Film & TV assessment learner response
1) Type up your feedback in full (you don't need to write the mark and grade if you want to keep this confidential).
WWW: Good understanding of the basics for both CSPs in Q3.
EBI: Revise more! No answer for for Q1. Revise postmodernism. Q3 doesnt fully answer the question - mainly descriptive
2) Read the whole mark scheme for this assessment carefully. Identify at least one potential point that you missed out on for each question in the assessment (even if you got full marks for the question).
Q1:
- The poster arguably provides a good example of pastiche: media products that imitate the
style of another text, artist or time period. Although an argument can be made that
Kingsman: The Secret Service is a parody (there are definitely suggestions of comedy) the
poster as a whole asks to be taken seriously. In a parody, audiences would likely expect a
tagline that confirms the comic nature of the film. The only text appearing here is: ‘From the
director of X Men: First Class’ which would suggest the film is trying to attract an audience
looking for serious, action/superhero-based entertainment.
- The increasingly blurred nature of film genres in the contemporary media landscape. Sequels
and parodies often offer intertextual references and audience pleasures linked to
recognition of other films, franchises, genres or stars. Possible theories: Steve Neale –
similarity and difference; Schatz – genres are dynamic and go through cycles. Kingsman: The
Secret Service suggests the parody or deconstruction stages – where genres are
experimented with to establish new or different conventions.
- Criticisms of Hollywood cinema for the lack of originality in the film industry with reliance on
franchises or sequels. Even a film such as Kingsman: The Secret Service has been developed
from a comic and makes many intertextual references to the long-running and hugely
successful James Bond: 007 film franchise.
Q2:
- Social media was important in marketing the film – Chicken did not have a marketing budget
beyond the creation of the trailer and poster so Facebook, Twitter and YouTube were vital in
broadcasting and sharing trailers and information about the film.
- Small cinema release in arthouse cinemas appropriate distribution for the film – a British
social realist drama. Similarly, Film4 was a good home for TV premiere in April 2017. It was
also selected for the curated film subscription service MUBI aimed at more discerning,
educated film fans.
Q3:
For
- All media production is conditioned by the dominant ideology, the value system and
perceptions of reality
- Television dramas can only ever reflect, rather than influence, the social and cultural
contexts of production
- Television drama is powerfully influenced by dominant social and cultural attitudes to e.g.
ethnicity, class, gender, sexuality
Against
- All media products are constructions with only a partial link to reality, therefore social and
cultural contexts are irrelevant
- Television dramas have the power to influence and change the social and cultural contexts in
which they are received.
3) The first question demanded a response using postmodern terminology. Write a definition here of the three main terms:
Bricolage: the juxtaposition of old and new texts, images, ideas and narratives to create new meaning
Pastiche: products that imitate the style of another text, artist or time period. Pastiche is an example of intertextuality and takes a position view of the original source
Intertextuality: when one media text references another media text - through genre, conversations, mise - en - scene or specific cultural references
4) The second question was on the film industry. Write down two points from the mark scheme about Chicken's promotion and distribution that you didn't include in your answer.
- Digital distribution in USA/Canada followed in January 2018 and the film is now available on
Amazon Prime in the UK. The distribution of Chicken was challenging but ultimately quite
effective for a niche micro-budget film.
- Construction of the Chicken branding on the poster/DVD packaging etc. effective in
communicating the genre and key selling points of the film – arthouse, social realism,
beautiful cinematography, theme of nature etc.
5) Look over your mark, teacher comments and the mark scheme for Question 3 - the 25 mark essay question on your TV Close-Study Products. Write a complete essay plan for this question based on the suggested answers in the mark scheme. You can either use something similar to your actual answer or alternatively start from scratch. Make sure it is an extensive, detailed plan focused on the question (representations) and offering specific references to Capital and Deutschland 83 for each section. Try and cover the two texts equally if you can and aim to plan around 5-6 paragraphs in total.
General points:
- All media production is conditioned by the dominant ideology, the value system and
perceptions of reality
- Television drama is powerfully influenced by dominant social and cultural attitudes to e.g.
ethnicity, class, gender, sexuality
- Television drama draws on a long and enduring tradition of narrative and genre conventions;
therefore drama itself as a form is much more significant than the social and cultural
contexts of any individual production
Capital:
-Focus is on diverse range of characters across race, class, ethnicity, family structure etc.
-The 'state of the nation' sub-genre demands that social and cultural context is reflected. Does Capital merely reflect social and cultural context of middle-class, wealthy Londoners?
-The drama uses narrative realism (use of recognizable places, people, cultures, events) to create a representation of London in 2015 that is designed to appear authentic but perhaps subtly reinforces capitalist ideologies.
-References to recent events such as global financial crash, increased fear of terrorism, debates about immigration, London house price inflation.
-Left wing bias, negative representation of wealth/upper middle class white British people and positive representation of multiculturalism and illegal immigrant.
Deutschland 83:
WWW: Good understanding of the basics for both CSPs in Q3.
EBI: Revise more! No answer for for Q1. Revise postmodernism. Q3 doesnt fully answer the question - mainly descriptive
2) Read the whole mark scheme for this assessment carefully. Identify at least one potential point that you missed out on for each question in the assessment (even if you got full marks for the question).
