ADVERTISING: LESSON 1 - MEDIA LANGUAGE AND SET TEXTS

MEDIA LANGUAGE ELEMENTS

• Layout
• Typography
• Use of Image
• Use of Language
• Use of Colour
• Logo/Slogan/Brand Identity

MAINSTREAM (COMMERCIAL) ADVERTISERS USE MEDIA LANGUAGE TO

• Establish brand identity
• Make the the product more memorable
• Promote positive associations with the brand
• Differentiate the brand from its competitors
• Engage with/validate the lifestyle choices of consumers
• Engage with/validate the aspirations of consumers
• Attract new consumers
• Maintain existing consumers

NON COMMERCIAL (CHARITY) ADVERTSERS USE MED LANG TO

• Raise awareness of issues (relevant to charity/service)
• Build up brand image (promote positive associations in the minds of the public)
• Reassure existing supporters of the charity
• Persuade new supporters to donate

SET TEXTS:

DOVE: "Too Many Cooks" Beautifully Real Moms Campaign - 2018

RIVER ISLAND: "Labels are for Clothes" campaign 2018

SHELTER: 

A Level Media Studies Factsheet - Advertising

ADVERISING LESSON 2: AIDA MODEL

 SOURCE: AIDA Model EXPLAINED with EXAMPLES | B2U | Business-to-you.com

Attention

The first level of response is the cognitive stage of customers. This is the act of thinking about the product. At this stage, customers are becoming aware of the product and start to develop some knowledge of the product’s attributes and benefits. The Attention stage is usually triggered through advertising. All products or brands that customers are aware of, are part of the so called ‘awareness set‘. This is a smaller portion of the ‘total set‘ of products and brand that are available within a certain product category.

Interest

After the cognitive stage, customers enter the affective stage. At this level customers have gone beyond mere knowledge of the product and have actually begun to develop attitudes, preferences and perhaps even interest in the product. All products or brands that customers have interest in, are likely to become part of the so called ‘consideration set‘. This means that customers are seriously considering purchasing the product eventually. However before taking action, customers will need to go through two more stages.

Desire

The Desire step of the AIDA Model is still part of the cognitive stage of customers. However, the interest customers initially had, has developed even more into an actual need. Customers are already imagining themselves with the product.

Action

The final stage is the behavioural stage. This is where the customers take action. This could vary from visiting a retailer to see a product demonstration or writing an email to a shop owner for more information on the product. Of course, ultimately these actions should hopefully lead to the purchase of the product. Consequently, products or brands that made it to this stage are part of the ‘choice set‘ or ‘purchase set‘.

ADVERTISING LESSON 3: COMPARING CHARITY ADVERTS

Compare the way that Source A and B use Media Language to construct values, attitudes and beliefs.

In your answer you must:

• consider how Media Language is used to construct media messages related to values, attitudes and beliefs
• make judgments and reach conclusions about how audiences might respond to these media messages

REMEMBER

NON COMMERCIAL (CHARITY) ADVERTSERS USE MED LANG TO

• Raise awareness of issues (relevant to charity/service)
• Build up brand image (promote positive associations in the minds of the public)
• Reassure existing supporters of the charity
• Persuade new supporters to donate

SOURCE A: SHELTER ADVERT

BUT WHERE WILL BE LIVE?

Losing your job doesn't have to mean losing your home. We can help.

Every year we help thousands of people avoid losing their homes.

Search 'Shelter House Advice' now.

HE CAN'T DO THAT

As a tenant it's hard to know where you stand. We can help.

Every year we help thousands of people with difficult or rogue landlords.

Search 'Shelter House Advice' now.

To donate text Home40 £5 to 70070.

I CAN'T FACE IT

Debt can seem too big to face, but if ignored can threaten your home. We can help.

Every year we help thousands of people avoid losing their homes because of debt or other problems.

Search 'Shelter House Advice' now.

To donate text Home40 £5 to 70070.

SOURCE B: THE LIFETRUST.ORG ADVERT

MOCK: PUBLIC SERVICE BROADCASTING - QUESTION ONE

How does public service broadcasting (PSB) differ from commercial broadcasting in terms of funding, content, and audience reach? Make specific reference to The Radio One Breakfast Show in your answer.

PLANNING

Ideally, you should plan three paragraphs. Some questions lend themselves to this very easily, other will need a little more careful thought. This one is easy.

