POWERPOINT TEST

 POWERPOINT TEST

Brief Two: Image and Anchoring Text - Applying Hall

The purpose of this brief is to give you more experience using your phone camera, but to also give you the opportunity to apply Hall when creating your own work.

Task 1:

Choose at least two social groups to represent and research the stereotypes attached to that social group. Define the elements of the stereotype and find three images for each social group that contribute to the construction of this stereotype.

Task 2:

Create an image of your own that is designed to challenge or subvert the stereotype for each social group. Think very carefully about:

Mise En Scene, Shot Type, Lighting, Anchoring Text (NB: You will be writing about your choices)

Task 3: 

Create a PowerPoint presentation in which you:

a) Explain the stereotype making reference to the way that the images you have chosen attempt to 'fix' a hegemonic preferred meaning around the representation of your chosen social group.

b) Explain how you have used Media Language to encode a countertypical representation of your social group.

Task 4:

Submit your work.

a)  Create a post in the 'Practice Tasks' section of your blog. 

b) The title should be: Brief Two: Image and Anchoring Text - Applying Hall. 

c) Embed you PowerPoint presentation, making it the content clear. 

EVALUATE - HESMONDHALGH

Question: Evaluate the usefulness of Hesmondhalgh for analysing Long Form TV Drama.

Step 1: Correctly characterise Hesmondhalghs theory (as defined by OCR).

Take 15 mins and post in the comments section below. 

Step 2: Write your paragraph about different forms of integration - Vertical/Horizontal/Multi-sector and post below.

Step 3: Give/Get advice about how to improve your paragraph. Post advice as a reply to the first paragraph.

Step 4: Rewrite based on the advice and then reply to the advice below your first paragraph.

Step 5: Write a paragraph about risk mitigation - You may wish to include...

Genre: Both shows use tried and tested genres.

D83 - Espionage Thriller - Homeland and The Americans were both popular in the U.S. subverting the genre by challenging the conventional hero narrative. Does Hesmondhalgh allows us to analyse the subversion of genre?

Stranger Things - Sci Fi, Horror, Teen Drama, Adventure - The wide range of genre types captures a wide audience. Also, Netflix use of granular digital surveillance would allow them to identify popular genres. This may have influenced their choice to commission a genre hybrid show of this nature. Does Hesmondhalgh provide insight into why such a show might be so popular?

Write your paragraph and post beneath your previous paragraphs. Try to use the advice to get it right first time.

Brief One: Photography 101

The purpose of this brief is to get you to think carefully about lighting and focus and to work out what is possible with the equipment you have available. 

STEP ONE

Find and download a Free App that will allow you to control the Iris (f-stop), Shutter Speed and Film Speed (ISO) of the camera on your phone.

STEP TWO

Search online for THREE examples of EACH of the following:

• High Key Lighting
• Over Exposed Lighting
• Low Key Lighting
• Shallow Depth of Field
• Deep Depth of Field
• Monochrome
• Back lighting
• Chiaroscuro

STEP THREE

Using your phone (or any other camera if you have one) replicate ONE of each type. The main challenge here is to try to replicate the image as accurately as possible. 

STEP FOUR

Create a post in the Practice Briefs section of your blog called PRACTICE BRIEF ONE: PHOTOGRAPHY 101. Display your inspiration and your own work in a way that makes it clear what you are presenting (I won't give you any more instructions than that).

25 – 21	Excellent ·         Candidate has closely followed the brief ·         Everything is complete ·         Excellent use of equipment/technical skills ·         Presentation is excellent and creative ·         Candidate has taken the opportunity to show creative flair while still producing material that resembles their research.
20 – 16	Good ·         Candidate has closely followed the brief ·         Everything is complete ·         Good use of equipment/technical skills ·         Presentation is good and clear ·         Candidate has made a good attempt to reproduce material that matches their research.
15 – 11	Adequate ·         Candidate has mostly followed the brief ·         Mostly complete ·         Adequate use of equipment/technical skills ·         Presentation is clear but not very careful ·         Candidate has made an adequate attempt to reproduce material that matches their research.
10 – 6	Limited ·         Candidate has somewhat followed the brief ·         Likely to be incomplete ·         Limited use of equipment/technical skills ·         Presentation is not particularly clear or careful ·         Candidate has made a limited attempt to reproduce material that matches their research.
5 – 1	Minimal ·         It is not clear that the candidate has followed the brief ·         The work is clearly incomplete ·         Minimal use of equipment/technical skills ·         There is very little evidence of care in the presentation ·         Candidate has made minimal attempt to reproduce material that matches their research.
0	Nothing submitted

