Examiners Report and OCR links

You will find the full report, from the OCR website, here:
http://www.ocr.org.uk/Data/publications/reports_2009/A_Level_Media_Studies_CER_Jan_09.pdf

Here is the full specification:
http://www.ocr.org.uk/Data/publications/key_documents/AS_ALevel_GCE_Media_Studies_Specification.pdf
All of OCR's documents pertaining to the NEW spec A Level are here:
http://www.ocr.org.uk/qualifications/asa_levelgceforfirstteachingin2008/mediastudies/documents.html

Below are a few things picked out from the examiners report from Jan 2009 that are worth considering:

Question 1 – Television drama
Candidates structured their responses in a number of ways; some began by addressing the concept of representation in the extract and a discussion of the representational differences between Amy McDougall the stereotypical teenager and contrasted this with the Headteacher and the middle-aged character Paul Macdonald. Then the candidates would address the technical areas one by one. Stronger candidates could provide an integrated analysis of the extract through analysis of key examples identified. These candidates explored how the technical features could be applied using a combination of the technical features, for example, in discussion of the argument between Paul Macdonald and Amy. They could then place this sequence of conflict in it’s mise en scène (the stately home), through the use of shot reverse shot (editing), shot types used and through sound, both diegetic and non diegetic in discussion of how Paul’s anger and authority, used as parental control, would order Amy (stereotyped as the teenage tear away) back to school.
Either of these approaches to the structure of question 1 is advisable and centres need to help structure the candidates’ responses in the classroom. Candidates are advised against lengthy introductions about what they are going to say and against theoretical introductions and/ or historical contexts to television drama. Candidates are advised to get straight on with their analysis.
It is also important that candidates move from description of key technical areas to analysis of how representations are constructed. This will enable candidates to achieve higher marks for their responses. The mark scheme enables credit to be awarded to students at three different levels Explanation, Analysis and Argument (20 Marks), Use of Examples (20 Marks) and Use of Terminology (10 Marks). Centres are advised to make the mark scheme available to candidates for the summer session so that they are aware of how the work is assessed. This could also be used for the marking of timed assignments in the classroom and for the marking of mock exam papers.
Camera Shot, Angle and Composition
This technical feature was well addressed by the candidates.. Where candidates used the correct terminology and could describe shot composition, this on the whole was well done. Weaker candidates were able to describe key shots used in exemplification, but would often lack explicit links to how these shots assisted in the construction of the representation of age.
Mise en scène
There was plenty of evidence of candidates’ discussion of clothing and props, visual iconography and character Setting, although a little more problematic for some, was used well in discussion of the range of representations of age used in the extract. More able candidates would move beyond description and use the technical features of mise en scène in order to discuss the signification of the representation of age.
Sound
Candidates often discussed this technical feature with some limitations, with some focusing solely on the use of dialogue or accent. Candidates did also relate the use of non diegetic sound to the emotional state of Amy whilst she was in her room and the contrast of non diegetic music showing the adults to be happy in the work they performed. The use of non-diegetic sound to emphasise Amy’s isolation was often commented on, as was the diction of the middle-aged characters that spoke "properly". Other weaker candidates showed confusion with technical terminology, getting diegetic and non-diegetic sound the wrong way round. It is advised that centre’s do cover the technical features of sound thoroughly in order to give candidates an opportunity to fully engage with the analysis of the extract.
Editing
This proved to be the most problematic for candidates and the one technical area of analysis that was often omitted in candidate’s answers. Most candidates who addressed editing were able to address the type of transitions used and could comment on the pace of the editing. Weaker candidates often omitted any discussion of editing or offered quite simplistic accounts of how editing was used, for example in the use of quick succession cuts and short takes when the community takes apart the fishing hut at the end of the sequence. More able candidates could analyse technical issues of editing by way of analysis of the ellipsis, accounting for how the extract collapsed a series of events, for example, in explaining the narrative to represent Amy as a ‘troubled’ teenager who had no option left but to run away from school and then the home of Paul McDonald; then candidates were then able to comment on pacing, the use of continuity, most often through the shot reverse shot compositions in the extract and some through the use of sound as well. These candidates cleverly discussed how soundbridges were constructed through the use of non-diegetic music in the representation of age, for example, the stringed mood music representing the gloomy prospect that Amy faces, or the use of upbeat music to represent the happiness of the small rural community.
The advice offered to centres is to encourage as much practice on the concept of editing as possible and how this assists in the construction of representation. Again begin with identifying the techniques and encourage students to apply these to a range of examples in class and importantly, test them on this
Representation
This key media concept was either addressed at the beginning of the candidates or at the end, but sometimes when at the end, the analysis was all too cursory. Candidates were able to relate the representation of a variety of age groups closely to the textual elements of the extract. There was some solid analysis of age and how it can be stereotyped in a variety of ways: teenage emotionality; adult authority; caring nature of the older female adult and other sensibly reasoned representations. Weaker candidates failed to focus on the representation of age, relating their analysis to the region or the gender of the characters.

General Comments on Question 2
Although the question was a wide one, many candidates still failed to focus their discussion and case study material on the production and distribution phases of media production. The best answers showed awareness of the ways in which institutions shape and distribute products in order to meet the demands of their audiences and to make profit; they were able to illustrate this with detailed reference to case study material.
Those candidates who could use their case studies and really focus on the question rather than simply regurgitating the whole case study, wrote some interesting and well founded answers. One centre on video games provided some good examples of case studies and the candidates had obviously been thoroughly prepared. The case study provided enough depth, by looking at three manufacturers and individual games developers, for the candidates to show a breadth of understanding in their answers. Overall the best candidates related closely to the focus of the question, writing about the relationship between audience and industry with particular emphasis on the production and distribution side of the industry. Centres are advised to refer to and use the questions on page 20 of the Specification and to ensure coverage of key institutional concepts such as synergy, cross media convergence, media technologies and audience consumption. This will aid the candidates’ conceptual understanding of institutions and audiences. It is also necessary for candidates to address the question set, rather than offer a general address of institutional practices across the board.
The most popular media areas studied were film and music, the least were newspapers and radio.
Film Industry
Popular case studies included the study of UK film companies such as Working Title and Film Four, which provided plenty of promising material, particularly when their working practices were contrasted with Hollywood equivalents. Some centres had prepared candidates for this unit with single text studies (i.e. of an individual film), which clearly did not provide candidates with sufficient knowledge of wider institutional and audience contexts to tackle the question set. Institutional questions, which dealt with a comparison of successful American institutions versus less commercially successful home grown UK industries often worked well. The contrast of a large US studio like Time Warner versus DNA Films was useful. Candidates with an entirely British view, Working Title on its own, or Big Arty Productions and independent British film making, for example, Bullet Boy and ‘This is England’ also fared very well, but would benefit with some comparison to Hollywood practice. Examiners noted that up to date referencing of the new boom in 3D films was done very well by one or two centres and candidates were able to discuss the download of movies through home communication networks and the impact of Blue Ray DVD on film consumption.

Advice offered for the summer’s exam session:
Do encourage students to link analysis of the technical features of television and radio drama to the key concept being examined
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Ensure that all the technical elements are covered and that a discussion of the key concept takes place
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Avoid lengthy introductions on context or misapplied theory
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Candidates should time manage responses carefully to avoid brief answers, particularly for question 2
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For question 2 candidates need to address the question set
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Encourage candidates to use a wide range of contemporary examples
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Do cover all the possible issues of an institution and its audience
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Encourage candidates to use plenty of exemplification