Q1:
- The poster arguably provides a good example of pastiche: media products that imitate the
style of another text, artist or time period. Although an argument can be made that
Kingsman: The Secret Service is a parody (there are definitely suggestions of comedy) the
poster as a whole asks to be taken seriously. In a parody, audiences would likely expect a
tagline that confirms the comic nature of the film. The only text appearing here is: ‘From the
director of X Men: First Class’ which would suggest the film is trying to attract an audience
looking for serious, action/superhero-based entertainment.
- The increasingly blurred nature of film genres in the contemporary media landscape. Sequels
and parodies often offer intertextual references and audience pleasures linked to
recognition of other films, franchises, genres or stars. Possible theories: Steve Neale –
similarity and difference; Schatz – genres are dynamic and go through cycles. Kingsman: The
Secret Service suggests the parody or deconstruction stages – where genres are
experimented with to establish new or different conventions.
- Criticisms of Hollywood cinema for the lack of originality in the film industry with reliance on
franchises or sequels. Even a film such as Kingsman: The Secret Service has been developed
from a comic and makes many intertextual references to the long-running and hugely
successful James Bond: 007 film franchise.
Q2:
- Social media was important in marketing the film – Chicken did not have a marketing budget
beyond the creation of the trailer and poster so Facebook, Twitter and YouTube were vital in
broadcasting and sharing trailers and information about the film.
- Small cinema release in arthouse cinemas appropriate distribution for the film – a British
social realist drama. Similarly, Film4 was a good home for TV premiere in April 2017. It was
also selected for the curated film subscription service MUBI aimed at more discerning,
educated film fans.
Q3:
For
- All media production is conditioned by the dominant ideology, the value system and
perceptions of reality
- Television dramas can only ever reflect, rather than influence, the social and cultural
contexts of production
- Television drama is powerfully influenced by dominant social and cultural attitudes to e.g.
ethnicity, class, gender, sexuality
Against
- All media products are constructions with only a partial link to reality, therefore social and
cultural contexts are irrelevant
- Television dramas have the power to influence and change the social and cultural contexts in
which they are received.
3) The first question demanded a response using postmodern terminology. Write a definition here of the three main terms:
Bricolage: the juxtaposition of old and new texts, images, ideas and narratives to create new meaning
Pastiche: products that imitate the style of another text, artist or time period. Pastiche is an example of intertextuality and takes a position view of the original source
Intertextuality: when one media text references another media text - through genre, conversations, mise - en - scene or specific cultural references
4) The second question was on the film industry. Write down two points from the mark scheme about Chicken's promotion and distribution that you didn't include in your answer.
- Digital distribution in USA/Canada followed in January 2018 and the film is now available on
Amazon Prime in the UK. The distribution of Chicken was challenging but ultimately quite
effective for a niche micro-budget film.
- Construction of the Chicken branding on the poster/DVD packaging etc. effective in
communicating the genre and key selling points of the film – arthouse, social realism,
beautiful cinematography, theme of nature etc.
5) Look over your mark, teacher comments and the mark scheme for Question 3 - the 25 mark essay question on your TV Close-Study Products. Write a complete essay plan for this question based on the suggested answers in the mark scheme. You can either use something similar to your actual answer or alternatively start from scratch. Make sure it is an extensive, detailed plan focused on the question (representations) and offering specific references to Capital and Deutschland 83 for each section. Try and cover the two texts equally if you can and aim to plan around 5-6 paragraphs in total.
General points:
- All media production is conditioned by the dominant ideology, the value system and
perceptions of reality
- Television drama is powerfully influenced by dominant social and cultural attitudes to e.g.
ethnicity, class, gender, sexuality
- Television drama draws on a long and enduring tradition of narrative and genre conventions;
therefore drama itself as a form is much more significant than the social and cultural
contexts of any individual production
Capital:
-Focus is on diverse range of characters across race, class, ethnicity, family structure etc.
-The 'state of the nation' sub-genre demands that social and cultural context is reflected. Does Capital merely reflect social and cultural context of middle-class, wealthy Londoners?
-The drama uses narrative realism (use of recognizable places, people, cultures, events) to create a representation of London in 2015 that is designed to appear authentic but perhaps subtly reinforces capitalist ideologies.
-References to recent events such as global financial crash, increased fear of terrorism, debates about immigration, London house price inflation.
-Left wing bias, negative representation of wealth/upper middle class white British people and positive representation of multiculturalism and illegal immigrant.
Deutschland 83:
-The reception in Germany was different to other European countries or the USA
-The focus on the cold war is a reference to actual historical and political events.
-Narrative is structured around the use of binary oppositions to represent East and West Germany and their signifying values.
-At times the show appears to favour the West (and therfore capitalism, dominant ideologies, hegemony - e.g. supermarket scene). The hero is an East German, reflecting values associated with communism and socialism.
-The postmodern visual aesthetic draws on pastiche, using exaggerated popular culture references and stylized mise-en-scene. Therefore representations do not reflect the genuine social and cultural context but a nostalgic view of 1980s culture.
-The focus on the cold war is a reference to actual historical and political events.
-Narrative is structured around the use of binary oppositions to represent East and West Germany and their signifying values.
-At times the show appears to favour the West (and therfore capitalism, dominant ideologies, hegemony - e.g. supermarket scene). The hero is an East German, reflecting values associated with communism and socialism.
-The postmodern visual aesthetic draws on pastiche, using exaggerated popular culture references and stylized mise-en-scene. Therefore representations do not reflect the genuine social and cultural context but a nostalgic view of 1980s culture.
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