Friday, 24 May 2013

WE MEDIA QUESTIONS & EXAM EXPECTATIONS


LEVEL 4 Expects...
Explanation/analysis/argument (16-20 marks)

Candidates adapt their learning to the specific requirements of the chosen question in excellent fashion and make connections in order to present a coherent argument. The answer offers a clear, fluent balance of media theories and knowledge of industries and texts and informed personal engagement with issues and debates.
Use of examples (16-20 marks)

Examples of theories, texts and industry knowledge are clearly connected together in the answer. History and the future are integrated into the discussion at least once in each case.
Use of terminology (8-10 marks)

Throughout the answer, material presented is informed by relevant media theory and the command of the appropriate conceptual and theoretical language is excellent.
Complex issues have been expressed clearly and fluently using a style of writing appropriate to the complex subject matter. Sentences and paragraphs, consistently relevant, have been well structured, using appropriate technical terminology. There may be few, if any, errors of spelling, punctuation and grammar.

ALSO LOOK AT...
‘We Media’ and Democracy
  •   What are ‘We Media’?
  •   Where/how has ‘We Media’ emerged?
  •   In what way are the contemporary media more democratic than before?
  •   In what ways are the contemporary media less democratic than before?
Candidates might explore combinations of any two media in relation to the above prompts. Starting from Gillmor’s definition, all media that are ‘homegrown’, local, organic and potentially counter-cultural can be studied for this topic, as long as two media (eg web-logging and digital film uploading and sharing) are studied. Note that candidates should compare potentially alternative/progressive ‘we media’ examples with other examples of more orthodox production and ownership models and that the question asks candidates to consider media within an understanding of democracy so any contemporary examples that support their argument will be credited. 



A wonderful list of 
‘We Media & Democracy’
past questions…

Jan 2010
How far can the media in 2010 be considered to be democratic? 

Explore the claim that the ‘new’ media are more democratic than the ‘old’ media.

June 2010
Assess the claim that the media is becoming more democratic.

What is ‘we media’ and what difference does it make to citizens?

Jan 2011
Discuss the meanings of the term ‘we media’.

“We get the media we deserve.” Discuss, in relation to the role of media in a democracy. 

June 2011
Explain how some features of contemporary media are more democratic than others.

As a citizen, to what extent do you feel that the media provide you with a democratic service?

Jan 2012
“The media are controlled by those in power just as much as ever, despite technological and cultural change.” How far do you agree with this statement?

What role do the contemporary media play in safeguarding democracy?

June 2012
Are we the media in 2012?

Explain your view of the role of media in a democracy.  

WE MEDIA PART 7 - The Digital Divide

WE MEDIA PART 6 - Reality TV

GO TO THESE WEBSITES...

http://flowtv.org/2006/09/reality-tv-is-undemocratic/

http://www.economist.com/node/4382469

http://www.guardian.co.uk/media/2012/nov/19/x-factor-louis-walsh








WE MEDIA PART 5 - CITIZEN JOURNALISM


Selected extracts from We the Media by Dan Gillmor

“We freeze some moments in time. Every culture has its frozen moments, events so important and personal that they transcend the normal flow of news.
Americans of a certain age, for example, know precisely where they were and what they were doing when they learned that President Franklin D. Roosevelt died. Another generation has absolute clarity of John F. Kennedy’s assassination. And no one who was older than a baby on September 11, 2001, will ever forget hearing about, or seeing, airplanes exploding into skyscrapers.

In 1945, people gathered around radios for the immediate news, and stayed with the radio to hear more about their fallen leader and about the man who took his place. Newspapers printed extra editions and filled their columns with detail for days and weeks afterward. Magazines stepped back from the breaking news and offered perspective.
Something similar happened in 1963, but with a newer medium. The immediate news of Kennedy’s death came for most via television; I’m old enough to remember that heart- breaking moment when Walter Cronkite put on his horn- rimmed glasses to glance at a message from Dallas and then, blinking back tears, told his viewers that their leader was gone. As in the earlier time, newspapers and magazines pulled out all the stops to add detail and context.

