POWER & THE MEDIA

We have worked on this topic last year so you can use your preferred case studies.

We go over the key concepts.

ESSAY PLAN

Use one period of our double to make a start on the essay set this week.

Take note of the scope of the essay: know that 'evaluate' means consider both sides of a question

Most essays will work well if you plan like this:

First sentence: define / refer to / pick up key terms in the title: 

e.g.1 Convergence is the interconnection between media, technology and communication, which often relies on digital technology. A convergent hub is needed, where audiences can click through convergent links. Convergence and synergy are important elements of any film's promotion in the martketing campaign.

e.g. 2 In media terms, the concept of media ecology can be traced back to Marshall Mcluhan and Neil Postman, and refers to the ways in which media, technology and ways of communicating shape our environment, our society and daily lives.

Media ecology refers to the complex environments within which media texts, producers, distributors, technologies and audiences exist. It is a way of conceiving the structure of these environments, their content, and impact on people.

Second sentence

Define your scope: In this essay, I have referred to the news press and social media platforms (Twitter, FB, YouTube).

Next steps

3 case studies are usually enough. Paragraph each separately. Start each paragraph with a topic sentence.

You may need 'voices of authority' and theoretical frameworks (theorists) depending on the topic.

You may support what you say from your own experience / the experience of your peers or family

Conclusion

Look back at the exam question and draw a conclusion.

MEDIA REGULATION: INTERNET

We read the editorial from The Sunday Times (19.09.21) after listening to the Radio 4 Today broadcast. 

Our PREP is written lower down (post on GoogleClassroom by Sunday 26 September please).

This content has themes relating to self-harm.

Tell me if you need to opt out of this content. Alternative content is available here (terrorism, gang culture, anonymous abuse, sale of opioids). A new blog post with alternative content is posted here.

 

PREP below: please post on Google Classroom by Sunday 26 September

ESSAY STYLE QUESTION 

Consider the contents of The Times editorial in the light of the following question. Use the bullet points to help you. 

‛New media require new forms of regulation.̕ To what extent do you agree with this statement? [15]  

• identify which media are the subjects of discussion
• state what content is under discussion
• identify 2 relevant case studies 
• name the regulatory body and the legislation that will address online harms
• what does the Times call " a watchdog lacking teeth"?
• quote from a voice of authority condemning the revelations
• quote from Instagram's internal admissions admitting guilt
• What is meant by the comment of Julian Knight, chairman of the Commons digital, culture, media and sport committee:  "They can't be allowed to mark their own homework."
  

 You can use this as a starting point and add more ideas and case studies if you like.

For example, the publications from the government (screenshot below is now deleted) and the lesson that is on the class blog taken from the Radio 4 Today programme

 

MEDIA REGULATION: ONLINE HARMS

We start with today's Radio 4 report and listen live to Michelle Hussain 

The topic is online harms and young people's mental health.

Main Points

Rachel de Souza, Children's Commissioner

Massive survey about children's concerns

1/2 million children

Number 1 concern: mental health & wellbeing; experiences online / unrealistic body images

Girls twice as likely as boys to be concerned about mental health - AA  age verification and algorithms 

Conclusion: Online Harms Bill must address issues, such as 

• strengthening age verification 
• preventing algorithms sending harmful data
•  https://twitter.com/BBCr4today/status/1440230732052324359

RESEARCH: WHEN ARE TRAILERS SHOWN?

Use the class time to complete this blog post on when trailers are shown. 

Use  screenshots and highlight key terms. Use your own words.

You may then turn to your essay work on Media Regulation and continue that in class time.

When are trailers shown?

MEDIA REGULATION: ADVERTISING

We look at case studies related to the advertising industry. You all have a PP which you have saved on your desktop in the folder MEDIA REGULATION. (Please don't share the PP as it is someone's intellectual property)

Advertising is regulated by the ASA . Here is the ASA website.

 

Useful terminology here: codes, rulings, compliant and non-compliant,  sanctions

An example of 'non broadcast' is print advertising. 'Broadcast' refers to TV, radio.

