Key term
OCR A-Level Media Studies H409
Contexts of Media
Topic overviewThe five media contexts: social, cultural, political, economic and historicalSocial context: attitudes, norms and social issuesCultural context, taste and the global circulation of mediaPolitical context, ideology and public service broadcastingHistorical context and the reflection of past eventsEconomic context: funding, ownership and financial constraintTechnological context: production, distribution and audience devicesReflecting attitudes and constructing attitudesMedia products as agents of social and political changeIntertextuality as a trace of context
Media Language
Topic overviewSigns, codes and conventions in media languageAudio-visual media language: camera, mise-en-scène, editing and soundPrint media language: layout, typography and imageAudio and online media languageCombination and selection: how elements work together to make meaningDeveloping technologies and the changing language of the mediaBarthes, semiotics and the making of mythTodorov, narratology and narrative structureNeale, genre theory and the intertextual relayGenre as dynamic and historically relativeHybridity and the subversion of genre conventionsLévi-Strauss, structuralism and binary oppositionIntertextuality: pastiche, parody and the varieties of referenceBaudrillard, postmodernism and hyperrealityMedia language, viewpoints and ideologyHow audiences interpret media language
Media Representations
Topic overviewSelection, combination and the construction of realityMediation, verisimilitude and claims about realismStereotypes, countertypes and their usesUnder-representation and misrepresentation of social groupsProducers' choices and the process of representationIndustry context and the economics of representationSocial and cultural context in representationHistorical context and changing representationsValues, attitudes and beliefs, and their reinforcementDiscourse, ideology and the positioning of audiencesAudience response and interpretation of representationsSelf-representation, social identity and the curated selfHall and the constructionist approach to representationGauntlett, identity and the pick-and-mix audiencevan Zoonen, the patriarchal gaze and gender as performancebell hooks, intersectionality and the oppositional gazeButler, gender performativity and gender troubleGilroy, the Black Atlantic and postcolonial melancholia
Media Industries
Topic overviewProduction, distribution and circulation in a global contextThe specialised and institutionalised nature of media productionConglomerate ownership and vertical integrationHorizontal integration, diversification and synergyCurran and Seaton: concentration of ownership and pluralityCurran and Seaton on the internet and the news oligarchyHesmondhalgh: risk, public goods and the reliance on big hitsHesmondhalgh: repetition, copyright and digital labourCommercial funding: advertising, subscription and freemium modelsPublic service broadcasting and not-for-profit fundingMarketing and the maintenance of national and global audiencesTechnological change and the shift to digital distributionOfcom and the UK regulatory frameworkPress, advertising and age classification in the UKLivingstone and Lunt: the citizen and the consumerIndividual producers, convergence and the limits of regulation
Media Audiences
Topic overviewDemographics, social grade and audience profilingPsychographics, lifestyle and taste categoriesTargeting, mode of address and the constructed audienceMarketing, distribution and circulation as routes to the audienceMass and specialised audiences, nationally and globallyNiche and fan audiences and their value to media organisationsMedia technologies and changing patterns of consumptionUses and gratifications, identity and cultural capitalThe effects tradition, the hypodermic model and moral panicsBandura, social learning and media modellingGerbner, cultivation and mean world syndromeHall, encoding, decoding and the three reader positionsJenkins, textual poaching and participatory cultureShirky, the end of audience and cognitive surplusDifferent readings and their social, cultural and historical circumstancesUser-generated content, citizen journalism and the audience as producer
News, Online and Participatory Media
Topic overviewThe Daily Mail as a mid-market tabloidThe Guardian, the Scott Trust and the liberal broadsheet traditionFront page construction and the language of the printed news pageNews values, gatekeeping and the setting of the agendaIdeology, discourse and the positioning of the news readerRepresentation of social groups in news coverageMail Online and the Guardian website as digital productsSocial and participatory media feedsDigital convergence and the changing newsroomOwnership, plurality and the concentration of the pressPaywalls, subscriptions and online monetisationNews audiences: targeting, reception and interpretationPress regulation from the PCC to IPSO and the online challenge
