specification media studies · 2018-06-06 · 1 ocr 2017 a level in media studies. contents. 1 why...

ocr.org.uk/alevelmediastudies

A LEVELSpecification

MEDIA STUDIESH409For first assessment in 2019

A LEVEL Media Studies

Version 1.2 (May 2018)

http://www.ocr.org.uk/alevelmediastudies

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1© OCR 2017 A Level in Media Studies

Contents

1 Why choose an OCR A Level in Media Studies? 21a. WhychooseanOCRqualification? 21b. WhychooseanOCRALevelinMediaStudies? 31c. Whatarethekeyfeaturesofthisspecification? 41d. WhatisnewinOCR’sALevelinMediaStudies? 41e. HowdoIfindoutmoreinformation? 5

2 Thespecificationoverview 62a. OCR’s A Level in Media Studies (H409) 62b. Content of A Level in Media Studies (H409) 122c. ContentofMediamessages(H409/01) 142d. ContentofEvolvingmedia(H409/02) 192e. SubjectcontentforcomponentsH409/01andH409/02 232f. Contentofnon-examassessment:Makingmedia(H409/03/04) 282g. Priorknowledge,learningandprogression 31

3 Assessment of A Level in Media Studies 323a. Formsofassessment 323b. AssessmentObjectives(AO) 343c. Assessmentavailability 353d. Retakingthequalification 353e. Assessmentofextendedresponse 353f. Internalassessmentofnon-examassessment(NEA) 363g. Synopticassessment 443h. Calculatingqualificationresults 44

4 Admin:whatyouneedtoknow 454a. Pre-assessment 454b. Specialconsideration 464c. Externalassessmentarrangements 464d. Adminofnon-examassessment 464e. Resultsandcertificates 504f. Post-resultsservices 504g. Malpractice 50

5 Appendices 515a. Accessibility 515b. Overlapwithotherqualifications 515c. Acceptedfileformats 515d. Accessingthesetmediaproduct 525e. Academicideasandargumentstobestudied 54

Summaryofupdates 60

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A Level in Media Studies

1

1 Why choose an OCR A Level in Media Studies?

1a. WhychooseanOCRqualification?

ChooseOCRandyou’vegotthereassurancethatyou’reworkingwithoneoftheUK’sleadingexamboards. Our new A Level in Media Studies course has beendevelopedinconsultationwithteachers,employersandHigherEducationtoprovidelearnerswithaqualificationthat’srelevanttothemandmeetstheir needs.

We’repartoftheCambridgeAssessmentGroup,Europe’slargestassessmentagencyandadepartmentoftheUniversityofCambridge.CambridgeAssessmentplaysaleadingroleindevelopinganddeliveringassessmentsthroughouttheworld,operatinginover150countries.

Weworkwitharangeofeducationproviders,includingschools,colleges,workplacesandotherinstitutionsinboththepublicandprivatesectors.Over13,000centreschooseourALevels,GCSEsandvocationalqualificationsincludingCambridgeNationalsandCambridgeTechnicals.

OurSpecifications

Webelieveindevelopingspecificationsthathelpyoubringthesubjecttolifeandinspireyourstudentstoachievemore.

We’vecreatedteacher-friendlyspecificationsbasedonextensiveresearchandengagementwiththeteachingcommunity.They’redesignedtobestraightforwardandaccessiblesothatyoucantailorthedeliveryofthecoursetosuityourneeds.Weaim

toencouragelearnerstobecomeresponsiblefortheirownlearning,confidentindiscussingideas,innovativeandengaged.

Weprovidearangeofsupportservicesdesignedtohelpyouateverystage,frompreparationthroughtothedeliveryofourspecifications.Thisincludes:

• Awiderangeofhigh-qualitycreativeresourcesincluding:• DeliveryGuides• TransitionGuides• TopicExplorationPacks• LessonElements• …andmuchmore.

• AccesstoSubjectAdvisorstosupportyouthroughthetransitionandthroughoutthelifetimeofthespecification.

• CPD/Trainingforteachersincludingwebinarsandregionalmeetingstointroducethequalificationsandprepareyouforfirstteaching.

• ActiveResults–ourfreeresultsanalysisservicetohelpyoureviewtheperformanceofindividual learners or whole schools.

AllAlevelqualificationsofferedbyOCRareaccreditedbyOfqual,theRegulatorforqualificationsofferedinEngland.TheaccreditationnumberforOCR’sALevelinMediaStudiesisQN:603/2339/5.


1Thiscontemporary,accessibleandcreativecoursehasbeendesignedwithteachersandlearnersinmindfollowingextensiveconsultations.Thisspecificationwillallowlearnerstostudythemediainanacademiccontextandapplytheknowledgeandunderstandinggainedtotheprocessofcreatingtheirownmediaproductions.

OCR’sALevelinMediaStudiesisdesignedtowidentheintellectualhorizonsofthelearnerthroughtheanalysisofbothglobalandhistoricalmedia.Thisspecificationwillfosterthedevelopmentofcriticalandreflectivethinkingtoencourageengagementinthecriticaldebatessurroundingcontemporarymedia.

Theapproachthatwehavetakeninthisspecificationwillallowteachersandlearnerstoengageconfidently

withcriticalandtheoreticalapproachesfromtheperspectivesofbothanalyticalconsumersandproducersofmediaproducts.

ItisourstrongdesirethatOCR’sALevelinMediaStudies should inspire learners and develop an aspirationwithinthemtocontinuelearningbeyondtheconfinesoftheclassroomaswellasdevelopingpersonalandinterpersonalskillsthatwillservethemwellbothinHigherEducationandintheworkplace.

TheOCRALevelinMediaStudiesoffersabroad,coherentandrigorouscourseofstudyandhasbeencreatedtoensurethatalltypesoflearnerscanfulfiltheirpotential.

1b. Why choose an OCR A Level in Media Studies?

Aimsandlearningoutcomes

OCR’sALevelinMediaStudieswillenablelearnersto:

• demonstrateskillsofenquiry,criticalthinking,decision-makingandanalysis

• demonstrateacriticalapproachtomediaissues

• demonstrateappreciationandcriticalunderstandingofthemediaandtheirrolebothhistoricallyandcurrentlyinsociety,culture,politicsandtheeconomy

• developanunderstandingofthedynamicandchangingrelationshipsbetweenmediaforms,products,mediaindustriesandaudiences

• demonstrateknowledgeandunderstandingoftheglobalnatureofthemedia

• applytheoreticalknowledgeandspecialistsubjectspecificterminologytoanalyseandcomparemediaproductsandthecontextsinwhichtheyareproducedandconsumedinordertomakeinformedarguments,reachsubstantialjudgementsanddrawconclusionsaboutmediaissues

• engageincriticaldebateaboutacademictheoriesusedinmediastudies

• appreciatehowtheoreticalunderstandingsupportspracticeandpracticesupportstheoreticalunderstanding

• demonstratesophisticatedpracticalskillsbyprovidingopportunitiesforcreativemediaproduction.

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1ThekeyfeaturesofOCR’sALevelinMediaStudiesforyouandyourlearnersare:

• anengagingandworthwhilespecificationthatmeanslearnerswillbenefitfromstudyingmedia

• acontemporarycross-mediaNEAproductionwith a choice of briefs

• interestingandrelevantspecifiedmediaproducts for study

• supportfromadedicatedmediastudiesadvisorwho can directly answer any queries

• excitingresourceswithdetailedideasfortheclassroom

• guidancetosupportdelivery

• synopticlearningthatcomprehensivelytiesintherelationshipsbetweenmediaproductsand

thetheoreticalframeworkofmedialanguage,mediarepresentation,mediaindustriesandmediaaudiences

• anemphasisontextualanalysisthatenableslearnerstomakejudgementsonmediaproducts,fosteringanunderstandingofcontextandtheuseofacademicideasandarguments

• adeeperunderstandingofmediathatareencountered by learners on a daily basis

• anopportunitytoengagewithhistoricalandglobalmediaproductsthatshouldextendthelearners’knowledgeofthemedialandscape

• itengageswiththeacademicideasandargumentsthatsurroundthemodernworldofmedia

• co-teachabilitywithOCR’sASLevelinMediaStudies.

1c. Whatarethekeyfeaturesofthisspecification?

1d. WhatisnewinOCR’sALevelinMediaStudies?

ThissectionisintendedforteachersusingOCR’sALevel in Media Studies (H540).

IthighlightsthedifferencebetweenthisALevelandthenewALevelinMediaStudies(H409)forfirstteachinginSeptember2017:

What stays the same? What’schanging?

• Thetheoreticalframeworkremainsatthecoreofthespecification.

• Themarksforconstructingmediaproducts(NEA)remainsat30%.

• Achoiceofbriefforthemediaproduction(NEA).

• Useofunseenmaterialsinexamswherelearnersareawareofthemediaformsbeingused.

• Specifiedmediaproductswhichhavebeenchosenbecausetheyhavecultural,socialandhistoricalsignificance.

• Inclusionofnon-Englishlanguagemediaproductsandanunderstandingofhowmediaproductshavedevelopedsince1970.

• Useofacademicideasandargumentstoindicateaspecificconceptualunderstanding.

• IndividualproductionintheNEA.Non-assessedlearnerscanbepartoftheproductionteam.

• NEAbriefsthatwillchangeeveryyear.


1IfyouarealreadyusingOCRspecificationsyoucancontactusat:www.ocr.org.uk.

IfyouarenotalreadyaregisteredOCRcentrethenyoucanfindoutmoreinformationonthebenefitsofbecomingoneat:www.ocr.org.uk.

If you are not yet an approved centre and would like tobecomeonegoto:www.ocr.org.uk.

Wanttofindoutmore?

ContactaSubjectAdvisor:Email:[email protected]:01223553998

Exploreourteachersupport:http://www.ocr.org.uk/qualifications/by-subject/media-and-communication/

Joinourcommunities:Twitter:@OCR_Media_FilmOCRCommunity: http://ocr.org.uk/qualifications

CheckwhatCPDeventsareavailable:www.cpdhub.ocr.org.uk

1e. HowdoIfindoutmoreinformation?

http://www.ocr.org.uk



mailto:[email protected]

http://www.ocr.org.uk/qualifications/by-subject/media-and-communication/

http://www.ocr.org.uk/qualifications/by-subject/media-and-communication/

https://twitter.com/OCR_Media_Film

http://ocr.org.uk/qualifications

http://www.cpdhub.ocr.org.uk

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2a. OCR’sALevelinMediaStudies(H409)

2 Thespecificationoverview

LearnerstakeallComponents01,02and03tobeawardedtheOCRALevelinMediaStudies.

ContentOverview AssessmentOverview

SectionA:NewsandOnlineMediaThissectionconsistsoftwolinkedin-depthstudies that focus on contemporarynewsintheUK,requiringlearnerstoexplorehowandwhynewspapersandtheironlinecounterpartsareevolvingasmediaproductsandtherelationshipbetweenbothonlineandofflinenews.LearnersmustselectfromalistsetbyOCR.

SectionB:MediaLanguageandRepresentationLearnerswillexploremedialanguageandrepresentation,throughmediaproductssetbyOCRinthefollowingmediaforms:

• magazines• advertisingandmarketingand• musicvideos

Mediamessages(01)

70marks

2 hours

Writtenpaper

35% of total

A level

SectionA:MediaIndustriesandAudiences

Learnerswillexploremediaindustriesandaudiences,throughmediaproductssetbyOCRfor:

• radio• videogames• film*

*Film to be studied in relation to media industry only.

SectionB:LongFormTelevisionDrama

Learnerswillengageinone in-depthstudy of television as an evolving,globalmediaform.LearnersmuststudyonecompleteepisodeofacontemporaryEnglishlanguagelongformTVdramaandonecompleteepisodeofanon-EnglishlanguagelongformTVdramatoinformtheirstudy.Learnersmustselectfromlistsset by OCR.

Evolvingmedia(02)*

70marks

2 hours

Writtenpaper

35% of total

A level

Learnerswillcreateacross-mediaproductinresponsetoanOCRset brief.

Makingmedia*(03/04)

60marks

(NEA)

30% of total

A level

*Indicatesinclusionofsynopticassessment(seeSection3g).

Learnerswhoareretakingthequalificationmaycarryforwardtheirresultforthenon-examassessmentcomponent.Learnerswhowishtore-takethenon-examassessmentcomponentmustundertakethebriefsetfortheyearofassessment.


2

Mediaformsandspecifiedproductsinthespecification

Learners are required to study ninemediaformsandassociatedsetproductsasspecifiedbyOCR.Learnerswillstudyallninemediaformsusingthetheoreticalframeworkwhichconsistsofmedialanguage,

mediarepresentations,mediaindustriesandmediaaudiences(seeSection2bformoredetail)andalsoconsiderthesocial,cultural,economic,politicalandhistoricalcontextsofmediaproducts.

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Contentandproductsataglance

Mediaform Setproduct Areaofsubjectcontent to be studied

To be studied in

Film The Jungle Book (1967) ANDThe Jungle Book (2016)Extractsofthefilmsonlytobeconsideredinrelationtothemediacontextsandindustriesissuesexemplified.

Media industriesEconomicandhistorical contexts

Component02,SectionA

Advertisingandmarketing

Posteradvertisementsfor:Old Spice (malegroomingproduct),Lucozade (soft-drink),Shelter (charity).

MedialanguageMediarepresentationsSocial and cultural contexts

Component01,SectionB

Radio OnecompleteepisodeofThe BBC Radio One Breakfast Show.

Media industriesMedia audiencesEconomic,politicaland cultural contexts


Magazines Two front covers of The Big Issue. MedialanguageMediarepresentationsSocial,culturalandpoliticalcontexts


Videogames Minecraft Extractsofthevideogameonlytobeconsideredinrelationtothemediacontexts,industriesandaudienceissuesexemplified.

Media industriesMedia audiencesEconomicandsocialcontexts


Music video TwomusicvideosfromthelistsspecifiedinSection2cofthisspecification.

MedialanguageMediarepresentationsSocial and cultural contexts


Television Twocompleteepisodes(specifiedinSection2dbyOCR)fromthefollowinglongformtelevisiondramas:onefromList A and one fromListB.

OnefromListA(Englishlanguage)

OnefromListB(non-Englishlanguage)

Mr Robot The Killing

House of Cards Borgen

Homeland Trapped

Stranger Things Deutschland 83

All(synoptic)(In-depth study)



2

Mediaform Setproduct Areaofsubjectcontent to be studied

To be studied in

Newspapers TwofrontcoversfromtheDaily Mail and twofrontcoversfromThe Guardian ANDOnecompleteeditionofthe Daily Mail and onecompleteeditionofThe Guardian

All (In-depth study)


Online,socialandparticipatorymedia

TheMail Online and The Guardian websites (mediaindustriesandaudiences)ANDat least twoarticlesfromtheMail Online website and at least twoarticlesfrom The Guardianwebsites(Medialanguage andrepresentation)plusrelevantFacebook,TwitterandInstagramfeedsfromeachnewsorganisation.

All(In-depth study)


Component01(SectionA)–News

• Newspapers LearnersmuststudytheDaily Mail and The Guardiantoinformtheirstudies,asspecifiedinSection2c.

• Onlinesocialandparticipatorymedia LearnersmuststudytheMail Online and The Guardianwebsites,includingsocialandparticipatorymediatoinformtheirstudies,asspecifiedinSection2c.