CREATING YOUR BLOG

Hello everyone and welcome to Media Studies at CCVI. This first task can be a little bit fiddly and I can virtually guarantee that some of you will have a problem with blogger, but we'll go ahead steadily and have it up and running as soon as possible. 

So, you're about to set up your blog. Follow the steps below as best you can. I'll be there to help if you get stuck. It's boring but have patience...

Step 1: Create a gmail account. NB: Make your password and email easy to remember

Step 2: Go to Blogger.com 

Step 3: Create an account using the following format:

URL for your blog - Surname First Name CHS mediablog

Account Name - First Name Surname Media Studies Blog

Step 4: Choose THEME from the left hand menu and look for Awesome Inc.

Step 5: On the left, click on layout, find side bar right 1, add a gadget, labels.

Step 6: (This might take a while) Create a series of labelled posts so that your labels read: 

01 Coursework Brief

02 Statement of Intent

03 Research - Production

04 Research - Website

05 Planning - Production

06 Planning - Website

07 Completed - Production

08 Completed - Website

Practice Briefs        

Step 7: When you have finished, post you address in the comments section of this post.

NEWSPAPERS - QUESTION 1 MARK SCHEME

USE THE FOLLOWING MARK SCHEME TO HELP STRUCTURE YOUR RESPONSES TO THE UNSEEN QUESTION AT THE START OF PAPER ONE.

1. Correctly characterise the theory [0,1,2]​ 

Your first paragraph should be two or three sentences long. It should correctly describe the theory.

2. Answer the question [0,1,2]​  

Every question has a core. In your answer you should carefully address that core and use the same language in your answer.

For Example,

Question: Analyse the different social representations in Source A and Source B. 

In the answer to this question you should analyse the different social representations and make it clear that you are doing that by using the phrase 'social representations' repeatedly.

Question: Analyse the way that Media Language is used to present social and cultural contexts in Source A (The Daily Mail) and Source B (The Guardian Online).​

In the answer to this question you should analyse the presentation of  social and cultural contexts and make it clear that you are doing that by using the phrase 'social and cultural contexts' repeatedly.

3. Use specific and detailed examples [0,1,2]​ 

Carefully select examples from the text to write about. There may be times when you approach it slightly differently, but as a rule of thumbs approach in this order:

i) Look at the main image and anchoring text.

ii) Look at the main headline and sub headline - consider typography and language

iii) Look at anything else of interest on the page

4. Uses the theory to analyse the examples [0,1,2]​

After you have presented the example, apply the theory to analyse it.

5. Use Media Studies terminology [0,1,2]

Finally, and throughout, try to use as much terminology that is specific to Media Studies as you are able. (You'll get better at this as you progress).

1. THEORY [0,1,2]​   

2. QUESTION [0,1,2]​ 

3. EXAMPLE [0,1,2]​   

4. ANALYSIS  [0,1,2]​

5. TERMINOLOGY [0,1,2]

NEWSPAPERS: HALL

Question

Analyse the social representations in Source A and Source B. 

Apply Hall's theories about representation in your answer.

1st. Review the markscheme for this type of question.

- What phrase from the question are you going to repeat in your answer?

- What does this phrase actually mean?

2nd. Review the markscheme again. 

- What is the first thing you are going to write about in your answer?

3rd. Use the points below to help you write the first paragraph. Try to be succinct.

- Post your paragraph in the comments section below.

• Hall points out that there is no 'true' meaning, but that a representation can generate many meanings.
• Hall theorises that meaning is constituted by what is present, what is absent and what is different. 
• Hall implicates the audience in creating meaning. 
• Hall explains that power (hegemony) tries to 'fix' a preferred meaning through stereotyping.

