Content overview
Students study nine media forms and associated set products using a theoretical framework covering media language, media representations, media industries and media audiences. They also consider the social, cultural, economic, political and historical contexts of media products.
Component 01: Media messages (35%)
Students study news and online, social and participatory media in depth and learn about how media language is used to construct representations and meaning in a variety of set media products.
There are two sections:
- In section A: News and Online Media, students carry out two linked in-depth studies that focus on contemporary news in the UK, requiring students to explore how and why newspapers and their online counterparts are evolving as media products and the relationship between both online and offline news.
- In section B: Media Language and Representation, students focus on media language and representation and consider how meanings are constructed across different media forms. This covers advertising and marketing, magazines and music videos.
In addition, students engage in an overarching in-depth study of the online, social and participatory media forms that they meet in their work on sections A and B.
Component 02: Evolving media (35%)
Students consider how media industries are evolving and using technology to reach, target and address audiences through a variety of set media products. Students also consider the media language, representations and messages and values communicated by long-form television drama and how these dramas are produced and consumed globally.
There are two sections:
- In section A: Media Industries and Audiences, students will explore media industries through film, video games and radio and audiences through video games and radio.
- In section B: Long Form Television Drama, students carry out an in-depth study focusing on contemporary long form television dramas, one English language and one European (non-English language).
In addition, students engage in an overarching in-depth study of the online, social and participatory media forms that they meet in their work on sections A and B.
Component 03/04: Creating media (30%)
Students create a cross-media product for an intended audience in response to a set brief. This gives them the opportunity to work independently and develop expertise built from their study in components 01 and 02.
Paper 1 (Media Messages): SECTION A
News and Online Media
1. Study Sources A and B and then answer all the questions in Section A.
Source A – front cover of The Sun newspaper, 25 June 2016.
Source B – front cover of The Times newspaper, 25 June 2016.
[click here to see the images which have been removed for copyright reasons: http://www.ocr.org.uk/
Images/316674-unit-h409-01-media-messages-sample-assessment-material.pdf]
Analyse the representations in Sources A and B. Use Van Zoonen’s concept of patriarchy in your answer.
[5]
Patriarchy is a system in which men hold social, political and economic power. Van Zoonen argues that in a patriarchal society
there is a clear difference in how male and female bodies are represented. She also suggests that gender is performative and
we understand masculinity and femininity by what we do. The representations offered in both Sources A and B can be seen
to mostly support Van Zoonen’s concept of patriarchy.
Patriarchal power can be seen in the representations in both sources as Cameron’s resignation dominates the front pages. This
reinforces the patriarchal assumption that the stereotypically masculine positions of male leadership and authority are more
significant than female roles. The images of David Cameron on both front pages reinforce the idea that politics is supposedly a
male domain.
Although each source constructs the story in a different way, the connotations offered are the same and the way they are
constructed further reinforces patriarchy. Both papers select an image of David Cameron as their main image; he is referred to
in both papers as the ‘PM’ or ‘Prime Minister’, anchoring the idea of male authority.
The Sun relies on the main image of Cameron in close up and a splash to communicate this message to the reader,
suggesting we understand patriarchal ideology and the meaning around the performance of gender roles through the use
of these signifiers. At the bottom of the page two further stories are by named male reporters, further reinforcing patriarchal
ideas about male authority in response to the lead story but also the social privilege of men within the news industry itself.
The image chosen of Sam Cameron looking happy with a smile, holding her husband’s hand, implies she is not concerned
about the impact of Brexit, reinforcing the idea that politics is a masculine arena. If we accept Van Zoonen’s ideas of patriarchy,
this could be because she accepts her role and performance as the dutiful wife.
Given that both The Sun and The Times have selected images that offer a representation emphasising the Prime Minister’s
vulnerability it could be suggested that ideas around patriarchy can be questioned. However, Van Zoonen might argue that
this confirms the patriarchal ideology of male power as the story has extra news value because it contradicts dominant
stereotypes around masculinity and leadership. Furthermore, a woman is present only once, on The Times front cover, and
only as Cameron’s partner. This would confirm Van Zoonen’s belief that in a patriarchal society women are to be looked at and
their role is to support their husbands or to look pretty; women, and their bodies, are represented differently to men. Sam
Cameron’s appearance, in makeup and dress, can be seen as very stereotypical and the selection of an image of Cameron in a
sober, authoritarian suit in contrast to his wife’s feminine dress clearly supports Van Zoonen’s ideas.
To conclude, both The Sun and The Times construct representations on their front covers that mostly support Van Zoonen’s
concept of patriarchy. The news stories reinforce patriarchal ideas of male political power, whilst the more emotional image of
Cameron contradicts his usual representation of male authority, further highlighting social expectations of gender.
Examiner commentary
A comprehensive and top level response. There is detailed and accurate application of knowledge and understanding of representations to analyse Sources A and B which consistently provides logical connections and a good line of reasoning. Precise and relevant reference to Van Zoonen’s concept of patriarchy to support analysis of Sources A and B in the context of the front page coverage of the Prime Minister’s resignation. The response meets AO2 and warrants full marks.
Examiner commentary
A comprehensive and top level response. There is detailed and accurate application of knowledge and understanding of representations to analyse Sources A and B which consistently provides logical connections and a good line of reasoning. Precise and relevant reference to Van Zoonen’s concept of patriarchy to support analysis of Sources A and B in the context of the front page coverage of the Prime Minister’s resignation. The response meets AO2 and warrants full marks.
2. Sources A and B cover the same news event but are from different genres of newspaper.
How far has genre influenced the media language used in Sources A and B?
In your answer you must:
• outline genre conventions in British newspapers
• analyse the contrasting use of media language in the sources
• make judgements and reach conclusions about how far genre has influenced the media language
used.
[15]
The use of media language in Sources A and B has been strongly influenced by genre conventions, however other
factors such as target audience, political affiliations and news values also influence media language in newspapers such
as The Sun and The Times.
There are two genres of UK newspapers, tabloid and broadsheet, which use media language conventions to distinguish
them and to appeal to the target audience. A tabloid newspaper like Source A, The Sun, is recognisable by its compact
page size and use of bold colour on the masthead. Tabloid journalism has an emphasis on sensational stories, achieved
by the selection of images and use of language, with an emphasis on entertainment and hyperbole in the copy. Tabloids
are often referred to as the popular press as their news values will prioritise a sensational story over hard news. The Sun
is a ‘red top’ tabloid that follows these tabloid conventions. In contrast, a broadsheet newspaper is usually larger than
a tabloid. They are regarded as serious, concerned with hard news and current affairs, and are less sensationalist than
tabloids. Broadsheets are known as the ‘quality press’ with their news values and use of media language having a more
serious tone. The Times follows many of these typical broadsheet conventions, although it is now known as a compact
broadsheet. This suggests that genre and media language can change over time.
Layout is used in both sources to help identify the genre of each paper. The layout of The Sun’s front page provides a
conventional hierarchy of content commonly seen in tabloids. The composition of The Sun’s front page is heavily reliant
on a main image of David Cameron and a large headline. These two elements take up over two thirds of the front cover.
The copy that accompanies the lead story is made up of a byline and standfirst, and just seven short lines of text. This
placement of image and text on the page, along with the high ratio of image and headline to copy is conventional of
tabloid newspapers and shows how they typically use simplistic, sensationalised images and headlines to appeal to their
target audience. In contrast to The Sun, the layout of The Times front cover is more balanced. It follows a conventional
grid layout, common to most traditional broadsheets. In direct contrast to The Sun, the balanced and logical use of
layout here indicates the seriousness of the paper; there is a lot to read and take in and the composition of the headline,
sub-headings, copy and images reinforces the rational reporting provided by broadsheet papers. The difference in the
paper’s genre in contrast to The Sun is emphasised by the higher ratio of copy to headline and image.