September 11, 2001, followed a similarly grim pattern. We watched—again and again—the awful events. Consumers of

We the media

News learned the what about the attacks, thanks to the televi- sion networks that showed the horror so graphically. Then we learned some of the how and why as print publications and thoughtful broadcasters worked to bring depth to events that defied mere words. Journalists did some of their finest work and made me proud to be one of them.
But something else, something profound, was happening this time around: news was being produced by regular people who had something to say and show, and not solely by the “official” news organizations that had traditionally decided how the first draft of history would look. This time, the first draft of history was being written, in part, by the former audience. It was possible—it was inevitable—because of new publishing tools available on the Internet.

Another kind of reporting emerged during those appalling hours and days. Via emails, mailing lists, chat groups, personal web journals — all nonstandard news sources — we received valuable context that the major American media couldn’t, or wouldn’t, provide.
We were witnessing—and in many cases were part of—the future of news.”
“This book is about journalism’s transformation from a 20th century mass-media structure to something profoundly more grassroots and democratic. It’s a story, first, of evolutionary change. Humans have always told each other stories, and each new era of progress has led to an expansion of storytelling.

This is also a story of a modern revolution, however, because technology has given us a communications toolkit that allows anyone to become a journalist at little cost and, in theory, with global reach. Nothing like this has ever been remotely possible before.”
 “In the 20th century, making the news was almost entirely the province of journalists; the people we covered, or “news- makers”; and the legions of public relations and marketing people who manipulated everyone. “

“Tomorrow’s news reporting and production will be more of a conversation, or a seminar. The lines will blur between producers and consumers, changing the role of both in ways we’re only beginning to grasp now. The communication network itself will be a medium for everyone’s voice, not just the few who can afford to buy multimillion-dollar printing presses, launch satellites, or win the government’s permission to squat on the public’s airwaves.”

“We can’t afford more of the same. We can’t afford to treat the news solely as a commodity, largely controlled by big institutions. We can’t afford, as a society, to limit our choices.”


Journalists
We will learn we are part of something new, that our readers/listeners/viewers are becoming part of the process. I take it for granted, for example, that my readers know more than I do—and this is a liberating, not threatening, fact of journalistic life. Every reporter on every beat should embrace this. We will use the tools of grassroots journalism or be consigned to history. Our core values, including accu- racy and fairness, will remain important, and we’ll still be gatekeepers in some ways, but our ability to shape larger conversations—and to provide context—will be at least as important as our ability to gather facts and report them.

Newsmakers
The rich and powerful are discovering new vulnerabilities, as Nacchio learned. Moreover, when anyone can be a jour- nalist, many talented people will try—and they’ll find things the professionals miss. Politicians and business people are learning this every day. But newsmakers also have new ways to get out their message, using the same technologies the grassroots adopts. Howard Dean’s presidential cam- paign failed, but his methods will be studied and emulated because of the way his campaign used new tools to engage his supporters in a conversation. The people at the edges of the communications and social networks can be a news- maker’s harshest, most effective critics. But they can also be the most fervent and valuable allies, offering ideas to each other and to the newsmaker as well.

The former audience
Once mere consumers of news, the audience is learning how to get a better, timelier report. It’s also learning how to join the process of journalism, helping to create a massive con- versation and, in some cases, doing a better job than the professionals. For example, Glenn Reynolds, a.k.a. “Insta- pundit,” is not just one of the most popular webloggers; he has amassed considerable influence in the process. Some grassroots journalists will become professionals. In the end, we’ll have more voices and more options.

Final Thoughts from Dan Gillmor

“The rise of the citizen journalist will help us listen. The ability of anyone to make the news will give new voice to people who’ve felt voiceless—and whose words we need to hear. They are showing all of us—citizen, journalist, newsmaker—new ways of talking, of learning.
In the end, they may help spark a renaissance of the notion, now threatened, of a truly informed citizenry. Self-government demands no less, and we’ll all benefit if we do it right.
Let’s have this conversation, for everyone’s sake.”



Thursday, 23 May 2013

WE MEDIA PART 4 - Arab Spring and Social Media


ARAB SPRING - Revolution Uploaded...







WE MEDIA PART 3 - Anonymous and Hacktivists and Wikileaks

WATCH AGAIN AND PICK OUT 2/3 KEY QUOTES...




WE MEDIA PART 2 - The Internet (WEB 2.0)

WEB 2.0









WE MEDIA PART 1 - What is We Media and Democracy?

The Usual Definiton

Democracy is by far the most challenging form of government - both for politicians and for the people. The term democracy comes from the Greek language and means "rule by the (simple) people". The so-called "democracies" in classical antiquity (Athens and Rome) represent precursors of modern democracies. Like modern democracy, they were created as a reaction to a concentration and abuse of power by the rulers. Yet the theory of modern democracy was not formulated until the Age of Enlightment (17th/18th centuries), when philosophers defined the essential elements of democracy: separation of powers, basic civil rights / human rights, religious liberty and separation of church and state.

NOAM CHOMSKY

PDF of Chomsky's Book Media Control...     CLICK HERE                    
(We want Pg 1 - Pg 12)

Chomsky said that democracy is not necessarily what we are lead to believe. We are the 'Bewildered heard' that are dictated to by the 'elite'. They some times give us an opportunity to vote to make us feel like we have a say!

This may help also...

Wednesday, 17 April 2013

Arab Spring Essay/Report

Using the Article from Khondker (2011) on New Media & the Arab Spring, Summarise what the...

What?
When? 
Where?
Why?
How?
Who?


Pick out the key points, and the ideas presented. Write it as an engaging essay/report bring in extra examples and thoughts.


Also link in what Noam Chomsky has to say on the matter in this video...



Wednesday, 27 February 2013

 
"Digital technology turns media consumers into media producers". In your own experience, how has your creativity developed through using digital technology to complete your coursework productions?
 
10 marks argument
10 marks specific examples
5 marks media terminology
 
30 minutes timed by Friday 8th March

QA 1a Theoretical Evaluation of Production.

Friday, 19 October 2012

The Shooting Schedule

As we are nearing production, it is time that you start considering when you want to shoot what. To this end you will need to produce a shooting schedule. The most useful schedule's organise shot's and scenes by location and mise-en-scene. This will save you time in the long run and avoid time consuming continuity checks.

If using the same location over a few days is unavoidable, you will need to take photos of the mise-en-scene, including make up and costume in order to prevent continuity issues.

Once you have made your shooting schedule it is vital that each member of your group has a copy. Everyone must attend all shoots noted on the schedule.

Friday, 12 October 2012

Pete Fraser's Media Blog

Pete Fraser is a chief examiner at OCR, our Media Studies exam board. He keeps a blog that is packed full of ideas that you may find useful for your coursework and in preparation for your exam. Follow him!

http://petesmediablog.blogspot.co.uk/

Sound and Music

The hills are alive!

The specification is somewhat muddled when it comes to the use of sound, but there are a few guidelines that you can use to ensure that you protect yourself from losing 'silly' marks.

1. Don't use obvious/copyrighted songs
2. No songs in their entirety & No '1 song' trailers
3. Excellent sound will be one that ensures quality (including dialogue recordings), mixing and editing

The best test for yourself is that you can honestly say to yourself that you have spent as much energy and stress about sound as you are with the editing, and that you have sought to be creative in your use of sound.

I'd like you to post about your plans towards including sound in your trailers in innovative and unpredictable ways. You may also want to post song choice ideas and evaluations.

Production Logo

Blogs are coming together really nicely so far, well done!

