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AS Media Studies 9607 2016-2017 Syllabus
Mr. Furman
[email protected]
http://aicemediastudies.weebly.com
Passcode: US569
The AS Media Studies qualification consists of two units:
Foundation Portfolio (Coursework) & Key Media Concepts TV Drama (Exam).
IMPORTANT: To help students prepare for their Textual Analysis Part A Exam, they will be
required to preview 2-5 minute selected Hollywood film clips, throughout the course, to
analyze using the following lenses: camera shots, angle, movement and composition, editing,
sound, and mise-en-scène.
Recommended Course Materials for AS Media Studies 9607:
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3 ring binder
3 ring binder dividers
Notebook paper
Blue or black ink pens
folders
USB (Very Necessary)
Software: Students will be required to use Premiere Pro, In-Design, Photoshop. (Tutorials will be
available for assistance)
Portfolio Portal: Weebly
Attendance requirements will be in accordance with the Gulf Coast High School policy outlined in the
student planner. Strong attendance is integral to success in any class and given the intensity and rigor of
the AICE level, good attendance is a must.
Absences
Excessive absenteeism is a serious problem that negatively affects a student’s academic performance. Since much
of learning occurs through discussion—a teaching method as ancient as the stories told around tribal campfires—a
student who is not in class misses out on this very important part of the learning process. If you have a serious health
problem, please communicate the situation to me as soon as possible so that a plan can be developed to help you
meet the objectives of the unit. Students are responsible for making up work they missed and are given one day for
every day of absence. You must consult the teacher one on one or via e-mail to find out what you missed. Do not
interrupt class time to discuss missed work. You are also required to check with your Thinking Partner for any
notes or handouts. You must schedule make-up quizzes/tests immediately upon return.
Grading Policies:
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Any assignment turned in after a due date will receive a deduction of 10% per day.
After an absence, it is the student’s responsibility to check with the teacher and print or
pick up missed work.
According to District policy, one day is allowed for each day absent to make up work
without penalty.
Technological malfunctions are not acceptable reasons for work to be turned in late as
students will be given ample notice in class of major writing assignments and projects
prior to their deadlines.
Approaches to Learning (ATL) – You start with an A, keep it!
In general, grades refer to mastery of knowledge and skills; however, the approaches that a student takes while
acquiring knowledge and skills are an important part of the learning process and should be identified. Diligent
students are those who take responsibility for their learning, are goal-centered and reflective, and exhibit the attitudes
that encourage successful outcomes. The Approaches to Learning grade (60 points) reflects these attributes. This
quarterly grade covers my expectations for student behavior and attitude at the high school level, enrolled in a
college-level course.
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Participation- refers to active engagement in the learning process by asking questions and/or
volunteering responses and using time effectively in the classroom.
Preparedness- refers to having the appropriate materials to address tasks and completion of both
graded and ungraded homework assignments.
Attendance- refers to arriving on time and no unexcused absences and/or frequent, extended
breaks (bathroom, water, etc.).
Cooperation-refers to active engagement in cooperative/pair group work by staying on task,
fulfilling a role, and completing assigned work.
Perseverance- refers to dedication to the task at hand. You are expected to give it your best try
and use strategies that have been taught to accomplish goals. Additionally, you are expected to
communicate challenges to me—in person or via [email protected] immediately and to
schedule time, if needed, to review a concept or skill.
AS Level and A Level candidates study the following topics:
Component 1 Foundation Portfolio
The following set briefs are offered:
• film opening task
Component 2 Key Media Concepts
• Section A: Textual analysis and representation:
– camera shots, angle, movement and composition
– editing
– sound
– mise-en-scène.
• Section B: Institutions and audiences, in relation to one of the media areas specified below:
– film
– music
– print
– radio
– video games.