 

We cover these case studies in the PP (slides 110 - 136):

EHarmony

Boca toothpaste

MiuMiu, Gucci, YSL, Dolce and Gabbana

Femfresh

BMW, Jaguar XE

Kazam Slimphone

VIP cigarettes

Pick your own fresh case studies.

A good place to look is here - look under issues and topics

 

Lingscars  https://www.asa.org.uk/rulings/lingscars-com-ltd-g20-1069820-lingscars-com-ltd.html

Influencers who break non-disclosure rules

 

MEDIA REGULATION

PREP By the end of Sunday 19 September, use the lesson material from today and Thursday to write an A4 page (minimum) in response to the question ‛New media require new forms of regulation.̕ To what extent do you agree with this statement? [15] 

The work is also on Google Classroom, so please upload the essay to Classroom.

In the exam, you will have 2 essays worth 15 marks. Allow 30 minutes to answer each (regulation and power). Then one longer essay question worth 30 marks and one hour to answer it (media ecology).

Media regulation

1 Evaluate the reasons for and against stricter media regulation. [15] 

Media regulation
1 ‛New media require new forms of regulation.̕ To what extent do you agree with this statement? [15]

As you can see from two recent exam papers, the exam questions are very specific and also wide-ranging. To answer well, they require both flexibility and thorough preparation (you can't just apply your case study material to all questions) as well as a range of  case studies.

Today we look at internet regulation: do we need to regulate the internet? If so, why?

 

• The government thinks so and has introduced the Online Safety Bill
• Landmark laws to keep children safe, stop racial hate and protect democracy online
• It will tackle some of the worst abuses on social media, including racist hate crimes.
  
• The Online Safety Bill will help protect young people and clamp down on racist abuse online, while safeguarding freedom of expression.
• Financial fraud on social media and dating apps included to protect people from romance scams and fake investment opportunities
• Social media sites, websites, apps and other services hosting user-generated content or allowing people to talk to others online must remove and limit the spread of illegal and harmful content such as child sexual abuse, terrorist material and suicide content.
  
• It will safeguard freedom of expression and democracy, ensuring necessary online protections do not lead to unnecessary censorship.
• Ofcom will be given the power to fine companies failing in a new duty of care up to £18 million or ten per cent of annual global turnover, whichever is higher, and have the power to block access to sites. 

Digital Secretary Oliver Dowden said:

 

Today the UK shows global leadership with our groundbreaking laws to usher in a new age of accountability for tech and bring fairness and accountability to the online world.

 

We will protect children on the internet, crack down on racist abuse on social media and through new measures to safeguard our liberties, create a truly democratic digital age.

 

Home Secretary Priti Patel said:

 

This new legislation will force tech companies to report online child abuse on their platforms, giving our law enforcement agencies the evidence they need to bring these offenders to justice.

 

Ruthless criminals who defraud millions of people and sick individuals who exploit the most vulnerable in our society cannot be allowed to operate unimpeded, and we are unapologetic in going after them.

 

It’s time for tech companies to be held to account and to protect the British people from harm. If they fail to do so, they will face penalties.

What do you say? To what extent do you agree with this and why could this be a minefield / difficult to regulate?

The Guardian technology writer thinks that content moderation is a difficult job - 'a messy new minefield'

Twitter chief Jack Dorsey had reservations about banning Trump on Twitter because of the dangerous precedent infringing democratic debate 

There is a lot of evidence that other people are concerned according to OFCOM

DEMOS took a snapshot of public opinion in a survey

But is it possible to regulate the internet?

 

 

RESEARCH: WHERE ARE TRAILERS SHOWN?

The FDA tells us that trailers are shown at the cinema, on TV and online with poster campaigns and radio campaigns also giving wide coverage for new film releases. 

Dedicated trailer sites and official film websites often carry trailers that have been cut for a general audience and are suitable for viewers of any age, whereas trailers shown in the cinema usually correspond to the classification of the film being screened.