ThissectionrequireslearnerstostudymediaproductssetbyOCRagainstallfourareasofthetheoreticalframeworkandthecontextssurroundingthemediaproducts.

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Component01(SectionB)–MediaLanguageandRepresentations

MediaForms AdvertisingandMarketing

Music Videos Magazines

SetMediaProducts • Old Spice (malegroomingproduct advert)

• Lucozade (UKsoft-drinkadvert)

• Shelter (UKcharityadvert).

Learnersmustchooseone video fromlistA:

• Corinne Bailey Rae – Stop Where You Are

• Massive Attack – Unfinished Sympathy

• Emeli Sandé – Heaven

AND

OnevideofromlistB:

• Fatboy Slim – Ya Mama

• Radiohead – Burn the Witch

• David Guetta – Titanium

The Big Issue.

MediaLanguage ü ü ü

MediaRepresentations ü ü ü

Media Contexts Social and Cultural Social and Cultural Social,CulturalandPolitical

Component02(SectionA)–MediaIndustriesandAudiences

MediaForms Film Radio Video Games

SetMediaProducts The Jungle Book (2016).Disney.USA.PG.

AND

The Jungle Book(1967).Disney.USA.U.

The BBC Radio One Breakfast Show.

BBC,UK.

Minecraft.

DevelopedbyMojang.SwedenPEGI7.

MediaIndustries ü ü ü

Media Audiences ü ü

Media Contexts EconomicandHistorical Economic,PoliticalandCultural

EconomicandSocial


2

Component02(SectionB)–LongFormTelevisionDrama

Learnersmuststudytwocompleteepisodesofthesetlongformtelevisiondramaslistedbelowtoinformtheirstudies.

OnefromlistA(USEnglishLanguageLongFormTelevisionDramas):

• Mr Robot(Season1,Episode1,June2015)BBFC15

• House of Cards(Season1,Episode1,January2013)BBFC15

• Homeland(Season1,Episode1,October2011)BBFC15

• Stranger Things(Season1,Episode1,July2016)BBFC12.

AND

OnefromlistB(Europeannon-EnglishlanguageLongFormTelevisionDramas):

• The Killing/Forbrydelsen (Season1,Episode1,October2007)BBFC15

• Borgen (Season1,Episode1,October2010)BBFC15

• Trapped (Season1,Episode1,December2015)BBFC15

• Deutschland 83 (Season1,Episode1,October2015)BBFC15.

ThissectionrequireslearnerstostudymediaproductssetbyOCRagainstallfourareasofthetheoreticalframeworkandthecontextssurroundingthemediaproducts.

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TheOCRALevelinMediaStudiesintroduceslearnerstotheroleandinfluenceofthemedia.Themainfocusofthisspecificationisthemediatoday,bothnationallyandglobally.

However,toensurelearnersunderstandthecontextoftoday’sfastmovingmedia,theywillalsoberequiredtostudythebroaderhistoryofmediaanditsroleandimpactonsociety,culture,politicsandtheeconomyinbothdomesticandglobalspheres.

Theoreticalframework

Learnerswilldeveloptheirunderstandingofthemediathroughtheconsistentapplicationofthefourareasofthetheoreticalframework:

• medialanguage:howthemediathroughtheirforms,codes,conventionsandtechniquescommunicatemeanings

• mediarepresentationshowthemediaportrayevents,issues,individualsandsocialgroups

• mediaindustries:howthemediaindustries’processesofproduction,distributionandcirculationaffectmediaformsandplatforms

• media audiences:howmediaformstarget,reachandaddressaudiences,howaudiencesinterpretandrespondtothemandhowmembersofaudiencesbecomeproducersthemselves.

Contextsandskills

Thisspecificationwillgivelearnerstheopportunitytoundertakecloseanalysisandcomparisonofmediaproductsinrelationtorelevantkeysocial,cultural,economic,politicalandhistoricalcontexts.

Learnersshouldhavealsodevelopedtheskillsto:

• analysecriticallyandcomparehowmediaproducts,includingproductsoutsidethecommercialmainstream,constructandcommunicatemeaningsthroughtheinteractionofmedialanguageandaudienceresponseuse

keytheoriesofmediastudiesandspecialistsubject-specificterminologyappropriately

• useandcriticallyreflectuponarangeofcomplextheoriesofmediastudiesandusespecialistsubject-specificterminologyappropriately

• debatekeyquestionsrelatingtothesocial,cultural,politicalandeconomicroleofthemediathroughsustaineddiscursivewriting.

Throughthisapplicationofthetheoreticalframework,thisspecificationrecognisesthefundamentalrelationshipbetweentheoryandpractice,requiringlearnerstoapplyanddeveloptheirunderstandingofthemediathroughbothanalysingandproducingmediaproducts.

Mediamessages(Component01)offerslearnerstheopportunityto:

• considertherelationshipbetweenofflineandonlinemediaproductsbycompletingtwolinkedin-depthstudiesintocontemporarynewspapers,andtheironlinecounterparts,includingsocialandparticipatorymedia.

• developknowledgeandunderstandingofacademicideasandargumentsinrelationtothe two in-depth studies.

• developknowledgeandunderstandingofmediacontexts,medialanguageandrepresentationsthroughthestudyofadvertisingandmarketing,magazines,andmusicvideo.

Evolvingmedia(Component02)offerslearnerstheopportunity to

• developknowledgeandunderstandingofmediacontexts,mediaindustriesandaudiencesthroughthestudyofradio,videogamesandfilm

2b. ContentofALevelinMediaStudies(H409)


2

• drawtogetherknowledgeandunderstandingfromthewholecoursewhilstconsideringtelevisionasanevolvingmediaformthroughanin-depthstudycentredaroundglobalcontemporarylongformtelevisiondrama

• developknowledgeandunderstandingofacademicideasandargumentsinrelationtothe in-depth studies.

Makingmedia(Component03/04)offerslearnerstheopportunitytoapplytheirknowledgeandunderstandingofthetheoreticalframeworkintheproductionoftheirownindividualcross-mediaproductfromachoiceofsetbriefsissuedbyOCR.

SetMediaProducts

OCRwillreviewallthespecifiedmediaproductseverythreeyearsandupdatethemifnecessarytoensurethatallthespecifiedproductsremainrelevantandavailabletocentres.Wheremediaproductsarereplaced,centreswillbenotifiedatleastoneyearinadvancepriortoteachingatwoyearcourse.

Academicideasandarguments

Appendix5eoutlinestheacademicideasandargumentstobestudiedwithreferencetothefourareasofthetheoreticalframework.ThisinformationshouldbeusedincombinationwiththecontentlistedinSection2e.

Resources

Beforeacentrebeginsthisqualification,thereisaneedforsuitablemediafacilitiesandtechnologiesto

beavailableandforlearnerstobetaughthowtousethembeforeembarkingonassessedwork.Thenon-examassessmentcomponent(NEA)requireslearnerstodeveloppracticalproductionskillsandtoengagewithcontemporarymediatechnologies.Therefore,theminimumresourcingrequirementsthat a centre would be expected to have for the deliveryofOCR’sALevelinMediaStudiesaredigitaltechnologysuitablefortheconstructionofmediaproductions(e.g.appropriatecameras,eithercamcordersordigitalSLRsandsoundrecordingequipment)andsoftwareforediting,imagemanipulationandpagelayout.Alsoareliableinternetconnectionisrequiredforresearchandplanningoftheproduction,aswellaswherenecessary,thepresentationoflearner’swork.

Terminology

Throughoutthespecificationthereisreferencetothefollowing:

• ‘academicideasandarguments’ refers to the collectivewritingaboutthemediabyanumberofwritersonmedia

• ‘mediaproduct’referstomediatexts,suchastelevisionprogrammes,newspapers,radioprogrammesetc.,aswellastoonline,socialandparticipatorymediaplatforms

• ‘intertextuality’ refers to the way aspects of a particularmediaproductrelatetoanotherandthusaccrueadditionalsignificance.

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SectionAconsistsoftwolinked,comparativein-depthstudiesthatfocusoncontemporarynewsintheUK,requiringlearnerstoexplorehowandwhynewspapers and their online counterparts are evolvingasmediaproductsandtherelationshipbetweenbothonlineandofflinenews.Asin-depthstudies,newspapersandonline,socialandparticipatorymediamustbestudiedinrelationtoall

fourareasofthemediatheoreticalframework,includingallrelatedtheoriesandallrelevantcontexts(thesubjectcontenttabledetailingalloftheabovefollowstheendofComponent02).

Inthissection,learnersmuststudythefollowingsetproducts.

2c. ContentofMediamessages(H409/01)

SectionA–News

MediaIndustriesandMediaAudiences

MediaForm SetProduct Guidancetoaidcomparison

Newspapers OnecompleteeditionoftheDaily Mail and onecompleteeditionofThe Guardian selected by the centre.

Each pair of newspapers selected shouldbepublishedonthesamedate.

Online The Mail Online and The Guardian websites.

Keypagesfromeachnewspaper’swebsite,includingthehomepageandatleasttwootherpageswhichhelpillustratethescope,scaleandcontentand appeal of each website.

Socialandparticipatorymedia1 The Twitter, Facebook and Instagram feedslinkedtofromthemainMail Online and The Guardian websites.

Aconsiderationofhowactiveeachnewspaper’ssocialandparticipatorymediafeedsare,includingwhicharticlesarefeaturedandwhichgeneratethemostaudienceparticipation.

NB: All set products selected for study in this section must be from the September onwards of the first year of teaching a two-year course. For example, from September 2017 onwards for a candidate entering for assessment in June 2019.

Pleaseturnoverforanindicativecontentlist.

1Itistheteacher’sresponsibilitytoensurethatthesocialandparticipatorymediafeedsstudiedareageappropriateandsuitableforconsumptionbytheirlearners.


2

Thefollowingindicativelistisgivenasguidanceandisnotexhaustive.

Forexample,inrelationtomediaindustriesandaudienceslearnersshouldconsider:

• theoverarchingrelationshipbetweentechnologicalchangeandnewspaperproduction,distributionandcirculation

• theimpactofdigitalconvergenceontheproduction,distributionandcirculationofnewsorganisations’offlineandonlineofferings

• thesignificanceofissuesofownershipandeconomicfactors,includingtherangeofeachnewspaper’sprintandonlinecontent,theuse

ofonlinemonetizationfeaturessuchaspaywalls,subscriptionsandgames

• thecontentandappealofeachofthesetproductsandhowthisisusedtotarget,reachandaddressdifferentaudiences

• howaudiencemayuseandinterpretthesamemediaindifferentways

• howaudiencescanbereachedthroughdifferentmediatechnologiesandplatforms

• theimpactoftheregulatoryframeworkonthenewspaperindustryandtheimpactofonlinenewsandsocialandparticipatorymediaonregulation.

MediaLanguageandMediaRepresentation

MediaForm SetProduct Guidancetoaidcomparison

Newspapers TwofrontcoversfromtheDaily MailandtwofrontcoversfromThe Guardian selected by the centre.

Eachofthetwo‘pairs’offrontcoversshouldbepublishedonthesamedateandfeatureasimilarleadarticlethatisofnationalorinternationalsignificance,forexamplethiscouldbeapolitical,economicorsportingeventoraleadarticlerelatedtoconflict,crimeor health.

Online AtleasttwoarticlesfromtheMail Online website and at least twoarticlesfromThe Guardian websites.

Eachchosenwebsitearticleandtheassociatedsocialandparticipatorymediafeedsshouldlinktothethemesor issues represented in the front covers chosen.

Forexample,ifaGuardian frontcoverleadarticleisa‘Brexit’relatedstorythenlearnersshouldstudytheassociated Guardian Online articleand Twitter, Facebook and Instagram feeds for this story and consider how medialanguageandrepresentationsinthosefeedspositiontheaudienceandengageparticipation.

Social and participatorymedia1

TheassociatedTwitter, Facebook and Instagram feeds for the onlinearticleschosenbythecentrefromtheMail Online website and The Guardian websites.

NB: All set products selected for study for this section must be from the September onwards of the first year of teaching a two-year course. For example, from September 2017 onwards for a candidate entering for assessment in June 2019.

Pleaseturnoverforanindicativecontentlist.

1Itistheteacher’sresponsibilitytoensurethatthesocialandparticipatorymediafeedsstudiedareageappropriateandsuitableforconsumptionbytheirlearners.

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Thefollowingindicativelistisgivenasguidanceandisnotexhaustive.Forexample,inrelationtomedialanguageandrepresentations,learnersshouldconsider:

• thewayevents,issues,individualsandsocialgroupsarerepresentedthroughprocessesofselectionandcombination,includingaconsiderationofthechoicesnewsmediamake

• theimpactofindustrycontexts(forexampleownership) on the choices news producers makeabouthowtorepresentevents,issues,individualsandsocialgroups

• thewaysinwhichrepresentationsconstructedbynewsmediamakeclaimsaboutrealism

• thepositiveandnegativeuseofstereotypesbynewsmediaandhowrepresentationsmay

invokediscoursesandideologiesandpositionaudiences

• thewaysinwhichtheuseofmedialanguagebynews producers incorporates viewpoints and ideologies

• howmultiplemeaningscanbecommunicatedacrossdifferentnewsplatformsandtheimpactoftechnologyonmedialanguage(forexample,postproductioneditingofphotos)

• theelementsofmedialanguageusedinnewspaperfrontcovers,onlinewebsitesandsocialandparticipatorymediasuchaslocations,lighting,choiceofcamerashot,angle,typography,layout,addressofcontenttotheaudienceandeditingandsoundasappropriate.

SectionB–MediaLanguageandRepresentation

SectionBfocusesonmedialanguageandrepresentationandrequireslearnerstoconsiderhowandwhymedialanguageisusedbymediaproducerstocreatemeaningandconstructvariousrepresentationsofevents,issues,individualsandsocialgroups.

Inthissection,learnersarerequiredtostudythefollowingmediaformsandproductssetbyOCR.

MediaForms AdvertisingandMarketing

Music Videos Magazines

Set Media Products

• Old Spice (malegroomingproduct advert)

• Lucozade (UKsoft-drinkadvert)

• Shelter (UKcharityadvert).

LearnersmustchooseonevideofromlistA:




AND

OnevideofromlistB:

• Fatboy Slim – Ya Mama

• Radiohead – Burn the Witch

• David Guetta – Titanium

The Big Issue.

MediaLanguage ü ü ü

Media Representations

ü ü ü

Media Contexts Social and Cultural Social and Cultural Social,CulturalandPolitical


2

AdvertisingandMarketing:Old Spice (Malegroomingproduct), Lucozade (Softdrink)and Shelter (Charity)

Advertisingandmarketingmustbestudiedinrelationtomedialanguageandmediarepresentations,includingaconsiderationofthesocialandculturalcontextsthatinfluencehowmedialanguageisusedtoconstructrepresentations.

Learnersmuststudyallthreesetadvertisingandmarketingproductsinthissection.

ThemediaproductswillbemadeavailablebyOCR.Threecontrastingpostershavebeenselected.

TheOld Spice ‘Smell Like A Man’ campaignposterfrom2010wasatransformativemassmarketcampaignfortheaftershavebrand.Priorto2010theOld Spicebrandwasassociatedwithamucholder,morematuremaleaudience.Thismagazineadvertwasacontinuingpartofacampaignthatsoughttorepositionthebrandandmakeitmoreaccessibletoyoungeraudiences.

TheLucozade ‘I believe’ campaignposterfrom2013waspartofa£4mmassmarketcampaigntoeducateconsumersabouthowthesoftdrinkbrandcanhelpimprovepeople’ssportsperformance,andfeaturesfootballerGarethBaleasakeybrandambassador.

Shelter,theUKbasedhousingandhomelessnesscharitylaunchedanadvertisingcampaignin2011thatwasproducedforthoseatriskofhomelessnesstopointthemtoShelter’sfreeservicesandguidethemtoseekadviceonissuesaroundhomelessnessearlier.

Learnersneedtostudythesetadvertisingandmarketingproductsinrelationtoall the subject contentbulletpointslistedunderthe‘medialanguage’and‘mediarepresentations’topicsinthesubjectcontenttablefollowingtheendofComponent02toestablishthecodesandconventionsofeachcategoryofadvert.

Theoriesofmedialanguageandrepresentationdo not need to be studied.

Considerationshouldbemadeofmedialanguageelementsspecifictoadvertisingandmarketingsuchaslocations,costumes,props,makeup,lighting,choiceofcamerashot,angle,typography,layoutandaddressofwrittencontenttotheaudience.

Magazines:The Big Issue

Magazinesmustbestudiedinrelationtomedialanguageandmediarepresentations,includingaconsiderationofthesocial,culturalandpoliticalcontextsthatinfluencehowmedialanguageisusedtoconstructrepresentations.

The Big Issueisanichemagazineoutsidethecommercialmainstreamthatlearnersmaynotnormallyengagewith.Itprovidesacontrastingexampleofhowtheelementsofthetheoreticalframeworkformedialanguagecanbeusedtoconstructalternativerepresentationsthatappealtoparticularaudiences,includingaconsiderationoftheinfluenceofthesocial,culturalandpoliticalcontexts.

Learnersmuststudytwofrontcoversof The Big Issue, fromtheSeptemberofthefirstyearofteachingatwoyearcourse,(e.g.fromSeptember2017onwardsforacandidateenteringforassessmentinJune2019),chosenbythecentre. Thefrontcoversselectedshoulddemonstraterepresentationsthatarealternativetothemainstreamandofnationalsignificance,intermsofthe events or issues they portray.

Learnersneedtostudythemagazineproductsinrelationtoall the subject content bullet points listed underthe‘medialanguage’and‘mediarepresentations’topicsinthesubjectcontenttableattheendofComponent02.


Considerationshouldbemadeofmedialanguageelementsspecifictomagazinessuchaslocations,costumes,props,makeup,lighting,choiceofcamerashot,angle,typography,layoutandaddressofwrittencontent to the audience.

ThestudyofThe Big Issue does not extend to online.

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MusicVideos:Onepairofmusicvideos

Musicvideomustbestudiedinrelationtomedialanguageandmediarepresentations,includingaconsiderationofthesocialandculturalcontextsthat

influencehowmedialanguageisusedtoconstructrepresentations.

Forthestudyofmusicvideo,learnersarerequiredtostudytwomusicvideos.

Learners must study onemusicvideofromList A ANDonemusicvideofromListBbelow:

List A ListB

Corinne Bailey Rae – Stop Where You Are Fatboy Slim – Ya Mama

Massive Attack – Unfinished Sympathy Radiohead – Burn the Witch

Emeli Sandé – Heaven David Guetta – Titanium

CentresarefreetochooseanypairingfromListAandListB.

ThemusicvideosarefreelyaccessibleviaYouTubeandVimeo.

ThemusicvideosinListAallfeaturetheirrespectiveartist(s)andareamixtureofperformanceandnarrative,andraiseanumberofsimilarrepresentationalissuessurrounding‘streetlife’.

ThemusicvideosinListBdonotfeaturetheirrespectiveartist(s)atall,instead,witheachmusicvideocelebratingthepowerofnarrativeandsignificationandapostmodernemphasisonintertextuality.ThevideosinListBeachuseverydifferentrepresentationstoeachother,buteachcontrastsclearlywiththerepresentationsfeaturedinthemusicvideosinlistA.

Learnerswillexplorethedifferencesinmedialanguageandrepresentationbetweenexamplesfromthetwolists.Alloftheartistsselectedforbothlistsarewellknown,andthelistsincludearangeofartists(consideringbothgenderandethnicity)andgenresaswellasensuringthateverymusicvideoonthelistisageappropriateforanAlevelprogrammeofstudy.


Learnersshouldinvestigatehowtheelementsofthetheoreticalframeworkformedialanguageareusedtoconstructrepresentationsthatappealtoparticularaudiences,includingaconsiderationoftheinfluenceofhistorical,socialandculturalcontexts.Considerationshouldbemadeofmedialanguageelementsspecifictomusicvideossuchascamerashots,angles,lighting,settings,locations,costumes,props,makeup,editingandsoundasappropriate.


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SectionAfocusesonmediaindustriesandaudiencesandrequireslearnerstoconsiderhowandwhymediaproductsareconstructedacrossdifferentmediaformstoreachandaddressanumberofaudiences.

Inthissection,learnersarerequiredtostudythefollowingmediaformsandproductssetbyOCR.

2d. ContentofEvolvingmedia(H409/02)

SectionA–MediaIndustriesandAudiences

MediaForms Film Radio Video Games

SetMediaProducts The Jungle Book (2016).Disney.USA.PG.

AND

The Jungle Book(1967).Disney.USA.U.

The BBC Radio One Breakfast Show.

BBC,UK.

Minecraft.

DevelopedbyMojang.SwedenPEGI7.

MediaIndustries ü ü ü

Media Audiences ü ü

Media Contexts EconomicandHistorical Economic,PoliticalandCultural EconomicandSocial

Film:The Jungle Book (2016)andThe Jungle Book (1967)

Filmmustbestudiedinrelationtomediaindustriesonly,includingtheeconomiccontextsofthefilmindustry.Learnersneedtostudythesetfilmsinrelationtoall the subject content bullet points listed underthe‘mediaindustries’topicinthesubjectcontenttableattheendofthiscomponent.

The Jungle Book(2016)hastakenover1billionUSdollarsalreadyatthecinemaboxofficealone(andwillgeneratemoreincomeasaDVD/Blu-raydiscandonline).Thefilmhasaclearpatternofproduction,distributionandcirculationthatcanbeeasilydistinguishedandisafilmproductionfromamajorstudio.

The Jungle Book (1967)isahistoricallysignificantmediaproduct.The1967filmiscurrentlyoneofthe

mostsuccessfulfilmsofalltime(ithastakenover 100billionUSdollars)andfollowedatraditionalpatternofproduction,distributionandcirculation,althoughitenjoyeda‘secondlife’onvideoandDVD.

Providingbothfilmsforthefocusofanindustrystudywillallowlearnerstoconsiderhowthefilmindustryhaschangedfrom1967topresentdayinrelationtohowbothsetfilmswereproduced,distributedandcirculated,includingconsiderationsoftechnologicalchange,regulationandthesignificanceofpatternsofownershipandeconomicfactors.

Extractsofbothfilmsmayonlybeconsideredinrelationtothemediaindustryissuesexemplified.Textualanalysisisnot arequirementofthestudyorassessmentofFilmasamediaform.

Theoriesofmediaindustriesdo not need to be studied.

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Radio: The BBC Radio One Breakfast Show

Radiomustbestudiedinrelationtomediaindustriesandmediaaudiences,includingaconsiderationoftheeconomic,politicalandculturalcontextsthatinfluencetheradioindustryanditsaudiences.

The BBC Radio One Breakfast Show is currently the mostlistenedto‘show’onBBCRadioOneandformspartofBBCRadioOne’soverallpublicservicebroadcasting(PSB)remitto‘entertain,educateandinform’andisrequiredtodemonstratea‘distinctive’outputofcontentcomparedtocommercialradio.

Learnersmuststudyone complete episode of The BBC Radio One Breakfast Show,fromSeptember2017onwards,chosenbythecentre.Learnersneedtostudythesetradioproductinrelationtoall the subjectcontentbulletpointslistedunderthe‘mediaindustries’and‘mediaaudiences’topicsinthesubjectcontenttableattheendofthiscomponent.Theselectedradioprogrammeshouldbeastandardepisode(notafeatureoronlocationepisode)andincludearangeofBritishmusicandcontentpromotingBritishmusic,celebrityinterviews,newsitemsandquizzes/games.Itistheteacher’sresponsibility to ensure the content selected is appropriate to their learners.

Theoriesofmediaindustriesandaudiencesdo not need to be studied.

LearnersshouldconsiderthesignificanceofpublicservicebroadcastingandhowThe BBC Radio One Breakfast Showfitsintotheoverarchingethosof‘informing,educatingandentertaining’,includingconsiderationofthe‘distinctiveness’ofthecontentoftheprogrammecomparedtocommercialbreakfastshowsandwhichaudience(s)arebeingtargetedand

why.Theinfluenceoffundingshouldalsobeconsideredinrelationtocontent,production,marketinganddistributionandthereshouldalsobeaconsiderationoftechnology,forexample,theuseoftechnologytodistributetheshowacrossanumberofplatformsotherthan‘traditional’radio.

Video Games: Minecraft

Videogamesmustbestudiedinrelationtomediaindustriesandmediaaudiences,includingaconsiderationoftheeconomicandsocialcontextsthatinfluencethevideogameindustry.

Minecraftisanexampleofanoriginallyindependently-producedvideogamethathasgrownexponentiallyinpopularityandhassincebeentakenoverbyanindustrygiant,Microsoft.

Learnersmuststudythesetvideogameproductinrelationtoall the subject content bullet points listed underthe‘mediaindustries’and‘mediaaudiences’topics in the subject content table at the end of this component.

Theoriesofmediaindustriesandmediaaudiencesdo not need to be studied.

LearnersshouldconsidertheelementsofthetheoreticalframeworkformediaindustriesandaudiencesandexaminehowtheproducersofMinecraft haveengagedwithandconstructedtheiraudienceandexamineissuesofownershipandtheinfluenceoftechnologyonproductionanddistribution.

Extractsofthevideogameshouldonlybeconsideredinrelationtothemediaindustryandaudienceissuesexemplified.


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SectionBconsistsofanin-depthstudyrequiringlearnerstoexploretelevisionasamediaform.Thissectionalsogiveslearnerstheopportunitytodrawtogetherelementsfromtheirfullcourseofstudy,includingdifferentareasofthemediatheoreticalframeworkandmediacontexts.

Asanin-depthstudy,televisionmustbestudiedinrelationto:

• allfourareasofthemediatheoreticalframework(includingallrelatedtheories)

• allrelevantcontexts.

Inthissection,learnerswillberequiredtocompleteacomparativestudyoftwocontemporarylongformtelevisiondramas:

• one of which must befromthesetUSlongformtelevisiondramalistbelow;

AND

• one of which mustbefromthesetEuropean(non-Englishlanguage)longformtelevisiondramalistbelow.

SetUSLongFormTelevisionDramaList

• Mr Robot (Season1,Episode1,June2015) BBFC15

• House of Cards (Season1,Episode1,January2013)BBFC15

• Homeland (Season1,Episode1,October2011)BBFC15

• Stranger Things (Season1,Episode1,July2016)BBFC12

SetEuropean(non-Englishlanguage)LongFormTelevisionDramaList

• The Killing/Forbrydelsen(Season1,Episode1,October2007)BBFC15

• Borgen(Season1,Episode1,October2010)BBFC15

• Trapped(Season1,Episode1,December2015)BBFC15

• Deutschland 83(Season1,Episode1,October2015)BBFC15.

Centresshouldchoosethemostappropriatelongformtelevisiondramasfortheirlearners.

Each of the set episodes of the television programmesisanexampleofacontemporaryUSandEuropeanlongformtelevisiondrama.

Thefollowingindicativelistisgivenasguidanceandisnotexhaustive.

Learners should use alltheareasofthemediatheoreticalframework(includingtheory)inrelationtotheirchosensettelevisionprogrammestoconsider,forexample:

• theinfluenceoftechnologicalchange,includingdigitallyconvergentmediaplatformsontheproduction,marketing,distributionandexhibitionoflongformtelevisiondramainaglobalcontext(includingtheimpactsofdigitaldistributionplatformsonthecontemporaryglobaltelevisionindustry)

• howaudiencesconsumeandinterpretlongformtelevisiondramasindifferentways,includingaconsiderationofdemographicandtechnologicalfactorsrelatedtoconsumption

• howmedialanguagecanbeusedtosubvertorchallengegenreconventionsandaconsiderationofotherfactorssuchasgenrehybridity,intertextuality,multiplenarrativestrandsandfandom

• themediaformspecificelementsofmedialanguageusedtocreatemeaningsuchascamerashots,angles,lighting,settings,locations,costumes,props,makeup,editingand sound

• thevalues,attitudesandbeliefsconveyedbyrepresentationsandthesocialandculturalcontext of these

• howrepresentationsmayinvokediscourseandideologiesandpositionaudiences

SectionB–LongFormTelevisionDrama

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• howaudiencesresponsetoandinterpretationsofmediarepresentationsreflectsocialandculturalcircumstances

• allrelevantcontexts,forexample,aconsiderationoftheeconomiccontextbehindthelargebudgetscurrentlygiventocontemporaryUSlongformtelevisiondramas.

Ageappropriatenessandcontextualisation

AllofthesettelevisionepisodesareageappropriateforanALevelprogramme(BBFCcertificated12or15),whereitisexpectedthatlearnerswillbeaged15oroverwhenstudyingtheseproducts.Itistheteacher’s responsibility to ensure this and to contact OCR should it present any issues.

AssessmentofLongFormTelevisionDramawillalwaysfocusonthesetepisodes.However,ifcentreswishtogainawiderunderstandingofthechosensettelevisionprogrammeandanunderstandingofhowmultiplenarrativestrandsarcandconvergeacrosstheseries,teachersshouldchoose suitable ageappropriateextractsfromotherepisodesacrossseason one.Viewingadditionalmaterialisoptional.

Itistheresponsibilityoftheteachertomonitorthecontent of the selected extracts to ensure that any extractsstudiedareageappropriatefortheirlearners.

Pleasebeawarewhenchoosingsuitableageappropriate extracts that House of Cards, Season1,Chapter5hasaBBFCratingof18.


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Thefollowingsubjectcontentoutlinestheknowledgeandunderstandingthatunderpinsthisqualification.Thesubjectcontentwillbeassessedacrossallcomponents.

Fortheexaminedcomponents(01and02),thiswillbeassessedinrelationtotherelevantsetmediaproducts as indicated.

2e. SubjectcontentforcomponentsH409/01andH409/02

Subject Content

Topic KeyIdea Learnersmusthavestudied

Contexts of Media

Social,cultural,political,economicand historical contexts.

l howthemediaproductsstudieddifferininstitutionalbackgroundsanduseofmedialanguagetocreatemeaningandconstructrepresentationstoreachdifferentaudiences,andcanactasameansof: - reflectingsocial,culturalandpoliticalattitudestowardswider issues and beliefs - constructingsocial,culturalandpoliticalattitudestowardswider issues and beliefs

l howmediaproductsstudiedcanactasameansofreflecting historical issues and events

l howmediaproductsstudiedcanpotentiallybeanagentinfacilitatingsocial,culturalandpoliticaldevelopmentsthroughtheuseofmedialanguagetoconstructmeaningthroughviewpoints,messagesandvaluesandrepresentationsofeventsandissues

l howmediaproductsstudiedareinfluencedbysocial,cultural,politicalandhistoricalcontextsthroughintertextualreferences

l howmediaproductsstudiedreflecttheireconomiccontextsthroughproduction,financialandtechnologicalopportunitiesandconstraints.

Media Language

Howthemediathroughtheirforms1,codes,conventionsand techniques communicatemeanings.

l howthedifferentmodes2andlanguage3 associated with differentmediaformscommunicatemultiplemeanings

l howthecombinationofelementsofmedialanguageinfluencemeaning

l howdevelopingtechnologiesaffectmedialanguage

1Formsofthemedia:television,film,radio,newspapers,magazines,advertisingandmarketing,online,socialandparticipatorymedia,videogamesandmusicvideo.

2Modes:images,sound,speechandwriting.

3Language:medialanguageassociatedwithaudio-visual,audio,printandonlinemedia.

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Subject Content


l thecodesandconventionsofmediaformsandproducts,includingtheprocessesthroughwhichmedialanguagedevelopsasgenre

l thedynamicandhistoricallyrelativenatureofgenre

l theprocessesthroughwhichmeaningsareestablishedthroughintertextuality

l how audiences respond to and interpret the above aspectsofmedialanguage.

l howgenreconventionsaresociallyandhistoricallyrelative,dynamicandcanbeusedinahybridway

l thesignificanceofchallengingand/orsubvertinggenreconventions

l thesignificanceofthevarietiesofwaysinwhichintertextualitycanbeusedinthemedia

l thewaymedialanguageincorporatesviewpointsandideologies.

Theoriesofmedialanguage.

l semiotics,includingBarthes

l narratology,includingTodorov

l genretheory,includingNeale

l structuralism,includingLévi-Strauss

l postmodernism,includingBaudrillard.

Media Representations

Howthemediaportrayevents,issues,individualsandsocialgroups.

l thewayevents,issues,individuals(includingself-representation)andsocialgroups(includingsocialidentity)arerepresentedthroughprocessesofselectionandcombination

l thewaythemediathroughre-presentationconstructsversions of reality

l theprocesseswhichleadmediaproducerstomakechoicesabouthowtorepresentevents,issues,individualsandsocialgroups

l theeffectofsocialandculturalcontextonrepresentations


2

Subject Content


l howandwhystereotypescanbeusedpositivelyandnegatively

l howandwhyparticularsocialgroups,inanationalandglobalcontext,maybeunder-representedormisrepresented

l howmediarepresentationsconveyvalues,attitudesandbeliefsabouttheworldandhowthesemaybesystematicallyreinforcedacrossawiderangeofmediarepresentations

l howaudiencesrespondtoandinterpretmediarepresentations

l thewayinwhichrepresentationsmakeclaimsaboutrealism

l theimpactofindustrycontextsonthechoicesmediaproducersmakeabouthowtorepresentevents,issues,individualsandsocialgroups

l theeffectofhistoricalcontextonrepresentations

l howrepresentationsmayinvokediscoursesandideologiesandposition4 audiences

l howaudienceresponsestoandinterpretationsofmediarepresentationsreflectsocial,culturalandhistoricalcircumstances.

Theoriesofmediarepresentation

l theoriesofrepresentation,includingHall

l theoriesofidentity,includingGauntlett

l feministtheories,includingBellHooksandVanZoonen

l theoriesofgenderperformativity,includingButler

l theoriesaroundethnicityandpostcolonialtheory,includingGilroy.

4Howaudiencesareencouragedtoadoptaparticular‘position’orpointofviewinrelationtowhatisbeingrepresented.

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Subject Content


MediaIndustries Howthemediaindustries’ processes ofproduction,distributionandcirculationaffectmediaformsandplatforms.

l processesofproduction,distributionandcirculationbyorganisations,groupsandindividualsinaglobalcontext

l thespecialisedandinstitutionalisednatureofmediaproduction,distributionandcirculation

l therelationshipofrecenttechnologicalchangeandmediaproduction,distributionandcirculation

l thesignificanceofpatternsofownershipandcontrol,includingconglomerateownership,verticalintegrationanddiversification

l thesignificanceofeconomicfactors,includingcommercialandnot-for-profitpublicfunding,tomediaindustries and their products

l howmediaorganisationsmaintain,includingthroughmarketing,varietiesofaudiencesnationallyandglobally

l theregulatoryframeworkofcontemporarymediaintheUK

l theimpactof‘new’digitaltechnologiesonmediaregulation,includingtheroleofindividualproducers

l howprocessesofproduction,distributionandcirculationshapemediaproducts

l theimpactofdigitallyconvergentmediaplatformsonmediaproduction,distributionandcirculation,includingindividual producers

l theroleofregulationinglobalproduction,distributionandcirculation

l theeffectofindividualproducersonmediaindustries.

Theoriesofmediaindustries.

l powerandmediaindustries,includingCurran and Seaton

l theoriesofregulation,includingthoseofLivingstone and Lunt

l theoriesofculturalindustries,includingthoseofHesmondhalgh.


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Subject Content


Media Audiences Howmediaformstarget,reachandaddressaudiences,how audiences interpret and respondtothemandhowmembersofaudiencesbecomeproducers themselves.

l howaudiencesaregroupedandcategorisedbymediaindustries,includingbyage,genderandsocialclass,aswell as by lifestyle and taste

l howmediaproducerstarget,attract,reach,addressandpotentiallyconstructaudiences

l howmediaindustriestargetaudiencesthroughthecontentandappealofmediaproductsandthroughthewaysinwhichtheyaremarketed,distributedandcirculated

l theinterrelationshipbetweenmediatechnologiesandpatternsofconsumptionandresponse

l howaudiencesinterpretthemedia,includinghowtheymayinterpretthesamemediaindifferentways

l howaudiencesinteractwiththemediaandcanbeactivelyinvolvedinmediaproduction

l howspecialisedaudiencescanbereached,bothonanationalandglobalscale,throughdifferentmediatechnologiesandplatforms

l howmediaorganisationsreflectthedifferentneedsofmassandspecialisedaudiences,includingthroughtargeting

l howaudiencesusemediaindifferentways,reflectingdemographicfactorsaswellasaspectsofidentityandcultural capital

l theroleandsignificanceofspecialisedaudiences,includingnicheandfan,tothemedia

l thewayinwhichdifferentaudienceinterpretationsreflectsocial,culturalandhistoricalcircumstances.

Theoriesofmediaaudiences.

l mediaeffects,includingBandura

l cultivationtheory,includingGerbner

l receptiontheory,includingHall

l theoriesoffandom,includingJenkins

l theoriesof‘endofaudience’,includingShirky.

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Makingmedia(Component03/04)isanon-examassessment(NEA)componentthatgiveslearnerstheopportunity to work independently and develop expertisethatbuildsonareasofstudyfromelsewhere in the course. Learners create a cross-mediaproductinresponsetoabriefsetbyOCR.Makingmedia(Component03/04)allowslearnerstocreatemediaproductsforanintendedaudience,byapplyingknowledgeandunderstandingofthetheoreticalframeworkofmediatocommunicatemeaning.

Thiscomponentprovidestheopportunityforthelearnertodemonstratethattheycanapplyknowledgeandunderstandingofthetheoreticalframeworktoconstructtheirmediaproductsby:

• applyingknowledgeandunderstandingofmedialanguagetoexpressandcommunicatemeaningtoanintendedaudience

• applyingknowledgeandunderstandingtoconstructrepresentationsthatportrayevents,issues,individualsandsocialgroupsasappropriate to the brief set by OCR

• applyingknowledgeandunderstandingofthemediaindustriesrequirementstocreateaproductthatisappropriatetothemediaindustry context of their chosen brief

• useofmedialanguagetocreatemeaningforthe intended audience.

2f. Contentofnon-examassessment:Makingmedia(H409/03/04)

RespondingtoanNEAbrief

1PreparatoryActivities(non-assessed)

Eventhoughtherearenomarksattachedtothepreparatoryactivities,itisessentialforlearnerstocarryouttheseactivitiesinpreparationfortheirproductiontasksothateachindividuallearner’sworkcanbeauthenticated.Failuretocarryoutsufficientresearchintorelevantgenresandmediaformsaswellasadequatelyplanachosenproductionisalsolikelytorestrictalearner’sabilitytomeetthehigherlevelsofthemarkingcriteria.

1(a)Research

Inpreparationfortheproductiontask,learnersshould carry out research into professionally producedmediaproductsthataresimilaringenre,styleandformtothemediaproductsproposedintheirchosenproductionbrief.Learnersshoulddeconstruct,analyseandmakenotesontheseprofessionallyproducedmediaproductssothattheycanfurtherdevelopknowledgeandunderstandingoftheirchosenmediaform’sdistinctivemedialanguage,forexample:

• howgenreconventionsareemployed• howandwhyintertextualityisemployed• howcombinationsofmedialanguageelements

areusedtocreatemeaningandconstructrepresentationsthataddressanintendedaudience.

Learners should be prepared to analyse the distinctivemedialanguageelementsappropriatetothebriefchosen,listedbelow:

Movingimage(television/musicvideo)aspartofacross-mediabrief:

• camerawork• editing• soundtrack• miseenscène.

Radioaspartofacross-mediabrief:

• useofmusic• useofvoice• useofsoundeffects.


2

Magazinesaspartofacross-mediabrief:

• layout• typography• useoflanguage• useofimages.

Onlinemediaaspartofacross-mediabrief:

• layout• navigation• useoflanguage• useofimages/text/audio/video.

1(b)Planning

LearnersshouldproduceplanningmaterialsfortheirindividualNEAcross-mediaproductionwhichoutlinetheintentionsoftheirfinalproduction.Centresareencouragedtoexploreappropriatewaysofproducingrelevantplanningmaterialsbasedupontheirownstrengthsandresources.

Thefollowinglistofplanningmaterialsispurelyindicative:

• draftscript• storyboard• locationreport(s)• notesoncastingandmise-en-scène

considerations• mock-upofaprintadvertlayoutormock-upof

awebpage• roughcuts/drafts• audienceresearchandfeedback.

2TheNEAbrief

Learnersmustchooseonefromachoiceoffourproductionbriefs.Centresareadvisedtoconsidertheresourcesandequipmentthattheyhaveavailableforlearnerstoemployinthiscomponentwhendecidinguponchoiceofproductionbriefs.

Learnersmustchooseoneofthefollowing:

• atelevisionandonlinecross-mediabrief• amagazineandonlinecross-mediabrief

• aradioandonlinecross-mediabrief• amusicvideoandonlinecross-mediabrief.

ThesetNEAbriefswillbepublishedontheOCRwebsite on the 1stMarcheachyearforsubmissioninthefollowingacademicyear.

StatementofIntent

Learners mustcompleteaStatementofIntent fortheircross-mediaproductionwhichmust be submittedwiththeirproduction.Apenaltywillbeapplied if it is not supplied to the teacher with a learner’sfinalproduction(seeSection3fofthisspecificationformoredetails).TheStatementofIntent needs to outline the ways in which the learner proposestolinktheirmediaproductstodemonstratetheirknowledgeandunderstandingofthedigitallyconvergentnatureoftheirproduction.TheStatementof Intent also needs to outline the ways in which the learner proposes to use the four areas of the mediatheoreticalframeworktocommunicatemeaningandmeettherequirementsoftheir chosenbrief,setbyOCR.

LearnersmustcompletetheStatementofIntentusingapproximately500words.AtemplatewillbeprovidedontheOCRwebsiteforguidance.

Lengthofindividualproductionwork

Thelengthsspecifiedinthe‘Requirementsofthebrief’sectionforeachindividualproduction(e.g.3minutesforatelevisionextractandahomepageandonelinkedwebpagefortheonlineproductetc.)aresufficienttogivelearnerstheopportunitytofullyaddressallofthemarkingcriteria.Learnersshouldaimtoproduceworkofthespecifiedlength.Ifworkissubmittedthatislongerthanthespecifiedlength,onlythepartupto(andincluding)thespecifiedlengthcanbecredited.Anyworkbeyondthismustnotbeconsideredforcreditagainstthemarkingcriteria.Workthatisshorterthanthespecifiedlengthshouldbemarkedagainstthemarkingcriteriabutmaynotallowlearnerstoaccessthefullrangeofmarkingcriteria.SeeSection3fofthisspecificationformoredetails.

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Individualproductionrules

TheresponsestotheOCRsetbriefsmustbeundertaken by learners as individuals and all materialsmustbeassessedindividually.

However,alearnermaymakeuseofunassessedstudentsandothersaslongastheoutcomecanbeassessed as the work of an individual learner.

Forexample,othersmayactin,orappearin,themediaproduct.Inaddition,unassessedstudentsandothersmayoperatelighting,sound,recordingandotherequipmentunderthedirectionoftheassessedlearnerifrequired.Thelearnermust,however,havecreativecontrol,asdirector,andcreatethefinaleditofanymovingimageorradioproductionpieceoreditthe photos and write all copy for the print productions.ThecontributionofanyunassessedlearnersshouldbeclearlyindicatedontheNEAcoversheet.

Learnersarerecommendedtobegivenapproximately30hoursoflessontimeinwhichtocompletetheirNEAproductions(thistotaldoesnotincludepreparatoryresearchandplanning).ItshouldbenotedthatexcessivetimespentonthiscomponentintheclassroomcouldbedetrimentaltotheoverallattainmentofthelearnerandteachersshouldbemindfulofstrikingabalancebetweenthecompletionoftheNEAandpreparationfortheexaminedcomponents.

WhereNEAbriefsrequirea‘workingwebsite’,learnersarenotrequiredtocreatewebsitesthroughprogramminglanguagessuchasHTMLandcanusewebdesignsoftwareortemplates.However,learnersmustberesponsibleforthedesignofthewebsiteandallcontent(suchastext,imagesandaudio-visualmaterial)mustbeoriginal.Learnersmustacknowledgeanysoftwareortemplatestheyhaveused on the cover sheet.

NEAportfoliorequirements

Insummaryeachindividuallearner’scompletedNEAportfoliowillconsistofthefollowing:

1. non-assessedresearchnotesandplanningmaterialstoaidtheauthenticationofwork

2. StatementofIntent3. ateacherassessedcross-mediaproduction4. anon-examassessmentcoversheetthat

clearlyindicatesthecontributionofanyunassessedlearnersused.Thisshouldbecompletedbytheteacher.

Inaddition,centrescompletetheCCS160form,seeSection4dforfurtherdetails.

Assistancewithproductions

It is expected that teachers will train learners in the useoftechnologyfortheirNEAproductionsandthatcentreswillprovidethenecessaryequipmentforlearnerstoproducetheirNEAproductions.

FurtherGuidance

Furtherguidanceonauthenticationoflearners’work,includingdetailsoflevelofsupervisionandallowablefeedbackcanbefoundinSection4dofthisspecification.

MarkingNEAProductions

ThemarkingcriteriaforthiscomponentcanbefoundinSection3fofthisspecification.

SuitabilityofNEAProductions

Teachersshouldusetheirprofessionaljudgementtodeterminethesuitabilityofthecontentoflearners’NEAproductions.