The use of images in The Sun and The Times identifies the genre of the papers. In The Sun, the image selected is a close
up of David Cameron. The use of close ups is a common tabloid convention used to emphasise the personal style of
tabloid reporting. In contrast, The Times selects a two shot of Cameron and his wife. Whilst the inclusion of his wife
personalises the news story to some extent, the use of a medium long shot helps to create some distance and feels less
personal than the close up used in The Sun. This suggests that genre is a key influence on the use of media language.
Language is another way in which genre has influenced media language. The Sun relies on colloquial language that is
typical of tabloids. The use of alliteration with “Cam Quit’ makes the article short, snappy and entertaining. However, the
use of language is also influenced by the need to appeal to the target audience. The Sun has written the main splash in
first person; ‘Why should I do the hard ****?’ This helps to personalise the story and, along with the expletive may make him relatable to The Sun reader. The language used in The Sun is also influenced by target audience and their political
bias towards the Conservative Party. Similarly, The Times’ use of language in Source B is influenced by its genre as a
broadsheet. In contrast to The Sun, there is just a single, reserved headline for the lead story; ‘Brexit earthquake’ with the
bulleted sub-headings providing summaries of the key elements of the story for their reader. The tone used is serious,
which reinforces the conventions of broadsheet journalism as hard news. The serious tone may also reflect the paper’s
right wing political bias following the resignation of Cameron. Additionally, the formal register used can be seen to reflect
and appeal to the academic level of The Times’ reader.
To conclude, it can be argued that genre has a very significant influence on the use of media language in Sources A and B
with The Times conforming to the conventions of a broadsheet in contrast to the use of tabloid conventions by The Sun.
However media language is also influenced by the newspaper’s political bias, news values and, importantly, the need to
appeal to different target audiences.
Examiner commentary
A comprehensive response to the set question with detailed and accurate knowledge and understanding of genre. The use of subject specific terminology is relevant and accurate (AO1). There is evidence of a balanced, detailed and accurate application of knowledge and understanding of genre to analyse Sources A and B. There is convincing, perceptive and accurate analysis of the use of media language and highly developed judgements and conclusions regarding how far the candidate thinks that the genre of the newspaper is a blueprint which has influenced the media language used in the sources (meeting AO2). The response recognises that genre is one contributing concept to the design of the front page along with the mode of address, use of language and this is linked to the media form.
Examiner commentary
A comprehensive response to the set question with detailed and accurate knowledge and understanding of genre. The use of subject specific terminology is relevant and accurate (AO1). There is evidence of a balanced, detailed and accurate application of knowledge and understanding of genre to analyse Sources A and B. There is convincing, perceptive and accurate analysis of the use of media language and highly developed judgements and conclusions regarding how far the candidate thinks that the genre of the newspaper is a blueprint which has influenced the media language used in the sources (meeting AO2). The response recognises that genre is one contributing concept to the design of the front page along with the mode of address, use of language and this is linked to the media form.
Explain how the political context in which newspapers are produced, influences their ownership and
regulation.
Refer to The Guardian and The Daily Mail newspapers you have studied to support your answer.
[10]
The political context in which newspapers are produced can be seen to influence the ownership of newspapers. The
news industry in the UK is oligopolistic which contradicts the concept of a free press if it is controlled by the elite.
The Daily Mail has a proprietor ownership model which relies on a successful businessman who controls the paper
through personal ownership. In the proprietor model, the proprietor and editor have a close relationship and the owner
influences the leader lines and content. The proprietor model is driven by market forces and the need to make profit
through sales. This is influenced by the political context of capitalism. The Guardian is owned by the Scott Trust, which
is the sole owner of the paper. This type of ownership arguably allows a greater freedom in speech for its journalists as
the Trust only governs the structure of the paper and doesn’t have a say in content or leader lines. The profits made are
reinvested back into the Trust, and quality journalism rather than financial dividend is the Trust’s goal.
The Leveson enquiry found that the relationship between the press and politicians was too close and not in the
interest of the public. Despite regulation of the press, there is clear evidence that the ownership of a paper is linked
to its political influence and affiliations. The power of the press to shape political events is evident on a daily basis and
reflected frequently in the content of front covers. For example, The Daily Mail’s reporting of Theresa May’s speech at
the Conservative Party Conference clearly reflects their support of the party. The headlines ‘the old girl made it to the
end’ and ‘Brexit will be a cinch’ helps identify their support for the Conservative Party and its policies in relation to Brexit.
Contrastingly, The Guardian’s use of the terms ’nightmare’ and ‘mishaps’ call to question the suitability of Theresa May as
the Prime Minister and reflect the paper’s political leaning to the centre and centre left in support of Labour and the Lib
Dems. Therefore, the political context doesn’t entirely influence the production of news, but the news itself can influence
political contexts through shaping public opinion of policies and political parties.
The regulation of the press has become a matter of government policy. Prior to the Leveson enquiry, the press was
regulated by the PCC, which was run by the big title newspaper editors with a ‘light touch’ on regulation. However, the
outcome of the enquiry was a new self-regulatory body, IPSO, that would take an active role in regulating the UK press.
This suggests that regulation of the press is often a direct response to the political context in which the regulation arises
and journalists in the UK are subject to a range of legal restrictions that prevent their freedom of expression. These
include libel laws, official secrets and anti-terrorism laws among others. Also, although newspapers like The Guardian
can choose to opt out of membership with IPSO and be entirely self-regulated, newspapers that refuse to join IPSO can
face direct regulation by OFCOM and acts such as Section 40 of the Crime and Courts Act (2013) are designed to punish
newspapers in libel cases if they have refused to sign up to state backed regulation, even if they win the case. These
instances support the claim that, as a result of current regulation, the press have less power to exercise their freedom
of speech than in the past and whilst government is legally prevented from blocking press freedom, they are active in
passing legislation to influence what journalists can and can’t say.
The relationship between political contexts, ownership and newspaper regulation is complex and affected by a number
of factors. The importance of press freedom, democracy and the relationship that newspaper owners enjoy with political
parties can be seen to be influenced by the political context in which newspapers are produced. But, at the same time,
the political contexts in which the press functions are also influenced by press ownership and the press’ response to
regulation.
Examiner commentary
There is comprehensive knowledge and understanding of the political contexts of media and their influence on media products and processes meeting AO1. There is comprehensive demonstration of the knowledge and understanding of how political contexts influence newspaper ownership and regulation. This is also a balanced response to the question set with detailed and accurate knowledge and understanding of relevant political contexts included in the response, for example, the power of the press to shape political discourse and influence policy highlights the important influence that the relationship between politicians and the press has through providing opportunities for political affiliations and bias. The answer is well supported by detailed and accurate reference to The Guardian and The Daily Mail and in relation to the Levinson enquiry (regulation) and ownership.
Examiner commentary
There is comprehensive knowledge and understanding of the political contexts of media and their influence on media products and processes meeting AO1. There is comprehensive demonstration of the knowledge and understanding of how political contexts influence newspaper ownership and regulation. This is also a balanced response to the question set with detailed and accurate knowledge and understanding of relevant political contexts included in the response, for example, the power of the press to shape political discourse and influence policy highlights the important influence that the relationship between politicians and the press has through providing opportunities for political affiliations and bias. The answer is well supported by detailed and accurate reference to The Guardian and The Daily Mail and in relation to the Levinson enquiry (regulation) and ownership.
Evaluate the usefulness of one of the following in understanding audiences for online newspapers such
as The Guardian and The Daily Mail:
EITHER
• Gerbner’s cultivation theory
OR
• Shirky’s ‘end of audience’ theory. [10]
Shirky’s end of audience theory is useful when considering changes in audience behaviour as a result of online media with
audiences moving from a predictable mass of consumers to unpredictable participators who consume, respond to and
produce media. When considering Shirky’s theory in relation to online newspapers such as The Daily Mail and The Guardian,
it is useful yet there are some limitations as online news is a form which uses both traditional and new media techniques.