Syllabus aims
The syllabus aims to:
• develop critical understanding of the media through engagement with media products and
concepts and through the creative application of practical skills
• explore production processes, technologies and contexts
• encourage independence in research skills and their application
• enhance learners’ enjoyment and appreciation of the media and its role in their daily lives.
Assessment objectives
Candidates are assessed on their ability to:
AO1: Demonstrate knowledge and understanding of media concepts, contexts and critical
debates, using terminology appropriately.
AO2: Apply knowledge and understanding to show how meanings are created when analyzing
media products and when evaluating their own practical work.
AO3: Plan and construct media products using appropriate technical and creative skills.
AO4: Undertake and apply appropriate research.
- AS MEDIA EXAM OVERVIEWThe AS Media Studies Qualification is made up of two sections.
Exam – Worth 50% of the qualification
Coursework – Worth 50% of the qualification
This section of your handbook concentrates on:
Exam unit – ‘Key Media Concepts’
In May 2017 you will sit a two hour exam.
This will be your one and only exam for AS Media Studies.
The exam paper requires you to answer two questions on two media areas:
Section A: Textual Analysis and Representation: (TV Drama)
Section B: Institutions and Audiences (Film Industry)
You will have a 30 minute video viewing, then 45 minutes to write an answer for Section A, and
a further 45 minutes to answer a question for Section B.
How your Work is assessed.
The entire ‘Key Media Concepts’ exam is worth 100 marks.
Section A: Textual Analysis & Representation (TV Drama): is worth 50 marks
Section B: Institutions & Audiences (Film Industry): is worth 50 marks
Both exam answers will be marked as follows
Explanation/Argument – 20 Marks
Examples – 20 marks
Terminology – 10 Marks
Tips for Success:
Stay up to date with current TV dramas
Practice analyzing short extracts for representational points.
Know you case studies inside out and ensure all facts are correct.
Ensure all key points made are always backed up with a specific example.
Embrace media terminology and incorporate it in to your work as much as possible.
Ensure all assessed work is word processed, with both your name and class at the top.
Keep your folder organized at all times. Ensure you store notes under the correct sections.
-AS EXAM - BRIEFSECTION A: Textual Analysis & Representation (TV Drama)
“Section A is based on an unseen extract which will be screened in the exam. The extract will be
taken from a contemporary series or serial drama program aired on British TV. The extract will
be 4-5 to five minutes long, allowing 30 minutes for 4 screenings of the extract. You will be
allowed to make notes during the screenings (except during the first screening)”.
Section A: Textual analysis and representation (50 marks)
The moving image extract will be provided by Cambridge in DVD format, with full instructions for the
administration of the examination, viewing conditions and note-taking time.
Centres must prepare candidates, in advance of the examination, to analyze how technical aspects of
the language and conventions of the moving image medium are used to create meaning for an
audience. Candidates should study a range of texts so that they can discuss, in response to the
question, how the following technical elements create specific representations of individuals, groups,
events or places and help to articulate specific messages and values that have social significance:
Camera shots, angle, movement and composition:
• shots: establishing shot, master shot, close-up, mid-shot, long shot, wide shot, two-shot, aerial
shot, point-of-view shot, over-the-shoulder shot, and variations of these
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angle: high angle, low angle, canted angle
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movement: pan, tilt, track, dolly, crane, steadicam, hand-held, zoom, reverse zoom
composition: framing, rule of thirds, depth of field – deep and shallow focus, focus pulls.
Editing:
This includes transition of image and sound – continuity and non-continuity systems.
• cutting: shot/reverse shot, eyeline match, graphic match, action match, jump cut, crosscutting,
parallel editing, cutaway, insert
• other transitions: dissolve, fade-in, fade-out, wipe, superimposition, long take, short take, slow
motion, ellipsis and expansion of time, post-production, visual effects.
Sound:
• diegetic and non-diegetic sound, synchronous/asynchronous sound, sound effects, sound
motif, sound bridge, dialogue, voiceover, mode of address/direct address, sound mixing, sound
perspective
• soundtrack: score, incidental music, themes and stings, ambient sound.