Trailers in different media:

After discussion, I decided that ... (You need to open and study the worksheets to complete this part).

• cinema - watching trailers in the cinema is especially good because the trailer will usually...
• television - I tend not to watch the whole trailer on tv as I use the ad break to chat and make a drink
• websites - ........
• DVD - .......
• social media - .....

In a video presentation, Dan Skinner of the FDA explains how the style of a trailer is affected by a number of factors including where it will be seen, who by and for how long. 

• The teaser trailer is shorter, less story-focussed...
• The main trailer
• TV spots: when people watch TV they do not usually concentrate during the ad breaks, but more people watch TV than go to the cinema.
• Using graphics 
• Trailers in the digital age

RESEARCH: HOW TRAILERS HELP FILL CINEMAS

The FDA resource 'Teaching Trailers' suggest that whilst a film should clearly signal a genre in order to help audiences make decisions about whether they would like the film, but the marketing campaign and the film trailer should also offer audiences new experiences that make the film fresh and different from others in the same genre. This is known as the unique selling point or USP and explains how trailers help fill cinemas. Among other things, the USP could be a popular star, the innovative use of special effects or an unusual mix of genres.

Given three trailers, identify what was the USP in each:

THE LION KING

LATE NIGHT

SPIES IN DISGUISE

RESEARCH: WHO ARE TRAILERS AIMED AT?

I watched the trailers for three films: VITA AND VIRGINIA, FROZEN 11 and APOLLO 11 

Trailers are generally aimed at the same audience as the films they publicise. Different types of people like different sorts of films and whilst everyone is an individual there are certain features that will have wide appeal to specific groups of people. I analysed the trailers and attempted to match the potential target audience to the categories below:

My conclusions:

VITA AND VIRGINIA is suited to..

FROZEN 11 is aimed at..

APOLLO 11 would interest...

RESEARCH: WHY IS A FILM TRAILER MADE?

I looked at three trailers on the Teaching Trailers resource supplied by the FDA online in order to further my understanding of why trailers are made and how they signal the film's genre.

The trailers that I viewed:

ARTEMIS FOWL came across as a children's fantasy film because the central character was a confident, assertive child who  sets off on a daring adventure to discover dark truths and who seemed to swagger his way through the scene. The quest theme is a typical narrative trope in action adventure films, this one embroidered by fantasy and magic.

The film exploited children's love of magic and adventure in its beautiful sets and its scenes of fantastic transformations such as the magical set-piece scene in which an old woman transforms into a beautiful sprite capable of flying into the air, dressed in flowing white robes. Trailers like this appeal to both girls and boys. The trailer also showcases many special effects, suggesting that the boy will be given special magical powers, which would appeal to children.

RESEARCH: WHAT IS A TRAILER?

I have started further research into trailers using the FDA's Teaching Trailers online course, from which these resources come. http://thefilmspace.org/teachingtrailers/2019/secondary/theory/what/

I watched the trailer for Booksmart before considering the following questions about trailers in general.

During my study of the film industry last year, I learnt about how both Hollywood majors and UK independent films created different marketing campaigns to reach and engage their audiences. A film marketing campaign may cover many different ways in which the film’s ‘message’ is presented to potential audiences.

1. What do you think are the major elements of a film marketing campaign? Taking as example the marketing campaign for Black Panther, marketing covered a huge spread, using all the convergent links on the BP film website such as social media links, as well as merchandise, film formats like DVDs and BluRay, and film trailers, posters and connected events such as star appearances.
2. Where might you expect to see each of the different parts of the marketing campaign? In cinema and on TV(trailers); online (film website with convergent links to Twitter, Instagram; YouTube; blog posts by 'influencers' and fans; TV and chat shows; newspaper reports and features; P&A (quad posters, fleet media, cinema lobby posters); radio shows like the Film Programme; magazine articles; film magazine reviews
3. What factors make you want to go and see a film? How do you decide which films to see? Most of all, I go by the trailer, but I also read press reviews by critics like Kevin Maher and I am influenced by word of mouth.