Paragraph 1: Funding

Paragraph 2: Content

Paragraph 2: Audience Reach

For each section, you need to demonstrate the depth of you knowledge by offering up specific and detailed examples. In the comments section below, post an example of something that demonstrates your knowledge of these three areas. This should form the basis of your answer.

BELOW IS AN ESSAY THAT MAKES USE OF SOME OF THE SPECIFC AND DETAILED EXAMPLES POSTED IN THE COMMENTS SECTION. USE THE MARKSCHEME TO GIVE IT A MARK/15

Chatham and Clarendon Media Studies Blog: VIDEO GAMES / FILM INDUSTRY / PUBLIC SERVICE BROADCASTING MARKSCHEME

INTRODUCTION

Public service broadcasters (PSBs) such as the BBC are publicly funded and operate under a remit to inform, educate and entertain, whereas commercial broadcasters are profit-driven and rely on advertising revenue. These differences shape the type of content produced and the audiences targeted. This can be clearly seen through The Radio 1 Breakfast Show, which reflects the BBC’s public service values and funding model.

FUNDING (USING SOME OF THE EVIDENCE IN THE COMMENTS SECTION)

One key difference between PSB and commercial broadcasting is the approach to funding. The BBC, including BBC Radio 1 and R1BS, is predominantly funded through the TV licence fee rather than advertising and sponsorship. According to the BBC Accounts and Trust Statement 2024–25, the BBC collected approximately £3.8 billion from licence fee income, with 20% of the licence fee allocated to BBC Radio. However, Radio 1 received only a third of the funding of Radio 4, suggesting that the BBC is more committed to programming that seeks to inform and educate older viewer than it is to entertaining its younger demographic. In contrast, commercial radio stations rely primarily on advertising revenue, meaning content is often shaped to attract advertisers rather than meet public service objectives meaning that they tend to prioritise entertainment. The BBC’s funding model is increasingly under pressure, as a Public Accounts Committee report found that licence fee evasion and non-purchase resulted in over £1.1 billion in lost income in 2024–25. With a charter review underway until 2027, the future funding of PSB, including programmes like The Radio 1 Breakfast Show, remains uncertain.

CONTENT

A key difference between public service and commercial broadcasting is evident in the content of The R1BS. Since Greg James became host in 2018, the programme has actively moved away from celebrity gossip towards listener-led, inclusive content, reflecting the BBC’s public service remit rather than commercial priorities. Greg James has described the show as “a safe space to confess things and be weird” and stated that “this show is all about you”, emphasising its focus on audience participation over profit. Segments such as Is It Just Us? and Unpopular Opinions rely on listeners sharing personal stories and opinions without financial reward, contrasting with commercial radio’s frequent use of prizes and sponsorship. The show also demonstrates digital convergence through its integration of social media, the BBC Sounds app and online video clips, allowing audiences to engage beyond live radio. This multiplatform approach helps Radio 1 reach younger audiences nationally while maintaining PSB values rather than tailoring content to advertisers.

AUDIENCE REACH

PSB also differs from commercial broadcasting in terms of audience reach, as the BBC is required to serve a wide and diverse national audience. The Royal Charter states that it must provide services that “inform, educate and entertain” all audiences and reflect the diversity of the UK, rather than targeting only commercially valuable demographics. While R1BS is aimed primarily at 15–29 year olds, it still seeks to represent a broad range of voices within that group. This can be seen through the use of guest presenters such as Henrie Kwushue, Shivani Dave, and Dean McCullough, who brought Black British, South Asian, LGBTQ+ and regional perspectives to the station during 2020. Kwushue noted the importance of “hearing a voice that sounded like mine”, highlighting Radio 1’s role in offer diverse representation. Unlike commercial broadcasters, which often narrow audiences to maximise advertising revenue, the BBC reaches around 90% of UK adults weekly, reinforcing its role as a national public service broadcaster.

MOCK: PUBLIC SERVICE BROADCASTING - QUESTION TWO

To what extent does public service broadcasting fulfil its remit to educate, inform, and entertain? Make specific reference to The Radio One Breakfast Show in your answer.

Planning. This question seems, quite naturally to fall into the same category as question one, naturally having three sections:

Paragraph 1: Educate

Paragraph 2: Inform

Paragraph 3: Entertain

This is a perfectly legitimate way to approach the question. However, if your knowledge pushes you in a different direction, you might consider a slightly different tactic. For example:

Paragraph 1: Educate and Inform - Consider discussion of the way that R1BS covers news and how it educated its audience about the election in 2024.

