https://docs.google.com/document/d/e/2PACX-1vTZk4_sDM5VQVITdt7DNe4iB6nFKBm8vgEIt680UkXZhbNsR8FqfIEOxl_yjY9fF5lCEPx9ZIkT3PD-/pub
https://docs.google.com/document/d/e/2PACX-1vSjGGdcsXSzM8EDm4QCCa4BY0xV3cz1iiG-0RD4ORcym5v_h1B_wT4saiBQGUHXYZzyaRKn9H-jsT3x/pub
The two groups of teenagers represented are pre-teens and the older teens. At the beginning of the episode, we see that the group of boys are stereotypical nerds, who have a strong interest in the board game ‘Dungeons and Dragons’. This suggests that they may not be the most popular kids at school as they would much rather stay in for long periods of time to play a board game rather than go out. Whilst playing the board game, we see that they are extremely engaged in the activity through the slow panning and extreme close ups of the boy’s facial expressions, completely concentrated in their role within the game. This representation is further shown with the boys’ knowledge of comic books, superheroes and sci-fi which are typically related to characters who are quite geeky, especially in the 80s. However, the show chooses to subvert the nerdy stereotype by portraying the boys as strong, confident and brave. Mike is portrayed as the leader of the group. Dustin is depicted as confident, when faced with bullies, he defends himself. Will’s courage is shown through his ability to keep a clear head when faced with the monster, and incentive to grab the gun when chased. All these aspects of the storyline are typical of modern shows, in which teenagers are often tasked with defeating the antagonists, perhaps as a reflection on current societal issues.

DIRT Marksheet 7 – H409 Music Videos Artist representations in mv’s

Name:                                      Date:

AO1: Demonstrate knowledge and understanding of the theoretical framework of media and contexts of media and their influence

Assessment Objectives AO1: 1a 1b – Demonstrate knowledge and understanding of the theoretical framework of media.

AO1 Total: 10 marks.

The content below is not prescriptive and all valid points should be credited. It is not expected that responses will include all of the points listed.

AO1:1 How producers may choose to include different representations in music videos to promote the artist(s), for example:

· producers of music videos may construct representations of the artist(s) that emphasise key aspects of their image, such as their performance prowess, which depending on the genre of music video could be high paced, coordinated dance routines, or performance highlighting the artist’s (or artists’) musical prowess and artistry, or narrative performance highlighting the artist’s (or artists’) image. Music videos may focus on one element of those highlighted above in depth but producers are more likely to select a combination of these elements to strongly emphasise key aspects of the artist’s (or artists’) mediated image.

 · producers of music videos may construct representations of the target audience for the artist(s), for example the storyline of narrative elements of a music video may feature representations (or idealised representations) of fans (the target audience) interacting with the artist(s) in order to elicit within fans a feeling of belonging and loyalty with regard to the mediated image and/or music of the artist’s (or artists’).

· producers of music videos may promote the artist(s) to their fan-base (target audience) through elicit value-transference to the artist(s) through representations other than those of the artist(s), for example: o through artistic excellence and high production values, e.g. a highly cinematic in style narrative music video; or through more abstract, ‘high art’ expressionist videos (that may be live action, animated or feature digital CGI; or feature a combination of these elements) that appeal to the artist’s (or artists’) fan-base (target audience) o through the use of glamour, for example, featuring representations artist(s) through the use of performers (which may be real, digital or animated) in ‘glamorous’ and / or highly aspirational situations o music videos may also elicit value

· List A videos using social realist representation of ‘street life’ to represent the authenticity and cultural currency of the Corinne Bailey Rae video, aiming to transfer that value of transcendence to the artist

· the use of intertextual, postmodern representations in List B videos. the cinéphiliac recreation of Spielbergian 80s suburban America in the David Guetta video

· the use of messages and viewpoints in videos that aim to bolster the image of the artist and chime with those of the positioned audience - the very filmic representation of teenage alienation in Guetta’s video creates an ambiguous message that adds to the sophistication of Guetta’s image and fits the large-scale nature of the song.

·         Comprehensive demonstration of knowledge and understanding of representations in music videos.

·         Comprehensive, detailed and accurate knowledge and understanding of representations in music videos.

·         Clear and precise and balanced explanation of how representations are chosen to promote the artist(s) in music videos.

7–10  Answer is supported by detailed and accurate reference to one set music video.

4–6  An adequate demonstration of knowledge and understanding of representations in music videos.

·         Adequate and generally accurate knowledge and understanding of representations in music videos.

· Generally accurate explanation of how representations are chosen to promote the artist(s) in music videos.

· Answer is supported by general accurate reference to one set music video

1–3 A minimal demonstration of knowledge and understanding of representations in music videos. · Knowledge of representation in music videos is minimal, demonstrating little understanding.

· Explanation of how representations are used in music videos is minimal and may not always be accurate. · Reference to a set music video to support the answer is minimal and may be inaccurate.

0 No response or no response worthy of credit.

Have a look at all the points you could have made from Miss Brookes’ feedback (next page) and reflect on what you did well and what was missing.

Identify a strength or strengths in your assessment: Identifying shots What are the areas you need to improve? Make sure to answer the question What do you need to focus on for your next music video assessment? Gendered stereotype Focus, grey concrete blurred focus, brutal Long shot reveals young woman-isolated against concrete walls, reaction shot shows her vulnerability Secondary characters are introduced discourse challenges-stereotypes Montage editing briefly used to allow audience to construct meaning Parallel sounds match visual images Connotations that whoever you are you can transcend poverty and inequality Initial stereotypes of angry homeless man and uncaring businessman are suggested and then challenged Urban connotations

AO1:2

Responses will demonstrate knowledge and understanding of contexts of media and their influence on media products and processes including:  explaining the economics of traditional and online editions of The Guardian and the Daily Mail newspapers (for example, paid for primarily by advertising based on audience number/ demographic as well as direct sales)  showing the significance of these changes for traditional print editions and online editions and newspaper audiences (e.g. The Guardian focusing on its online content and seeking to develop a donation-based culture; the Mail moving slightly downmarket with clickbait stories hosted on MailOnline; both papers are still seeking to maintain their print editions although these are making a loss)  explanation of technological convergence and/ or the proliferation of technology and the effect this has had on institutional process and audiences with reference to economic context (for example, The Guardian’s use of email to attract a regular audience; targeted advertising; the need for stories to be published online throughout the day as rolling news) GIVE SPECIFIC EGS  explaining the economic effect of the decline of traditional print editions, for example, with reference to circulation and yearly sales figures of traditional print versions and the rise of online subscription (neither The Guardian nor the Mail currently operate a paywall, compared to some of their competitors, although there is some debate as to whether this model is sustainable) HOW DOES THE GUARDIAN ASK READERS FOR MONEY?  explaining the economic implications of how newspapers are in competition for readers and how advertising revenue from the ‘new’ media is vital - GIVE EGS OF ADVERTISERS  explaining the different platforms used by audiences to access news content from The Guardian and Daily Mail with reference to the growth in online readership (give some numbers) and the impact on how audiences consume news (use of specific social media, websites means many consumers no longer pay for news content). GIVE SPECIFIC EGS.

https://docs.google.com/presentation/d/1pvT6qH6Tixu9Gy4TMcIwRTkHOadzENkNm1qflBe8MxU/edit?usp=drivesdk