Mise-en-scène:
• production design: location, studio, set design, costume and make-up, properties
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lighting, color design.
It is acknowledged that not every one of the above technical areas will feature in equal measure in any
given extract, and other areas may also be credited where appropriate. Examiners are instructed to bear
this in mind when marking the candidates’ answers and should not expect each aspect to be covered in
the same degree of detail, but as appropriate to the genre and extract provided and to the discussion of
the extract’s representation.
Candidates should be prepared to discuss, in response to the question, how these technical
elements contribute to the process of creating meaning.
For each session in 2017, the extract will be from an American TV drama and will last for a maximum of
five minutes. It will be played four times. The screening time will last a total of 30 minutes, including
note- taking. Centres need to consider the optimum conditions for screening the extract, so that no
candidates are disadvantaged.
You will be required to carry out a textual
analysis of the various technical aspects of a
TV drama program:
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Camera
Editing
Sound
Mise-en-Scène
You will link this analysis to one social group
representation within the sequence:
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Gender
Age
Ethnicity
Sexuality
Class and status
Physical ability/disability
Regional identity
SECTION B: Institutions & Audiences (Film Industry)
“Section B focuses on the film industry, and students must study a specific production company
that produces films that target a British audience. Candidates should be prepared to
demonstrate understanding of contemporary institutional processes of production, distribution,
marketing and exchange/exhibition at a local, national or international level, as well as British
audiences’ reception and consumption. There should also be some emphasis on the students’
own experiences of being audiences of a particular medium”.
Section B: Institutions and audiences (50 marks)
One question is to be answered from a choice of two.
Candidates should be prepared to discuss the processes of production, distribution and marketing
as they relate to contemporary media institutions, as well as the nature of audience consumption
and the relationships between audiences and institutions. In addition, candidates should be familiar
with:
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the issues raised by media ownership and funding in contemporary media practice
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the importance of cross-media convergence and synergy in production, distribution and marketing
• the technologies that have been introduced in recent years at the levels of production,
distribution, marketing and at the point of consumption
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the significance of the spread of such technologies for institutions and audiences
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the importance of technological convergence for institutions and audiences
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the issues raised in the targeting of national and local audiences by international or global institutions
• the ways in which the candidates’ own experiences of media consumption illustrate wider patterns
and trends in audience behavior.
This component should be approached through contemporary examples in the form of contrasting case
studies within one of the media areas specified below. Case studies may be global or local or
both. Examples should include the following:
Film
A study of specific studios or production companies, including patterns of production, distribution,
exhibition and consumption by audiences. This should be accompanied by study of contemporary film
distribution practices (digital cinemas, DVD, 3D, downloads, etc.) and their impact upon production,
marketing and consumption.
Music
A study of particular record labels within the contemporary music industry, including patterns of
production, distribution, marketing and consumption by audiences. This should be accompanied by
study of wider issues around digital distribution of music.
Print
A study of contemporary newspaper and/or magazine publishing, including the ways in which the
web is raising issues for the production, distribution and consumption of print media.
Radio
A study of examples from the contemporary radio industry, examining production, distribution and
broadcast practices, as well as audience consumption. This should be accompanied by study of the
impact of DAB and internet broadcasting on radio production practices, marketing and audience
consumption.
Video games
A study of the production, distribution and marketing of a specific game within one or across various
gaming platforms, along with its reception by a variety of audiences. This should be accompanied by
study of the impact of next generation capabilities on the production, distribution, marketing and
consumption of games.
Candidates should be familiar with:
a) The issues raised by media ownership in contemporary media practice.
b) The importance of cross media convergence & synergy in production, distribution &
marketing.
c) The technologies that have been introduced in recent years at the levels of production,
distribution, marketing and exchange.
d) The significance of proliferation in hardware and content for institutions and audiences.
e) The importance of technological convergence for institutions and audiences –
f) The issues raised in the targeting of national and local audiences (specifically, British) by
international or global institutions –
g) The ways in which the candidates’ own experiences of media consumption illustrate
wider patterns and trends of audience behaviour.