Paragraph 2: Entertain - Consider how R1BS engages its audience as part of its remit to entertain. Also, how it also fulfils its remit to introduce British Artists.

Paragraph 3: Reach diverse audiences - The remit extends just beyond those three elements and so R1BS must also attempt to reach a wide and diverse audience. Consider using the evidence of the different presenters of the Christmas shows. 

Example Essay:

Notice how I am doing my best to include any/all new information from below (comments section), or if I can, to reuse old information.

Public service broadcasting (PSB), such as the BBC, operates under the Royal Charter and is expected to fulfil a remit to inform, educate and entertain, while also serving a wide and diverse national audience. Unlike commercial broadcasters, which are primarily driven by advertising revenue and profit, PSBs are designed to provide public value. This can be clearly seen through The Radio 1 Breakfast Show (R1BS), which demonstrates how the BBC attempts to meet its remit while still targeting younger audiences.

Paragraph 1: Educate and Inform - Consider discussion of the way that R1BS covers news and how it educated its audience about the election in 2024.

Although the main purpose of R1BS is entertainment, it still fulfils the BBC’s duty to inform and educate younger audiences through its integration of Newsbeat, which reflects the Charter requirement to “provide duly impartial news and information” to help audiences understand the world around them. This is particularly significant because young people may not access traditional news sources, meaning Radio 1 plays an important role in civic education. This was evident during the 2024 General Election, when Newsbeat featured representatives from parties such as Labour, the Conservatives and Reform UK, ensuring that different viewpoints were given airtime and reinforcing the BBC’s obligation to remain “unbiased.” The news is produced by trained journalists independent from Greg James, ensuring the show can balance entertainment with impartial reporting. This suggests PSB fulfils the remit strongly in terms of accessibility and engagement, even if the depth of political coverage is limited compared to BBC Radio 4.

Paragraph 2: Entertain - Consider how R1BS engages its audience as part of its remit to entertain. Also, how it also fulfils its remit to introduce British Artists.

R1BS fulfils the remit to entertain to a very large extent, as its format is built around humour, participation and audience interaction. Since Greg James became host in 2018, the programme has shifted away from celebrity gossip towards listener-led content, reflecting BBC values rather than commercial priorities. Greg James has described the show as “a safe space to confess things and be weird” and stated “this show is all about you,” showing how it creates a sense of community. Segments such as Is It Just Us? and Unpopular Opinions rely on audience contributions rather than sponsorship, contrasting with commercial radio which often depends on competitions and advertising-led content. The show also uses digital convergence through BBC Sounds and social media clips, helping it remain relevant to younger audiences. In addition, Radio 1 supports British music culture by promoting emerging UK artists, meaning entertainment is combined with public service cultural value.

Paragraph 3: Reach diverse audiences - The remit extends just beyond those three elements and so R1BS must also attempt to reach a wide and diverse audience. Consider using the evidence of the different presenters of the Christmas shows. 

PSB also fulfils its remit through reaching diverse audiences, as the BBC must “serve all audiences” and reflect the diversity of the UK rather than focusing only on profitable demographics. While R1BS targets 15–29 year olds, it still aims to represent a wide range of voices within that group. This can be seen through the use of presenters such as Henrie Kwushue, Shivani Dave and Dean McCullough, especially in special broadcasts such as Christmas schedules, where different ethnic, regional and LGBTQ+ perspectives were represented. Kwushue stated the importance of “hearing a voice that sounded like mine,” highlighting how PSB can provide inclusion and representation that commercial broadcasters may not prioritise. Furthermore, the BBC reaches around 90% of UK adults weekly, demonstrating its national reach and reinforcing its role as a universal broadcaster rather than a niche commercial service.

Overall, The Radio 1 Breakfast Show demonstrates that PSB fulfils its remit to a large extent. While its primary focus is entertainment, it also informs and educates through impartial Newsbeat coverage such as during the 2024 election, and it promotes inclusion through diverse presenters and national reach. Although it may not provide in-depth education, R1BS successfully adapts PSB values to a modern youth audience, proving the BBC continues to meet its public service purpose.

MOCK: PUBLIC SERVICE BROADCASTING - QUESTION THREE

How has technological convergence impacted public service radio broadcasting? Make specific reference to The Radio One Breakfast Show in your answer. (Explicitly about convergence.)