SOURCE A: The Guardian - November 25th 2021

SOURCE B: The Daily Express - November 25th 2021

Source A:

Image: In the foreground, there is a representation of a woman carrying one child and holding another. Her body language and facial expression have been selected to show her extreme fatigue. Behind her the British border force can be seen, but they are turned away, so remain faceless. At least two men are visible in the background, but the image does not dwell on them.

Anchoring Text: The anchoring text reads: A mother helps her children onto the beach at Dungeness after being rescued in the channel yesterday.

Paragraph:

The Guardian encode a message of support for the refugees. The social representation of a "mother" and "her children" is established by the anchoring text, which denotes that the woman that is present in the foreground of the image is the mother of the two children that she is carrying and holding hands with. The selected image constructs a stereotypical representation of a migrant woman as being fatigued by her journey, and the word "rescued" attempts to fix a preferred meaning that she (and women like her) need help and support from the UK authorities. The social representation in the image includes two males who also seems to be migrants, but they are absent from the centre of the image which contributes to the Guardian's attempt to stereotype refugees as being women and children. This  is different to the hegemonic social representation of small boat migrants as 'fighting age men' which is often shown in the right wing press, and conforms to the Guardian's left wing messaging. 

 

2025 PRACTICE

2025 - PRACTICE

SOURCE A: MIRROR COVER: 

https://pbs.twimg.com/media/GRrGdi6bMAA5Rxk.jpg:large

SOURCE B: EXPRESS ARTICLE

https://www.express.co.uk/news/politics/1919279/general-election-keir-starmer-labour-landslide

TITLE

How far have media conventions been used to construct viewpoints and ideologies in Sources A and B?

In your answer you must:

• outline the different conventions of the front pages of tabloid newspapers and online broadsheets, including use and style of headlines and images
• analyse the contrasting use of symbolic, technical and written conventions in the sources
• make judgements and reach conclusions on the way in which media conventions construct viewpoints on ideologies.

TASK ONE

Write your response to bullet point one and post it in the comments section below...

TASK TWO

Look carefully at the paragraph guide below and then write something similar about the use of image in the express article. Post your response in the comments section below...

NB: In some cases, the image will be a 'preview image' for a video clip. You can treat this the same way because the preview image will have been selected for its impact.

IMAGE AND ANCHORING TEXT - SOURCE A - PARAGRAPH FORMAT

1^st – Establish the conventions that are being used/challenged

A convention of tabloid newspapers is the selection of highly emotive/sensational images that reinforce the ideological position of the newspaper while also helping to reinforce the storefront nature of the front page by accompanying a variety of different stories.

2^nd – Describe the Source with relation to the conventions – Does it use them? Or break them?

The use of image in source A, challenges one convention by entirely dominating the page, as the paper feature only a splash with no off lead or teasers.

3^rd – Explain how this is related to the construction of viewpoints and ideologies.

This is done to construct the viewpoint that the general election is such an important event that it should and does dominate the national narrative to the exclusion of all other stories.

4^th – Repeat 2^nd with a different detail – If it breaks one does it use another? Can you say something about the anchoring text?

However, the selected image is conventional in the sense that it is emotive and reflects the political bias of the newspaper. The layering effect around Starmer’s head, the unity of the pose (holding hands) and bright red dress as a dominant colour on the page, combine to encode the idea of triumph, of possibility and of forward movement.

5^th – Repeat 3^rd – If you previously stressed viewpoint try to point out ideology and vice versa.

The Daily Mirror is ideologically left wing and famously supports the Labour party; the positive messaging around Starmer’s victory is entirely in keeping with the ideological position of the paper and its working class audience. 

TASK THREE 

Now, look again at Source A: Write an analytical paragraph in which you discuss the Headline and Subheadline (plus any other text you want to consider). Post your paragraph in the comments section - include the title, TASK THREE and YOUR NAME...

NB 1: You should still include reference to codes and conventions and viewpoints and ideologies.

NB2: You should write about language choices, font choices, size and placement of the text.

TASK FOUR

Now, look again at Source B: Write an analytical paragraph in which you discuss the Headline and Subheadline (plus any other text you want to consider). Post your paragraph in the comments section - include the title, TASK FOUR and YOUR NAME...