ACADEMIC HONESTY / REFERENCING SOURCES

CIE gives the following requirement in the specification:

Academic honesty/Avoidance of plagiarism.

You should make candidates aware of the academic conventions governing quotation and reference to the work of others, and teach candidates how to use them. Reference information should include full details of source publications, including publication date, author and page number. If referencing a website, the website address and the date the website was accessed should be included.

We should use the Harvard referencing system when quoting.

2021-22 blogs

Blog urls and your candidate numbers in alphabetical order

1804 https://fiabrown2.blogspot.com   

1807 https://tombowlinga2.blogspot.com 

1812 https://cc1812a2.cblogspot.com    

1815 https://samdebruin1.blogspot.com

1823 https://a2mediablogtallulahduffy.blogspot.com 

1820 https://jf1820a2.blogspot.com/

1824 https://finnhanleymedia.blogspot.com/   

1828 https://matthewheynsa2.blogspot.com

1838 https://preeshapatel1287.blogspot.com    

1853 https://benrichardsona2.blogspot.com    

1859 https://elliesmart2.blogspot.com 

1860 https://laurasoutera2.blogspot.com/   

1874 https://milliewyatta2.blogspot.com 

YR 12 HOLIDAY WORK

For current year 12s. You have created your A2 blogs with PAGES into which these different pieces of research will go. As you know, Component 3 (the A2 production module) is demanding and last year our students started in June and also worked in the summer holidays. The sooner you post, the sooner I can mark.

Deadlines: 

Trailer analysis - by the end of July; 

Poster analysis - 14 August; 

Website and social media analysis - 27 August.

TRAILERS: analyse the trailers for American Sniper, Gravity, Cloverfield, Birth of A Nation, Nocturnal Animals. Present your analysis effectively.

At Advanced level the key to an effective film promotion package is the level of attention to detail. Research is paramount in establishing ‘how the professionals do this’ and CIE recommend the following as initial exemplars of effective film trailers: 

AMERICAN SNIPER (dir. Clint Eastwood, 2014)

https://www.youtube.com/watch?v=99k3u9ay1gs

Pick the main trailer 2.02 minutes and copy/paste in the url yourself

GRAVITY (dir. Cuaron, 2013) https://www.imdb.com/title/tt1454468/ 

Pick the main trailer of 2.23 minutes and copy/paste in the url yourself.

CLOVERFIELD (dir. 2008) Trailer 2.11 minutes. Copy/paste in the url yourself.

 www.imdb.com/title/tt1060277/videoplayer/vi78774553?ref_=tt_ov_vi (Cloverfield 2008) 

 

NOCTURNAL ANIMALS (dir. Tom Ford, 2016). Trailer 2.22 minutes. Copy/paste in the url yourself.

http://collider.com/best-trailers-of-2016/#nocturnal-animals

 

BIRTH OF A NATION (dir. Nate Parker, 2016) Trailer 2.37 minutes. Copy/paste in the url yourself.

https://www.imdb.com/title/tt4196450/

CIE recommend identifying how trailers do the following: 

Below are CIE's comments from their Examiner's Report to Centres. After analysing professional trailers, CIE hope that you are more able to produce your own high quality trailers:

POSTERS Analyse a minimum of 3 posters. 

Present your poster analysis in poster format attractively. See the poster PAGE at the top of this class blog: 

https://a2mediaclass.blogspot.com/p/film-posters-formats-for-presenting.html

Pick a variety of posters that you feel are excellent examples of their kind: perhaps the film genre is one that you are attracted to working in. Perhaps you want to anlayse the poster, film website and social media of the same film: think ahead to the next task.

WEBSITES Analyse 3 film websites of the type that you can envisage yourself making.

Present your research in an attractive format such as Canva. If you do have a lot of text, it is best to pick out key technical terms in a colour to break up the text.

SOCIAL MEDIA  Analyse the social media for one film (Twitter, Instagram, FB etc)

You (and your Production Team if you are working in one) will each make one social media platform for your film. Convergent links will appear on your film website.

