GCSE MEDIA STUDIES
FOUNDATION MEDIA-TELEVISION ASSESSMENT
8 MARKER:
Good analysis of the product that is clear and generally engages with the nuanced aspects of how media language is used.
- Focus on how narrative features communicate meanings is mostly
effective although lacks clarity in places.
- Mostly appropriate and effective use of subject terminology throughout
e.g
Location: the empty city creates its own enigma code with the mystery of what has
happened to the city and the people that lived there. This is partially resolved later in the
extract.
- Props: the setting and props are both familiar (the drink bottles and bread towards the end
of the sequence) and also other-worldly in keeping with the fantasy genre (the city). The
creates a contrast that suggests the wider narrative arc of multiple worlds (including one very much like our own).
original answer
TV assessment: Learner Response
Create a blogpost called 'TV assessment learner response'.
1) Type up your feedback from your teacher in full (you do not need to write marks/grades if you do not wish to).
5) Finally, write down THREE things you need to revise or practice for your next Television assessment.
12 MARKER:
Satisfactory analysis of the extract, commenting on the obvious and
straightforward aspects of how far the extract targets a very specific
audience group
- Some reasonable conclusions drawn but inconsistent, mixing
description with analysis, sometimes supported by examples from the
extract
- Some relevant use of subject-specific terminology
Excellent analysis of the extract that is detailed and critically engages
with the nuanced aspects of how far the extract targets a very specific
audience group
- Clear and effective conclusions drawn, supported by appropriate
examples from the extract
- Subject-specific terminology is used accurately and relevantly
throughout
E.G
Characters and representations
Uses and Gratifications theory (Blumler & Katz): Personal identity & relationships. The
audience are positioned to respond positively to Lyra and Will – younger viewers may
personally identify with the four characters in the sequence while parents may be intrigued
by the idea of teenagers left to fend for themselves ‘Where are the grown ups?”
- Lyra and Will are likeable characters that a family audience will want to accompany on their
journey in this lost, abandoned city.
- Lyra is shown as active, determined and intelligent, making her a positive and appealing
role model for teenagers and parents, especially teen girls.
- Will is shown to be caring and sympathetic in the extract, helping Lyra up and listening to
the two girls explain why the city is empty. He subverts masculine stereotypes as it is Lyra
rather than Will leading the chase.
- The idea of ‘Spectres’ targeting grown ups is a subversion of the typical media stereotype
that children need the protection of adults. Here, adults are in danger and the teenagers
will have to save the situation.
Story lines
- The adventure narrative is a classic for targeting a family audience. Both parents and
children will enjoy the mystery and exploration of this empty, abandoned city that Lyra and
Will find themselves in.
- The chase sequence is a classic of the genre – knocking over objects, running through
houses and cafes and ending in a confrontation. Applying Blumler and Katz, this provides
diversion – it’s perfect family entertainment.
- The idea that ‘Spectres’ target grown ups and that children are left to survive themselves is
a narrative that would appeal to parents and children.
Alternative viewpoint
- It is possible to argue the opposite – that the extract only contains child characters and
therefore the sequence may not be successful in targeting a family audience.
-It could also be argued that the extract features narratives that are too complicated for a
family audience to enjoy – the empty city, the children, Spectres, dust etc.
20 MARKER:
Satisfactory knowledge and understanding of the contexts of the
media, demonstrated by some relevant discussion of how media
contexts influence media texts
-Satisfactory judgments and conclusions drawn, sometimes supported
by examples from the Close Study Products
- Subject-specific terminology is used largely appropriately but not
always effectively
- The quality of the written communication is satisfactory, and meaning
is usually clear
- The line of argument is not always evident
Good knowledge and understanding of the contexts of the media,
demonstrated by frequently effective discussion of how media
contexts influence media texts
- Good judgements and conclusions drawn, usually supported by relevant
examples from the Close Study Products
- Subject-specific terminology is used frequently and effectively
- The quality of the written communication is good, and meaning is
always clear
-The line of argument is clear
Excellent knowledge and understanding of the contexts of the media,
demonstrated by thoroughly effective discussion of how media
contexts influence media texts
- Excellent, valid and astute judgements and conclusions drawn, clearly
and consistently supported by relevant examples from the Close Study
Products
- Subject-specific terminology is used consistently, accurately and
relevantly throughout
- The quality of the written communication is excellent
-The line of argument is clear, logical and well-developed
Industries
- Initially the BBC saw Doctor Who as a very educational programme, to teach teens about
science and history. The BBC has evolved over time and Doctor Who and His Dark Materials
can now both be seen as more geared towards entertainment than education.