NB 1: You should still include reference to codes and conventions and viewpoints and ideologies.

NB2: You should write about language choices, font choices, size and placement of the text.

CODES AND CONVENTIONS AT A GLANCE

2024 Stories and Resources

1: The General Election

- The run up to the election.

- The labour landslide

In the comments section below, post a link to an online source and a newspaper cover that will allow you to discuss either of these stories and to compare the way that conventions are used/broken to construct viewpoints and ideologies.

QUESTION 4: THEORISTS INDEX

MEDIA INDUSTRY

Livingstone and Lunt

Chatham and Clarendon Media Studies Blog: INDUSTRY - LIVINGSTONE AND LUNT

Hesmondhalgh

Chatham and Clarendon Media Studies Blog: INDUSTRY - HESMONDHALGH

Curran and Seaton

Chatham and Clarendon Media Studies Blog: INDUSTRY - CURRAN AND SEATON

MEDIA AUDIENCES

Hall (Reception Theory)

Chatham and Clarendon Media Studies Blog: AUDIENCE - Hall (Reception Theory)

Bandura

Chatham and Clarendon Media Studies Blog: AUDIENCE - BANDURA

Gerbner

Chatham and Clarendon Media Studies Blog: AUDIENCE - GERBNER

Chatham and Clarendon Media Studies Blog: AUDIENCE - GERBNER (ESSAY 2)

Jenkins

Chatham and Clarendon Media Studies Blog: AUDIENCE - JENKINS

Shirky

Chatham and Clarendon Media Studies Blog: AUDIENCE - SHIRKY

LFTVD SYNPOPTIC TRENDS?

2019: ‘The differences in the codes and conventions of long form television dramas reflect the different values, attitudes and beliefs of the audiences that consume them.’ How far do you agree with this statement?

• consider the contexts in which long form television dramas are produced and consumed
• explain how media contexts may have influenced the use of intertextuality in the set episodes of the two long form television dramas you have studied
• refer to relevant academic ideas and arguments
• make judgements and reach conclusions about the reasons for the differences in codes and conventions between the two episodes.

Chatham and Clarendon Media Studies Blog: PAST PAPER 2019

2020: ‘Long form television dramas lack originality; no matter which country they are made in, they all use intertextuality in the same way.’ How far do you agree with this statement?

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 the use of intertextuality in the set episodes of the two long form television dramas you have studied
• refer to relevant academic ideas and arguments
• make judgements and reach conclusions about reasons for similarities or differences in the use of intertextuality between the two episodes.

Chatham and Clarendon Media Studies Blog: PAST PAPER - 2020

2021: 'Audiences and producers no longer find the concept of genre relevant to long form television drama.’  How far do you agree with this statement?

In your answer, you must:

• explain the contexts in which long form televisions dramas are developed by producers and consumed by audiences
• explain how media contexts may have influenced the genre conventions in the set episodes of the two long form television dramas you have 
• studied
• refer to relevant academic ideas and arguments
• make judgements and reach conclusions about the similarities or differences in genre conventions between the two set episodes

Chatham and Clarendon Media Studies Blog: PAST PAPER - 2021

2022: 'Long form television dramas produced in different countries always incorporate the dominant conventions, viewpoints and ideologies of those countries.' How far do you agree with this statement?

In your answer, you must:

• explain the contexts in which long form televisions dramas are developed by producers and consumed by audiences
• explain how media contexts may have influenced the genre conventions in the set episodes of the two long form television dramas you have 
• studied
• refer to relevant academic ideas and arguments
• make judgements and reach conclusions about the reasons for similarities or differences in how media language is used to construct viewpoints and ideologies between the two episodes.

2023: 'No matter where they are produced, the representation of characters  and events in long form television dramas are always influenced by historical contexts.' How far do you agree with this statement?

In your answer, you must:

• explain the contexts in which long form televisions dramas are developed by producers and consumed by audiences
• explain how media contexts may have influenced the genre conventions in the set episodes of the two long form television dramas you have 
• studied
• refer to relevant academic ideas and arguments
• make judgements and reach conclusions about the reasons for similarities or differences in how historical contexts may have influenced representations between the two set episodes.