REFINEMENTS, CHANGES, EDITS & REFLECTIONS

CIE are keen on reflective analysis in your blogs – the sort of critical reflection that may come after you get feedback from a focus group. They think that it is so important that it comes second in their bullet points. In the highlight below ('process'), notice the reference to 

• what you’ve changed because it
  didn’t work well enough (“any refinement, changes or edits made”) 
• what has have gone well, that you should be drawing attention to (“reflections on key moments”).
  

To present these important posts, I have suggested a ‘before and after’ visual evidence + written analysis 

See these posts HERE

 

 

CCR4: HOW MY RESEARCH INFORMED MY PRODUCTS & THE WAY IN WHICH THEY USE OR CHALLENGE CONVENTIONS

This is the final part of your 1,000 word essay for the CCR.
As well as this guidance shortly, there are many good examples on last year's student blogs. I have taken the guidance below from the CIE handbook and the screenshot on trailers from The Film Space resource.
CONSIDER:

TRAILERS What is your film genre and what aspects of relevant film trailers did you find inspiring? Identify specific aspects / name the film trailers. Remember that the CIE specified some of the trailers that you analysed.
Do your trailers feature the conventions in the attached image on trailer codes and conventions?
In order to achieve success at this higher level, learners should consider the following questions when
creating their film trailers for this promotion package:
 how can you utilise the depth of focus to improve the impact of your trailer?
 is the lighting correct for the atmosphere you want to create?
 how can you use mise en scene or movement in the foreground or background to make your trailer
multi-dimensional?
 do you create, but not resolve, an enigma in your trailer?
 how does your trailer fit the conventions of its genre?
 is it clear who your target audience is?
 do your trailers demonstrate continuity in terms of sound, settings and mise en scene?
 how many sequences are usually included in a trailer and how many seconds long is the ideal?
 do your trailers demonstrate a high level of technical competence and a secure awareness of the
conventions of film trailers?
 how does the trailer link to the website and/or print promotion material?
Using the recommended range of trailers above to answer these questions will offer an insight into the
potential for exampling a higher level of technical competence in the learners production work.

POSTERS
the narrative contained in the film poster (and links to the trailer content)
 the colour palette used; the generic conventions
 the written codes
 mise en scene and the layout (considering the priority given to key images).

WEBSITE
Technical competency at this advanced level should begin to embrace the functional aspect
of websites, interactivity and hyperlinks to other relevant material. (Films/Books/Reviews/Cinema Screenings
etc.). Convergence of media forms also needs to be considered as part of these linked productions, as such
website design and links to the other products in this package should be apparent.

CCR 3: HOW MY FILM PROMO PACK ENGAGES WITH MY AUDIENCE

Be specific and don't waste words on generalities or waffly introductions! Obviously you use the guidance below as a prompt rather than copying it.
Refer precisely to how these elements work in each product in your promo pack. (No need to use sub-headings yourself.)
POSTER
My poster creates a sense of the thriller / horror genre through visual codes such as its colour tones and style, specifically...
The centre of visual interest is the main character / characters who appears as / is established as...
This image is gripping / compelling / intriguing / arresting / exciting because...
The location is conveyed by details such as....
The sense of drama / danger / tension is created through...
The film title arrests the attention because / through its....
The tagline attracts audience attention with the words.... which hook the audience because....
Star talent is placed clearly at the top
Essential information such as the release date, social media links and film website address are clearly displayed.
TRAILER
At the heart /centre of my promo pack are my trailers. They use thriller / horror / romantic comedy conventions through visual and sound codes such as...
My trailer introduces X and Y the central characters, presenting them as.../through scenes that are arresting, such as...
My audience can relate to / admire / feel sympathy for the characters because....
The central conflict / interest / issues in the trailer are conveyed when...
Sound is key / central / very significant in engaging our audience especially when / as .....
Key dialogue achieves....The trailer's editing builds to a climax through ....as......
Inter-titles such as "........."    engage the audience because it explains /promises / hints at / draws attention to...
WEBSITE
My website landing page has a strong impact because of its visuals which include...
The image is arresting because....
The film's genre and synopsis are clearly presented through...
My website invites audiences to use it because it is easy to navigate as it has tabs that open to link...
The gallery shows interesting photographs of...
The cast list looks professional with ...
My website offers several interactive features like....
Reviews, accolades and pull quotes such as ....build up my film's credentials and reassure audiences about the film's quality /audience pleasures