The revolutionary effect of online media on audiences is made apparent by Shirky’s theory. In relation to online news, it
helps draw attention to the threat that this represents to traditional models of news gathering and distribution. For example,
the homepage of www.thedailymail.co.uk comprises a mix of both traditional news reporting by journalists and audience
participatory comments. This indicates that although the majority of reporting here is created by the paper, there is an
expectation that audiences will interact with the news they read online. If we apply Shirky’s ideas it is helpful to understand
how new media platforms provide a space for audiences to respond, whereas old media created a mass audience with
centralised producers controlling content. For example, on most of the stories featured on the home page of www.dailymail.
co.uk there are at least several comments indicating that audiences like the opportunity to become involved.
However, Shirky’s theory has some limitations when applying his ideas to online news. Online newspapers haven’t
embraced the publish then filter model that user generated online content has adopted. The top brands, such as www.
dailymail.co.uk and www.theguardian.com rely on their authority as established news brands to sell themselves to their
audiences. The familiar mastheads from their print editions are positioned at the top of their websites to communicate their
brand, and the stories are written by professional journalists with traditional gatekeeping methods. In this context, Shirky’s
theory is less relevant than when discussing user generated content platforms such as Twitter, Instagram and Facebook.
Shirky’s theory is useful in drawing attention to the way in which online newspapers increasingly rely on participatory
media. The use of likes, shares and comments invite their readers to interact with the news stories they read and also
helps newspapers to identify more clearly which kinds of stories their audiences enjoy. For example a www.theguardian.
co.uk article on The Six Nations Rugby competition gained over 1000 comments compared to 502 on an article about
Facebook leaking user data. Shirky’s theory that user generated content creates an emotional connection between
people who care about something is useful in helping us understand why audiences may want to comment and share
news stories. But, online news websites still rely on professionally produced content and on their authority as a news
brand. Therefore, Shirky’s theory has some limitations as it provides an optimistic view of the power of the prosumer and
underestimates the power of the media oligarchy to shape and control online news content.
Shirky’s emphasis on the role of the amateur is very useful in developing the argument that online newspapers are more
likely to use citizen journalism with techniques taken from social media and to encourage comment and participation
from their audience compared to traditional media production of the news. Both The Daily Mail and The Guardian invite
their readers to share stories by email exclusively and confidentially.
To conclude, Shirky’s end of audience theory is useful in helping to understand the ways audiences have changed in
response to new media, suggesting in relation to online newspapers such as The Daily Mail and The Guardian there
has been a definite shift in the relationship between traditional news production and audiences. However, there are
limitations to Shirky’s theory which suggest his ideas are more appropriate to social media platforms and less applicable
when discussing online news.
Examiner commentary
The response applies knowledge and understanding of the theoretical framework of media to evaluate academic theories in application of Shirky’s end of audience theory meeting AO2. The response demonstrates a comprehensive address of the question set and offers a balanced argument in coverage of the theory connecting case study material from online editions of The Guardian and the Daily Mail. This is a convincing, perceptive and accurate evaluation of the usefulness of Shirky’s ‘end of audience’ theory in understanding audiences for online newspapers. What can be improved? The response could be more specific in the identification of examples of online features of the newspapers. This will provide more illustration of the points made and demonstrate further knowledge of the content of these websites and the transformative effect of online media on audiences.
Examiner commentary
The response applies knowledge and understanding of the theoretical framework of media to evaluate academic theories in application of Shirky’s end of audience theory meeting AO2. The response demonstrates a comprehensive address of the question set and offers a balanced argument in coverage of the theory connecting case study material from online editions of The Guardian and the Daily Mail. This is a convincing, perceptive and accurate evaluation of the usefulness of Shirky’s ‘end of audience’ theory in understanding audiences for online newspapers. What can be improved? The response could be more specific in the identification of examples of online features of the newspapers. This will provide more illustration of the points made and demonstrate further knowledge of the content of these websites and the transformative effect of online media on audiences.
Paper 1 (Media Messages): SECTION B
In this section there are two questions.
Only TWO out of the three media forms in this section will be assessed each series.
In the specimen paper music videos and magazines are assessed.
There will be NO theory questions in this section.
Media Language and Representation
Explain how representations in music videos are chosen to promote the artist(s). Refer to one of the music
videos you have studied to support your answer.
[10]
You should have studied two music videos: one from List A and one from List B below.
List A List B
Corinne Bailey Rae – Stop Where You Are
Radiohead – Burn the Witch
Massive Attack – Unfinished Sympathy
Fatboy Slim – Ya Mama
Emeli Sandé – Heaven
David Guetta – Titanium
The purpose of music videos is to promote the artist to their audience. The representation of Corrine Bailey Rae (CBR) in her music video Stop Where You Are associates her with the idea of transcending prejudice and inequality. In the video the artist is seen to transcend prejudice. This is achieved by placing the artist in an urban environment encountering young characters who are stereotypically on the edge of society. We see the artist interact with these characters at different points in the video. For example, she goes up to the lonely girl and touches her shoulder as she walks past; she stops the girl gang from fighting by holding up her hands with the lyrics ‘stop where you are’ and she dances with the black youths at the end of the music video. The use of constructing two sides to the characters’ representation, firstly as a threat and then as people with qualities and skills, helps to reinforce that young people are approachable and valuable and that the artist not only believes this but can make the lives of these people better. These representations would appeal to the target audience either through identification with the characters, their age or cultural diversity, or the idea that the artist accepts them all regardless of social stereotyping. The representation of the artist through the production values used in the music video is another way in which the representations of CBR can be seen to appeal to her target audience. Although the video has a social realist, urban theme, the production values are artistic and the way the urban environment, the artist and the characters are represented is stylized. This suggests that the artist is concerned with urban and social commentary but is artistic and stylish regardless. This representation is achieved in a number of ways. The introduction of the artist is very conventional fading her in from a black screen, cutting to her face, her legs and back to her face when singing. The cross cutting of these shots of the artist with the urban location using low angle shots to reinforce the extreme angles of the building with glimpses of the blue sky above creates a meaningful connection between the artist and her environment and suggests that it is one that she, and her target audience, can transcend. The framing of the stairwells and corridors serves to create a sense of entrapment for the characters, especially when contrasted with the placement of the artist with the characters in more open spaces in the choruses and towards the end of the music video. A further way in which the artist is promoted to her target audience is by the use of costume. The red dress is a powerful symbol in the music video. The use of the red provides the only colour in the video and this contrasts vividly against the desaturated colour palette. This simple use of costume helps to construct the artist as feminine and unthreatening but also as powerful to her target audience and further enhances her appeal as she stands out against the everyday. To conclude, representations in music videos are chosen by producers to promote the artist to their audience. This is apparent in a number of ways in CBR’s music video which construct an image of the artist as powerful, open minded and as a musician with important social values and messages that will appeal to her audience.
Examiner commentary
This is a comprehensive response which addresses the question set and supports its arguments with a range of references and textual examples from the music video Stop Where You Are. There is demonstration of knowledge and understanding of representations and how this is constructed in the text with comprehensive, detailed and accurate knowledge and understanding of music video conventions and its form as a promotional tool. The response is a clear and balanced explanation of how representations are chosen to promote the artist with reference to how the technical aspects of the video are used in composition of star image.
Source C – front cover of The Big Issue, 13 June 2016
[click here to see the image which has been removed for copyright reasons: http://www.ocr.org.uk/ Images/316674-unit-h409-01-media-messages-sample-assessment-material.pdf]
Source C shows four politicians’ heads on the bodies of the members of the group Abba. The words are taken from famous Abba songs. The issue was published before the British referendum on remaining in or leaving the European Union. From left to right, the politicians are: Nicola Sturgeon, Scotland’s First Minister, David Cameron, Britain’s Prime Minister, Boris Johnson and Nigel Farage, both prominent Leave campaigners.