Planning. Sometimes when you are planning, you may notice that you can reuse evidence from other questions to support your response and that this will direct the structure of your essay.

Paragraph 1: Distribution & platforms

Discuss the way that convergence has changed how audiences access Radio 1. 

Paragraph 2: Content & interactivity

Discuss the way that the show has changed its style because of convergence, especially around content designed to encourage interactivity.

Paragraph 3: Tensions between PSB and commercial competition 

Discuss the way that other broadcasters have co-opted some of the market share from R1BS, in particular platforms like Spotify. 

Intertextuality Question - Exemplar

How does The Big Issue use intertextuality in extract A?

Extract A: Front Cover No. 1214

This front cover was release in July of 2016. The all female remake of the popular movie The Ghostbusters was released in this same month along with Donald Trump receiving the official Republican Party nomination for his first run for U.S. president. Here his face has been placed onto the body of Slimer, one of the more iconic ghosts from the Ghostbusters franchise. The heads of the ghostbusters have been replaced with the heads of (From left to right):

Hilary Clinton - The Democrat Party nominee running against Trump.

Theresa May - The new UK Prime Minister, only the second woman to hold that office.

Taylor Swift - According to Forbes magazine, the highest paid celebrity in the world. 

Serena Williams - The highest paid female athlete in the world. 

MARK SCHEME

• Clear and coherent understanding of Intertextuality [0,1,2,3]​
• Accurately answers the question [0,1,2,3]​ 
• Selects and describes examples with care and precision [0,1,2,3]​   
• Carefully analyses ALL examples [0,1,2,3]​
• Uses terminology like a Media Studies expert [0,1,2,3]

0 - No
1 - A little, but pretty vague 
2 - Yes, but could do it better  
3 - Yes! Excellent

EXAMPLE ESSAY

 

Cut around a solid shape or block capital text (fastest)

 Use this when:

• The shape/text is a solid color

• The background has good contrast

Steps

1. Select the Flood Select Tool

   • Shortcut: W

2. Click inside the shape or text

   • The area fills with “marching ants”

3. Adjust tolerance (very important)

   • In the top context toolbar:

     • Increase Tolerance if it doesn’t select everything

     • Decrease it if it grabs too much

   • Turn Anti-alias ON

   • Turn Contiguous ON (usually)

4. Refine edges (optional but recommended)

   • Click Refine in the context toolbar

   • Feather slightly (0.5–1 px)

   • Click Apply

5. Cut it out

   • To isolate:

     • Click Layer → New Mask Layer

   • Or to delete background:

     • Press Delete

How to resize a pasted image in Affinity Photo 2

1. Paste the image

• Copy the image from anywhere

• Paste it into Affinity Photo (Ctrl + V / Cmd + V)

• It appears as a new layer in the Layers panel

---

2. Select the Move Tool

• Press V
  or click the Move Tool (arrow icon) in the toolbar

---

3. Resize using the bounding box

• Click on the pasted image

• You’ll see a bounding box with corner handles

To resize proportionally (no distortion):

• Drag a corner handle

• Hold Shift (Affinity 2 requires Shift to constrain proportions)

To resize freely (distort):

• Drag without holding Shift

---

4. Apply the transform

• Press Enter
  or click Apply in the context toolbar (if shown)

ANIMAL CROSSING: Fact File

A Level Media Studies Factsheet - Video games: Animal Crossing: New Horizons

A Level Media Studies: Revision Questions

Video Game Industry

Set Text: Animal Crossing: New Horizons (Nintendo, 2020)

The following questions are intended as prompts to help develop your knowledge of the Video Game Industry and Animal Crossing: New Horizons as a set text. There is no expectation that you should be able to answer all of them yet, but you should certainly have them all at your fingertips by the time we reach your mock exams.

Section 1: The Basics of Animal Crossing: New Horizons

1.  What is the full title of the game and who developed and published it?

2.  On which platform was Animal Crossing: New Horizons released, and in what year?

3.  What genre of video game is Animal Crossing: New Horizons and how would you describe its core gameplay?

4.  What is the central premise of the game and what is the player's main goal?

5.  How does the game use real-world time and date to shape the player's experience?

6.  What are some of the key activities available to the player in the game?

7.  How does the game encourage long-term, repeated play rather than a single playthrough?

8.  What was the cultural context of the game's release in March 2020, and why is this significant?

Section 2: Industry Context and Production

.  Who is Nintendo and how would you describe their position within the global video game industry?

