Gcse media revision booklet (2017)

A C T I ON D V E N T U R E

T V C O M E D Y

SECTION-A Textual Analysis Q1: Action Adventure Narrative Conventions Q2: Effects of media language (soundtrack; editing; mise-en-scene; camerawork) Q3: Representation

THE EXAM PAPER DETAILS

The extract is from the film ‘_________________’ (Director: ______ ________, ______).

Here you will be given the context/background to the extract of film. It may give you other information such as: the characters' professions and relationships with other characters in the extract.

Characters in the extract: This section will describe the main characters and their actions during the extract.

An example of this would be: Martin In a black jacket. First seen hitting a man with a frying pan.

MEDIA LANGUAGE CAMERAWORK Camera shot/angle • ECU/BCU/CU/MCU • MS/LS/WS • Top Shot • High/Low angle • Canted • Crane • POV • Over the shoulder • Aerial Camera movement • Tracking • Panning • Focus pull • Zoom in/out • Steadi-cam • Hand-held

MISE EN SCENE Low key lighting Dark shadows and lots of contrast may suggest danger, suspense or horror.

Unusual lighting effects Often used to suggest danger; especially in science fiction films Naturalistic lighting May be used to make events look more ‘real’.

Set or location Important to the tone of a film-they may create spectacle: E.g. being trapped in a confined space or freedom in an open space.

Costume and props Can be important to show us important elements of a character (e.g. how clothes determine different personalities) Casting A/A films need to cast the right actors; those who can look and act the part and those whose star image means that they fit the part: heroes, villains, side-kicks and love interest Blocking (how actors and objects fit into the frame) Might emphasise togetherness of a team of heroes (or a band of villains) or may show conflict between opposing sides.

Q1 For this question, you will need to identify TWO examples of narrative conventions: characters and/or events.

It will probably have a hero, a heroine or a band of ‘goodies’.

Will be often in danger, usually being attacked by a villain or some other dangerous force.

There will be some action (but not always), often with violence, or a sense of preparing for action, perhaps with a feeling of suspense. They could be on some kind of ‘quest’.

It may be set in a location that is exotic or spectacular or unusual in some way.

Key terms Protagonist (hero); antagonist (villain); convention (the ‘rule’) Q2 For this question you need to identify how camerawork, sound, editing and mise-en-scene create ‘effects’.

‘Effects’ means connotations. For example, the use of a low angle camera shot connotes that someone is powerful (because we are looking up at them).

Remember to state that the sound used is either diegetic (within the film world) or non-diegetic (added afterwards in post-production).

You should aim to write about 2-4 examples for each area of media language.

PETA P – make your point using the question: “Camerawork is used for effect in the following way…”

E/T – make sure your evidence/terminiolgy is from the text: “When xxxx is shown a low angle is used…”

A – analyse your evidence/terminology: “The use of the low angle…””

MEDIA LANGUAGE EDITING Fast paced Suggests excitement, chaos, action or confrontation.

Slow paced May be caused by long tracking shots-following the action without cutting. May add to the tension or give a sense of spectacle and enable us to focus on dialogue.

Change of pace Usually signals an important change, such as the start of an action sequence.

Cut-away Often adds to the excitement or suspense in a film by focusing on a different object/part of a person which will feature soon.

Straight cut A straightforward cut from character to character, object to object or location to another location. (Or could be a combination of all of the above) Shot-reverse-shot Usually used to feature two people in conversation. The cameras are placed over the shoulders of the actors to enable us to establish the relationships between characters.

Jump cuts Rarely used cuts that make the subject appear to jump within the frame and therefore slightly disturb the action Slow motion Adds drama and tension to the film by slowing down and focusing on a particular person or object.

SOUNDTRACK Diegetic (within the film world) Dialogue Establishes character, relationships, conflict, action Ambient sound Any other sound within the film world; e.g. a bell can have connotative effect by acting as an alarm Silence Sometimes a brief moment of silence can indicate that the action is about to start Non-diegetic (added afterwards in post-production) Music May be used to emphasise suspense signal the build-up or reflect the mood, excitement and/or tension of the scenes.

Background sound/ Sound FX Can be used to emphasise action or violence; may suggest events off-screen.

REPRESENTATION Here are some suggested areas: (Don’t forget to use the word ‘stereotype’) Gender Look for the typical macho male lead part/men that are part of the team/the vulnerable female(s) that are in the background. However, there may be females that go against the stereotypical female role!