Learners’NEAproductionsmay not contain:

• gratuitousviolence• frequentuseofstronglanguageandswearing• nudity• imitationofdangerousbehaviour• scenesdemonstratingorpromotingdrugtaking• materialthatcouldbeconsideredoffensiveon

thegroundsofraceorgender.


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SubmittingNEAProductions

Movingimage,radioandprintproductionworkshouldbesubmittedinuniversaldigitalformatsthatareplayableonallPCsandMacs.WorkshouldbecheckedonauniversalmediaplayersuchasVLCmediaplayerorAdobePDFReaderbeforesubmissiontoensurecompatibility.

Healthandsafetyisnotanassessmentrequirementofthisqualification,however,therewillalwaysbearequirementofhealthandsafetystandardstobemetinanycreativeenvironmentanditisthecentre’sresponsibility to ensure learners are fully aware of relevantregulationsandrequirements.

2g. Priorknowledge,learningandprogression

NopriorqualificationisrequiredinorderforlearnerstoenterforanALevelinMediaStudies,norisanypriorknowledgeorunderstandingrequiredforentryonto this course.

ThisspecificationprovidesastrongfoundationforlearnerstoprogresstoHigherEducationandalsoequipslearnersforprogressionintotheworkplace.

Findoutmoreatwww.ocr.org.uk.

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OCR’sALevelinMediaStudiesisalinearqualificationwith70%externalassessmentbyexaminationand30%non-examassessment(NEA).Thisqualificationconsistsoftwocomponentsthatareexternallyassessed(Components01and02)andone

componentthatisassessedbythecentreandexternallymoderatedbyOCR(Component03/04).Learnersmusttakeallthreecomponentstobeawarded the OCR A Level in Media Studies.

3 Assessment of A Level in Media Studies

3a. Formsofassessment

Mediamessages(01)writtenexamination

Thiscomponentisworth70marksand35%ofthemarksforthetotalAlevel.Thisisanexternallyassessedwrittenexamination.

Learnerswillberequiredtocompleteanexaminationlasting2hours.

Thisexamwillconsistoftwosections.Learnerswillbe required to answer allquestions.

SectionA:News(45marks)SectionB:MediaLanguageandRepresentation (25marks).

SectionA:News

SectionB:MediaLanguageandRepresentation

Learners are required to study two mediaformsin-depth:• newspapers• online,socialandparticipatory

media.

Learners are required to study threemediaforms:• advertisingandmarketing• magazines• musicvideos.

Total:45marks• AO1:15marks• AO2:30marks.


Learnersmustanswer:

three10markquestions

one15markquestion

Somequestionswillrelatetounseensourcesonnewspapersand/oronline,socialandparticipatorymedia.

Learnersmustanswer:

one10markquestion

one15markquestion.

Somequestionswillrelatetounseensourcesonadvertisingandmarketing,and/ormagazines.

Learnersmayhavetocomparethesetadvertisingandmarketingproductstheyhavestudiedwiththeunseensources.

Questionswillfocuson:

• medialanguage• mediarepresentations• mediaindustries• mediaaudiences• mediacontexts• academicideasandarguments.


• medialanguage• mediarepresentations• mediacontexts.


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Thiscomponentisworth70marksand35%ofthemarksforthetotalAlevel.ThisisanexternallyassessedwrittenpaperassessingAO1andAO2.

Learnerswillberequiredtocompleteanexaminationlasting2hours.

Thisexamwillconsistoftwosections.

SectionA:MediaIndustriesandAudiences (30marks)SectionB:LongFormTelevisionDrama (40marks).

Evolvingmedia(02)writtenexamination

SectionA:MediaIndustriesandAudiences

SectionB:LongFormTelevisionDrama

Learners are required to study threemediaforms:

• radio• videogames• film*.

Learners are required to study onemediaform:

• television

Total:30marks• AO1:30marks


Learnersmustanswer:

two15markquestions

Learnersmustanswer:

one30markquestion

one10markquestion.


• mediaindustries• mediaaudiences*• mediacontexts.

*notapplicableforFilm

Question3issynoptic.

Thequestioninthissectionwillallowlearnerstodrawontheirknowledgeandunderstandingfromthewholecourseofstudy.


• medialanguage• mediarepresentations• mediaindustries• mediaaudiences• mediacontexts• academicideasandarguments.

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Makingmedia(03/04)non-examassessment(NEA)

Makingmediaisanexternallyset,internallyassessedandexternallymoderatedcomponentassessingAO3.Itisworth60marksand30%ofthetotalAlevel.Learnersareexpectedtocompletebothelementsofthecross-mediaproduction.

ThecontenttobecoveredinthiscomponentisoutlinedinSection2f.

Guidanceonassessment,includingthemarkingcriteriaisoutlinedinSection3f.

AdministrationrequirementsforcompletingtheNEAareoutlinedinSection4d.

Learnerswillberequiredtoproduceacross-mediaproduction(60marks).

3b. AssessmentObjectives(AO)

TherearethreeAssessmentObjectivesinOCR’s ALevelinMediaStudies.Thesearedetailedinthetable below.

Learnersareexpectedtodemonstratetheirabilityto:

AssessmentObjective Weighting

AO1 Demonstrateknowledgeandunderstandingof:

1. thetheoreticalframeworkofmedia

2. contextsofmediaandtheirinfluenceonmediaproductsandprocesses.

20%

12.5%

AO2 Applyknowledgeandunderstandingofthetheoreticalframeworkofmediato:

1. analysemediaproducts,includinginrelationtotheircontextsandthroughtheuseofacademictheories

2. evaluateacademicideasandarguments

3. makejudgementsanddrawconclusions.

17.5%

10%

10%

AO3 Createcross-mediaproductsforanintendedaudience,byapplyingknowledgeandunderstandingofthetheoreticalframeworkofmediatocommunicatemeaning.

30%(NEAonly)


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AOweightingsinOCR’sALevelinMediaStudies

TherelationshipbetweentheAssessmentObjectivesandthecomponentsareshowninthefollowingtable:

Component

%ofoverallALevelinMediaStudies(H409)

AO1 AO2 AO3

Mediamessages(H409/01) 12.5 22.5 0

Evolvingmedia(H409/02) 20 15 0

Makingmedia(H409/03/04) 0 0 30

Total 32.5 37.5 30

3c. Assessment availability

TherewillbeoneexaminationseriesavailableeachyearinMay/Junetoall learners.

Allexaminedcomponentsmustbetakeninthesameexaminationseriesattheendofthecourse.

ThisspecificationwillbecertificatedfromtheJune2019examinationseriesonwards.

3d. Retakingthequalification

Learnerscanretakethequalificationasmanytimesastheywish.Theymustretakeallexaminedcomponentsofthequalification.

Learners can choose either to retake or to carry forwardtheirmarkforthenon-examassessment

componentbyusingthecarryforwardentryoption(seeSection4d).

Learnerswhowishtore-takethequalificationmustundertakethebriefsetfortheyearofassessment.

3e. Assessmentofextendedresponse

Theassessmentmaterialsforthisqualificationprovidelearnerswiththeopportunitytodemonstratetheir ability to construct and develop a sustained line

ofreasoningthatiscoherent,relevant,substantiatedandlogicallystructured.Marksforextendedresponsesareintegratedintothemarkingcriteria.

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Markingshouldbepositive,rewardingachievementratherthanpenalisingerrorsoromissions.Theawardingofmarksmustbedirectlyrelatedtothemarkingcriteria.

Teachersshouldusetheirprofessionaljudgementtoselectthebest-fitleveldescriptorthatbestdescribesthelearnerswork,takingintoconsiderationthegeneraldescriptorofthatbandintheprocess.

Teachersshouldusethefullrangeofmarksavailabletothemandawardallthemarksinanylevelforwhichworkfullymeetsthatdescriptor.

Thereshouldbeclearevidencethatworkhasbeenattemptedandsomeworkhasbeenproduced.Ifalearnersubmitsnoworkforthecomponentthenthelearnershouldbeindicatedasbeingabsentfromthecomponent.Ifalearnercompletesanyworkatallforthecomponentthentheworkshouldbeassessed

accordingtothemarkingcriteriaandtheappropriatemarkawarded,whichmaybezero.

Teachersmustclearlyshowhowthemarkshavebeenawardedinrelationtothemarkingcriteriaonthenon-examassessmentcoversheet.

Acombinationofthefollowingapproachestoindicatehowmarkshavebeenawardedshouldbeadopted:

• beclearandunambiguous• be appropriate to the set brief• facilitatethestandardisationofmarkingwithin

thecentretoenablethemoderatortochecktheapplicationoftheassessmentcriteriatothemarking.

Thenon-examassessmentcoversheetforindividuallearners can be found on the OCR website.

3f. Internalassessmentofnon-examassessment(NEA)

Internalassessment

Finalsubmission

WorksubmittedfortheALevelNEAcomponentshouldreflectthestandardexpectedforalearnerafterafullAlevelcourseofstudy.

Centresmustcarryoutinternalstandardisationtomakesurethatmarksawardedbydifferentteachersare accurate and consistent across all learners enteredbythecentre.Tohelpsetthestandardofmarking,centresshoulduseexemplarmaterialprovidedbyOCR,and,whereavailable,workfromthatcentrefromthepreviousyear.Whereworkhasbeenmarkedbymorethanoneteacherinacentre,standardisationofmarkingshouldnormallybecarriedoutaccordingtooneofthefollowingprocedures:

• eitherasampleofworkthathasbeenmarkedbyeachteacherisre-markedbytheteacherwhoisinchargeofinternalstandardisation

• oralloftheteachersresponsibleformarkingacomponentexchangesomemarkedwork(preferablyatameetingledbytheteacherinchargeofinternalstandardisation)andcomparetheirmarkingstandards

• orteacherscollaboratewhenmarkingtheworkandawardamarkagreedthroughdiscussionsduringmarking.

Wherestandardsarefoundtobeinconsistent,therelevantteacher(s)shouldmakeadjustmentstotheirmarksorre-markalllearners’workforwhichtheywere responsible.

Ifcentresareworkinginaconsortiumtheymustcarryoutinternalstandardisationofmarkingacrosstheconsortium.Centresshouldretainevidencethatinternalstandardisationhasbeencarriedout.


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Oncethefinalpieceofworkissubmittedbythelearnerforassessmentitmustnotberevised.Addinganymaterialtotheworkorremovinganymaterialfromitafterithasbeenpresentedbyalearnerforfinalassessmentwouldconstitutemalpractice.

Thecentreshouldstorelearners’workinasecureareaonthecentrenetwork.Theworkshouldbe

savedusingthecandidate’snameandcentrenumberas reference.

Forfurtherguidanceonhowtosubmitwork,refertoSection4d.

Examsdirectory:www.ocr.org.uk.

Fileformats

Inordertominimisesoftwareandhardwarecompatibilityissuesitwillbenecessarytosavelearners’workusinganappropriatefileformat.

Learnersmustuseformatsappropriatetotheevidencetheyareprovidingandappropriatetoviewingforassessmentandmoderationpurposes.

Toensurecompatibility,allfilessubmittedmustbeintheformatslistedinAppendix5c.

Wherenewformatsbecomeavailablethatmightbeaccepted,OCRwillprovidefurtherguidanceonthesubjectwebpage.

Useof‘bestfit’approachformarkingcriteria

Theassessmenttask(s)foreachcomponentshouldbemarkedbyteachersaccordingtothegivenmarkingcriteriausinga‘bestfit’approach.Foreachofthemarkingcriteria,teachersselectoneofthebanddescriptorsprovidedinthemarkinggridthatmostcloselydescribesthequalityoftheworkbeingmarked.

Markingshouldbepositive,rewardingachievementratherthanpenalisingfailureoromissions.Theawardofmarksmustbedirectlyrelatedtothemarkingcriteria.Teachersusetheirprofessionaljudgementinselectingthebanddescriptorthatbestdescribesthework of the learner.

Toselectthemostappropriatemarkwithinthebanddescriptor,teachersshouldusethefollowingguidance:

• where the learner’s work convincinglymeetsthestatement,thehighestmarkshouldbeawarded

• where the learner’s work adequatelymeetsthestatement,themostappropriatemarkinthemiddlerangeshouldbeawarded

• where the learner’s work justmeetsthestatement,thelowestmarkshouldbeawarded.

Teachersshouldusethefullrangeofmarksavailabletothemandawardfullmarksinanybandforworkthatfullymeetsthatdescriptor.Thisisworkthatis‘thebestonecouldexpectfromlearnersworkingatthatlevel’.Formarkbandswiththreemarksthemarksoneithersideofthemiddlemark(s)for‘adequatelymet’shouldbeusedwherethestandardisthehighestorlowestmarkintheband.

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Makingmedia(H409/03/04)–markingcriteria

Thelearner’scross-mediaproductionshouldbemarkedasthreeseparateelementsagainsttheappropriatemarkingcriteriaasshownbelow,andatotalmarkawardedoutof60.

Elementofproduction Markingcriteria Maximummark

Thetelevision/radio/magazine/musicvideomediaproduct

1 Applicationofknowledgeandunderstandingofthemediatheoreticalframeworktocreateamediaproduct

25

Theonlinemediaproduct 1 Applicationofknowledgeandunderstandingofthemediatheoreticalframeworktocreateamediaproduct

25

Thedigitallyconvergentnatureofthecross-mediaproducttocreatemeaning

2 Applicationofknowledgeandunderstandingofthedigitallyconvergentnatureofcontemporarymediatocreatemeaning

10

Total: 60

Eachelementofthecross-mediaproductionshouldbejudgedindividuallyagainsttherelevantsetofmarkingcriteria.Marksshouldbecreditedaccordingtothelevelattainedforeachsetofcriteria.Itshouldbenotedthatitispossibleforalearnertoachieveadifferentlevelforeachelementoftheproduction.Forexample,alearnermaydemonstrateanexcellentapplicationofknowledgeandunderstandingofthemediatheoreticalframeworktocreatetheironlineproduct(Level5)butonlydemonstrateadequateapplicationofknowledgeandunderstandingofthemediatheoreticalframeworktocreatetheirtelevision/radio/print/musicvideomediaproduct(Level3).

Over-lengthwork

Ifworkissubmittedthatislongerthanthespecifiedlength,onlythepartupto(andincluding)thespecifiedlengthcanbecredited.Anyworkbeyondthismustnotbeconsideredforcreditagainstthemarkingcriteria.Teachersshouldstopwatchingorreadingworkbeyondthespecifiedlength.Thismeansthat:

• Brief1 Forthetelevisionproductionanyworksubmittedbeyondthe3minuterequirementmust not beconsideredforcredit;Fortheonlineproductionany worksubmittedbeyondthe2-pagerequirementmust not beconsideredforcredit.Teachersshouldmarkthefirsthomepageandlinkedpagepresented.

• Brief2 Fortheradioproductionanyworksubmittedbeyondthe3minuterequirementmust not beconsideredforcredit;Fortheonlineproductionany work submittedbeyondthe2-pagerequirementmust not beconsideredforcredit.Teachersshouldmarkthefirsthomepageandlinkedpagepresented.

• Brief3 Forthemagazineproductionanyworksubmittedbeyondthe4-front-pagerequirementmust not beconsideredforcredit;Teachersshouldmarkthefirstfourfrontcoverspresentedonly.Fortheonlineproductionanyworksubmittedbeyondthe2-pagerequirementmust not be considered for credit. Teachersshouldmarkthefirsthomepageandlinkedpagepresented.