Analyse why The Big Issue magazine has used an intertextual approach to the referendum on its front cover. In your answer you must: • Analyse the use of intertextuality to create meaning in the source • make judgements and reach a conclusion about the advantages of this use of intertextuality to The Big Issue magazine.
The Big Issue magazine prides itself as niche and providing a critical view that is outside mainstream journalism. Intertextuality refers to the process of creating references to any kind of media text through another text. The intertextual reference to 70s pop band Abba and their song Winner Takes It All to represent the referendum is to reflect the status and identity of the magazine, to appeal to the target audience and to give additional meaning to the referendum vote. One reason why The Big Issue magazine has used an intertextual approach could be to identify the magazine as niche and outside mainstream reporting. The use of the intertextual reference to Abba presents The Big Issue as a magazine that looks at events critically and would likely contrast with reports on the referendum found in newspapers or more mainstream magazines. This approach to reporting the referendum highlights that The Big Issue can be relied on to offer fresh perspectives on current affairs. The representation of the politicians as pop musicians also helps to position the magazine as informal and witty. The use of intertextuality through inclusion of the song’s lyrics is a further way in which the magazine has adopted a witty approach to the event. The lyrics have been adapted to reinforce the viewpoint each politician on the referendum. This shows that the magazine is confident that the lyrics have cultural significance and are well known by its readers. They are also assuming their target audience will have a good grasp of current affairs and will appreciate the personalised link between lyrics and politician. An intertextual approach through the use of text is further achieved with the issue’s headline: Winner Takes It All. This is used to develop the Abba reference and the band’s song but, in terms of the political context, it is also highlighting that the result of the referendum will only have one outcome and it will be significant for whichever side wins the vote. By using the intertextual approach with Abba in this way, The Big Issue has cleverly managed to satirize the event and the politicians involved, yet remain impartial politically. This helps the magazine to take a more neutral position on the referendum and offers balance for their target audience. This is important because, as a charity, The Big Issue wouldn’t want to alienate readers for fear of disadvantaging the street vendors who sell the magazine. From this front cover, it is evident that the intertextual approach helps to identify The Big Issue as a provocative magazine that provides independent journalism and in doing so, is able to challenge people’s perceptions. A further reason why intertextuality has been used by The Big Issue magazine is to address and appeal to their target audience. The magazine’s audience is 72% ABC1 and 43% AB. This indicates their target audience are likely to be educated professionals and a sophisticated audience who will understand the intertextual reference to Abba, the personalisation of the lyrics and the satire they offer of the issues about the referendum. Through using this intertextual approach, the magazine addresses an aware audience and the references to Abba indicate the audience will enjoy recognising cultural references and satirical representations of current affairs and international politics. A final reason why The Big Issue may have used an intertextual approach on their front cover is to represent the referendum from a particular point of view and in an engaging way. In order to represent their story about the referendum vote, the magazine has placed the heads of the four politicians onto the bodies of Abba’s band members. The use of this intertextual reference, and the construction of the politicians as band members is very humorous. The heads of the politicians, the facial expressions they are making and their body language, through the performance of the original members, fit but look odd. The oversized heads on smaller bodies make the politicians look like puppets and foolish, indicating that the magazine doesn’t hold them in very high regard. It could also suggest that through using the intertextual reference to Abba, by presenting the politicians as a pop group performing on stage, it works as a metaphor to highlight the performance of the politicians courting popularity for their views on Leave or Remain. Through using this intertextual reference, The Big Issue is continuing the history of satirical cartoons that combine political images with popular culture which helps us to see the referendum in a new way, and leads us to question the motives of the politicians involved. Therefore, there are a number of reasons why The Big Issue magazine has used an intertextual approach to the referendum on its front cover. The identity of the magazine as intelligent, witty and both politically and culturally relevant is expressed through this approach and helps the magazine appeal to its educated and intelligent audience, whilst taking a satirical approach to the politicians involved in the referendum.
Examiner commentary
A comprehensive response to the set question which applies knowledge and understanding of the theoretical framework of media to analyse The Big Issue meeting AO2. There is comprehensive application of knowledge and understanding of the media to analyse The Big Issue including in relation to their contexts, for example, the intertextual reference to 70s pop band Abba and their song Winner Takes It All. The response identifies how the front cover represents the referendum and explains why this is used to reflect the status and identity of the magazine in order to appeal to the target audience and to give additional meaning to the referendum vote. This is the foundation to the response with a focus on the issue of intertextuality in address of the question set. Throughout the response there is a convincing and perceptive analysis of why The Big Issue magazine has used an intertextual approach to the referendum and it consistently provides logical connections. The application of knowledge and understanding of the media is analysed in relation to production and recognises a socially conscious target audience and these contexts are used to make judgements and draw conclusions regarding why The Big Issue magazine has used an intertextual approach to the referendum. This is a fully evaluated response to the question set on The Big Issue as a niche publication with alternative representations to the mainstream media.
List A List B
Corinne Bailey Rae – Stop Where You Are
Radiohead – Burn the Witch
Massive Attack – Unfinished Sympathy
Fatboy Slim – Ya Mama
Emeli Sandé – Heaven
David Guetta – Titanium
The purpose of music videos is to promote the artist to their audience. The representation of Corrine Bailey Rae (CBR) in her music video Stop Where You Are associates her with the idea of transcending prejudice and inequality. In the video the artist is seen to transcend prejudice. This is achieved by placing the artist in an urban environment encountering young characters who are stereotypically on the edge of society. We see the artist interact with these characters at different points in the video. For example, she goes up to the lonely girl and touches her shoulder as she walks past; she stops the girl gang from fighting by holding up her hands with the lyrics ‘stop where you are’ and she dances with the black youths at the end of the music video. The use of constructing two sides to the characters’ representation, firstly as a threat and then as people with qualities and skills, helps to reinforce that young people are approachable and valuable and that the artist not only believes this but can make the lives of these people better. These representations would appeal to the target audience either through identification with the characters, their age or cultural diversity, or the idea that the artist accepts them all regardless of social stereotyping. The representation of the artist through the production values used in the music video is another way in which the representations of CBR can be seen to appeal to her target audience. Although the video has a social realist, urban theme, the production values are artistic and the way the urban environment, the artist and the characters are represented is stylized. This suggests that the artist is concerned with urban and social commentary but is artistic and stylish regardless. This representation is achieved in a number of ways. The introduction of the artist is very conventional fading her in from a black screen, cutting to her face, her legs and back to her face when singing. The cross cutting of these shots of the artist with the urban location using low angle shots to reinforce the extreme angles of the building with glimpses of the blue sky above creates a meaningful connection between the artist and her environment and suggests that it is one that she, and her target audience, can transcend. The framing of the stairwells and corridors serves to create a sense of entrapment for the characters, especially when contrasted with the placement of the artist with the characters in more open spaces in the choruses and towards the end of the music video. A further way in which the artist is promoted to her target audience is by the use of costume. The red dress is a powerful symbol in the music video. The use of the red provides the only colour in the video and this contrasts vividly against the desaturated colour palette. This simple use of costume helps to construct the artist as feminine and unthreatening but also as powerful to her target audience and further enhances her appeal as she stands out against the everyday. To conclude, representations in music videos are chosen by producers to promote the artist to their audience. This is apparent in a number of ways in CBR’s music video which construct an image of the artist as powerful, open minded and as a musician with important social values and messages that will appeal to her audience.
Examiner commentary
This is a comprehensive response which addresses the question set and supports its arguments with a range of references and textual examples from the music video Stop Where You Are. There is demonstration of knowledge and understanding of representations and how this is constructed in the text with comprehensive, detailed and accurate knowledge and understanding of music video conventions and its form as a promotional tool. The response is a clear and balanced explanation of how representations are chosen to promote the artist with reference to how the technical aspects of the video are used in composition of star image.
