

Stories We Tell

• SWT presents a highly subjective and deliberately confusing narrative that frequently breaks the rules of film, such as confusing diegesis, presenting a deliberately confusing and contradictory narrative, and breaking the fourth wall by showing cast and crew. 
• Even more controversial, Polley reconstructs family videos, shot on Super 8 with actors acting as younger versions of Polley’s family. This deliberately subjective, misleading and confusing technique is further anchored through the use of cross cutting between staged ‘archive’ footage, and ‘documentary’ footage, featuring talking heads of Polley’s extended family further elaborating on events .
• While one interpretation is that these techniques alienate the audience, in fact the preferred reading is that actually Polley is drawing attention to the humanity of her ‘characters’, and the nature of subjectivity 
• Ultimately, the film presents a Quixotic structure that encourages active readings, and positions the audience in a delightful mode of address 
• In the scene in which Michael discusses Dianne’s abortion, a range of highly expressive techniques are used to position the spectator in a highly emotional mode of address. 
• The MES of super-8 footage, through it’s flickering and characteristic ywllow glow, constructs a highly nostalgic mode of address that the audience have no right to feel. This concept of nostalgia is a hyperreal construct, and is based on a collective understanding of a combination of Hollywood narratives
• The use of super-8 footage, and the cross cutting between this and voyeuristic mid shots of Michael, sitting in his own kitchen, directly addressing the camera. His costume is relaxed and relatable, and his status as a vulnerable human is further anchored through the MES f the ashtray placed haphazardly on the desk, the stack of messy paperwork, and the bottles of alcohol completing the richness of the setting. 

Applying postmodern theory to Zoella/Zoe Sugg

Jean Baudrillard argues that we live in a world where nothing means anything and meaning has collapsed. To what extent do you agree with this theory of postmodernism

The thumbnail preview that invites audiences to engage with Sugg's most recent video is not only typical of vlogs as a genre; it also demonstrates the binary dichotomy that exists between the construct of her reality as a 'cosy' and approachable media influencer, and the naked capitalist principals that exist behind her industry. Audiences must negotiate this hyperreal simulacrum, and must ultimately hold two thoughts simultaneously in their heads; one where Sugg is a benevolent and relatable neo-housewife archetype, and one where she is a mercenary neoliberal businesswoman. This lack of a semblance of clear interpretation is key to understanding the concept of the collapse of meaning that lies at the heart of postmodern theory. But, quite frankly, does anyone even care?

What is a 'hyperreal simulacrum'?

Hyperreality is where the representation of something is better than the concept it is representing. So for Zoella, we could argue her fancy life filled with pastel colours and delightful moments is so much more interesting than the actual experience of being a young woman in the United Kingdom. A simulacrum is a copy of a copy (of a copy). For example, let's look at the 'housewife' stereotype. Where did this even come from? We are aware of this stereotype from classic texts like Woman magazine and the 50's Tide advert, and perhaps more modern takes on the archetype as seen on Desperate Housewives, Madmen and the alarming 'trad wife' trend on Instagram on Tiktok. But where does this actually come from? What are these people copying? A copy of a copy? Of a copy of a copy? It get's rather anxiety inducing!

None of this matters of course, because Zoella is PERFECT. She is perfect even though she is 'fake', she is especially perfect because she is 'real'. She is a stereotype of something that never even existed in the first place, and no one even cares.

A hyperreal simulacrum is, therefore some that is made perfect through being fake. Both Humans and Zoella are absolutely stuffed with hyperreal simulacra (the plural). So make sure you use this phrase in the exam!

A short example response

Postmodernism is impossible to define as a theory. It argues that all meaning has collapsed, and the only thing that is real is representation. This theory is highly controversial, as if we acknowledge that there is no objective meaning, then we cannot come to any conclusions. The concept of postmodernism is best typified by the idea of hyperreality, where the representation is more real than the thing being represented. In this essay, I shall argue that both Zoella and Attitude represent a complete collapse of meaning, and therefore are highly postmodern texts. I shall also argue that Zoella in particular is an excellent example of hyperreality, and she uses an extremely cultivated, hyperreal and misleading mode of address in order to manipulate her target audience, and therefore maximise profit. 

• Zoella/ Zoe Sugg highly successful social media influencer and beauty and lifestyle vlogger. However, Sugg has extensively shifted her brand identity over time, and has constructed a ‘more real’ persona by using her actual name. This constructs a highly misleading and hyperreal construct that ultimately means nothing. For example, her latest video at the time of writing, “Getting Outside & Cute Everyday Moments | ad” constructs a hyperreal simulacra with no deeper meaning other than to make profit.
• A highly atypical extreme close up is used as an establishing shot, and this handheld self-shot ECU of Sugg’s face intends to construct a highly inviting and inclusive mode of address to the videos 559k viewers. This is anchored through the lexis “hello everybody! Do join us on a family trip”. This address is highly conventional of a vlog, and yet it is clear her words mean nothing. This highly constructed and frankly creepy address is further explored through the shaky handheld POV that positions the audience as Sugg. However, viewers of vlogs are aware of the conceit, and that this situation is highly constructed and manipulative. However the audience do not care, as the entertaining and escapist message is highly distracting. The audience are agreeing to be manipulated, which clearly constructs a highly postmodern mode of address, and reflects a world where there is no deeper meaning.
• As the vlog progresses, we suddenly and without warning shift from the ‘cute’ everyday life, to a highly staged shot of Sugg sitting in her bedroom, directly addressing the audience about hair products. This binary opposition between ‘real’ life and advertising constructs a highly postmodern mode of address, and reinforces the idea of Zoella as a hyperreal simulacrum. Zoella is not a representation of a human being, but a walking advert. However, Sugg chooses to not wear makeup during this scene, which constructs a surprising and highly relatable mode of address to her female target audience. This rejection of hegemonic beauty standards constructs a bizarre binary opposition with her highly capitalist mode of address. Sugg simultaneously argues for not wearing makeup and therefore being relatable, and also blatantly draws attention to products we should buy. This highly contradictory mode of address is further anchored through the MES of Sugg’s Zoella branded necklace, which brands herself as her own product, Zoella. Self-reflexivity, or the process of referring to one’s own fictitious state is a highly postmodern construct, and this further constructs a highly confusing mode of address that we have no hope of understanding.