Race Ethnic groups/individuals could be in a supporting role (negative) or could be a challenge to the stereotypical role: in command/positions of power Age Look for the stereotypes: age being equivalent to wisdom or being irritable!

Young people are usually represented as naïve, rebellious or cool. Again look for the challenges Physical Appearance A/A stars will have a certain ‘look’-they all may not be ‘handsome’, but they will be chosen for their appearance [for example, rugged (rough tough) men/attractive women] Institutions For example: the army (Hurt Locker), the police (Hot Fuzz), marriage (Spy Kids) Location Look for the obvious; dangerous cities/caves/the sea and the less obvious (the quiet village in Hot Fuzz for example) Q3 In the extract Debi is represented as non-violent suggesting that she is the typical ‘damsel in distress’ as she doesn’t know how to operate the gun in the same way that the man Martin does. This demonstrates that the representation of women in this extract is one of vulnerability and weakness and that they are dependent on men for support and safety.

In the extract form Hurt Locker, all of the Army are male. Stereotypically, in these types of movies men use strength and logic to overcome problems for example when Colonel Reed and Sergeant James instruct the others to take up certain positions. Additionally, the Army is also represented as brave as Sgt James has to make the decision to open the car boot to discover what’s inside; even though it could be dangerous.

SECTION-B Television Comedy Q4a: TV Scheduling Q4b: Audience Pleasures

THE EXAM PAPER DETAILS

REMEMBER! This could be: Explain why one programme was chosen by two different channels. Then explain why each channel chose the time and day to schedule the programme.

Outnumbered: BBC-1 & G.O.L.D. Modern Family: Sky-1 & Sky-2

4a: scheduling Terminology How is the terminology applicable to the programmes?

Outnumbered was stripped on its first run to gain maximum impact as the audience were able to see the lives of the family on a daily basis over five consecutive evenings Modern Family is stacked with other programmes such as The Simpsons/The Middle as it has the same demographic (audience) The terminology is ALL available to revise in the booklet

THE EXAM PAPER DETAILS

REMEMBER! This could be: Explain how two comedy programmes offer audience pleasures.

Give detailed examples from the programmes.

Also, you must offer a ‘range of pleasures, not just making the audience laugh’

4b: Audience Pleasures Don’t forget to structure your answer!  Make your point  Choose your evidence  Explain your evidence Point: One way that Modern Family offers audience pleasures is through narrative resolution Evidence: Throughout the episode Fizbo, there have been many story strands and chaotic episodes culminating in Luke breaking his arm. However, at the end at the hospital Phil explains that “The whole family was together and that’s the way it should be” Explanation: This is satisfying for the audience as despite the accidents and chaos of the episode, the outcome was a positive and happy on.

Remember that the question asks you for different audience pleasures.

Audience pleasures are ALL available to revise in the booklet

Question-4a: Scheduling Channel loyalty Many of the viewing public may watch the BBC out of a sense of loyalty to that particular; as it has a reputation for making programmes that ‘inform, educate and entertain’ Demographic A way of ‘dividing’ a population into different groups; for example: age, gender, ethnicity, income, education, class etc.

Non-terrestrial Subscription TV. Sky has a predominantly American schedule of programmes; many of which come from the Fox network.

PSB (Public Service Broadcaster) The BBC has a ‘duty’ to inform, educate and entertain. Funded by licence fees paid by public money it also has a responsibility to provide the public with a wide range of programmes.

Peak time Between 6 p.m. and 10:30 p.m.—the period in which the most popular shows are screened and the highest ratings are achieved.

Pre-echo When people watch TV in a ‘traditional’ way, they may tune in early and ‘catch’ the last few minutes of a TV programme-which they may watch the following week.

Pre-watershed Scheduling TV programmes (Modern Family) pre-watershed obviously allows for a broader demographic because of the time and ‘family’ nature of the programme Post-watershed Scheduling TV programmes (Outnumbered) post-watershed allows for more adult themes which closely defines its demographic Stacking/stacked This is when programmes appealing to a similar demographic are ‘stacked’ together: e.g. The Cafe>Modern Family>The Middle>The Simpsons Stripping/stripped On its first ‘run’ the BBC ‘stripped’ Outnumbered across the schedule for maximum impact Tentpoling Whilst Modern Family is popular in its own right, it can be considered as a ‘support’ to ‘main feature’ programmes such as The Simpsons as it’s flexible to move around the scheduling.