Source C – front cover of The Big Issue, 13 June 2016
[click here to see the image which has been removed for copyright reasons: http://www.ocr.org.uk/ Images/316674-unit-h409-01-media-messages-sample-assessment-material.pdf]
Source C shows four politicians’ heads on the bodies of the members of the group Abba. The words are taken from famous Abba songs. The issue was published before the British referendum on remaining in or leaving the European Union. From left to right, the politicians are: Nicola Sturgeon, Scotland’s First Minister, David Cameron, Britain’s Prime Minister, Boris Johnson and Nigel Farage, both prominent Leave campaigners.
Analyse why The Big Issue magazine has used an intertextual approach to the referendum on its front cover. In your answer you must: • Analyse the use of intertextuality to create meaning in the source • make judgements and reach a conclusion about the advantages of this use of intertextuality to The Big Issue magazine.
The Big Issue magazine prides itself as niche and providing a critical view that is outside mainstream journalism. Intertextuality refers to the process of creating references to any kind of media text through another text. The intertextual reference to 70s pop band Abba and their song Winner Takes It All to represent the referendum is to reflect the status and identity of the magazine, to appeal to the target audience and to give additional meaning to the referendum vote. One reason why The Big Issue magazine has used an intertextual approach could be to identify the magazine as niche and outside mainstream reporting. The use of the intertextual reference to Abba presents The Big Issue as a magazine that looks at events critically and would likely contrast with reports on the referendum found in newspapers or more mainstream magazines. This approach to reporting the referendum highlights that The Big Issue can be relied on to offer fresh perspectives on current affairs. The representation of the politicians as pop musicians also helps to position the magazine as informal and witty. The use of intertextuality through inclusion of the song’s lyrics is a further way in which the magazine has adopted a witty approach to the event. The lyrics have been adapted to reinforce the viewpoint each politician on the referendum. This shows that the magazine is confident that the lyrics have cultural significance and are well known by its readers. They are also assuming their target audience will have a good grasp of current affairs and will appreciate the personalised link between lyrics and politician. An intertextual approach through the use of text is further achieved with the issue’s headline: Winner Takes It All. This is used to develop the Abba reference and the band’s song but, in terms of the political context, it is also highlighting that the result of the referendum will only have one outcome and it will be significant for whichever side wins the vote. By using the intertextual approach with Abba in this way, The Big Issue has cleverly managed to satirize the event and the politicians involved, yet remain impartial politically. This helps the magazine to take a more neutral position on the referendum and offers balance for their target audience. This is important because, as a charity, The Big Issue wouldn’t want to alienate readers for fear of disadvantaging the street vendors who sell the magazine. From this front cover, it is evident that the intertextual approach helps to identify The Big Issue as a provocative magazine that provides independent journalism and in doing so, is able to challenge people’s perceptions. A further reason why intertextuality has been used by The Big Issue magazine is to address and appeal to their target audience. The magazine’s audience is 72% ABC1 and 43% AB. This indicates their target audience are likely to be educated professionals and a sophisticated audience who will understand the intertextual reference to Abba, the personalisation of the lyrics and the satire they offer of the issues about the referendum. Through using this intertextual approach, the magazine addresses an aware audience and the references to Abba indicate the audience will enjoy recognising cultural references and satirical representations of current affairs and international politics. A final reason why The Big Issue may have used an intertextual approach on their front cover is to represent the referendum from a particular point of view and in an engaging way. In order to represent their story about the referendum vote, the magazine has placed the heads of the four politicians onto the bodies of Abba’s band members. The use of this intertextual reference, and the construction of the politicians as band members is very humorous. The heads of the politicians, the facial expressions they are making and their body language, through the performance of the original members, fit but look odd. The oversized heads on smaller bodies make the politicians look like puppets and foolish, indicating that the magazine doesn’t hold them in very high regard. It could also suggest that through using the intertextual reference to Abba, by presenting the politicians as a pop group performing on stage, it works as a metaphor to highlight the performance of the politicians courting popularity for their views on Leave or Remain. Through using this intertextual reference, The Big Issue is continuing the history of satirical cartoons that combine political images with popular culture which helps us to see the referendum in a new way, and leads us to question the motives of the politicians involved. Therefore, there are a number of reasons why The Big Issue magazine has used an intertextual approach to the referendum on its front cover. The identity of the magazine as intelligent, witty and both politically and culturally relevant is expressed through this approach and helps the magazine appeal to its educated and intelligent audience, whilst taking a satirical approach to the politicians involved in the referendum.
Examiner commentary
A comprehensive response to the set question which applies knowledge and understanding of the theoretical framework of media to analyse The Big Issue meeting AO2. There is comprehensive application of knowledge and understanding of the media to analyse The Big Issue including in relation to their contexts, for example, the intertextual reference to 70s pop band Abba and their song Winner Takes It All. The response identifies how the front cover represents the referendum and explains why this is used to reflect the status and identity of the magazine in order to appeal to the target audience and to give additional meaning to the referendum vote. This is the foundation to the response with a focus on the issue of intertextuality in address of the question set. Throughout the response there is a convincing and perceptive analysis of why The Big Issue magazine has used an intertextual approach to the referendum and it consistently provides logical connections. The application of knowledge and understanding of the media is analysed in relation to production and recognises a socially conscious target audience and these contexts are used to make judgements and draw conclusions regarding why The Big Issue magazine has used an intertextual approach to the referendum. This is a fully evaluated response to the question set on The Big Issue as a niche publication with alternative representations to the mainstream media.
PAPER 2 (Evolving Media): SECTION A
Media Industries and Audiences
Explain why popular music radio programmes struggle to gain recognition as Public Service Broadcasting.
Refer to The BBC Radio 1 Breakfast Show to support your answer.
In your answer you must also: • Explain how political, cultural and economic contexts influence the status of popular music radio programming [15]
In your answer you must also: • Explain how political, cultural and economic contexts influence the status of popular music radio programming [15]
I do not necessarily agree with the statement in question 1 that popular music radio programmes struggle to gain
recognition as Public Service Broadcasting. The Radio 1 Breakfast Show provides for its under 30 adult audience a diverse and
varied selection of content, although it does focus on popular music. Radio 1 is branded the nation’s favourite station and
historically has had popular music at the heart of its public service remit. The Radio 1 Breakfast Show with Nick Grimshaw
celebrated its 50th Anniversary in 2017. For fifty years BBC Radio 1 has championed great British music, breaking some of the
biggest and most important acts of all time and throwing its support behind talented artists regardless of genre, from rock
and pop to dance and grime.
According to the BBC Trust website, the remit of Radio 1 is to entertain and engage a broad range of young listeners with
a distinctive mix of contemporary music and speech. Its target audience is 15-29 year olds and it should also provide some
programming for younger teenagers. This remit remains part of the public service remit set up by Lord Reith in 1927 and still
holds today – to inform, educate and entertain. Operating under this remit, the BBC Radio 1 Breakfast Show is funded by the
licence fee which gives BBC popular music radio programmes more scope and range in terms of content and access to ‘star’
guests. It also gives it more options for modes of distribution, for example, via livestreaming and podcasts on iPlayer radio,
iPlayer on TV and extra content on digital stations and more outside broadcasts and events.
The content of the BBC can be streamed via the internet or you can download multiple episodes of first run series via the BBC
iPlayer Radio App. For example, the podcast which features the best bits from Nick Grimshaw’s BBC Radio 1 Breakfast Show is
released every week on a Friday featuring the funniest stuff and highlights from celebrity guests, such as, Sam Smith and Pink.
This on demand service is provided for free under the licence fee and is set up as a subscription.
Despite this expanding provision of service, the Radio 1 Breakfast Show has come under criticism for its falling number of
listeners. According to Rajar it has affected the programme’s status by seeing audiences drop to just over 5 million listeners,
which is the lowest audience for nearly twenty years. This may be seen as an example of how The BBC Radio 1 Breakfast Show
with Nick Grimshaw is losing its popular appeal especially in justification of the BBC licence fee payment.