• Brief4 Forthemusicvideoproductionanyworksubmittedbeyondthe3minuterequirementmust not beconsideredforcredit;

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Fortheonlineproductionanyworksubmittedbeyondthe2-pagerequirementmust not beconsideredforcredit.Teachersshouldmarkthefirsthomepageandlinkedpagepresented.

Workthatisshorterthanthespecifiedlengthshouldbemarkedagainstthemarkingcriteriabutmaynotallowlearnerstoaccessthefullrangeofmarkingcriteria.

Candidateswhodonotuseoriginalfootage,imagesortextintheirproduction(s)mustnotbeawardedmarksabovelevel1fortheproduction(s).Forclarity,ifoneproductioncontainsoriginalfootage,imageandtextandoneproductiondoesn’tthenonlytheproductionthatdoesn’tcontainoriginalfootage,imagesortextmustnotbeawardedmarksabovelevel1.Ifbothproductionsdonotuseoriginalfootage,imagesortextthenbothproductionsmustnotbeawardedabovelevel1.

AStatementofIntentmust besuppliedbythelearnertoeachteacherwiththemediaproduction.IfaStatementofIntentisnot supplied then a penalty of 10marksmustbedeductedfromthelearners’overalltotaloutofamaximumof60.Ifalearner’soutcomepriortothepenaltyis10marksorless,theiroutcomeshouldbemovedtozeromarks.ThepurposeoftheStatementofIntentistounderstandwhatcandidateshaveintendedtodointhecreationoftheirmediaproduct.Whetherornotcandidateshavemetthebrieftoasuitablestandardwillbeassessedbythemarkingcriteria,asindicatedinthelevels,theStatementofIntentiscorroboratingevidence.

If a learner only produces one ofthetworequiredproductsthatmakeupthecross-mediaproductionthentheymustonlybecreditedagainstthemarkingcriteriaforthe product supplied and cannot becreditedanymarksinmarkingcriteria2:applicationofknowledgeandunderstandingofthedigitallyconvergentnatureofcontemporarymediatocreatemeaning.

Thenon-examinedassessmentmarkingcriteriaassessAssessmentObjectiveAO3:Createmediaproductsforanintendedaudience,byapplyingknowledgeandunderstandingofthetheoreticalframeworkofmediatocommunicatemeaning.

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1. Applicationofknowledgeandunderstandingofthemediatheoreticalframeworktocreateamediaproduct(25marksx2)

Level 5

21–25marks

Thelearnerdemonstratesexcellentapplicationofknowledgeandunderstandingofthemediatheoreticalframeworktocreateamediaproduct.• Asophisticateduseofawiderangeofappropriatemedialanguagetechniquesthatdeliversanaccomplisheddemonstrationofknowledgeand

understandingofthedistinctivemedialanguageofthemediaform,including:• ahighlydevelopeduseofcodesandconventionsthatcommunicatesmeaningthatishighlyappropriatetothemediaform• ahighlyappropriateuseofcontentandappealwhichcreatessophisticatedmeaningfortheintendedaudience• asophisticatedconstructionofrepresentationswhichcreatewell-selectedandhighlydevelopedinsightsintotheportrayalofevents,issues,

individualsandsocialgroupsasappropriatetothemediaform.• Highlydevelopedapplicationofknowledgeandunderstandingofthemediaindustrydemonstratedthroughasophisticateduseofthemediaform

thatishighlyappropriatetothemediaindustrycontextofthesetbrief.• Anexcellentrealisationofthechosenbriefthataddressesalltherequirementsofthebriefandincludesallelementsoftheproductiondetail.

Level 4

16–20marks

Thelearnerdemonstratesgoodapplicationofknowledgeandunderstandingofthemediatheoreticalframeworktocreateamediaproduct.

• Agooduseofarangeofappropriatemedialanguagetechniques,thatdeliversagooddemonstrationofknowledgeandunderstandingofthedistinctivemedialanguageofthemediaform,including:• awell-developeduseofcodesandconventionsthatcommunicatesmeaningthatisappropriatetothemediaform• anappropriateuseofcontentandappealwhichcreateseffectivemeaningfortheintendedaudience• agooduseofrepresentationswhichcreatewell-selectedandwell-developedinsightsintotheportrayalofevents,issues,individualsandsocial

groupsasappropriatetothemediaform.• Well-developedapplicationofknowledgeandunderstandingofthemediaindustrydemonstratedthroughagooduseofthemediaformthatis

appropriatetothemediaindustrycontextofthesetbrief.• Agoodrealisationofthechosenbriefthataddressesallrequirementsofthebriefandincludesalmostallelementsoftheproductiondetail.

Level 3

11–15marks

Thelearnerdemonstratesadequateapplicationofknowledgeandunderstandingofthemediatheoreticalframeworktocreateamediaproduct.

• Anadequateuseofarangeofmostlyappropriatemedialanguagetechniques,thatdeliversacompetentdemonstrationofknowledgeandunderstandingofthedistinctivemedialanguageofthemediaform,including:• acompetentuseofcodesandconventionsthatcommunicatesmeaningthatisreasonablyappropriatetothemediaform• areasonablyappropriateuseofcontentandappealwhichcreatesconsistentmeaningfortheintendedaudience• anadequateuseofrepresentationswhichcreatemainlywell-selectedinsightsintotheportrayalofevents,issues,individualsandsocial

groupsasappropriatetothemediaform.• Anadequateapplicationofknowledgeandunderstandingofthemediaindustrydemonstratedthroughacompetentuseofthemediaformthatis

inthemost-partrelevanttothemediaindustrycontextofthesetbrief.• Anadequaterealisationofthechosenbriefthataddressesmostoftherequirementsofthebrief,althoughsomeelementsoftheproduction

detailmaybemissing.

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Level 2

6–10marks

Thelearnerdemonstrateslimitedapplicationofknowledgeandunderstandingofthemediatheoreticalframeworktocreateamediaproduct.

• Abasicuseofalimitedrangeofappropriatemedialanguagetechniques,thatdeliversapartialdemonstrationofknowledgeandunderstandingofthedistinctivemedialanguageofthemediaform,including:• aninconsistentuseofcodesandconventionsthatcommunicatesmeaningthatisnotalwaysappropriatetothemediaform• anotalwaysappropriateuseofcontentandappealwhichcreatesinconsistentmeaningfortheintendedaudience• abasicuseofrepresentationswhichcreatelimited-selectedinsightsintotheportrayalofevents,issues,individualsandsocialgroupsas

appropriatetothemediaform.• Limitedapplicationofknowledgeandunderstandingofthemediaindustrydemonstratedthroughbasicuseofthemediaformthatmaynot

alwaysberelevanttothemediaindustrycontextofthesetbrief.• Alimitedrealisationofthechosenbriefthataddressessomeoftherequirementsofthebrief;notallelementsoftheproductiondetailare

completedandthosethataremaybebelowstipulatedlengths/quantityand/ormaybereliantonsoftwarepackagesorpre-existingtemplates.

Level 1

1–5marks

Thelearnerdemonstratesminimalapplicationofknowledgeandunderstandingofthemediatheoreticalframeworktocreateamediaproduct.

• Apooruseofmedialanguagetechniques,thatdeliversaninadequatedemonstrationofknowledgeandunderstandingofthedistinctivemedialanguageofthemediaform,including:• aminimaluseofcodesandconventionsthatcommunicateslittleornomeaningthatisrelevanttothemediaform• aminimalorinappropriateuseofcontentandappealwhichcreatesinadequatemeaningfortheintendedaudience• apooruseofrepresentationswhichcreateminimal-selectedinsightsintotheportrayalofevents,issues,individualsandsocialgroupsas

appropriatetothemediaform.• Minimalapplicationofknowledgeandunderstandingofthemediaindustrydemonstratedthroughaninadequateuseofthemediaformthatmay

notberelevanttothemediaindustrycontextofthesetbrief.• Aminimalrealisationofthechosenbriefthataddressesfewoftherequirementsofthebrief;productiondetailsarelikelytobeincompleteand

substantiallybelowthestipulatedlengths/quantityand/ormaybeover-reliantonsoftwarepackagesorpre-existingtemplates.

0 Noworksubmittedorworkthatdemonstratesnoknowledgeandunderstandingofthemediatheoreticalframeworktocreateamediaproduct.

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2. Applicationofknowledgeandunderstandingofthedigitallyconvergentnatureofcontemporarymediatocreatemeaning(10marks)

Level 5

9–10marks

Thelearnerdemonstratesexcellentapplicationofknowledgeandunderstandingofthedigitallyconvergentnatureofcontemporarymediatocreatemeaningacrossthecross-mediaproduction.

• Sophisticatedandcoherentlinksbetweenthetwocross-mediaproductsthatdemonstratesahighly-developedawarenessofhowtousedigitalconvergencetocreatemeaningandengageanintendedaudience.

• Sophisticateduseoftechniquestocreateahighly-developedsenseofbrandingacrossthetwocross-mediaproductsthatdemonstrateshighlyappropriate,sustainedandinsightfulmeaningfortheintendedaudience.

Level 4

7–8marks

Thelearnerdemonstratesgoodapplicationofknowledgeandunderstandingofthedigitallyconvergentnatureofcontemporarymediatocreatemeaningacrossthecross-mediaproduction.

• Clearandconsistentlinksbetweenthetwocross-mediaproductsthatcreateanappropriateandattimesinsightfulawarenessofhowtousedigitalconvergencetocreatemeaningandengageanintendedaudience.

• Agooduseoftechniquestocreateawell-developedsenseofbrandingacrossthetwocross-mediaproductsthatdemonstratesappropriateandattimesinsightfulmeaningfortheintendedaudience.

Level 3

5–6marks

Thelearnerdemonstratesadequateapplicationofknowledgeandunderstandingofthedigitallyconvergentnatureofcontemporarymediatocreatemeaningacrossthecross-mediaproduction.

• Consistentlinksbetweenthetwocross-mediaproductsthatcreateareasonablyappropriateawarenessofhowtousedigitalconvergencetocreatemeaningandengageanintendedaudience.

• Anadequateuseoftechniquestocreateasenseofbrandingacrossthetwocross-mediaproductsthatdemonstratesreasonablyappropriatemeaningfortheintendedaudience.

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Level 2

3–4marks

Thelearnerdemonstrateslimitedapplicationofknowledgeandunderstandingofthedigitallyconvergentnatureofcontemporarymediatocreatemeaningacrossthecross-mediaproduction.

• Inconsistentlinksbetweenthetwocross-mediaproducts,whichmaynotalwaysberelevant,demonstratingapartialawarenessofhowtousedigitalconvergencetocreatemeaningandengageanintendedaudience.

• Alimiteduseoftechniquesthatcreatesaninconsistentsenseofbrandingacrossthetwocross-mediaproductsthatmaylackrelevanceattimesbutdemonstratessome,limitedmeaningfortheintendedaudience.

Level 1

1–2marks

Thelearnerdemonstratesminimalapplicationofknowledgeandunderstandingofthedigitallyconvergentnatureofcontemporarymediatocreatemeaningacrossthecross-mediaproduction.

• Linksbetweenthetwocross-mediaproductsmaybeincompleteornotpresentatall,demonstratinglittle,ifany,awarenessofhowtousedigitalconvergencetocreatemeaningandengageanintendedaudience.

• Aminimaluseoftechniquesthatcreateslittle,ifanysenseofbrandingacrossthetwocross-mediaproductsanddemonstrateslittleornomeaningfortheintendedaudience.

0 Noworksubmittedorworkthatdemonstratesnoknowledgeandunderstandingofthedigitallyconvergentnatureofcontemporarymediatocreatemeaning.

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Synopticassessmentisthelearners’understandingoftheconnectionsbetweendifferentelementsofthesubject.Itinvolvestheexplicitdrawingtogetherofknowledge,skillsandunderstandingwithindifferentparts of the A Level course.

TheemphasisofsynopticassessmentistoencouragetheunderstandingofMediaStudiesasadiscipline.

SynopticassessmentrequireslearnerstomakeanduseconnectionswithinandbetweenalldifferentareasofALevelMediaStudies,forexample:

SectionBofComponent02(Evolvingmedia)offersopportunitiesforlearnerstodrawontheirknowledge

andunderstandingfromthewholecourseofstudyincomparingmediaproducts:

• inrelationtotheircontexts;and

• throughtheuseofallfourareasofthetheoreticalframework.

Component03/04(Makingmedia)offerslearnerstheopportunitytoapplytheirknowledgeandunderstandingfromthewholecourseofstudytoapracticalcross-mediaproduction.

3g. Synopticassessment

3h. Calculatingqualificationresults

Alearner’soverallqualificationgradeforOCR’s ALevelinMediaStudieswillbecalculatedbyaddingtogethertheirmarksfromthethreecomponentstakentogivetheirtotalweightedmark.Thismarkwill

thenbecomparedtothequalificationlevelgradeboundariesfortherelevantexamseriestodeterminethelearner’soverallqualificationgrade.


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Theinformationinthissectionisdesignedtogiveanoverviewoftheprocessesinvolvedinadministeringthisqualificationsothatyoucanspeaktoyourexamsofficer.AllofthefollowingprocessesrequireyoutosubmitsomethingtoOCRbyaspecificdeadline.

Moreinformationabouttheprocessesanddeadlines involvedateachstageoftheassessmentcyclecanbe foundintheAdministrationareaoftheOCRwebsite.

OCR’s Admin overview is available on the OCR website at http://www.ocr.org.uk/administration.

4 Admin:whatyouneedtoknow

4a. Pre-assessment

Estimatedentries

Estimatedentriesareyourbestprojectionofthenumberoflearnerswhowillbeenteredforaqualificationinaparticularseries.

EstimatedentriesshouldbesubmittedtoOCRbythespecifieddeadline.Theyarefreeanddonotcommityour centre in any way.

Finalentries

FinalentriesprovideOCRwithdetaileddataforeachlearner,showingeachassessmenttobetaken.Itisessentialthatyouusethecorrectentrycode,consideringtherelevantentryrulesandensuringthatyouchoosetheentryoptionforthemoderationyouintend to use.

FinalentriesmustbesubmittedtoOCRbythepublished deadlines or late entry fees will apply.

AlllearnerstakinganALevelinMediaStudiesmustbeenteredforoneofthefollowingentryoptions:

Entryoption Components

Entrycode

Title Code Title Assessment type

H409 A Media Studies(OCR Repository)

01 Mediamessages Externalassessment

02 Evolvingmedia Externalassessment

03 Makingmedia(Repository) Non-examassessment

H409B Media Studies(Postalmoderation)



04 Makingmedia(Postal) Non-examassessment

H409C* Media Studies (Carried forward)



80 Makingmedia(Carriedforward)

Non-examassessment

*EntryoptionH409Cshouldonlybeselectedforlearnerswhoareretakingthequalificationwhowanttocarryforwardtheirmarkforthenon-examassessment.

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Specialconsiderationisapost–assessmentadjustmenttomarksorgradestoreflecttemporaryinjury,illnessorotherindispositionatthetimetheassessmentwastaken.

DetailedinformationabouteligibilityforspecialconsiderationcanbefoundintheJCQpublication A guide to the special consideration process.

4b. Specialconsideration

4c. Externalassessmentarrangements

RegulationsgoverningexaminationarrangementsarecontainedintheJCQpublicationInstructions for Conducting Examinations.

4d. Adminofnon-examassessment

RegulationsgoverningarrangementsforinternalassessmentsarecontainedintheJCQpublicationInstructions for conducting non-examination assessments.

TheNEAbriefsaresetbyOCReveryyearforthisqualificationandwillbepublishedonOCR’swebsite.

Thebriefswillbepublishedon1Marcheveryyearforcertificationinthefollowingacademicyear.Thefirstbriefswillbeavailablefrom1March2018.TheNEAbriefs will not be posted to centres.

Itshouldbemadecleartolearnersthatoncethefinalproductionshavebeensubmittedforassessment,nofurtherworkmaytakeplace.

Authenticationoflearners’work

Centresmustdeclarethattheworksubmittedforassessmentisthelearner’sownbycompleting acentreauthenticationform(CCS160).ThisinformationmustberetainedatthecentreandbeavailableonrequesttoeitherOCRortheJCQcentreinspectionservice.

ItmustbekeptuntilthedeadlinehaspassedforcentrestosubmitanEnquiryAboutResults(EAR).Once this deadline has passed and centres have not requestedanEAR,thisevidencecanbedestroyed.

Authenticationcontrol

Research(limitedsupervision–non-assessed)

Thenon-assessedresearchelementforComponent03/04canbecompletedunderlimitedsupervision.Limitedsupervisionmeansthatlearnerscanundertake this part of the process without direct teacher supervision and outside the centre as required.

Duringtheresearchphase,learnerscanbegivensupportandguidance.

Teacherscan:

• explainthebrief• adviseonhowthebriefcouldbeapproached• adviseonresources• alertthelearnertokeythingsthatmustbe

includedintheirfinalpieceofwork.


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Teachersmust not:

• practisethelearner’schosenbriefwiththem.

Research mustinclude:

• learners’notesonprofessionallyproducedmediaproductsthataresimilaringenre,styleandformtothemediaproductsproposedintheirchosenbrief(seeSection2fofthisspecification).

Researchmayalsoinclude:

• fieldwork(e.g.alocationrecceforfilmingordigitallyphotographedstills)andinternetorpaper-based research as appropriate to the chosen brief.

Learnersmustbeguidedontheuseofinformationfromothersourcestoensurethatconfidentialityandintellectualpropertyrightsaremaintainedatalltimes.

Planning(formalsupervision–non-assessed)

Formalsupervisionmeansworkshouldbecompletedwithinthecentreundernormalteachersupervisioninclassroomconditions.Thisensuresthattheworkofthe individual learner is recorded accurately and that plagiarismdoesnottakeplace.Thisformspartoftheauthenticationprocess.Candidatesmustalsobeguidedonappropriatehealthandsafetyconsiderationswhenplanningandcarryingouttheirproductiontasks.

Originalmaterials

AnymaterialsubmittedbythelearneraspartoftheirNEAproductionmusthavebeenproducedbythelearnerthemself.

Theexceptionstothisrulearetheallowableuseofcopyrightfreemusicinthetelevisionandradiobriefs.Inthemusicvideobrief,learnersareexpectedtouseanexistingartist’strackratherthancreatetheirown.

Duringtheplanningphaselearnerscanbegivensupportandguidanceincluding:

• explainthepurposeofplanningmaterials• adviseonapproachestoplanningmaterials• adviseonresourcesforplanningmaterials• adviseonhealthandsafetyconsiderationsto

takeintoaccountwhenplanningaproduction.

Teachersmust not:

• makecreativeplanningdecisionsforlearners.

Productions(formalsupervision)

Allelementsofthemediaproductionmustbecompletedunderformalsupervisionwithinthecentre,withtheexceptionoffilming,digitalstillphotographyandaudiorecording,whichmaytakeplaceoff-site,whereappropriate.However,alloff-siteactivitiesmustbeagreedinadvancewithteachingstaffandparentalpermissionsmustbesoughtwhererequiredfromthelearnerandcastmembers.Teachersmustbesatisfiedlearnershavecarriedoutsufficienthealthandsafetychecksbeforeallowingoff-siteworkandlearnersmustsubmitcopiesoftheirpre-shootingshotlistsandstoryboardstoteachers.

Duringtheproductionphase,learnerscanbegivensupportandguidance.

Teacherscan:

• explainthepurposeoftheirchosenmediabrief• adviseonresourcesforindividualproductions• trainlearnerstouseanynecessarytechnology

orsoftwareneededfortheproduction.• alertthelearnertokeythingsthatmustbe

includedintheirfinalproduction• reviewlearners’workbeforeitishandedinfor

finalassessment(thisincludesroughcutedits)butadvicemustremainatthegenerallevel,enablinglearnerstotaketheinitiativeinmakingamendments.Onereviewshouldbesufficienttoenablelearnerstounderstandthedemandsoftheassessmentcriteria.

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Teachersmust not:

• practisethelearner’schosenmediabriefwiththem

• givedetailedadviceandsuggestionsastohowtheworkmaybeimprovedinordertomeettheassessmentcriteria;thisincludesindicatingerrorsoromissions

• personallyintervenetoimprovethepresentationorcontentofthework

• personallyintervenetoimprovethepresentationorcontentofthework;providingthatadviceremainsatthegenerallevel,enablingthelearnertotaketheinitiativein

makingamendments,thereisnoneedtorecord this advice as assistance or deduct marks.

Firstdrafts

What teachers cando:

Teacherscanreviewlearners’workbeforeitishandedinforfinalassessment.Advicemustremainatthegenerallevel,enablinglearnerstotaketheinitiativeinmakingamendments.Onereviewshouldbesufficienttoenablelearnerstounderstandthedemandsoftheassessmentcriteria.

Headofcentreannualdeclaration

TheHeadofCentreisrequiredtoprovideadeclarationtotheJCQaspartoftheannualNCNupdate,conductedintheautumnterm,toconfirmthatthecentreismeetingalloftherequirementsdetailedinthespecification.

Any failure by a centre to provide the Head of Centre annualdeclarationwillresultinyourcentrestatusbeingsuspendedandcouldleadtothewithdrawalofour approval for you to operate as a centre.

Privatecandidates

PrivatecandidatesmayenterforOCRassessments.

Aprivatecandidateissomeonewhopursuesacourseofstudyindependentlybuttakesanexaminationorassessmentatanapprovedexaminationcentre. Aprivatecandidatemaybeapart-timestudent,someonetakingadistancelearningcourse,orsomeonebeingtutoredprivately.Theymustbe basedintheUK.

ALevelMediaStudiesrequireslearnerstocompletenon-examinedassessment.Thisisanessentialpartof

the course and will allow learners to develop skills for furtherstudyoremployment.

PrivatecandidatesneedtocontactOCRapprovedcentres to establish whether they are prepared to hostthemasaprivatecandidate.ThecentremaychargeforthisfacilityandOCRrecommendsthatthearrangementismadeearlyinthecourse.

Furtherguidanceforprivatecandidatesmaybefoundon the OCR website www.ocr.org.uk.



4

Centresmustcarryoutinternalstandardisationtoensurethatmarksawardedbydifferentteachersareaccurate and consistent across all learners entered for

thecomponentfromthatcentre.ThisprocessisoutlinedfurtherinSection3funder‘FinalSubmission’.

Internalstandardisation

Moderation

Thepurposeofmoderationistobringthemarkingofinternally-assessedcomponentsinallparticipatingcentrestoanagreedstandard.Thisisachievedbycheckingasampleofeachcentre’smarkingoflearners’ work.

Followinginternalstandardisation,centressubmitmarkstoOCRandthemoderator.Iftherearetenorfewerlearners,alltheworkshouldbesubmittedformoderationatthesametimeasmarksaresubmitted.

OncemarkshavebeensubmittedtoOCRandyourmoderator,centreswillreceiveamoderationsamplerequest.Sampleswillincludeworkfromacrosstherangeofattainmentofthelearners’work.

Therearetwowaystosubmitasample:

ModerationviatheOCRRepository–Whereyouupload electronic copies of the work included in the sampletotheOCRRepositoryandyourmoderatoraccessestheworkfromthere.

Postalmoderation–Whereyoupostthesampleofworktothemoderator.

Themethodthatwillbeusedtosubmitthemoderationsamplemustbespecifiedwhenmakingentries.Therelevantentrycodesaregivenin Section4a.

Alllearners’workmustbesubmittedusingthesameentryoption.Itisnotpossibleforcentrestousebothoptionswithinthesameseries.

Centreswillreceivetheoutcomeofmoderationwhentheprovisionalresultsareissued.Thiswillinclude:

ModerationAdjustmentsReport–Listinganyscalingthat has been applied to internally assessed components.

ModeratorReporttoCentres–Abriefreportbythemoderatorontheinternalassessmentoflearners’work.

Carryingforwardnon-examassessment

Learnerswhoareretakingthequalificationcanchooseeithertoretakethenon-examassessmentortocarryforwardtheirmarkforthatcomponentfromthepreviousexamseries.

Ifalearnerdecidestocarryforwardtheirmark,theymustbeenteredintheretakeseriesusingtheentrycodeforthecarryforwardoptioninSection4a.

Learnersmustdecideatthepointofentrywhethertheyaregoingtocarryforwardthenon-examassessment,oriftheyaregoingtoretakeittocount

towards their result. It is not possible for a learner to retakethenon-examassessmentandthenchoosewhether the retake result or a carried forward result isusedforcertification.

Learnerscanonlycarryforwardfromoneyearintothefollowingyear.Wherethegapbetweentheinitialqualificationandtheretakeismorethanoneyear,carryforwardisnotpermitted.

Aresultforanon-examassessmentcomponentcanonly be carried forward once.

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Alevelqualificationsaregradedonthescale:A*,A,B,C,D,E,whereA*isthehighest.LearnerswhofailtoreachtheminimumstandardforEwillbe

Unclassified(U).OnlysubjectsinwhichgradesA*toEareattainedwillberecordedoncertificates.

4e. Resultsandcertificates

GradeScale

Results

Results are released to centres and learners for informationandtoallowanyqueriestoberesolvedbeforecertificatesareissued.

Centreswillhaveaccesstothefollowingresultsinformationforeachlearner:

• thegradeforthequalification• therawmarkforeachcomponent• thetotalweightedmarkforthequalification.

Thefollowingsupportinginformationwillbeavailable:

• rawmarkgradeboundariesforeachcomponent

• weightedmarkgradeboundariesforeachentryoption.

Untilcertificatesareissued,resultsaredeemedtobeprovisionalandmaybesubjecttoamendment.

Alearner’sfinalresultswillberecordedonan OCRcertificate.Thequalificationtitlewillbeshownonthecertificateas‘OCRLevel3AdvancedGCEinMedia Studies’.

4f. Post-resultsservices

Anumberofpost-resultsservicesareavailable:

• Enquiriesaboutresults–Ifyouarenothappywiththeoutcomeofalearner’sresults,centresmaysubmitanenquiryaboutresults.

• Missingandincompleteresults–Thisserviceshould be used if an individual subject result foralearnerismissing,orthelearnerhasbeenomittedentirelyfromtheresultssupplied.

• Accesstoscripts–Centrescanrequestaccesstomarkedscripts.

4g. Malpractice

Anybreachoftheregulationsfortheconductofexaminationsandnon-examassessmentworkmayconstitutemalpractice(whichincludesmaladministration)andmustbereportedtoOCRassoon as it is detected.

DetailedinformationonmalpracticecanbefoundintheJCQpublicationSuspected Malpractice in Examinations and Assessments: Policies and Procedures.


5

Reasonableadjustmentsandaccessarrangementsallowlearnerswithspecialeducationalneeds,disabilitiesortemporaryinjuriestoaccesstheassessmentandshowwhattheyknowandcando,withoutchangingthedemandsoftheassessment.Applicationsfortheseshouldbemadebeforetheexaminationseries.DetailedinformationabouteligibilityforaccessarrangementscanbefoundintheJCQpublicationAccess Arrangements and Reasonable Adjustments.

TheAlevelqualificationandsubjectcriteriahavebeenreviewedinordertoidentifyanyfeaturewhichcoulddisadvantagelearnerswhoshareaprotectedCharacteristicasdefinedbytheEqualityAct2010. Allreasonablestepshavebeentakentominimiseanysuchdisadvantage.

5a. Accessibility

5 Appendices

5b. Overlapwithotherqualifications

Thisqualificationhasnosignificantoverlapwithanyotherqualifications.

5c. Acceptedfileformats

Furtherexplanationoftheuseofformatsfornon-examassessmentcanbefoundinSection4d.

Movieformatsfordigitalvideoevidence:MPEG(*.mpg)QuickTimemovie(*.mov)MacromediaShockwave(*.aam)MacromediaShockwave(*.dcr)Flash(*.swf)WindowsMediaFile(*.wmf)MPEGVideoLayer4(*.mp4).

Audioorsoundformats:MPEGAudioLayer3(*.mp3).

Graphicsformatsincluding: JPEG(*.jpg)Graphicsfile(*.pcx)MSbitmap(*.bmp)GIFimages(*.gif).

Animationformats:MacromediaFlash(*.fla).

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5d. Accessingthesetmediaproduct

Mediaform Setproduct ProductAvailability

Television OnefromlistA(USLongFormTelevisionDramas):

• Mr Robot(Season1,Episode1June2015)BBFC15

• House of Cards(Season1, Episode1,January2013) BBFC15

• Homeland(Season1,Episode1,October2011)BBFC15

• Stranger Things(Season1, Episode1,July2016)BBFC12.

AND

OnefromlistB(Europeannon-EnglishlanguageLongFormTelevisionDramas):

• The Killing/Forbrydelsen (Season1,Episode1,October2007)BBFC15

• Borgen (Season1,Episode1,October2010)BBFC15

• Trapped (Season1,Episode1,December2015)BBFC15

• Deutschland 83 (Season1, Episode1,October2015)BBFC15.

Centresneedtopurchasethesetepisodesfromacommercialretailer,alternativelyitmaybepossibletostreamtheepisodes.

Advertisingandmarketing

Posteradvertisementsfor:

• Old Spice (malegroomingproduct)• Lucozade (soft-drink)• Shelter (charity).

AdvertstobemadeavailablebyOCR.

Film The Jungle Book (1967) ANDThe Jungle Book (2016)

Purchasablefromcommercialretailer.NB.Textualanalysisofthefilmsare not required

Videogames Minecraft video game PurchasablefromcommercialretailerNB.Thereisnorequirementforlearnerstoplaythegame.Teachersarerecommendedtomakeuse of freelyavailableonlineclipsofgameplay.

Magazines The Big Issue Centres need to purchase atleasttwomagazines so that learners can study at least two covers.


5

Music video LearnersmustchooseonevideofromlistA:




AND

OnevideofromlistB:

• Fatboy Slim – Ya Mama• Radiohead – Burn the Witch• David Guetta – Titanium

All freelyavailableonlinee.g.YouTubeorVimeo

https://www.youtube.com/https://vimeo.com/

Radio The BBC Radio 1 Breakfast Show Centreselectedepisode,freelyavailable online viaBBCRadioiPlayer.

http://www.bbc.co.uk/iplayer

Online, social and participatorymedia

TheMail Online and The Guardian websitesANDat least twoarticlesfromtheMail Online website and at least two articlesfromThe Guardian websites plus relevant Facebook,Twitter and Instagramfeedsfromeachnewsorganisation.

Freelyavailable online

https://www.theguardian.com/http://www.dailymail.co.uk/

Newspapers TwofrontcoversfromtheDaily Mail and twofrontcoversfrom The Guardian ANDOnecompleteeditionofthe Daily Mail and onecompleteeditionof The Guardian.

Centres need to purchase four newspapers to ensure learners can study four front covers and twocompleteeditionsofthenewspapers.

https://www.youtube.com/

https://vimeo.com/

http://www.bbc.co.uk/iplayer

https://www.theguardian.com/

http://www.dailymail.co.uk/

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5e. Academicideasandargumentstobestudied

MediaLanguage

Semiology–Barthes

Semiologyisthestudyofsigns.Signsconsistofasignifier(aword,animage,asound,andsoon)anditsmeaning–thesignified.

Thedenotationofasignisitsliteralmeaning(e.g.theword‘dog’denotesamammalthatbarks).

Denotationssignifyconnotations–theassociationsofthedenotation(e.g.‘dogness’–thethoughtsandfeelingsassociatedwithdogs).

Denotationsandconnotationsareorganisedintomyths–theideologicalmeaning.Thesemakeideologyseemnatural.Forexample,aBulldogmightactivateamythofBritishness.

Narratology–Todorov

Narratologyisthestudyofnarrative;inthiscase,ofnarrativestructure–howthepartsfittogethertomakeawhole.

Allnarrativescanbeseenasamovefromonestateofequilibrium(wherenothingneedoccur)toanother, newequilibrium.Thedisruptiontotheequilibriumiswhatdrivesthenarrativetowardsanewequilibrium.

Themovementfromtheinitialequilibriumtothenewequilibriumentailsatransformation(e.g.theheroexpressestheirheroismanddefeatsthevillain)–thistransformationexpresseswhatthenarrativevalues.

GenreTheory–Neale

Genretheoryisaboutwhatgenresare,andabouthowandwhytheyarecreated,changeendureordecline.

Nealearguesthatgenreisaprocessbywhichgenericcodesandconventionsaresharedbyproducersandaudiencesthroughrepetitioninmediaproducts.

Thismeansthatgenesarenotfixed,butconstantlyevolvewitheachnewadditiontothegenericcorpus (thebodyofproductsinagenre),oftenplayingwithgenrecodesandconventionsorbecominghybridswithothergenres.

Genericcodesandconventionsarenotjustestablishedinmediaproductsbutinproductsthatrefertotheseproductssuchascriticalwritingsoradvertisingandmarketingmaterial,whatNealereferredtoas‘theintertextual relay’.


5

Structuralism–Levi-Strauss

Structuralismisthestudyofthehiddenrulesthatgovernastructure.

Levi-Straussthoughtthatthehumanmindcouldbeinvestigatedbystudyingthefundamentalstructureunderlyingmythsandfablesfromaroundtheworld(whichhesawasoneunitarysystem).Hedevelopedtheideaofthe‘binaryopposition’–thatthesystemofmythsandfableswasruledbyastructureofopposingterms,e.g.hot-cold,male-female,culture-nature,raw-cooked.

Manywritershaveanalysedmediaproductsusingtheideaofthebinaryopposition,butseeingtheoverallsystemas‘ideology’ratherthan‘humanconsciousness’.

Postmodernism–Baudrillard

Postmodernismistheideathatsocietyhasmovedbeyondmodernism–eithermodernisminartandculture(early 20thcentury)ormodernisminthesenseofabeliefinprogress,whichdatesbackmuchfurther.

Baudrillardarguedthat,asmodernsocietieswereorganisedaroundproductionofgoods,postmodernsocietyisorganisedaround‘simulation’–theplayofimagesandsigns.

Previouslyimportantsocialdistinctionssuffer‘implosion’asdifferencesofgender,class,politicsandculturedissolveinaworldofsimulationinwhichindividualsconstructtheiridentities.

Thenewworldof‘hyperreality’–mediasimulations,forexample,Disneylandandamusementparks,mallsandconsumerfantasylands–ismorerealthanthe‘real’,andcontrolshowwethinkandbehave.

MediaRepresentations

TheoriesofRepresentation–Hall

Representationisnotaboutwhetherthemediareflectsordistortsreality,asthisimpliesthattherecanbeone‘true’meaning,butthemanymeaningsarepresentationcangenerate.Meaningisconstitutedbyrepresentation,bywhatispresent,whatisabsent,andwhatisdifferent.Thus,meaningcanbecontested.

Arepresentationimplicatestheaudienceincreatingitsmeaning.Power–throughideologyorbystereotyping–triestofixthemeaningofarepresentationina‘preferredmeaning’.Tocreatedeliberateanti-stereotypesisstilltoattempttofixthemeaning(albeitinadifferentway).Amoreeffectivestrategyistogoinsidethestereotypeandopenitupfromwithin,todeconstructtheworkofrepresentation.

TheoriesofIdentity–Gauntlett

Themediahaveanimportantbutcomplexrelationshipwithidentities.Inthemodernworld,itisnowanexpectationthatindividualsmakechoicesabouttheiridentityandlifestyle.Eveninthetraditionalmedia,therearemanydiverseandcontradictorymediamessagesthatindividualscanusetothinkthroughtheiridentitiesandwaysofexpressingthemselves.Forexample,thesuccessof‘popularfeminism’andincreasingrepresentationofdifferentsexualitiescreatedaworldwherethemeaningofgender,sexualityandidentityisincreasinglyopen.

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Theonlinemediaofferpeoplearoutetoself-expression,andthereforeastrongersenseofselfandparticipatingintheworldbymakingandexchanging.Thesemediaareplacesofconversation,exchangeandtransformation:‘afantasticallymessysetofnetworksfilledwithmillionsofsparks–someignitingnewmeanings,ideasandpassionsandsomejustfadingaway.’Peoplestillbuildidentities,butthrougheveryday,creativepractice.However,thispracticewouldbeimprovedbybetterplatformsforcreativity.

FeministTheory–VanZoonen

Inpatriarchalculture,thewaywomen’sbodiesarerepresentedasobjectsisdifferenttotherepresentationofmalebodiesasspectacle.

Genderisperformative–ourideasoffemininityandmasculinityareconstructedinourperformancesoftheseroles.Genderis‘whatwedo’ratherthan‘whatweare’.Moreover,genderiscontextual–itsmeaningchangeswith cultural and historical contexts.

VanZoonendisagreeswithargumentsthattheinternet,beingbasedoncollaboration,isatechnologythatistrueandclosetowomenandfemininity.Theseviewsaretoosimpleandbasedontheideaofanessentialfemininity,whereasthereisarichdiversityofwaysthatgenderisarticulatedontheinternet.

FeministTheory–BellHooks

Feminismisamovementtoendpatriarchy:sexism,sexistexploitation,andoppression.

‘Intersectionality’referstotheintersectionsofgender,race,classandsexualitytocreatea‘whitesupremacistcapitalistpatriarchy’,whoseideologiesdominatemediarepresentations.Shearguesthatblackwomenshoulddevelopan‘oppositionalgaze’thatrefusestoidentifywithcharacters–the‘gaze’ispoliticalforblackAmericans,asslaveswerepunishedforlookingattheirwhiteowners.

TheoriesofGenderPerformativity–Butler

Genderiscreatedinhowweperformourgenderroles–thereisnoessentialgenderidentitybehindtheseroles,itiscreatedintheperformance.Performativityisnotasingularactbutarepetitionandaritualthatbecomesnaturalisedwithinthebody.

Anyfeminismconcernedonlywithmasculinityandfemininityexcludesotherformsofgenderandsexuality.Thiscreates‘gendertrouble’forthosethatdonotfittheheterosexualnorms.

ButlerisanimportantpostmodernwriterandhasinfluencedQueertheory–theorywhichdeconstructsandaimstodestabiliseapparentlyfixedidentitiesbasedongenderandsexualities.

TheoriesAroundEthnicity,andPost-ColonialTheory–Gilroy

TheAfricandiasporacausedbytheslavetradehasnowconstructedatransatlanticculturethatissimultaneouslyAfrican,American,CaribbeanandBritish–the‘BlackAtlantic’.

Britainhasfailedtomournitslossofempire,creating‘postcolonialmelancholia’,anattachmenttoanairbrushedversionofBritishcolonialhistory,whichexpressesitselfincriminalisingimmigrantsandan‘usandthem’approachtotheworldfoundedonthebeliefintheinherentsuperiorityofwhitewesterncivilisation.


5

MediaIndustries

PowerandMediaIndustries–CurranandSeaton

Apoliticaleconomyapproachtothemedia–arguingthatpatternsofownershipandcontrolarethemostsignificantfactorsinhowthemediaoperate.

Mediaindustriesfollowthenormalcapitalistpatternofincreasingconcentrationofownershipinfewerandfewerhands.Thisleadstoanarrowingoftherangeofopinionsrepresentedandapursuitofprofitattheexpenseofqualityorcreativity.

Theinternetdoesnotrepresentarupturewiththepastinthatitdoesnotofferalevelplayingfieldfordiversevoicestobeheard.Itisconstrainedbynationalismandstatecensorship.Newsisstillcontrolledbypowerfulnewsorganisations,whohavesuccessfullydefendedtheiroligarchy.

Regulation–LivingstoneandLunt

LivingstoneandLuntstudiedfourcasestudiesoftheworkofOfcom.

Ofcomisservinganaudiencewhomaybeseenasconsumersand/orcitizens,withconsequencesforregulation:consumershavewants,areindividuals,seekprivatebenefitsfromthemedia,usethelanguageofchoice,andrequireregulationtoprotectagainstdetriment;citizenshaveneeds,aresocial,seekpublicorsocialbenefitsfromthemedia,usethelanguageofrights,andrequireregulationtopromotethepublicinterest.

Traditionalregulationisbeingputatriskby:increasinglyglobalisedmediaindustries,theriseofthedigitalmedia,andmediaconvergence.

CulturalIndustries–Hesmondhalgh

Culturalindustriesfollowthenormalcapitalistpatternofincreasingconcentrationandintegration–culturalproductionisownedandcontrolledbyafewconglomerateswhoverticallyintegrateacrossarangeofmediatoreduce risk.

Riskisparticularlyhighintheculturalindustriesbecauseofthedifficultyinpredictingsuccess,highproductioncosts,lowreproductioncostsandthefactthatmediaproductsare‘publicgoods’–theyarenotdestroyedonconsumptionbutcanbefurtherreproduced.Thismeansthattheculturalindustriesrelyon‘bighits’tocoverthecostsoffailure.Henceindustriesrelyonrepetitionthroughuseofstars,genres,franchises,repeatablenarrativesandsoontosellformatstoaudiences,thenindustriesandgovernmentstrytoimposescarcity,especiallythroughcopyrightlaws.

TheinternethascreatednewpowerfulITcorporations,andhasnottransformedculturalproductioninaliberatingandempoweringway–digitaltechnologyhasspedupwork,commercialisedleisuretimeandincreasedsurveillancebygovernmentandcompanies.

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Media Audiences

MediaEffects–Bandura

Themediacaninfluencepeopledirectly–humanvalues,judgementandconductcanbealtereddirectlybymediamodelling.Empiricalevidencebestsupportsdirectinfluenceratherthanthealternativemodelsofmediaeffects:two-stepflow,agenda-setting,noeffects,orthemediareflectingexistingattitudesandbehaviour.

Mediarepresentationsofaggressiveorviolentbehaviourcanleadtoimitation.

Themediamayinfluencedirectlyorbysocialnetworks,sopeoplecanbeinfluencedbymediamessageswithoutbeingexposedtothem.

Differentmediahavedifferenteffects.The‘new’mediaofferopportunitiesforself-directedness.

CultivationTheory–Gerbner

Exposuretotelevisionoverlongperiodsoftimecultivatesstandardisedrolesandbehaviours.Gerbnerusedcontentanalysistoanalyserepeatedmediamessagesandvalues,thenfoundthatheavyusersoftelevisionweremorelikely,forexample,todevelop‘meanworldsyndrome’–acynical,mistrustingattitudetowardsothers–followingprolongedexposuretohighlevelsoftelevisionviolence.

GerbnerfoundthatheavyTVviewingledto‘mainstreaming’–acommonoutlookontheworldbasedontheimagesandlabelsonTV.Mainstreamerswoulddescribethemselvesaspoliticallymoderate.

ReceptionTheory–Hall

Hall’s‘encoding-decoding’modelarguedthatmediaproducersencode‘preferredmeanings’intotexts,butthesetextsmaybe‘read’bytheiraudiencesinanumberofdifferentways:

• Thedominant-hegemonicposition:a‘preferredreading’thatacceptsthetext’smessagesandtheideologicalassumptionsbehindthemessages

• Thenegotiatedposition:thereaderacceptsthetext’sideologicalassumptions,butdisagreeswithaspectsofthemessages,sonegotiatesthemeaningtofitwiththeir‘livedexperience’

• Theoppositionalreading:thereaderrejectsboththeovertmessageanditsunderlyingideologicalassumptions.

Fandom–Jenkins

Fansactas‘textualpoachers’–takingelementsfrommediatextstocreatetheirownculture.

Thedevelopmentofthe‘new’mediahasaccelerated‘participatoryculture’,inwhichaudiencesareactiveandcreativeparticipantsratherthanpassiveconsumers.Theycreateonlinecommunities,producenewcreativeforms,collaboratetosolveproblems,andshapetheflowofmedia.Thisgenerates‘collectiveintelligence’.

Fromthisperspective,convergenceisaculturalprocessratherthanatechnologicalone.

Jenkinspreferstheterm‘spreadablemedia’totermssuchas‘viral’,astheformeremphasisestheactive,participatoryelementofthe‘new’media.


5

‘EndofAudience’Theories–Shirky

Inthe‘old’media,centralisedproducersaddressedatomisedconsumers;inthe‘new’media,everyconsumerisnowaproducer.Traditionalmediaproducerswould‘filterthenpublish’;asmany‘new’mediaproducersarenotemployees,they‘publishthenfilter’.

Theseamateurproducershavedifferentmotivationstothoseofprofessionals–theyvalueautonomy,competence,membershipandgenerosity.User-generatedcontentcreatesemotionalconnectionbetweenpeoplewhocareaboutsomething.Thiscangenerateacognitivesurplus–forexample,Wikipediacanaggregatepeople’sfreetimeandtalenttoproducevaluethatnotraditionalmediumcouldmatch.

‘TheAudience’asamassofpeoplewithpredictablebehaviourisgone.Now,behaviourisvariableacrossdifferentsites,withsomeoftheaudiencecreatingcontent,somesynthesisingcontentandsomeconsumingcontent.The‘old’mediacreatedamassaudience.The‘new’mediaprovideaplatformforpeopletoprovidevalue for each other.

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Summaryofupdates

Date Version Section Titleofsection Change

May2018 1.1 Frontcover Disclaimer AdditionofDisclaimer

May2018 1.2 2a,2c,2f,5d OCR's A Level in Media Studies,ContentofMediamessages(H409/01),Contentofnon-examassessment:Makingmedia(H409/03/04),Accessingthesetmediaproduct.

ClarificationofsetmediaproductsandNEAproduction.

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