10.  How does Animal Crossing: New Horizons reflect Nintendo's wider brand identity and values?

11.  How was the game funded and distributed, and what does this tell us about Nintendo's business model?

12.  What is the significance of Animal Crossing: New Horizons being a Nintendo Switch exclusive?

13.  How did Nintendo market the game in the lead-up to its release?

14.  What role did social media play in both the marketing of and the audience response to the game?

15.  How does the game's use of downloadable content (DLC) and updates reflect industry practices around extending a game's commercial life?

16.  How does Animal Crossing: New Horizons compare to other life simulation games such as The Sims in terms of industry positioning?

Section 3: Audience

17.  Who is the primary target audience for Animal Crossing: New Horizons in terms of age, gender and gaming experience?

18.  How does the game's design appeal to both casual and more experienced gamers?

19.  What features of the game make it particularly appealing to a female audience, and why is this significant within the wider games industry?

20.  How did the timing of the game's release in March 2020 create a new and unexpected audience for the game?

21.  How does the game's online multiplayer functionality shape the audience's social experience of the game?

22.  What evidence is there that the game attracted audiences beyond its intended demographic?

23.  How did players use the game as a platform for self-expression and creativity, and what does this tell us about audience behaviour?

24.  How does the game encourage audiences to engage with it outside of the game itself, for example through social media or fan communities?

Section 4: Media Language and Representation

25.  How does the visual style and colour palette of Animal Crossing: New Horizons construct a particular tone and appeal?

26.  How does the game represent nature, community and domestic life, and what values does this communicate?

27.  How are the non-player characters (NPCs) in the game designed, and what do their representations suggest about the game's intended audience?

28.  How does the game allow players to construct and represent their own identity, including through character customisation?

29.  In what ways does the game represent an idealised or utopian version of society?

30.  How does the game's approach to gender representation differ from many mainstream video games, and why is this significant?

31.  How does the game use sound, music and ambient audio to reinforce its tone and affect the player's emotional experience?

32.  How does the game's narrative structure differ from more conventional video game storytelling?

Section 5: Cultural Impact, Reception and the Wider Industry

33.  How many copies of Animal Crossing: New Horizons have been sold, and what does this tell us about its commercial success?

34.  How did critics respond to the game on its release, and what reasons did they give for their assessment?

35.  What cultural phenomena emerged around the game during 2020, and what do these tell us about the relationship between media and society?

36.  How have other media forms, such as fashion brands, musicians and politicians, engaged with the game, and what does this suggest about its cultural reach?

37.  How does Animal Crossing: New Horizons fit into the broader debate about whether video games can be considered an art form?

38.  What controversies, if any, has the game been involved in, and how did Nintendo respond?

39.  How does the game reflect or challenge wider trends in the video game industry, such as the move towards online connectivity and user-generated content?

40.  What does the success of Animal Crossing: New Horizons suggest about the future direction of the video game industry?

Viewpoints and Ideologies - Exemplar (Coming Soon)

QUESTION 5: How does The Big Issue use Media Language to construct viewpoints and ideologies in Extract A?

Extract A: THE BIG ISSUE cover 06 February 2023.

At the age of 18, Sophie L Morgan was involved in a road traffic accident that left her paralysed from the chest down. Since then, she has become famous as a T.V. presenter, author and disability advocate. Despite her fame, she admits to suffering from imposter syndrome and has struggled with the reality of her circumstances, particularly when it comes to the ‘invisible’ aspect of being a disabled woman.

 In this extract, The Big Issue are taking a progressive, inclusive and anti-ableist ideological position by presenting the viewpoint that disabled people can be attractive, confident and worthy of our respect, overcoming challenged that are both personal and societal. This will strongly appeal to their "socially" and "ethically conscious" demographic. 

The messaging 

DETAILS OF YEAR 13 MOCK - 2026

Paper 1

Question 1: NEWSPAPERS - UNSEEN - THEORIST - 10 MARKS

1. Analyse the social representation in the two extracts. 

          Apply either Hall, Van Zoonen, Hooks or Gilroy.

Question 2: NEWSPAPER - UNSEEN - LONGER ANSWER - 15 MARKS

1. Source A and Source B cover the same news events from two different newspapers, one left‑wing and one right‑wing. 

          How far does the media language used in the sources incorporate viewpoints and ideologies? 