The next thing I would like you all to add to your blogs is a post on Production Logo research and then your own ideas, designs and a final production logo that you will use towards the beginning of your movie trailer.

You can conduct your reseach at trailer addict (traileraddict.com), the post your evaluations directly to your blogs. Follow this post up with your own designs and ideas and finally your final logo. Remember you are awarded marks for demonstrating creative process!

Friday, 28 September 2012

Target Audience Research

Target audience research can tend to be a little limited, but it is a vital area that many of you can improve by trying to go beyond the basics of simply stating your target audience to trying to add much further depth.


Some tips:

Audience research companies main manner of breaking down audiences is as follows:
Older males (>25) Older females (>25) Younger males (<25 females="females" younger="younger">
Some of the giant blockbusters (James Bond, Harry Potter, some Pixar films) attempt to be 4 quadrant films- films that appeal to all 4 of these different groups. Most other films will attempt to specifically target 1 or 2 of these quadrants.

Your starting point should be to identify which of the quadrants would appeal to and why, exploring things such as your genre and theme.

Other things you may wish to consider is whether your film would appeal to a large, mainstream audience or more of a specialised, niche audience.

2. Who is the target audience for the films you looked at when looking at Influences?
While this overlaps slightly with your Influences, you can point out the appeal of certain similar existing films that have appealed to the same sort of audience you are going for. One way to try to 'prove' this is to use the IMDB to look at audience votes and the differences between age group and gender. http://www.imdb.com/title/tt1392170/ratings is an example from 'The Hunger Games'. If you are planning for your film to be similar to this, you could make your point more convincingly about who the film is for and equally, who the film is not for. PLEASE NOTE: You should pay more attention and spend more time analysing the average score rather than the number of votes, as clearly males are just slightly nerdier and spend more time voting for films.


3. Are there any other audience groups that your film may appeal to?


While it is good to identify your main target audience in terms of age and gender, your film may also have a more specific appeal. For example, Tyler Perry's Madea film franchise is not particularly well known here, but in America the films make tens of millions of dollars, drawing out a huge crowd of African-American audience members but very few white Americans.




4. What other 'niche' factors could be considered about how you might appeal to an audience?

It is worth consulting the http://industry.bfi.org.uk/exitpolls and looking at some of the Excel documents (so this may not work on the MAC computers) for reasons. For example, 25% of people who were asked about the appeal of 4.3.2.1. stated that it had to do with the use of London (and New York) locations (see below). This will help you in terms of looking for more obscure and interesting reasons why your film may appeal.

5. What different 'tribes' of youth may be especially interested in your film?

The website uktribes.com provides a fantastic service in exploring the different types of youth audiences. This can especially useful in terms of judging the kind of 'attitude' that your audience may have.

6. Would your film be limited to a UK audience or might it have a global appeal?

Even though it was Oscar nominated and starred Brad Pitt, 'Moneyball' was only released in select cinemas in the UK. The reason was fairly simple: it revolved around baseball.


The reverse is also true: while having some success in the UK, Anuvahood went straight to DVD in America. It was felt that an urban story quite specific to the UK that parodied other British 'urban themed' dramas that were released straight to DVD in America was never going to have a big appeal.


You need to think about your own production and realistically assess whether the story would be 'universal' or something specific to British audiences?

7. What limitations are there on your production?

Too often with A2 blogs, candidates imagine that an audience would magically come to see their film. It would be interesting to consider aspects like the fact that your film is British (traditionally means a struggle at the box office- see http://www.bfi.org.uk/filmtvinfo/stats/BFI-Statistical-Yearbook-2011.pdf)that your film will have no stars (traditionally seen as being important for box office) and to explore how these kinds of factors are going to effect the difficulties in getting people to see it and how you are looking to 'combat' against this. (e.g. Genre or Critical Acclaim).

It is worth noting that the mark scheme explicitly addresses the need to have a clear target audience- these questions are to provide some guidance as to how you might achieve a Level 4 rather than be prescriptive.








