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G325 introduction to critical perspectives.

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G325 introduction to critical perspectives.

  1. 1. G325: Critical Perspectives in Media
  2. 2. G325: Critical Perspectives in Media <ul><li>1)Theoretical Evaluation of Production </li></ul><ul><li>2) Contemporary Media Issues- candidates choose one topic from: </li></ul><ul><li>Contemporary Media Regulation </li></ul><ul><li>Global Media </li></ul><ul><li>Media and Collective Identity </li></ul><ul><li>Media in the Online Age </li></ul><ul><li>Post-modern Media </li></ul><ul><li>’ We Media‘ and Democracy </li></ul>
  3. 3. Overview <ul><li>The purpose of this unit is to assess candidates’ knowledge and understanding of media concepts, contexts and critical debates, through their understanding of one contemporary media issue and their ability to evaluate their own practical work in reflective and theoretical ways . </li></ul><ul><li>The examination is two hours. Candidates are required to answer two compulsory questions, on their own production work, and one question from a choice of six topic areas. The unit is marked out of a total of 100, with the two questions on production work marked out of 25 each, and the media theory question marked out of 50. </li></ul><ul><li>There are two sections to this paper: </li></ul><ul><li>Section A: Theoretical Evaluation of Production (50 marks) </li></ul><ul><li>Section B: Contemporary Media Issues (50 marks) </li></ul>
  4. 4. Section A: Theoretical Evaluation of Production <ul><li>Candidates answer two compulsory questions. The first requires them to describe and evaluate their skills development over the course of their production work, from Foundation Portfolio to Advanced Portfolio. The second asks them to identify one production and evaluate it in relation to one theoretical concept. </li></ul><ul><li>Question 1(a) requires candidates to describe and evaluate their skills development over the course of their production work, from Foundation Portfolio to Advanced Portfolio. The focus of this evaluation must be on skills development, and the question will require them to adapt this to one or two specific production practices. The list of practices to which questions will relate is as follows: </li></ul><ul><li>Digital Technology </li></ul><ul><li>Creativity </li></ul><ul><li>Research and planning </li></ul><ul><li>Post-production </li></ul><ul><li>Using conventions from real media texts </li></ul>
  5. 5. <ul><li>In the examination, questions will be posed using one or two of these categories. </li></ul><ul><li>Where candidates have produced relevant work outside the context of their A Level media course, they are free to additionally refer to this experience. </li></ul><ul><li>Question 1(b) requires candidates to select one production and evaluate it in relation to a media concept. The list of concepts to which questions will relate is as follows: </li></ul><ul><li>Genre </li></ul><ul><li>Narrative </li></ul><ul><li>Representation </li></ul><ul><li>Audience </li></ul><ul><li>Media language </li></ul>
  6. 6. <ul><li>In the examination, questions will be set using one of these concepts only. </li></ul><ul><li>In some circumstances, candidates will be expected to select the production that appears to relate most effectively to the specific concept that arises in the exam question. However, the requirement for candidates to evaluate one of their productions in relation to a concept does not assume that the concept will necessarily always fit easily and in an orthodox way. Thus in some cases candidates will be describing their productions in terms of them not relating straightforwardly to the concept. For example, a candidate producing three websites over their two portfolios might describe ways in which websites cannot be understood easily through applying conventional narrative theory. Whether the candidate applies the concept to the product or uses the production to challenge the concept, it is essential that candidates are sufficiently knowledgeable about the concept for either approach. Candidates may choose to write about work undertaken at AS or A2, main task or preliminary/ancillary. </li></ul><ul><li>Section B: Contemporary Media Issues </li></ul><ul><li>One question to be answered from a choice of six topic areas offered by OCR. There will be two questions from each topic area. </li></ul><ul><li>The topic </li></ul>
  7. 7. Further Guidance <ul><li>Section 1 </li></ul><ul><li>In order for candidates to be best prepared for the exam, it is suggested that preparation for G325 should take place alongside production work. However, centers are not recommended to design A2 production briefs purely to be ‘suitable‘ for G325. Rather, candidates should be guided in reflective, theoretical evaluation of production as an ongoing way of learning throughout their AS and A2 studies. Question 1(a) directly requests an evaluation of how candidates’ media production skills have developed progressively from AS to A2, so centers are advised to guide candidates through regular ‘audits’ of skills development. As the question for 1(b) is different in focus for each assessment session, and draws from a list of possible concepts, candidates should either prepare to answer on more than one of their productions (so they can choose the production in response to the specific demands of the question) or prepare an evaluation of one production which covers all of the possible concepts. </li></ul>
  8. 8. Activity <ul><li>You have to personally evaluate the progression of your production skills from As to A2. </li></ul><ul><li>Explain how you personally developed and learnt from your mistakes over the following production practices: </li></ul><ul><li>Research/Planning </li></ul><ul><li>Construction </li></ul><ul><li>Evaluation </li></ul><ul><li>You must show how you have practically progresses here over the course of your Media A Level. </li></ul>
  9. 9. Critical Perspectives: Writing about the production L.O: To develop the skills required for critical reflection.
