Initially there are 4 Key Concepts of Media Studies, they are:
Audience
Institution
Language
Representation
Component 1 is focused in 3 different Sections. Section A of Component 1 will assess the analysis of Media Language and Representation. It will consist of assessing with relation to two of the following aspects: Advertising, Marketing, Music Videos or Newspapers. The choice will be made at random which means there will not be any guaranteed aspect to analyse. There will be 2 questions in this section: One assessing Media Language in audio-visual or print resource, whereas the second one will be extended response comparison question assessing Representation in one set product and in an audio-visual or print resource. Section B will be slightly easier than Section A, it will assess the same aspects plus video games, radio - and Media Concepts. It will include two questions: One stepped question at Media Industries and another at Media Audiences.
Component 2 will assess all four Media Concepts and will consist in 3 sections. Section A will be focused in Television in Global Age consisting in a 2 step question or one extended response. Section B will be focused in Magazines and mainstream and alternative Media, the questions will be exactly like Section A. Section C will be focused in Media in the Online Age. Questions will be the same as the two previous Sections.
Component 3 will be a NEA, the acronym for Non-examined Assessment. will be an individual Media production focused in give a response based in two forms to a brief set of WJEC.
Learning about the media involves both exploring and making media products and these two activities are fundamentally related in this specification. Learners create a cross-media production for an intended audience, applying their knowledge and understanding of media language, representation, audience and industry in response to a choice of briefs set by WJEC. The opportunity to select forms, and the opportunity to work in more than one form, allows learners to pursue their own media interests and develop their practical skills in this component.
- WJEC Specification, 2017
The products studied:
• possess social, cultural and historical significance
• illustrate a range of products in terms of genre/style, form and audience
• represent different historical periods and global settings
• illustrate different industry contexts, including those outside the commercial mainstream
• include those aimed at, or produced by, minority groups
• reflect contemporary and emerging developments in the media
• provide rich opportunities for analysis and application of the theoretical framework detailed below
• include media products that stimulate learners and extend their experience of the media.
The products set by WJEC for both Components 1 and 2 will be reviewed periodically and changed where necessary.
DEFINITIONS
Media language: how the media through their forms, codes, conventions and techniques communicate meanings
Representation: how the media portray events, issues, individuals and social groups
Media industries: how the media industries' processes of production, distribution and circulation affect media forms and platforms
Audiences: how media forms target, reach and address audiences, how audiences interpret and respond to them, and how members of audiences become producers themselves.
OVERVIEW THEORIES
Media Language
• Semiotics, including Roland Barthes
• Narratology, including Tzvetan Todorov
• Genre theory, including Steve Neale
• Structuralism, including Claude Lévi-Strauss
• Postmodernism, including Jean Baudrillard
Representation
• Theories of representation, including Stuart Hall
• Theories of identity, including David Gauntlett
• Feminist theory, including Liesbet van Zoonen
• Feminist theory, including bell hooks
• Theories of gender performativity, including Judith Butler
• Theories around ethnicity and postcolonial theory, including Paul Gilroy
Media Industries
• Power and media industries, including Curran and Seaton
• Regulation, including Livingstone and Lunt
• Cultural industries, including David Hesmondhalgh
Audiences
• Media effects, including Albert Bandura
• Cultivation theory, including George Gerbner
• Reception theory, including Stuart Hall
• Fandom, including Henry Jenkins
• ‘End of audience’ theories - Clay Shirky.
Audience
Institution
Language
Representation
Component 1 is focused in 3 different Sections. Section A of Component 1 will assess the analysis of Media Language and Representation. It will consist of assessing with relation to two of the following aspects: Advertising, Marketing, Music Videos or Newspapers. The choice will be made at random which means there will not be any guaranteed aspect to analyse. There will be 2 questions in this section: One assessing Media Language in audio-visual or print resource, whereas the second one will be extended response comparison question assessing Representation in one set product and in an audio-visual or print resource. Section B will be slightly easier than Section A, it will assess the same aspects plus video games, radio - and Media Concepts. It will include two questions: One stepped question at Media Industries and another at Media Audiences.
Component 2 will assess all four Media Concepts and will consist in 3 sections. Section A will be focused in Television in Global Age consisting in a 2 step question or one extended response. Section B will be focused in Magazines and mainstream and alternative Media, the questions will be exactly like Section A. Section C will be focused in Media in the Online Age. Questions will be the same as the two previous Sections.
Component 3 will be a NEA, the acronym for Non-examined Assessment. will be an individual Media production focused in give a response based in two forms to a brief set of WJEC.
Learning about the media involves both exploring and making media products and these two activities are fundamentally related in this specification. Learners create a cross-media production for an intended audience, applying their knowledge and understanding of media language, representation, audience and industry in response to a choice of briefs set by WJEC. The opportunity to select forms, and the opportunity to work in more than one form, allows learners to pursue their own media interests and develop their practical skills in this component.
- WJEC Specification, 2017
The products studied:
• possess social, cultural and historical significance
• illustrate a range of products in terms of genre/style, form and audience
• represent different historical periods and global settings
• illustrate different industry contexts, including those outside the commercial mainstream
• include those aimed at, or produced by, minority groups
• reflect contemporary and emerging developments in the media
• provide rich opportunities for analysis and application of the theoretical framework detailed below
• include media products that stimulate learners and extend their experience of the media.
The products set by WJEC for both Components 1 and 2 will be reviewed periodically and changed where necessary.
DEFINITIONS
Media language: how the media through their forms, codes, conventions and techniques communicate meanings
Representation: how the media portray events, issues, individuals and social groups
Media industries: how the media industries' processes of production, distribution and circulation affect media forms and platforms
Audiences: how media forms target, reach and address audiences, how audiences interpret and respond to them, and how members of audiences become producers themselves.
OVERVIEW THEORIES
Media Language
• Semiotics, including Roland Barthes
• Narratology, including Tzvetan Todorov
• Genre theory, including Steve Neale
• Structuralism, including Claude Lévi-Strauss
• Postmodernism, including Jean Baudrillard
Representation
• Theories of representation, including Stuart Hall
• Theories of identity, including David Gauntlett
• Feminist theory, including Liesbet van Zoonen
• Feminist theory, including bell hooks
• Theories of gender performativity, including Judith Butler
• Theories around ethnicity and postcolonial theory, including Paul Gilroy
Media Industries
• Power and media industries, including Curran and Seaton
• Regulation, including Livingstone and Lunt
• Cultural industries, including David Hesmondhalgh
Audiences
• Media effects, including Albert Bandura
• Cultivation theory, including George Gerbner
• Reception theory, including Stuart Hall
• Fandom, including Henry Jenkins
• ‘End of audience’ theories - Clay Shirky.
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