Friday, 21 September 2012

A2 Blog to do list

So far you should have posted the following to your blogs:

  • Trailer Research
  • Sentence Pitch
  • Mood Board
  • An in depth trailer analysis or timeline
  • What is a Trailer
  • Remake of a trailer
 
You need to start thinking about posts that are more specific to the idea process by now. Start thinking about:

  • Casting 
  • Location
  • Props
  • Storyboarding
  • Scripts

Monday, 11 June 2012

Revision today

A reminder that revision is P4 today - 11:50 - 12:30.

Wednesday, 30 May 2012

Revision Sessions

The next Revision Session will be on Friday 1st June at 09:50 (period 2). We will go over all topics before we break up for half term and you will receive your full revision pack, enabling you to revise over the holiday. We will then have 2 further revision sessions before the exam - Monday 11th June (AM) and Thursday 14th June (PM). Revision materials will not be posted online - you must come to class. See you Friday.

Saturday, 7 April 2012

Preparing for final submission:

As you prepare your work for final grading consider the following:
  • Have I uploaded absolutely everything?
  • Are all my posts explained in such a way that anyone can understand what I'm trying to accomplish?
  • I have spent a lot of time on this project - is that evident from my blog posts?
  • Have I reflected on drafting and why I made changes throughout?
  • Is ALL OFF MY WRITING clearly of A2 standard (or could it have been written by a GCSE student?)
  • This is my last chance to secure my target grade - have I done everything possible?
Good luck - your grades will be posted the first week back.

Monday, 26 March 2012

Just checking out the blog headers.....

To put an image from your film or your poster on the top of your blog - go to design (top right) and click on edit in the header section. You can add your image there. First you will need to design your image and get it to the right size in PhotoShop. I did 980 pixels width by 200 length for this one.

Question 1a

In class today we looked at a sample answer for the question:

Describe how you used conventions of real media products for your own media production and evaluate how this skill contributed to the development of your work. Refer to a range of examples in your answer to show how these skills developed over time. [25]
Candidates will need to refer to their work for the Foundation Portfolio and Advanced Portfolio. Additionally, they may make reference to other media production work but this is strictly optional.

Now it's your turn to answer this question. You have 30 minutes. Starting - NOW.

Tuesday, 20 March 2012

FULL A2 BLOG LIST TO THE LEFT

Work your way through it, one bullet point at a time.

Homework/Prep task for next lesson - IMPORTANT

In Monday's lesson we were working on how to approach the essay question for Section A: Question 1a. We focused on skills development from AS and A2, looking at RESEARCH AND PLANNING skills and then skills in the use of DIGITAL TECHNOLOGY. For next lesson, you have been asked to meticulously prepare an essay plan to answer the following question:

Describe how you developed post-production skills and evaluate how these skills contributed to creative products. Refer to a range of examples in your answer to show how these skills developed over time. [/25]


You must use the following formula:

Introduction:
  • what you did at AS and A2
  • comment on opportunity for skills development
  • Which specific examples you will refer to in your essay (there should be 4)

Paragraphs 1-4:
  • Statement about specific skill i.e. Editing in Photoshop
  • Example of work from AS + Example of work from A2
  • Evaluate your skills development
  • How has this enabled you to be more creative?
Conclusion:
  • Comment on your level of skill now and the difference that will make to future projects.
  • Comment on any areas for further development and how this would enable you to be more creative.

Monday, 12 March 2012

THIS IS WHAT YOUR BLOGS SHOULD LOOK LIKE:

AS: http://cmdiplomayasmin.blogspot.com/

A2: http://latymermusicvideo2011group6.blogspot.com/


Just look at the creativity and quality!!!!! Look at the final work!!!!!! Where does yours stand in comparison?

You know you're as good as these students - so prove it to the examiner.