          In your answer you must: 

• explain how newspapers use media language to incorporate viewpoints and ideologies 
• analyse the media language used in the sources 
• make judgements and reach conclusions about how far the media language used in the sources incorporates viewpoints and ideologies.

Question 3: NEWSPAPERS - CONTEXT (ONE OF THESE THREE) - 10 MARKS

1. Explain how economic factors influence the way print and/or online news is produced. Refer to The Guardian and the Daily Mail to support your answer.
2. Explain how historic contexts influence the way print and/or online news is produced. Refer to The Guardian and the Daily Mail to support your answer.
3. Explain how social contexts influence the way print and/or online news is produced. Refer to The Guardian and the Daily Mail to support your answer.

Question 4: NEWSPAPERS - THEORIST (ONE OF THESE TWO) - 10 MARKS

1. Evaluate the effectiveness of one of the following theories in understanding how power and ownership influence the production of online news.
2. Evaluate the effectiveness of one of the following theories in understanding how economic pressures shape news content.

          Hesmondhalgh, Curran and Seaton, Livingstone and Lunt

Question 5: MUSIC VIDEO (ONE OF THESE THREE QUESTIONS) - 10 MARKS

1. 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. 
2. Explain how representations of musical artists and their work communicate information about their cultural and political contexts. Refer to one of the music videos you have studied to support your answer. 
3. Explain how and why stereotypes are used in music videos. Refer to one of the music videos you have studied to support your answer.

Question 6: THE BIG ISSUE - UNSEEN - 15 MARKS

• How does The Big Issue use intertextuality in extract A?

Paper 2

Question 1: PUBLIC SERVICE BROADCASTING (ONE OF THESE THREE) - 15 MARKS

1. How does public service broadcasting (PSB) differ from commercial broadcasting in terms of funding, content, and audience reach? Make specific reference to The Radio One Breakfast Show in your answer. (Explicitly about PSB.)
2. To what extent does public service broadcasting fulfil its remit to educate, inform, and entertain? Make specific reference to The Radio One Breakfast Show in your answer.
3. How has technological convergence impacted public service radio broadcasting? Make specific reference to The Radio One Breakfast Show in your answer. (Explicitly about convergence.)

Question 2: FILM INDUSTRY (ONE OF THESE THREE) - 15 MARKS

1. To what extent has technological convergence transformed the film industry? Make specific reference to Snow White (1937) and Shang-Chi (2021) in your answer. (Explicitly about convergence.)
2. How have changes in audience consumption habits affected the ways in which films are distributed and exhibited? Make specific reference to Snow White (1937) and Shang-Chi (2021) in your answer. (Encourages discussion of convergence.)
3. How has globalisation influenced the strategies used by the film industry to reach international audiences? Make specific reference to Snow White (1937) and Shang-Chi (2021) in your answer

Question 3: LFTVD SYNOPTIC (ONLY ONE QUESTION TO PREPARE) - 30 MARKS

• ‘Long form television dramas challenge rather than reinforce dominant ideologies.’ 

           How far do you agree with this statement?

Question 4: LFTVD EVALUATION

• Evaluate the usefulness of one of the following theories in understanding long form television drama.

- Neale - Language 

- Butler - Representation

- Hesmondhalgh - Industry

- Jenkins - Audience

SYNOPTIC MARK SCHEME

USE THIS MARK SCHEME TO EVALUATE ANY PARAGRAPH YOU PREPARE, BUT BE AWARE THAT IS IS DESIGNED TO APPROACH A WHOLE ESSAY.

1. ANSWER THE QUESTION [0,1,2,3,4,5]

Fluent, flowing and focused answer that repeats the language of the question.

2. ADDRESS CONTEXT [0,1,2,3,4,5]

Explicitly approaches the significance of context in a meaningful and perceptive way. 

3. APPLY THEORY [0,1,2,3,4,5]

Uses a wide range of theorists. Characterises them clearly and correctly. Applies them thoughtfully.

4. USE EXAMPLES [0,1,2,3,4,5]

Makes thorough and judicious use of examples, either from the episode or wider industrial context.

5: ANALYSE EXAMPLES [0,1,2,3,4,5]

Takes the opportunity to analyse the significance of ALL examples, with reference to the question.

6: COMPARE [0,1,2,3,4,5]

Makes clear, perceptive and frequent comparisons between the texts. 

0 - Not at all  .  1 - Vaguely  .  2 - Limited  .  3 - Adequate  .  4 - Good  .  5 - Excellent