  10. 10. Critical Reflection <ul><li>This is a highly specialist skill. And it is quite different from analysing media texts, creating media products, debating media in society or researching institutions. Reflective practice is a skill that is much sought after and is highly regarded by universities and employers. So we need to devote time to developing this skill – the ability to take a step away from your own practice, to analyse from a critical point of view what you did. This goes beyond evaluations of the outcomes; we are not thinking about strengths and weaknesses. </li></ul>
  11. 11. Critical Reflection continued…. <ul><li>Here we need to develop the ‘instinct’ to theorise our own practice, to form a dialogue between the media theories we have utilised to deconstruct ‘real media’ and our own creative practice. This is probably the most difficult part of the A2 course. To help you to do this we have an example of students work and a list of ten key elements of reflective writing. </li></ul>
  12. 12. The Ten Commandments of reflective writing
  13. 13. Number One <ul><li>Focus on creative decisions informed by institutional knowledge </li></ul><ul><li>You did what you did partly because of what you had learned about how the media produce, distribute and share material. </li></ul>
  14. 14. Number Two <ul><li>Focus on creative decisions informed by theoretical understanding </li></ul><ul><li>You know what you did because of having a point of view in relation to media and meaning, and you can describe that in relation to cultural media theories. </li></ul>
  15. 15. Number Three <ul><li>Evaluate the process – don't just describe it </li></ul><ul><li>Why some things worked well and others not so well. </li></ul>
  16. 16. Number Four <ul><li>Relate your media to ‘real media’ at the micro level </li></ul><ul><li>Give clear specific examples of how you used techniques and strategies to create intertextual references to media you have been influenced by. </li></ul>
  17. 17. Number Five <ul><li>Try to deconstruct yourself </li></ul><ul><li>Don’t ever think of your own tastes, decisions, preferences, behaviour as just being the ways things are instead try to analyse the reasons for these things. It is tough to do this but worth the effort. </li></ul>
  18. 18. Number Six <ul><li>Choose clearly relevant micro examples to relate to macro reflective themes </li></ul><ul><li>You cant write about everything you did, so be prepared with a ‘menu’ of examples to adapt to the needs of the reflective task. </li></ul>
  19. 19. Number Seven <ul><li>Avoid binary oppositions </li></ul><ul><li>Your media products will not either follow or challenge existing conventions; they will probably do a bit of both. </li></ul>
  20. 20. Number Eight <ul><li>Try to write about your broader media culture. </li></ul><ul><li>Don’t just limit your writing to your OCR production pieces, but try to extend your response to include other creative work or other media related activities you have been engaged in. </li></ul>
  21. 21. Number Nine <ul><li>Adopt a metadiscourse </li></ul><ul><li>Step outside of just describing your activities as a media student to reflect if possible, on the conditions of possibility for the subject and your role within it – what kind of activity is making a video for media studies, compared to making a video as a self employed media producer? </li></ul>
  22. 22. Number Ten <ul><li>Quote, paraphrase, reference </li></ul><ul><li>Reflective writing about production is still academic writing, so remain within this mode of address. </li></ul>