2024: 'Intertextuality is essential for long form television dramas to appeal to both national and international audiences.' How far do you agree with this statement?

In your answer, you must:

• explain the contexts in which long form televisions dramas are developed by producers and consumed by audiences
• explain how media contexts may have influenced the genre conventions in the set episodes of the two long form television dramas you have 
• studied
• refer to relevant academic ideas and arguments
• make judgements and reach conclusions about the similarities or differences in how intertextuality is used to appeal to audiences between the two set episodes.

BUT WHAT ABOUT 2025???

‘Representations in long form television dramas are always shaped by the cultural and political contexts in which they are produced.’ How far do you agree with this statement?

• In your answer, you must:

• explain the contexts in which long form television dramas are developed by producers and consumed by audiences

• explain how media contexts may have influenced representations in the set episodes of the two long form television dramas you have studied

• refer to relevant academic ideas and arguments

• make judgements and reach conclusions about the similarities or differences in the influence of context on representation in the two set episodes

Chatham and Clarendon Media Studies Blog: 2025: REPRESENTATION QUESTION - A POSSIBLE REPONSE

‘Narrative complexity in long form television dramas is shaped more by audience expectations than by cultural or political contexts.’ How far do you agree with this statement?

• In your answer, you must:

  • explain the contexts in which long form television dramas are developed by producers and consumed by audiences

  • explain how media contexts may have influenced narrative structures in the set episodes of the two long form television dramas you have studied

  • refer to relevant academic ideas and arguments

  • make judgements and reach conclusions about the influence of audiences versus wider contexts on narrative construction in the two set episodes

‘Long form television dramas challenge rather than reinforce dominant ideologies.’ How far do you agree with this statement?

• In your answer, you must:

• explain the contexts in which long form television dramas are developed by producers and consumed by audiences

• explain how media contexts may have influenced the representation of ideologies in the set episodes of the two long form television dramas you have studied

• refer to relevant academic ideas and arguments

• make judgements and reach conclusions about how the two set episodes either reinforce or subvert dominant ideologies

Chatham and Clarendon Media Studies Blog: 2025: IDEOLOGY QUESTION - A POSSIBLE RESPONSE

‘Genre conventions in long form television dramas are becoming increasingly blurred in order to meet the demands of global audiences.’ How far do you agree with this statement?

• In your answer, you must:

  • explain the contexts in which long form television dramas are developed by producers and consumed by audiences

  • explain how media contexts may have influenced genre conventions in the set episodes of the two long form television dramas you have studied

  • refer to relevant academic ideas and arguments

  • make judgements and reach conclusions about the similarities or differences in genre between the two set episodes

‘The representation of national identity in long form television dramas is always shaped by the country in which they are produced.’ How far do you agree with this statement?

• In your answer, you must:

  • explain the contexts in which long form television dramas are developed by producers and consumed by audiences

  • explain how media contexts may have influenced the use of national identity in the set episodes of the two long form television dramas you have studied

  • refer to relevant academic ideas and arguments

  • make judgements and reach conclusions about the reasons for similarities or differences in how national identity is represented between the two set episodes

2025: IDEOLOGY QUESTION - A POSSIBLE RESPONSE

Long form television dramas (LFTVDs) provide the narrative space to explore ideology in depth. Set in 1983 but produced in very different contexts, Deutschland 83 and Stranger Things use their episodic form to question or reinforce dominant values. D83 critically examines Cold War divisions and nationalist ideologies, while Stranger Things blends nostalgic reinforcement of American ideals with more subversive elements. This supports the view that the long form nature of television dramas facilitates sustained and often challenging engagement with dominant ideologies, shaped by political and socio-cultural contexts.