According to the BBC Radio academy website, though, it’s still the number one discovery place for musicians such as the
Arctic Monkeys, and it explains that the internet has changed the way the music industry works forever but radio is still at
the heart of it - radio is as important as ever. In today’s segmented ‘listening’ market, successful programme managers must
already know their target audience and the brand values of the Radio 1 Breakfast Show. These should attract and hold their
attention, through its energetic style and popular content, including the music and celebrity culture it promotes through the
presenter Nick Grimshaw, who is the voice of the show. This is clearly illustrated by the content of the show on Friday 2nd
March; there is the popular feature of the The Nixtape, for example, which sees Grimshaw select 30 minutes of party-oriented
music before a DJ comes in to mix listener requests to close the week.
According to Radio 1’s controller Ben Cooper, Radio 1 is evolving with its young audiences as we live through changing
times for traditional radio. There have been record figures for Radio 1 videos on Facebook with 80 million monthly views, and
1.4 billion total views on Radio 1’s YouTube channel. Although traditional radio audience ratings show a gradual decline in listeners, online media has raised the profile of BBC Radio 1 and the Breakfast Show in a different way – meeting the needs of
a young digital-savvy online audience.
The Radio 1 Breakfast Show also contains in its running order regular news reports in the form of Newsbeat. The broadcast
on Friday 2nd March begins with the news and targets its news in both style and content at young audiences; this is evident
in the selection and register of the information provided and the tone of the news presenters when reporting. This style
and content of news aimed at young audiences is also embedded in the presentation of news on the Newsbeat website.
Traditionally news is not targeted at younger audiences and has often been packaged for adults, especially with scheduled
breakfast shows. Newsbeat packages news aimed at the under 30s – fulfilling the remit of providing information in the public
sphere for young people and genuinely, I believe, involving them as citizens.
In summary the Radio 1 Breakfast Show does have popular music at the heart of its broadcast and this is evident in the diverse
and global music policy that it has. On the 2nd March broadcast, approximately 60% of the playlist was music by British
artists or bands and the genre of music included pop, grime, indie rock and dance music from both British and International
artists. Furthermore, in February the show promotes and covers the Brit Awards and September is the Live Lounge music
month. Politically this may be seen as ‘a waste of the taxpayers’ money’ but it is in line with the very principles of how Radio 1
formed over 50 years ago, using popular music to appeal to a wider audience. This ethos is promoted by the Radio 1 Breakfast
Show today whilst it still retains a commitment to tie-in features such as the BBC weekender, live social event coverage such
as Wimbledon. Also on the BBC website there are regular educational features with the presenter Nick Grimshaw visiting
schools. The BBC is misunderstood if the fee-paying public believes the BBC is simply about popular music – at the heart of
its revised remit is the commitment to bring diversity and cultural creativity in its music to represent all communities in the
UK and promote British nationality on a global scale. The licence fee and the principles of public service broadcasting are the
foundation which protects BBC Radio 1 and the Breakfast Show from the commercial pressures and influence of ownership
in independent radio. The biggest challenge that the Radio 1 Breakfast Show faced was how to keep a media savvy under-30
audience in a technologically changing online media environment – one that I think it has achieved.
Examiner commentary
This is a well argued, confident response that demonstrates
comprehensive application of knowledge and understanding of
the radio industry, its audiences and how the industry is changing
due to evolving digital technologies and patterns of consumption.
There is clear and precise explanation of why BBC Radio 1 might
be seen to struggle to gain recognition, countered by clear and
precise reasons why it is a PSB service and can be seen to fulfil the
BBC remit.
The response is supported by detailed and accurate reference
to the set radio programme, the Radio 1 Breakfast show, with
specific reference to a set case study showing knowledge and
understanding of historical, cultural and political contexts,
The response covers the influence of these on popular music
programming and content.
Explain the impact of digitally convergent media platforms on video game production, distribution and
consumption. Refer to Minecraft to support your answer.
[15]
The development of Minecraft in 2011 came at a time when video gaming was increasingly focusing on online and
multi-platform gaming, a response to the rise of gaming on a range of devices, other than consoles. Digitally convergent
media platforms opened up opportunities for games distributors to reach a wider audience of non-traditional gamers
who game on media devices such as phones and tablets. This is evidenced by the media convergence that enables
digital distribution and global access which hitherto had not been available. This was exploited by Persson in the
distribution and circulation of Minecraft, meaning fewer master copies of the game were needed. Minecraft became a
multi-platform game aimed not just at PC gamers but those who own smartphones, Microsoft X Box consoles and handheld
devices, for example.
Not only did Minecraft and its production company develop online distribution which saved costs, it also struck deals
with Nintendo, the largest game software seller, and Sony, a hardware manufacturer and global conglomerate. By 2014
the intellectual property rights were acquired by Microsoft, an American multinational technology company. These
gaming giants and technology companies had a vision for a product, Minecraft, which could be globally distributed
and marketed through its community. In addition to the sales of hardware or software, Minecraft ‘gamers’, like any other
media audience, could be sold games, add-ons and a whole range of merchandise including Minecraft magazine,
t-shirts, mugs, calendars, backpacks, hoodies, ties-ins with Lego, Minecraft mini-games, and a proposed Minecraft movie
in 2019 (with Warner Brothers film studio). This is an example of how Minecraft had multiple conduits of revenue for
its product, not only in the gameplay but, also through merchandising, and in a very short space of time it was able to
develop itself as a leading brand of computer game. The Microsoft Minecraft market place allows users to buy other
features of Minecraft online, such as a new realm, story mode or modification. This online marketplace is a virtual store
making it easier for Minecraft’s community to shop for its products.
Digitally convergent media platforms had a significant impact on the distribution of Minecraft and its promotion to an
audience, allowing it to maximise profits. Recent additions include The Minecraft: Story Mode available via Steam. Steam
is developed by Valve Corporation, which offers digital rights management, multiplayer gaming, video streaming and a
social networking service. Steam can be considered the equivalent to an online video games store, comparable to the
internet platforms iTunes or Amazon. Online fan communities have enabled Minecraft’s audience to have an active voice
in its on-going production through detailed feedback and commentary on modifications and also beta testing through
social media such as Facebook and YouTube. In addition, Minecraft has a Twitter account which documents game
developments for its users.
Minecraft has tapped into the potential of the audience to ensure that the audience were engaged in its development.
Minecraft allowed users to create new in-game content via beta testing processes, producing shareable, downloadable
game modifications, called mods and producing texture and resource packs – such game development at the level of
exchange is made possible by a cloud based platform where the transfer of data is now two-way and quick.
With digitally convergent platforms the biggest threat to the video games industry is piracy via leaked content that is
playable across a number of platforms. However, video gamers are comparable to film fans in that they are willing to
pay for game content, but will also share elements for free. As the cost of Minecraft is kept low and accessible to many
audiences due to convergent media practices, and combined with the attitude of Minecraft that gamers will share and
develop content – a philosophy that comes from the founder Marcus Persson - piracy of Minecraft is not as much of an
issue as with other video games. Minecraft’s embracing of online distribution and exchange offers value for content for
its users – not only in the gameplay and shareable features but in the presence of its community. It does not just sell
digital copies of a game but also packages an online experience for them. Of course, with the backing of Microsoft and
the development of Occulus as a virtual reality headset game, Minecraft is now being packaged as a premium games
experience and one that cannot be copied digitally.
Minecraft now has a global mass market audience and the game is highly successful. The takeover by Microsoft enabled
Minecraft to be delivered by the world’s leading technology company, reliant on providing instant and online access
to the game, without the need for console-based technology. The success of Minecraft has been due to its ability to
distribute and circulate engagement amongst its users – not just gaming fans but also non-traditional gamer audiences
using digitally convergent media.