Advertising, Marketing and Magazines
Topic overviewCodes and conventions of print advertisingDove, Real Beauty and the Beautifully Real Moms campaignMedia language in the Dove advertRepresentations of motherhood and the maternal body in the Dove advertRiver Island and the Labels are for Clothes campaignMedia language in the River Island advertRepresentations of diversity, disability and self-expression at River IslandShelter, charity advertising and the direct call to actionMedia language in the Shelter advertRepresentations of homelessness and housing insecurity in the Shelter advertSocial and cultural contexts of the three advertising campaignsThe Big Issue, the street paper model and its market positionMedia language of a Big Issue front coverAlternative representations in The Big IssueSocial, cultural and political contexts of The Big Issue
Music Video
Topic overviewMusic video as a form: performance, narrative and conceptPromotion, platforms and the star imageMedia language in music video: camera, mise-en-scène, editing and soundRepresentation in music video: stereotypes, countertypes and self-representationArtist-present and artist-absent music videoCorinne Bailey Rae – Stop Where You AreLil Nas X – SUN GOES DOWNEmeli Sandé – HeavenSufjan Stevens – SugarRadiohead – Burn the WitchDavid Guetta ft. Sia – Titanium
Film, Radio and Video Games
Topic overviewDisney from Snow White to global conglomerateVertical integration and the structure of the film industryFinancing, risk and the franchise model in filmTechnological change in film production and exhibitionDistribution, release windows and home entertainmentMarketing a global blockbusterFilm certification and regulationPublic service broadcasting and the Radio 1 Breakfast ShowFunding, ownership and competition in the radio industryRadio technology, platforms and convergent distributionReaching and constructing the Radio 1 Breakfast Show audienceNintendo, ownership and the global games industryProducing and distributing Animal Crossing: New HorizonsThe Animal Crossing audience: targeting, play and participationRegulation and the social context of video games
Long Form Television Drama
Topic overviewMr Robot and the unreliable narratorKilling Eve and the gendered spy thrillerAtypical and the representation of neurodiversityStranger Things, nostalgia and the Netflix franchiseLupin, disguise and postcolonial ParisMoney Heist and the second life of a national dramaTrapped, Nordic noir and the Icelandic industryDeutschland 83, the Cold War and the export of German dramaThe streaming economy and the funding of long form dramaGlobal distribution and the travel of non-English language dramaGenre hybridity, intertextuality and multiple narrative strandsMedia language and representation in long form television dramaAudiences, fandom and the regulation of on-demand drama
Film, Radio and Video Games
Regulation and the social context of video games
- 3 things to know
- Component 02
Overview
Recall questions on PEGI labels and their legal force, why games are harder to rate than films, loot boxes and in-game purchases, arguments for and against tighter regulation, the lockdown context of Animal Crossing: New Horizons, its ban on political campaigning, and online safety for children.
What you need to know
Answer each one before you reveal it.
Your recallNot started
Key term
What does PEGI stand for, and what does it do?
Key term
Name two things a PEGI label tells a buyer.
Questions from this subtopic
Each one with the model answer underneath.
- 1
What does PEGI stand for, and what does it do?
Model answer
PEGI stands for Pan European Game Information, and it is the system that classifies games by age across much of Europe.
- 2
Name two things a PEGI label tells a buyer.
Model answer
The minimum age the game is considered suitable for, and, through its content descriptors, what in the game led to that rating.
- 3
Are PEGI age ratings legally enforceable in the UK?
Model answer
Yes, for the higher categories it is an offence to sell a game to someone below the age shown on it.
- 4
Why is age rating a game harder than age rating a film?
Model answer
A game's content varies with how it is played, it can be changed by updates after release, and much of what a player meets online is created by other players.
- 5
What is a loot box?
Model answer
A loot box is an in-game purchase whose contents are random, so the buyer does not know what they are getting until they have paid.
- 6
Why have loot boxes drawn the attention of regulators?
Model answer
Paying for a random reward closely resembles gambling, and children can spend heavily without any grasp of the odds.
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