REMEMBER TO GIVE EXAMPLES

GCSE MEDIA EXAM: Question 4b Key words, definitions and advice Question-4b: Audience Pleasures Humour Jokes; word play; sarcasm; slapstick; physical; misunderstandings Narrative resolution Knowing that the story will be (somehow) resolved Recognition Seeing ‘us in them’. Identifying something familiar in the characters or situation that may be familiar to our own situation Social commentary Issues and/or topics that dealt with in the context of a TV story Loyalty Emotionally ‘investing’ in the character(s) so that we care about them.

Snowballing narrative A story that ’snowballs’ through one or more episodes that gathers momentum. (Only use for Outnumbered where the issue of granddad’s dementia is played out over several episodes and it is Sue & Pete’s continuing struggle to address/resolve the issue.)

LOOK AT THE QUESTIONS CAREFULLY! You could get a combination of the following: 4a Explain why one programme was chosen by a channel. Then explain why that channel chose that time and that day to schedule the programme.

OR Explain why two programmes were chosen by different channels. Then explain why each channel chose one time and one day to schedule the programme.

4b Discuss how one comedy programme offers different audience pleasures OR Discuss how two comedy programmes offer different audience pleasures

REMEMBER:EXAMPLES!

GCSE MEDIA STUDIES EXAM: Question 4a Why programmes are scheduled on TV channels Outnumbered (2007-2014)

Channel(s): BBC-1: 9.30pm (post-watershed); GOLD: 9.00pm (post-watershed) Mass audience appeal Target audience/demographic: adults When originally broadcasted, the programme was stripped across the BBC scheduling (shown on successive nights: very unusual!) It continues to enjoy great success (with an average of 6m viewers) and is repeated in the prime (peak-time) BBC-1 scheduling time of 9.30.

Modern Family (2009-present)

Channel(s): SKY-1: between 5.30-9.00pm (pre-watershed); Sky-2: usually before 9.00pm Mass audience appeal Target audience/demographic: all ages/family viewing The programme is now in its fifth season and is one of the most popular comedy programmes on Sky-1. Its place in the schedule is peak-time family viewing and continues to get good ratings: on average 3-4m.

Why is it scheduled here? Post-watershed enables the programme to feature adult humour/topics; mild swearing.

Why is it scheduled here? Pre-watershed enables the programme to reach a wide viewing public (demographic).

This important scheduling ‘slot’ is normally reserved for programmes (e.g. Dramas) that the BBC feel will attract a large audience (see viewing figures above).

Outnumbered could be said to have dramatic elements so the BBC are correct in placing Outnumbered in this time slot. It is also stacked with programmes such Have I Got News For You; which appeals to a similar demographic.

Although Modern Family is popular, it usually forms part of a night’s package whereby it ‘supports’ tentpole programmes like The Simpsons. Moreover, Modern Family is flexible to move around the scheduling and is also stacked with programmes like The Simpsons, The Middle and The Café which means it appeals to a similar demographic.

Outnumbered also features on GOLD ; a commercial broadcaster owned by both Virgin Media and the BBC. It is scheduled after the watershed in the peak viewing slot of 9.00pm on a Saturday night. 3-4 episodes are run back to back. According to BARB, Outnumbered is the most popular comedy show on GOLD.

Modern Family also features on SKY-2 and when the series is being broadcasted, it is repeated on this channel several times; because it is popular and inexpensive to do this (because of the amount of programmes).

Many people may watch Outnumbered because of channel loyalty: the BBC. Pre-echo: People will often tune in early to watch a favourite programme (BBC News). They will often see the last few minutes of the preceding programme (Outnumbered), and may then decide to watch all of it the following week.

Remember • The BBC is a PSB (a public service broadcaster); funded by the licence payer (the public) and have a responsibility to inform, educate and entertain • G.O.L.D. is a commercial broadcaster (this means that advertising money will go towards the BBC, who will reinvest in other programmes)

Many people may watch Modern Family because of channel loyalty: Sky-1/2.

Pre-echo: People will often tune in early to watch a favourite programme (The Simpsons). They will often see the last few minutes of the preceding programme (Modern Family), and may then decide to watch all of it the following week.

Remember • SKY-1 & SKY-2 are non-terrestrial satellite TV stations who are funded by subscriptions and advertising revenue • As part of the leading home entertainment provider, Sky1’s philosophy is to mix ‘block buster acquisitions with home-grown UK commissions’

GCSE MEDIA STUDIES EXAM: Question 4b Audience pleasures Outnumbered (2007-2014)

Modern Family (2009-present)

Genre: Sitcom

Genre: Sitcom

Why does it appeal to its audience?