Examiner commentary
This is a well argued, confident response that directly addresses
the question to demonstrate knowledge and understanding
of industries and how they target audiences. The answer
demonstrates a comprehensive, detailed and accurate
knowledge and understanding of industries for video games
shown in the structure of the argument and excellent use of
relevant terms. There is clear, precise and balanced explanation
of the impact of digitally convergent media platforms on
video game production, distribution (including marketing)
and consumption. This is supported by a range of detailed and
accurate examples with reference to Minecraft, the set video
game.
Paper 2 (Evolving Media): SECTION B
Long Form Television Drama
In question 3, you will be rewarded for drawing together knowledge and understanding from your full
course of study, including different areas theoretical framework and media contexts. You should have studied two long form television dramas: one from List A and one from List B below.
Your answer should make reference to both long form television dramas you have studied: one from List
A and one from List B.
Stranger Things
(Season 1, Episode 1)
Deutschland 83
(Season 1, Episode 1)
Why do long form television dramas from different countries offer different representations?
In your answer you must:
• consider the contexts in which long form television dramas are produced and consumed
• explain how media contexts may have influenced representations in the set episodes of the two long
form television dramas you have studied
• make judgements and reach conclusions about the reasons for the differences in representation
between the two episodes.
Student Exemplar (The Killing and Homeland)
Student Exemplar (The Killing and Homeland)
In address of the question above I shall be comparing and discussing the U.S. long form television drama Homeland
with the European long form television drama The Killing. In this comparison I hope to draw upon the different contexts
in which long form television dramas are produced and consumed by audiences and offer explanation as to how
such contexts may influence representations of gender and crime in the set episodes. In reaching conclusions for the
differences and similarities in these television episodes I hope to illustrate how the key media concept of representation
can be used as an analytical tool in a global media environment to aid an understanding of how messages are
constructed within the conventions of long form television drama.
Homeland was produced on a high budget by the cable channel Showtime, a premium cable and satellite television
network that is the flagship service of the Showtime Networks subsidiary of CBS Corporation. The original broadcast of
the opening episode, ‘Pilot’, received just over one million viewers, becoming Showtime’s highest-rated drama premiere
in eight years and drawing record-setting audiences for the cable network. It was produced for a cable and global internet audience, and demonstrates the opportunities for character development in authored programmes allowing for
more complex, individualised three-dimensional characterisation rather than simple stereotyping.
In contrast, the long form TV drama The Killing (2007-12), shown on BBC 4 in the UK, attracted more viewers in the UK
than its contemporary U.S. counterpart Mad Men, with a regular audience share in Denmark of 1.7 m viewers and in the
UK of approximately 500,000 per episode. The Killing is one example of the popularity and success of Danish television
drama which operates under a public service remit. It was not made for a global market, but spread throughout Europe,
Australia then the UK, South America and Asia. The Killing proved particularly attractive to middle class viewers in the
UK; it was such a popular subtitled TV drama that BBC 4 even developed a special Saturday slot for subtitled foreign
programmes. The BBC picked up the show four years after the first episode for, in terms of TV deals, a small amount
of money. The Killing was so successful as a global product that it inspired an American remake produced by Fox 21
Television Studios for the U.S domestic market, and Netflix globally distributed the drama in 2014. Here is an example of
different economic contexts which will have an influence on the representations constructed in the programme.
The differences between production budgets for US television dramas and European television dramas can influence
representations through allowing more or less choice to programme makers when constructing representations, for
example with regard to mise-en-scène, filming, sound and editing technology. Homeland has a cast full of recognisable
actors which audiences are familiar with, whereas The Killing, as a Danish drama, used little known stars and was shot in
Copenhagen, using the city and its locations as a source of its drama. Both dramas are highly stylised. Homeland uses fast
paced storytelling that is cinematic in its filming, whilst The Killing relies on lighting stylisation and the use of the camera
for replicating crime drama conventions and is slow paced to develop emotional ties with the characters.
In long form TV drama the use of narrative arcs and complex central characters are important and at the heart of
Homeland and The Killing this is evident. Homeland is an American spy thriller TV series with the storyline revolving
around two central characters Carrie Mathison, a CIA officer, with bipolar disorder, and Nicholas Brody, an American
sniper, a sergeant for the Marine Corps who is found at the start of the episode missing in action, presumed dead.
Mathison had come to believe that Brody, who was held captive by al-Qaeda as a prisoner of war, has been turned
whilst in captivity by the enemy and he poses a threat to the United States. The series focuses on a storyline that evolves
from this premise, together with Mathison’s on-going covert work as an intelligence agent. Homeland also raises
discussions of the moral legitimacy of political espionage, which is debated and communicated to its audience. The
narrative complexity deployed in Homeland follows a narrative arc conventional of the long form TV drama, around the
two characters, Mathison’s role as an intelligence officer and Brody’s return to the U.S as a war hero. The plot twists of
Homeland are comparable to the successful cable TV series 24, with its themes of loyalty and legitimacy, demonstrating
the established convention of these elements within the crime/political/espionage thriller genre which represents social
anxieties and/or contested social values on television programmes, for example the perceived rupturing of the ‘American
dream’ illustrated through allegorical representations of social anxieties such as domestic terrorism and surveillance, and
also more broadly through wider western social values towards security and family and home.
The Killing also deals with a crime storyline. At the centre of The Killing is Detective Inspector Sarah Lund and a
characteristic of the drama is that each episode of the three seasons represents a day in the police investigation of
one murder – it is a ‘whodunit’ narrative. Such elongated storytelling allows for detailed exploration of the emotional
reaction to a horrific killing by victims, families and friends – often not represented in crime TV dramas as the crime is
solved within the programme as part of the narrative resolution. The Danish programme makers wanted to deal with a
subject matter that was not often written about in western contemporary or Hollywood crime fiction. The narrative arc of
episode 1 revolves around Detective Inspector Sarah Lund and is plotted around day 1 of a murder investigation themed
on the search for a missing schoolgirl and then in the final scene the discovery of her body. The programme makers
introduced three different narrative strands to tell the storyline – the crime, the introduction of the victim’s family and
their emotional responses and a political mayoral election campaign, which subsequently is revealed to be caught up in
the murder case. The use of established genre conventions in both Homeland and The Killing reflects Hesmondhalgh’s
view that cultural industries rely on repetition to sell formats to audiences.
At the heart of Homeland and The Killing is the discussion of the representation of gender in relation to Carrie Mathison
and Sarah Lund, whose characters are crucial to the narrative and who, on occasion, challenge and subvert those
representations to try and instigate cultural change and domestic conversations on representations and identity. Both
female leads share certain generic traits in their representations across westernised television culture. As in Van Zoonen’s
argument about gender being performative, we see Jessica rehearsing being ‘the good wife’ and the army desperately
trying to persuade Brody to perform as the masculine ‘hero’. The CIA management are male, reinforcing patriarchal power,
but the narrative follows the agency of a female protagonist playing the central role of the maverick who is proved right.
In The Killing the central female character, Sarah Lund, is represented as a single mother but career minded – a detective
inspector who protects the innocent. Lund is calm, calculating and methodical in her police work, her professionalism is
admirable and she is the problem solver and communicator. Integral to these crime dramas is not only the discourse on crime, but the key functional unit of the family. Both crime
dramas use melodrama as a subplot and a part of the narrative arc. This is intentional as conflict is worked out in society
and traditionally the family is central to any culture. The use of melodrama is crucial in Homeland when Nick Brody
returns as a war hero to meet his family – in the airport the melodramatic is played out as the family is reunited, but
what the episode does is to also reveal how torn apart the family has been by the father’s absence – for example the
daughter is caught experimenting with drugs. Carrie Mathison is without a sense of family; the CIA is her family but she is
considered a ‘loose cannon’. Sarah Lund on the other hand is a single mother with a career with the Danish police force,
but as a police officer and mother she is central to the narrative plot. She is also strong in the treatment of the victim and
their families. Both dramas share a sense of the melodramatic albeit from different perspectives and this is an example of
how long form TV drama is experimenting with the crime genre – using the family and family values so important to U.S.
and Danish society. These readings of the text are offered to the audience in negotiation with the text; the melodramatic
elements do not soften the issues but heighten the emotional realism of the victim’s/reunited family in each drama,
offering an understanding of how families deal with conflict in society. The Killing is described as Nordic Noir as a way of
defining stylistic and narrative elements and subsequently as a brand used for Danish drama abroad.
