Exam Section A approach

Learning objective: How to approach section A of the A2 exam.

This is what the front of an A2 Media Studies exam paper looks like:

This is what the next page of the A2 Media Studies exam paper looks like:

Section A of the exam questions are based around text. You should answer section A with responses on TV industry texts that we have looked at, Luther, Life on Mars and Common.

On the front page, you should write TV Industry in the box (Media Industry Chosen) alongside box A.

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Below is a selection of questions from Section A of the A2 Media Studies exam:

You will be asked to answer one question from this section.

SECTION A: TEXT 

Answer one question from this section. You must refer to the three main texts you have studied in each answer. 

Either, 

A1. Explore the different ways in which people are represented in your three main texts. [30] 

Or, 

A2. How typical are your three main texts of their genre? [30]

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Either, 

A1. Explore the narrative structure of your three main texts. [30] 

Or, 

A2. ‘Most texts today mix genres.’ How true is this of your three main texts? [30]

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Either, 

A1. To what extent do your three main texts challenge genre conventions? [30] 

Or,

 A2. Explore the key gender representations in your three main texts. [30]

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Either, 

A1. ‘All media representations are constructed.’ Discuss with reference to your three main texts. [30] 

Or, 

A2. ‘Media texts contain complex narratives.’ How true is this of your three main texts? [30]

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Either, 

A1. Explore the different representations of either men or age within your three main texts. [30] 

Or,

A2. How important are characters to the narrative of your three main texts? [30]

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Read the questions thoroughly before starting to plan your answer.
You need to know about genre conventions, representation and narrative in regards to the three texts. (Luther, Life on Mars and Common.)

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You will need to plan your response to these questions. 
This will make writing your answers easier and you will avoid losing 'silly' marks.

Task 1: Look at the diagram below. Make a note of the three concepts and the sublists;
Genre - Narrative - Representation (three lists). Leave enough space (half a page) so you can clearly put your ideas about each text.

Task 2: 

Using key terms found on this blog, consider what you will write about with regards to the three texts you have studied if approaching a genre question. 

Bullet points for each of Luther, Life on Mars and Common. Submit at end of today.

• Signifiers - All media 'texts' have signs and signifiers which send specific messages to the audience. In some cases we hardly think about how we read these signs. The use of colour for example to suggest.. mood.. atmosphere.. meaning.
  Signifiers: show, suggest, mean something to an audience

• Conventions - What are the conventions of a TV Crime Drama? Program titles Title sequences Lighting Camera Angles Characters Storyline/ narrative How do we know it is a TV Crime Drama? 

• Iconography - the visual images and symbols used in a work of art or the study or interpretation of these.

‘Iconography is an important aspect of genre. We expect to see certain objects on screen when we see a particular genre, for example, in a Western, dusty lonely roads, saloon bars, cowboy hats and horses, jails, sheriffs badges, guns, etc.. 

• In a modern horror film, we expect young girls, ‘normal’ objects, use of dark and light, etc. These ‘genre indicators’ are called the iconography of the mise-en-scene or genre.’

http://dls-media-as-1314-joshroberts.blogspot.co.uk/2013/09/iconography-of-crime-drama.html

Below is an interesting take on Luther:

Below are some exemplar plans: 

Audience
What affects the way in which an audience responds to a programme, e.g. age, culture, gender, situation, etc.? • Audience theories: uses and gratifications. This theory suggests that audiences ‘use different media texts for different reasons’: • For entertainment and diversion – audiences consume some media texts in order to escape from everyday life. This also suggests that audiences do not have to experience literal reality but can become equally involved in a story world that is believably fantastical if it offers escapism. Audiences like to become involved in the solving of the crime along with the detectives. • For information and education – some media texts are consumed by audiences when they want to know what is going on in the world or to find out information about other areas of the world. • For social interaction – some media texts are ‘of the moment’ and are discussed by the audience as they happen. This is sometimes referred to as ‘water-cooler’ television. Audiences watch the programme so that they can then use the experience to talk to others. An example would be when audiences go on social networking sites and tweet after the last episode of a series, giving their opinions on what has happened. Here, the audience response is immediate, and to be involved it is essential to keep up to date with the programme. This happened after the last episode of Sherlock. • For personal identity – this is the idea that audiences will gain pleasure from some media texts because they are able to compare their lives and circumstances with those featured in the particular text. The appeal of the programme may be that an audience can empathise with a particular character in a situation and be involved with how they handle it.