Economic context significantly influences the ideological stance of LFTVDs. D83, produced by UFA Fiction for the German broadcaster RTL and supported by international distributors like Sundance TV and Channel 4, was shaped by public-service values and co-financing from cultural funding bodies. These institutions typically support programming with historical, political, or cultural depth. As Hesmondhalgh argues, cultural industries that are less commercially constrained often take more creative and ideological risks. Episode one includes extended scenes of East German bureaucracy, personal ideology, and geopolitical tension, choices unlikely to survive in a purely commercial environment. Stranger Things, in contrast, was developed by the Duffer Brothers for Netflix, which is a subscription-based platform that relies on global mass appeal. The show's substantial budget (reportedly around $6 million per episode in season one) was justified by its potential to attract a wide audience across demographics and borders. This explains the heavy use of genre, nostalgia, and archetypal characters in episode one, which reinforce familiar ideological values. However, the show’s long form structure enables narrative evolution and complexity, particularly in character development and thematic arcs, showing that economic context, while influential, is not deterministic; long form television can challenge ideology even within commercial frameworks.

Political context shapes which ideologies are foregrounded. D83, made in a reunified Germany, retrospectively interrogates the East/West divide, subverting the dominant Cold War narrative by presenting Martin’s Western encounters with curiosity rather than fear. In episode one, his discomfort and confusion in a Western supermarket symbolises ideological destabilisation. Stuart Hall’s theory of representation helps explain how alternative meanings are encoded, prompting viewers to negotiate or oppose dominant views. Stranger Things, emerging in post-9/11 America, mirrors cultural anxiety around surveillance and government overreach. The Hawkins Lab, introduced early, is presented as shadowy and inhumane, an anti-authoritarian message wrapped in nostalgic aesthetics. Here, again, the extended narrative arc supports the core claim that long form dramas can sustain politically grounded ideological critique over time.

Socio-cultural context also informs ideological positioning, particularly around gender. Stranger Things draws heavily on 1980s genre conventions that typically marginalised women and girls, yet episode one introduces Joyce as both emotional and assertive, and Eleven as vulnerable yet powerful. Over time, Eleven becomes a central hero figure, challenging gender stereotypes. This evolution aligns with David Gauntlett’s idea that media offers “tools” for identity formation. In D83, gender roles are more constrained but still challenged. Lenora, Martin’s aunt, is introduced as a high-ranking figure in East German intelligence, a subversion of traditional gender expectations. Even in a patriarchal historical setting, women exert ideological and narrative influence, suggesting that the socio-cultural context of production enables LFTVDs to subtly challenge gender norms, particularly when sustained across episodes.

Characterisation is central to ideological representation. Martin’s identity crisis, catalysed in episode one as he leaves East Germany, invites audiences to question ideological certainty. Rather than a patriotic hero, he becomes a conflicted figure navigating overlapping systems. In Stranger Things, Mike and his friends initially embody innocent Americana, but their alliance with Eleven, an outsider, allows the narrative to question the innocence of authority and explore marginalised identities. These evolving character arcs support the view that long form dramas, by allowing ideological conflict to unfold over time, tend to challenge dominant ideologies more than reinforce them.

The episodic form allows specific scenes to carry long-term ideological weight. In Deutschland 83, the shot of Martin watching Western TV for the first time encapsulates the allure and ambiguity of the “enemy.” It’s a moment that starts a larger journey of ideological questioning. Stranger Things’ opening scenes (Eleven’s escape, the boys' D&D game, and the early signs of government conspiracy) establish themes of innocence lost and mistrust in institutions. These threads grow more complex across the series, proving that the long form format facilitates a layered exploration of ideology that resists simple reinforcement.

Audience reception also plays a role. According to Stuart Hall’s Reception Theory, D83’s complexity invites negotiated readings, especially for audiences less familiar with Cold War history. Stranger Things, though more reliant on dominant readings, still invites critique, particularly from younger viewers aware of gender and political themes. Gerbner’s Cultivation Theory also applies: across multiple episodes, viewers exposed to subversive elements, like Eleven’s growing independence or Martin’s disillusionment, may gradually shift their ideological assumptions. This reinforces the idea that LFTVDs encourage ideological negotiation, making challenge more likely over time.

In conclusion, both Deutschland 83 and Stranger Things show that while long form television dramas can begin by echoing dominant ideologies, their extended format enables complex character development, ideological ambiguity, and subtle subversion. Though rooted in different political and socio-cultural contexts, both dramas ultimately illustrate that the long form nature of television dramas enables a sustained and multifaceted engagement with dominant ideologies, and most often, a challenge to them.