In conclusion, there are a number of reasons for the differences in representation between the two episodes of
Homeland and The Killing. This is due in part to the different contexts of production being a mainstream cable TV drama
and a Danish produced drama. These contexts clearly have had an effect on the representations of gender and the
family. Additionally, there are differences in how the crimes are represented – one is a crime against homeland security,
the other about a murdered schoolgirl. The complex narrative storytelling and representations of femininity which
challenge traditional stereotypes, have resulted in readings by the audience of these representations not only as different
but as sharing similarities in the drama. It can be argued that what brings these two very different dramas together is an
understanding of the form and genre of long form TV drama, which is packaged and sold to a global audience which
appreciates the variety of complex representations that these dramas offer.
Examiner commentary
This is a comprehensive response to the set question that
demonstrates a developed and detailed line of reasoning that is
coherent and logically structured, relevant and substantiated.
AO1:
There is comprehensive and accurate knowledge and
understanding of the influence of media contexts in the
representations, with reference to economic, political, social and
historical contexts.
AO2:
There is comprehensive, detailed and accurate application of
knowledge and understanding of theoretical frameworks of
representation, media language, audiences and industries for
long form TV drama.
There is detailed knowledge and understanding of contexts
and media theory with a comprehensive account of cultural
context explained with reference to patriarchy and the use of
Van Zoonen’s theory of gender as performative to analyse the
representation of gender in the two set products.
There is convincing, perceptive and accurate analysis of
representation in the set episodes with analysis of the
representation of gender, families and storylines.
The response consistently provides logical connections
and a good line of reasoning to compare and contrast the
representations offered in both episodes.
There are developed and accomplished judgements and
conclusions; the response concludes that whilst there are clearly
differences, there are also similarities in the representations.
Evaluate the relevance of Todorov’s theory of narratology to long form television drama. (10 Marks)
Narratology is the study of narrative and the function or purpose of narrative structure in communicating meaning,
messages and values in media products. Todorov’s theory of narratology can be seen to be partly relevant when applying
his ideas to long form TV drama. Although his ideas are designed to be applied to films with single narratives and clear
resolutions, when applying his theory to long form TV drama, it exposes the complexity of long form drama narratives,
which can be seen to be one of the reasons for the form’s success and popularity with audiences. Todorov’s theory of
narratology can be seen to be useful, yet also have some limitations, when applied to dramas such as Homeland and The
Killing.
Todorov described narratives as having a state of equilibrium which is present at the start of a narrative. In Homeland
this equilibrium is set in Washington around a spy espionage thriller. This is established in the setting and the location
– Washington DC is the capital state of the U.S. It isn’t in a good state of affairs as episode one reveals in the opening
sequence with an American CIA agent, Carrie Mathison, attempting and ultimately failing to negotiate the release
of a political prisoner in Baghdad. Although this isn’t necessarily a good state of affairs, it can be considered a stable
starting point, or equilibrium, for the rest of the narrative to flow from as the episode flashforwards to 8 years later. What
becomes the equilibrium is the story set post 9/11 which focuses on how well Homeland security can deal with terrorist
threats. In The Killing the normal state of affairs or equilibrium is the civilised Danish capital city of Denmark signified by
the wide shots of the location used as cutaways in the TV drama. The normal state of affairs is constructed around the
Detective Inspector Sarah Lund who is introduced as leaving the Danish police force to live in Sweden. Todorov’s theory
is sufficiently simple here, and therefore relevant, to help us see how long form dramas will begin with an equilibrium of
some kind, before disruption in the narrative takes place.
In applying Todorov’s concept of equilibrium to long form TV crime drama, disruption to the community or state of
affairs takes place. In Homeland the discovery of Nick Brody who has been missing in action for 8 years is the jolt that
drives the narrative, which gives the audience a story and a narrative arc for the lead character Carrie Mathison. She is not
convinced that the return of the war hero, Nick Brody is all that it seems. She suspects him of being turned by a terrorist
group. In The Killing, Sarah Lund has to cancel her flight because of one last job – the report of a potential missing
person. The narratology evolves around strong female characters that are represented as the investigators of the crimes
in each episode.
Todorov argues that a recognition of disruption occurs next in the narrative structure and sometimes this is almost
simultaneous with the disruption itself. This is particularly relevant, and useful, when we consider the narrative structure
in the first episode of Homeland. In Homeland it is the arrival home of Nick Brody that stirs suspicion with Carrie Mathison
– first in discussion with her mentor at the CIA and then in the debrief with Nick Brody himself. These suspicions
unravel in episode 1 where Mathison has to uncover the evidence that Brody has been turned. Here it is the female
intelligence officer that realises that something has gone awry. However, in The Killing, the recognition of the disruption
unfolds differently and the suspicion of a missing person is delayed in the pacing of the narrative. The slow moving plot
introduces different characters and their links to the main storyline – the politicians and the victim’s family. The use of an
interweaving narrative enables the audience to understand the crime that is unravelling and the discovery that Sarah
Lund makes of the missing person and subsequently a body. What is creative with the use of equilibrium in The Killing
is that each episode reflects a sequence of events in the crime. Episode 1 is telling the story of who has disappeared
and what disruption this brings to Sarah Lund’s plans, the victim’s family represented by the editing of their emotional
responses and creating a reality of Danish society. Todorov’s ideas regarding recognition of disruption are relevant here
and although they appear differently in the narrative structure of the two dramas, his ideas help us to analyse just how
the recognition occurs and, as they are both crime dramas, when the recognition of disruption is revealed, it helps to
create further suspense and engagement with the narrative.
Todorov’s theory of narratology supports the concept that there are narrative resolutions or some kind of closure to
a narrative. However, there is no restoration of the equilibrium in either TV drama as the convention of long form TV
drama suspends resolution and episodes unravel over a period of time. This enables the narrative to be explored through
different plots and characterisation. These open ended or unresolved narratives help to set the scene of the next episode
and enables conflict to be explored and possibly restored at some stage in the future. This therefore is a limitation of
Todorov’s theory and is only relevant here in identifying the differences between traditional singular narrative films
and long form TV drama, as the idea of narrative closure is more relevant for single narratives rather than the complex
narratives of long form drama where climax and resolution are delayed and sometimes never reached.
To conclude, it can be argued that Todorov’s narratology is relevant when analysing the use of narrative in long form TV
drama but only to a certain extent. His ideas around equilibrium, disruption and recognition of disruption are relevant.
These ideas are useful in the analysis of narrative in long form drama as they help us to identify the similarities and
differences in different genres and products within the form. However, Todorov’s ideas regarding narrative resolution
are less relevant but can be considered useful in that they help to identify that there is often no resolution in long form
TV drama, which is part of the appeal for audiences. In Homeland and The Killing, we can see that the initial equilibrium
of the episodes is explored, explained and disrupted, but resolution is absent. Complex narrative arcs are developed
within long form TV dramas whether it is an American or European drama. They set up equilibriums which are disrupted
and explored in episode 1 enabling the audience to delve deeper into what is disrupted and each drama addresses the
questions why, but never with a sense of closure or resolution.
Examiner commentary
A comprehensive, well supported response that demonstrates
comprehensive, detailed and accurate application of
knowledge and understanding of media language with a
focus on narrative to evaluate Todorov’s narratology. There
is convincing, perceptive and accurate evaluation of the
usefulness and limitations of Todorov’s narratology in analysing
the media language of long form television dramas with
reference to the two set products.