It is a semi-improvised situation comedy and is about typical family life whereby the children ‘outnumber’ the adults. Some of the comedy arises out of the children’s innocent questions about the world they live in and the adults’ inability to answer them.

Why does it appeal to its audience?

It is a situation comedy presented in ‘mockumentary’ style. Some of the comedy arises out of the interrelationships within the family. As the tagline reveals, it is about ‘One big (straight, gay, multicultural, traditional) happy family’.

Why is it funny?

Examples • Innocence: Ben’s question as to why God could not send a meteorite to kill Jesus’ enemies

Why is it funny?

Examples • Slapstick: Phil falling over/collapsing again at the final sighting of Fizbo

• • •

Wordplay/puns: Sue referring to her sister as “an attention-seeking missile” Misunderstanding: Karen not understanding what “being a guest of her majesty” means (it means someone is a prisoner) Physical humour: Sue finally snapping and kicking her sister Angela up the backside

•

Misunderstanding: Manny being a hero and rescuing the ‘dog’; which turns out to be a balloon dog

•

Sarcasm: Hayley to Alex, “I’m sure you’ll meet someone super-hot at computer camp ”

•

Visual humour: Cam’s entrance as Fizbo and the production of the oversize clock in an exaggerated demonstration of impatience with Mitchell

It’s not just that the programmes are funny!

There’s also: • Narrative resolution • Recognition • Social commentary • Loyalty • Snowballing narrative

Type

Generic Pleasure

Example: Modern Family (‘Fizbo’)

CONVENTIONS

The genre has simple conventions so it is easy to understand (or new variations on the genre create interest).

A twist on the genre – a ‘mockumentary’

FAMILIARITY

The audience can drop in to a familiar programme and meet the same group of people regularly.

The cast list does not change and we meet them regularly every episode

SOCIAL COMMENTARY

Important social issues may be represented/addressed

Bad parenting; Bullying; Trophy wife

NARRATIVE RESOLUTION

Each episode has one or more storylines that are resolved by the end of the episode - giving the audience the satisfaction of an ending.

The A&E intro is resolved and Luke appreciates the party despite breaking his arm (and really wanting a cast) “The whole family was together and that’s the way it should be” (Phil) Despite getting the girl, Manny feels ‘smothered’ by her attentions

RECOGNITION

The audience can recognise or identify with some characters or with the situation the characters find themselves in.

Boyfriend trouble (Hayley) Fear of clowns (Phil) Rejection (Manny)

HUMOUR

Comedy entertainment.

LOYALTY

Investing our time in the characters so that we become interested in them and their development within the programme

Cam’s dream of being a proper clown and getting revenge on a bully

Type

Generic Pleasure

Example: Modern Family (‘Truth To be Told’)

CONVENTIONS

The genre has simple conventions so it is easy to understand (or new variations on the genre create interest).

A twist on the genre – a ‘mockumentary’

FAMILIARITY

The audience can drop in to a familiar programme and meet the same group of people regularly.

The cast list does not change and we meet them regularly every episode

SOCIAL COMMENTARY

Important social issues may be represented/addressed

Facebook; Issues of trust; Family values – children growing up/standing up for yourself

NARRATIVE RESOLUTION

Each episode has one or more storylines that are resolved by the end of the episode - giving the audience the satisfaction of an ending.

Telling the truth (Phil’s admission about his previous relationship) Admission by Jay to Manny and Manny’s admission about the scratch on the car

RECOGNITION

The audience can recognise or identify with some characters or with the situation the characters find themselves in.

Lying: white or otherwise!

HUMOUR

Comedy entertainment.

LOYALTY

Investing our time in the characters so that we become interested in them and their development within the programme

Is Mitchell’s grand gesture (threatening to walk away from his job) foolish?

Phil resisting the charms of Facebook friend, Denise

EXAM TIME MANAGEMENT

30m

Watch the extract and make notes

10m

Q1 Conventions of Action/Adventure (characters/events)

20m

Q2 The effects of Media Language (soundtrack/camerawork/editing/mise-en-scene)

15m

Q3 Representation (people, places and/or institutions)

15m

Q4a Scheduling of a programme (or programmes)

15m

Q4b Audience pleasures for one OR two programmes

Tuesday May 23 9am