Exam unit – Foundation Portfolio Coursework’
Component 1 Foundation Portfolio
The following set briefs are offered:
• film opening task
The coursework unit is an individual project, with all work uploaded to your very own website.
It is your responsibility to ensure all work is uploaded by each deadline, and you maintain a
visually pleasing site.
All progression will be tracked by your teacher on a weekly basis, so ensure you stay organized
and work hard.
The AS coursework unit is:
Create a Film Opening
How your Work is assessed.
The entire Foundation Portfolio in Media coursework is worth 100 marks.
Planning & Research: In the form of a website: is worth 20 marks
Final Products: Music magazine front, contents and double page: are worth 60 marks OR
Film Opening: are worth 60 marks
Evaluation: Seven Questions: is worth 20 marks.
The set briefs are as follows:
Film opening task (video)
Main task: the titles and opening of a new fiction film (to last a maximum of two minutes). Titles should
follow the institutional conventions of commercial cinema. The task may be undertaken individually or as a
group. There should be a maximum of four members to a group.
All images and text used in the main task must be original, and produced by the candidate(s). Sound should
be predominantly original (dialogue and atmospheric sound), though music taken from an acknowledged
source may be used as part of the soundtrack.
This task should be preceded by preliminary exercises to build up learners’ skills with equipment and their
understanding of conventions.
Process
Each candidate must have an individual blog which is started at the beginning of the project.
The process of research, planning and production, including refinement, changes and reflection on key
moments, and any individual contribution to a task undertaken as a group, is to be evidenced by each
candidate on their online blog. Some production elements such as storyboards may be shared by all
members of a group. Collaborators who worked with the candidate on research, planning and/or production
must be listed on the Individual Candidate Record Card under ‘other group members’.
Each candidate’s blog should also contain evidence of any preliminary exercises, the finished product and
the creative critical reflection (see below) and will comprise the complete evidence for the moderator at the
end of each project.
Centres should select blog software with appropriate capabilities to embed other applications.
Creative critical reflection on completion of the product, candidates must reflect upon their work, using digital
formats such as director commentaries, slideshows with voiceover, podcasts, prezis or screencasts. The emphasis
should be on creative use of such tools to critically reflect on the production, guided by the following compulsory
questions:
1. How does your product use or challenge conventions and how does it represent social groups or issues?
2. How does your product engage with audiences and how would it be distributed as a real media text?
3. How did your production skills develop throughout this project?
4. How did you integrate technologies – software, hardware and online – in this project?
This critical reflection should be presented individually, though candidates may collaborate in the production
of responses. In their critical reflection, each candidate should give a clear indication of their contribution
to such collaboration to allow teachers to allocate an appropriate mark. Collaborators who worked with the
candidate on creative critical reflection must be listed on the Individual Candidate Record Card under ‘other
group members’
Tips for Success:
Keep your website presented in a creative, yet orderly fashion.
Ensure you establish a target audience, and know how to reach them.
Study the conventions of real media texts as much as possible.
Embrace creativity; push your skills development in order to achieve high grades.
Practice your Photoshop techniques, research tutorials and download brushes/fonts.
Ensure all assessed work is completed by the deadline, stay on top of your workload.
-AS MEDIA COURSEWORK BRIEFFoundation Portfolio in Media: This unit assesses candidates’ skills in individual work and
creative decision-making. All students work by themselves and are required to produce:
Individual Responsibilities:
All work shall be uploaded on to individual student websites (by the student) and presented
electronically to the examiner. The exam board wants to see students develop their practical
skills throughout each assessment. Each student’s should take great pride in their work, and
spend time on ensuring their website displays a high level of creativity, imagination and
professionalism.