- In 1963, there were only two TV channels, so programmes had to appeal to a much broader
demographic – potentially to half the population. At the same time, however, there were
many ‘invisible’ groups in society, such as recent immigrants, LGBT people who simply were
not considered as part of the demographic. While early science fiction had to appeal to a
large mass audience, it also appealed to a very mainstream audience.
- The advent of satellite TV, digital TV, online TV means that there are many more channels
available and more ways to access TV. His Dark Materials reflects the global nature of the
TV industry as a BBC and HBO co-production with both British and American stars (e.g. Lin
Manuel Miranda). Modern TV dramas often have big budgets and rival Hollywood for stars
and production values.
- The BBC is still a public service broadcaster with a responsibility to reflect the diversity of
the UK in its output. This can be seen in the casting of His Dark Materials – both in terms of
gender and race/ethnicity.
Story lines:
- The story lines reflect events in society at the time of production, e.g. in Doctor Who the
Daleks were initially seen as representing the Nazis, especially in the 1960s when WW2 was
still a recent memory for many of the audience. Since then the Daleks have continued to
represent totalitarianism, although in some recent episodes they have been more
humanised.
- His Dark Materials reflects the increasing independence young people expect and
deliberately places the children in environments where there are no adults. Many grown
ups are presented as villains and Lyra’s parents have effectively abandoned her. This
subverts traditional stereotypes but does reflect modern contexts where young people are
increasingly asserting themselves in society (e.g. political protest, climate change etc.)
Representations:
- Traditionally, Doctor was a white male, most often with a younger female companion,
reflecting and reinforcing traditional gender roles of the times, with the man as powerful
and in control and the woman as helper. Women’s helper role often been to provide an
emotional, empathetic side to the programme. Reinforcing the idea that men are active,
action-centred while women are more passive, emotional and sensitive
- Changes in society, particularly advances in equality for women, have slowly been reflected
in TV drama. In 2016 it was announced that the next regeneration of Doctor Who would be
as a woman (played by Jodie Whittaker). In His Dark Materials, the protagonist and
strongest character is female (Lyra).
- Representations of race have also developed to reflect changing social and political
contexts. For example, in the 1963 episode of Doctor Who, the Doctor refers to ‘the savage
mind’ of ‘Red Indians’ not able to understand advanced technology. This dismissive and
colonialist attitude seems very outdated now and more recent seasons have shown a much
more positive attitude to those of other cultures and races. His Dark Materials has a much
more representative reflection of current British society with a wide range of ethnicities
represented on screen.
- In the 1960s, representations were largely of British, white-middle class people. Over time,
TV drama has developed to be more inclusive and to show a much wider range of
representations. In His Dark Materials, there are people of different ethnicities and
backgrounds.
- Representations of teenagers have shown both continuity and change. Both Susan in the
1963 Doctor Who and Lyra in His Dark Materials are high-achieving or brave, intelligent or
strong and determined. However, Susan in the 1963 Doctor Who seems more childish and
has little control over her own life. She is more obedient to adults such as her grandfather.
In His Dark Materials, Lyra is more capable, more active and more in control – she is not
bothered what Will thinks or her and does not defer to him at all.
- The subversion of gender stereotypes with Lyra and Will is striking – Will is concerned with
hygiene, sleeping arrangements and cooking. Lyra has no interest in these things at all but
leads the chase, is happy exploring on her own and shows bravery throughout.
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