Saturday, 10 March 2012

Final Week of Collective Identity

This week will be our last lessons on the IDENTITY topic until we get to the revision sessions. Get a grip on the theories and study texts now. You will be tested this week!!!!! If you've done your glossary you have nothing to fear......

Tuesday, 6 March 2012

Prep work for exam

you will find the PowerPoints on our media website:

http://www.wix.com/mediadepartment/rwsmedia/a2

Friday, 27 January 2012

Newspapers reporting the London Riots

Task 1: go to http://www.frontpagestoday.co.uk/2011/08/14/archive.cfm and you should be in August 2011. Study the newspaper coverage from Saturday 6th through to the following weekend. What language do they use to describe a) the protesters b) the events, c) the police d) the government. TIP: Focus on Daily Mail, The Guardian, the Sun.

Task 2: Look at their stories from these days how do they talk about young people?

Tuesday, 24 January 2012

Group task

In your allocated groups, discuss what you found to be key information & use of language in the unfolding of the story on Twitter.
Produce a visual timeline illustrating those key moments - to be formally presented to the class today.
All individual work on timelines for Twitter and TV will be collected at the end of tomorrow's lesson. Please have the work printed, in your course folder and ready for collection. This is an important deadline.

Wednesday, 18 January 2012

How the story unfolded on TV

Task 2: Find TV news coverage for the weekend of the riots from a range of sources. Analyse the clips to find details of images used, people interviewed and language used by the reporters/News anchor. How did the story develop? Are there differences in coverage? Why? You should print screen and reference your sources to use in the exam.

Tuesday, 17 January 2012

Creating a social media timeline

Task 1; Using the resource below, pick out key moments in the unfolding of the "London Riots". Pay careful attention to who is involved in the tweets and the language they use to describe a) the riots b) those involved. This will be a key resource for your exam.



You can access the resource here.....

Exploration of "Youth"

Introduction to Youth and Identity

These are the influences 13B/ms came up with:

Friday, 13 January 2012

13A Homework for Monday 16th

New Topic: Media and Collective Identity

Ask a parent and/or a sibling to write down 5 things to describe you...... for the next lesson.

Thursday, 29 December 2011

January notices


  • 1:1 and small group support for exam is available Tuesday 10th and Wednesday 11th January by appointment only
  • (For those not re-sitting) Deadline for all A2 redrafting for this period is Friday 13th January- marking will begin next week - let me know which parts are ready for marking and which you need more time on.
We begin Unit G325 on Monday 16 January

Thursday, 1 December 2011

Instructions for export and upload

Highlight your sequence in the browser.

Right or control click and choose Export, then Using Quicktine Conversion...

Select where you want the file to end up, desktop probably.

Click on Options... button
Go into Settings... in the video portion at top of box.
Compression type - H.264
In data rate section type 5000 into box marked k/bits sec
Click OK

In sound section click on Settings...
In Format drop down menu select AAC
Click OK
Click OK on Movie Settings window

When it's finished upload it to Vimeo.

The Evaluation and FINAL HAND IN

The evaluation is a reflection on your work, with an emphasis on discussion of the key concepts. You are expected to evaluate using the knowledge and terminology you have developed over your A Level studies. Here are the questions you will need to answer in full:


And here is the grading criteria for level 4:


As you can see, it is important that you use creativity in the way you present your evaluation. This means straightforward essays are out of the question. If you are a strong essay writer, you might want to consider using those skills to write a script, and record a director's commentary, answering each of the questions. You don't need to show the film in a linear way either, you can take cuts to illustrate your points.

You can also record a podcast, make a creative prezi or present your answers - but remember you will be marked on your presentation skills.

You have until next Friday to complete the evaluation - FRIDAY 9TH DECEMBER. This is the final hand-in for the whole project so it can be marked in time to allow for final adjustments. It is in your best interests to get everything in on time. My own time for marking is very limited as you know.

REMEMBER - IF YOU WANT IT MARKED, PUT IT ON YOUR BLOG!!!