CCR 2: HOW THE ELEMENTS OF MY PROMO PACK WORK TOGETHER TO CREATE A SENSE OF 'BRANDING'

You will be writing without the benefit of visual illustration to explain how you created a COHESIVE campaign. Last year, students answered this question using Prezi and other visual platforms, which quite frankly, made it easier, but we can't. We will have to 'paint with words'. Below are examples from earlier years that will inspire us about what to draw attention to. Often, they rely on the images to do the work of words, but you will have to be better than they are with vocabulary!

WRITE ABOUT BRANDING:
My film website's homepage has the striking main image of... which also appears in my poster (if it does) / Twitter / Instagram / FB.
The image signals the film's genre though its colours / choice of fonts  which also appear on other elements of the promo pack.
The film title is in ....font / colour / style and appears consistently on all elements of the promo pack.
The film tagline features prominently on the website homepage: "
Our Production Company's ident / logo ....Moonlight Productions / IGNITE FILMS / RF FILM / Alexander Productions / appears on my website, poster and social media.
I have linked my social media to my film website because....
All the header photos of my social media platforms are the same and feature ..... which signals our film's brand clearly because it represents / connotes .....
The timeline on my Twitter feed features many key moments from the making of the film  such as....
The cast are an important part of creating recognition in our audience, so they feature in 'behind the scenes' photos as well as social media feeds as well as claiming significant space on my film website.
To promote brand recognition for my film, I have designed T shirts that feature .... from the film.

Here are two very good student examples:  

How do the elements of your production work together to create a sense of 'branding'?

and here

 

CCR 1: HOW DOES YOUR FILM PROMO PACK REPRESENT GROUPS & ISSUES?

An evaluative essay of around 1000 words (individual work): that means around 250 words per question.
I suggest that you tackle this question by question and upload to Google Classroom as you go.
Start with the question on social groups and issues. Please save as a Google Doc.

HOW MY FILM PROMO PACK REPRESENTS SOCIAL GROUPS & ISSUES

For Stuart Hall, when stereotypes appear in the media such as in films, they reinforce stereotypes. Audiences may decode the messages embedded in the stereotypes differently; however, genre conventions to to repeat and reinforce specific stereotypes.
First identify the social groups / individuals featured   Roles and jobs?
The focus is on how they are represented: stereotypes? anti-stereotypes? What are they like?
Gender, status, age? Father / mother / teacher figures - if so, are they paternal, maternal, caring, or the reverse, thereby flouting stereotypes?
Teenagers as a social group: are they reckless, adventurous, unaware of dangers?
Roles and jobs? Hitmen, scientists, detectives, police?

Explain WHY you as a film maker have use stereotypes -they are short cuts (to enable audiences to understand characters, to identify types rapidly and effectively , to identify film genres, to connect with characters via visuals codes).
Stereotypes build audience sympathy / antipathy quickly: stereotypes help audiences build character relatability.
Are there often those kinds of predictable stereotypes in the genre that you are working within? Stereotypes reinforce genre expectations.

Identify the issues in your film: recent 'issues' have included artificial intelligence, people smuggling, bullying, kidnapping, art theft, online fraud. How are they presented in your production?

 

A2 WEBSITE

After today's exam feedback session, I suggest continuing with your A2 website, social media platforms included. You can probably upload images to both your website gallery as well as the FB, Instagram and Twitter streams.

If you are working on the POSTER, feel free to upload a draft under the page FILM POSTER. I can feedback verbally now.

Finally, are you entering the House Competition?  It is right up your street: