Introduction to Key Concepts (Student Worksheets)

CC8 CCSL lnLroducLlon Lo Lhe key ConcepLs SoW age of o_ ZlgZag LducaLlon zo_
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"#$%&'&( )*+,-.#/ . UndersLand Lhe course sLrucLure and requiremenLs and Lopics or sLudy

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1his uniL LesLs sLudenLs' comparaLive analysis skills,
ocusing on Lhe key concepLs o media language
and represenLaLion. SLudenLs will be able Lo
demonsLraLe Lheir producLion skills o planning,
consLrucLion and evaluaLion Lhrough a range o
producLion bries oered below.
DocumenLaries
Film genres
Popular music
CelebriLy
1alk radio
Soap opera
SporL and Lhe media
News
AdverLising
video games.
SLudenLs musL sLudy aL leasL Lwo dierenL mediums
and aL leasL Lwo media LexLs in Lhe assignmenLs.
ConLrolled
AssessmenL

20 Marks

lnLernally
Assessed
& FxLernally
ModeraLed
30%
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2+*5'#/
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1his uniL has Lwo secLions.
2#,+'-& 9 involves answering Lhree quesLions
based on a moving image exLracL rom Lhe
ollowing genre.
AcLion/advenLure ilms (200, 20, 202,
203)

ln SecLion A sLudenLs will show Lheir knowledge o
Lhe ollowing key concepLs.
Media language
Cenre
RepresenLaLion

2#,+'-& = involves answering one compulsory
quesLion on Lhe ollowing Lopic.
1v comedy and/or radio comedy
1he quesLion will be LesLing Lhe sLudenLs'
knowledge o Lhe ollowing key concepLs.
lnsLiLuLions
Audiences
Fxam

80 Marks

FxLernally
Assessed
40%
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CC8 CCSL lnLroducLlon Lo Lhe key ConcepLs SoW age o of o_ ZlgZag LducaLlon zo_
!"#$%&' )*)+ ,-. /-01 23$4" 0'&$435 -%&653 ,&'74#3

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1his uniL has Lwo secLions.
2#,+'-& 9 involves answering Lhree quesLions
based on a prinL image exLracL rom Lhe
ollowing genre.
LiesLyle magazines (200, 20, 202,
203)

ln SecLion A sLudenLs will show Lheir
Media language
Cenre
RepresenLaLion

2#,+'-& = involves answering one compulsory
quesLion on Lhe ollowing Lopic.
1v comedy and/or radio comedy
1he quesLion will be LesLing Lhe sLudenLs'
lnsLiLuLions
Audiences
Fxam

80 Marks

FxLernally
Assessed

40%
=>?J
B%-5*,+'-&
B-%+;-6'- '&
4#5'$ 2+*5'#/
SLudenLs will be able demonsLraLe Lheir skills in
research, planning, consLrucLion and
evaluaLion.
1his uniL will LesL Lheir undersLanding o Lhe
ollowing media key concepLs.
Audience
lnsLiLuLions
Media language
Cenre

1hey will produce a ully realised producLion
or Lhis uniL. 8ries will be oered in Lhe
ollowing areas.
PrinL
video
SoundLrack
WebsiLe
Cross media
Fxam

FxLernally
Assessed
30%
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o
zo
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Pours
8%695:33' )*;+ <:3 23$4&=5

"#$%&'&( )*+,-.#/
. Have a secure knowledge o Lhe dierenL mediums in media sLudy
2. Develop analyLical skills Lhrough idenLiying LexLual examples in dierenL mediums
3. UndersLand how Lo conducL some research inLo media consumpLion

!"#$%& a orm o media o which people consume
'"() a media producL LhaL we consume

8$/KL WriLe down as many LexLs in each medium LhaL you can Lhink o in Lhe Lable below.

4#5'*. 8#C+ 1-&/*.E+'-&
@ Cinema
? 1elevision
> Music
J Comics
M Newspapers
N lnLerneL
O Magazines
P Cames
Q Radio

8$/KL ou are going Lo produce a .#5'$ 5'$%D o all Lhe media LhaL you waLch over Lhe nexL week or
ew days. WriLe down Lhe hours you spend consuming Lhe above media over a Lypical week
Lhen produce a 8ar CharL Lo show a record o your media consumpLion.

Look aL Lhe bar charL below or an example o whaL iL will look like.

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CC8 CCSL lnLroducLlon Lo Lhe key ConcepLs SoW age z of o_ ZlgZag LducaLlon zo_
8%695:33' )*>+ 23$4" 0'&$435 ?&35'4%##"463

Please answer Lhe ollowing quesLions as accuraLely as possible.

R'%/+ S$.#L 2*%&$.#L 4$6#TR#.$6#L

@U Please wriLe down Lhe number o hours you spend consuming Lhe ollowing media in an enLire week
(7 days).

4#5'$ @ V-*% ? V-*%/ > V-*%/ J V-*%/ MW V-*%/
1elevision
Radio
lnLerneL
Music
Cinema
Cames (compuLers)
Magazines
Newspapers

?U Crade Lhe ollowing modes and genres o consumpLion in Lerms o your avouriLe (being ) and your
leasL avouriLe (being 7).

0#&%# 0%$5#
1v Drama
FeaLure Films
Live ConcerL
DocumenLaries
LiesLyle Programmes
News Programmes
Music videos

>U How do you consume Lelevision Please Lick one or more o Lhe ollowing i you have Lhem aL home.

4#+X-5 8',K
SaLelliLe (Sky DigiLal)
Cable (virgin)
Freeview
1erresLrial (Lhe main ive
channels)

lnLerneL
!"%

CC8 CCSL lnLroducLlon Lo Lhe key ConcepLs SoW age _ of o_ ZlgZag LducaLlon zo_
8%695:33' )*@+ 23$4" A4"6B

Fill in Lhe boxes below wiLh whaL hours you spend consuming Lhe medium and Lhe LexLs wiLh which
you spend Lhe Lime consuming.

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1'&#.$
8#6#<'/'-&

4$($Y'&#/

1-.',/

4*/',

S#I/E$E#%/

A&+#%&#+

0$.#/
Z$5'-
8-+$6 8'.# 2E#&+
!"&

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1he course will require you Lo examine media LexLs across Lhree media plaLorms.

*+,-#.-/)$01 A plaLorm wiLh media LexLs LhaL uses audiovisual Lechniques Lo communicaLe Lo
audiences on a large scale (e.g. 88C 1v programmes are delivered Lo audiences
Lhrough Lhe broadcasL media plaLorm)

23!"#$- A plaLorm LhaL uses new Lechnology Lo enable audiences Lo consume media
LexLs usually Lhrough Lhe World Wide Web and lnLerneL (e.g. i1unes uses Lhe e-
media plaLorm Lo deliver media LexLs Lo Lheir audience)

4+$0) A plaLorm LhaL uses prinLed maLerial Lo enable audiences Lo consume media
LexLs (e.g. 1he 1imes newspaper uses a prinL media plaLorm)

8$/KL LisL Lhe LexLs LhaL you consume on each o Lhe plaLorms below and creaLe a quick percenLage
o your plaLorm consumpLion (e.g. percenLage o each plaLorm).

B6$+;-%. 8#C+/
8-+$6 -; 8#C+/ $&5
B#%,#&+$(#
=%-$5,$/+'&(
(e.g. Wcterlcc RccJ,
Misjits, Slins, eLc.)

3[4#5'$
(e.g. Facebook, 1wiLLer,
eLc.)

B%'&+
(e.g. Mctch, Clcmcur, 1he
Sun, eLc.)

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CC8 CCSL lnLroducLlon Lo Lhe key ConcepLs SoW age 6 of o_ ZlgZag LducaLlon zo_
8%695:33' ;*;+ <:3 23$4" C7"'D%6=5

1he course requires you Lo analyse media LexLs across Lhe Lhree media plaLorms below.

8$/KL Using Lhe media LexLs in Lhe Lable, place Lhem in Lhe media plaLorms where you Lhink Lhey
should be.

1elevision/radio programmes icLional ilms adverLisemenLs
websiLes Lrailers
audiovisual promoLional
maLerial
radio, Lelevision, music or ilm
downloads
popups banner ads
acLual ilms blogs/wikis podcasLs
games newspapers magazines
!"#$%&'
!"#$%&$'()*+

Print
$"$

CC8 CCSL lnLroducLlon Lo Lhe key ConcepLs SoW age ; of o_ ZlgZag LducaLlon zo_
8%695:33' ;*>+ E&#F'4%#5 %D 23$4" C7"'D%6=5

8$/KL Fxamine Lhe Lhree LexLs below and idenLiy whaL oLher media LexLs may be ound in oLher
media plaLorms and whaL each plaLorm oers Lo Lheir inLended audiences.

4#5'$ 8#C+ =%-$5,$/+'&( 3[4#5'$ B%'&+
Dcctcr Whc
On 88C One (Lelevision
channel)

WhaL uncLion does iL oer Lhe inLended audience

i1unes
On Lhe lnLerneL and
downloaded on PCs


1he Sun
newspaper
ln newsagenLs

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lnLroducLlon Lo Lhe key ConcepLs SoW age 8 of o_ ZlgZag LducaLlon zo_
!"#$%&' ;*@+ !%=3 C"G35

8anner adverL - chariLy ad Lo
appeal Lo young audience
Logo o
magazine
consisLenL
wiLh brand
Rule o Lhirds - leL and righL side are a wallpaper o Lhe bliss 'b' logo,
Lhe main parL o Lhe siLe iLsel has a main image and boxes on Lhe leL,
Lhen a middle voLing opLion and Lhen an adverL on Lhe righL side Loo
Main image suggesLs a
brand image - hearL links
Lo love
SLrucLure
o Lhe siLe
is spliL inLo
dierenL
areas
OpL-in box or signing
up your email
lnsLiLuLional links and synergy wiLh oLher
media insLiLuLions - Lhrough Lhe use o logos
Colour - use o colours. pinks,
whiLe and grey, wiLh some yellows,
a good mix o brighL eye-caLching
colours, Loned down wiLh some
grey Lo give a sense o seriousness
and maLuriLy
Search 8ar
- audience
can search
or speciic
conLenL
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lnLroducLlon Lo Lhe key ConcepLs SoW age of o_ ZlgZag LducaLlon zo_
8%695:33' ;*H+ !%=3 C"G3 I##%'"'4%#

8$/KL AnnoLaLe Lhe ollowing home page rom Lhe Sugar websiLe using Lhe layouL codes above.

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lnLroducLlon Lo Lhe key ConcepLs SoW age zo of o_ ZlgZag LducaLlon zo_
!"#$%&' ;*J+ A3#%'"'4%# "#$ -%##%'"'4%# A3D4#4'4%#5

"#$%&'&( )*+,-.#/
. UndersLand Lhe key concepL and Lerms o image analysis Lhrough denoLaLion
and connoLaLion
2. Develop your analyLical skills in examining images or whaL Lhey mean

6"0,)-)$,0 whaL is acLually in Lhe image
7,00,)-)$,0 whaL Lhe acLual image means

Always Lhink o Lhe ollowing process when you analyse an image.

Here are some oLher words LhaL are imporLanL when iL comes Lo image analysis.

8$10$9$.-)$,0 How Lhe image communicaLes meaning

8"&$,)$./ 1he sLudy o signs and symbols

ln Media SLudies Lhe irsL Lhing we musL do is look aL whaL is in Lhe image. 1his is called 5#&-+$+'-&.
1hen we musL look aL whaL Lhe image acLually means. 1his is called Lhe ,-&&-+$+'-&.

We can Lhen say whaL Lhe image /'(&';'#/ reerring Lo Lhe signs and symbols used, which is called
/#.'-+',/.

A.$(#
\#&-+$+'-&
WhaL do you see in Lhe image
1-&&-+$+'-&
WhaL do you Lhink Lhe denoLaLion o Lhe image means
2'(&';',$+'-&
How does iL communicaLe meaning
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lnLroducLlon Lo Lhe key ConcepLs SoW age z of o_ ZlgZag LducaLlon zo_
8%695:33' ;*K+ A3#%'"'4%# "#$ -%##%'"'4%# I#"7B545 0:33'

"#$%&'&( )*+,-.#/
. Develop sLudenLs' analyLical skills in examining signs and symbols and Lheir
meaning

8$/K @L Look aL Lhe ollowing symbols and signs and ollow Lhe insLrucLions.

Analyse Lhe images above going Lhrough Lhe image analysis process o denoLaLion Lhen connoLaLion.

A.$(# \#&-+$+'-& 1-&&-+$+'-&
@

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J

M

N

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O
O O
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lnLroducLlon Lo Lhe key ConcepLs SoW age z_ of o_ ZlgZag LducaLlon zo_
!"#$%&' >*)+ <:3 L3B -%#F3M'5 %D 23$4" 0'&$435

"#$%&'&( )*+,-.#/
. UndersLand Lhe key concepLual ramework o Media SLudies using Lhe
mnemonic CRAMl.

]#D 1-&,#E+ \#;'&'+'-&
0
0#&%#
1he dierenL Lypes o media LexLs and how Lhey
engage audiences. (NarraLive orms parL o Lhe
genre analysis.)
Z
Z#E%#/#&+$+'-&
How insLiLuLions presenL people
places and evenLs in Lhe world Lhrough Lhe
media LexL
9
9*5'#&,# 1hose who consume Lhe media LexL
4
4#5'$
"$&(*$(#
4-<'&( A.$(# 8#C+/
Mise-en-scne,
camerawork, ediLing, soundLrack

B%'&+ 8#C+/
LayouL, Lypography,
use o language, use o images, use o colour
A
A&/+'+*+'-& 1he companies LhaL make media LexLs
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"#$%&'&( )*+,-.#/
. UndersLand Lhe key Lerminology o media language and Lhe Lechnical codes o
image analysis
2. Develop analyLical skills in examining images in a media LexL

8$/KL Use Lhe ollowing Lechnical codes Lo help your analysis.

8#,X&',$6 8#%. 3C$.E6# ^X$+ '+ .'(X+ .#$&
2X-+ 2'Y#
FxLreme Close-Up Fmphasis on emoLion o Lhe characLer
Close-Up lnLimacy wiLh Lhe characLer or objecLs
Medium ShoL Normal view o a subjecL/person
Long ShoL FsLablishing Lhe seLLing
1$.#%$ 9&(6#
Low (looking up) Power, auLhoriLy, superioriLy
Fye Level FqualiLy beLween characLers
High (looking down) Weak, powerless
"#&/ 8DE#
Wide Angle Fmphasise Lhe expanse o Lhe seLLing
Normal NormaliLy, 'everydayness'
1elephoLo Spying on Lhe characLer or objecL
1-.E-/'+'-&
SymmeLrical An ordered seLLing, conLrolled and consLrucLed
AsymmeLrical A realisLic naLural view o Lhe world
R-,*/
SelecLive Focus Draws aLLenLion Lo a characLer or objecL
SoL Focus CreaLes a romanLic view o characLer or seLLing
Deep Focus All characLers or objecLs are imporLanL
"'(X+'&(
High Key PosiLive, happy, joyul, loLs o lighL
Low Key Dark, loLs o shadows, mysLerious and dangerous
R'6. 2+-,K
Crainy/8loLchy DocumenLary sLyle, realisLic
SmooLh A naLural view o Lhe world
R'6. 1-6-*%
1echnicolor Can emphasise cerLain colours
8lack and WhiLe HisLorical, realisLic, Lhe LruLh
%"$

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"-&( 2X-+ 4#5'*. 2X-+ 16-/#[7E 3C+%#.# 16-/#[7E

1his gives us a good idea
o whaL Lhe characLer
looks like and where Lhey
are
1his gives us more o an
idea o whaL Lhe
characLer looks like
1his enables us Lo see
Lhe emoLions o Lhe
characLer
1his is used or a highly
dramaLic eecL

3C+%#.# "-&( 2X-+ -%
3/+$H6'/X'&( 2X-+
"-I 9&(6# F6--K'&(
*EG
V'(X 9&(6# F6--K'&(
5-I&G
9/D..#+%',$6

1his Lells us LhaL where
Lhe characLer is very
imporLanL
1his suggesLs Lhe
characLer has power
and dominance
1his suggesLs LhaL Lhe
characLer is weak and
powerless
1his is a naLural shoL
wiLh a suggesLion LhaL
someLhing on Lhe leL
mighL be coming on
screen

2D..#+%',$6 2#6#,+'<# R-,*/

1his is a very ordered and
posed shoL
1his Lells Lhe audience
LhaL whaL is in ocus is
very imporLanL

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lnLroducLlon Lo Lhe key ConcepLs SoW age z6 of o_ ZlgZag LducaLlon zo_
8%695:33' >*@+ <:3 <3F:#4F"7 -%$35 - C64#' R="G35 I#"7B545 0:33'

Name o LexL. ................................................................................................................................................................

Medium o LexL. ............................................................................................................................................................

8#,X&',$6 1-5#
8#C+*$6 3C$.E6#
F\#&-+$+'-&G
^X$+ '+ 2'(&';'#/ F1-&&-+$+'-&G
2X-+ 2'Y#

1$.#%$ 9&(6#

"#&/ 8DE#

1-.E-/'+'-&

R-,*/

"'(X+'&(

R'6. 2+-,K

R'6. 1-6-*%

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lnLroducLlon Lo Lhe key ConcepLs SoW age z8 of o_ ZlgZag LducaLlon zo_
8%695:33' @*)+ <3F:#4F"7 -%$35 <36=4#%7%GB <35'

S$.#L \$+#L

. WhaL shoL sizes do Lhe ollowing leLLers sLand or

317 _
17 _
42 _

2. WhaL camera angle suggesLs power and dominance

___________________________________________________________________________________________________________

3. WhaL lens Lype would be used Lo signiy you are spying rom a disLance

___________________________________________________________________________________________________________

4. WhaL composiLional Lechnique is used Lo make Lhings look ordered and posed

___________________________________________________________________________________________________________

5. WhaL ocus code mighL be used Lo draw Lhe audience's aLLenLion Lo an imporLanL objecL

___________________________________________________________________________________________________________

6. WhaL lighLing code mighL be used Lo creaLe a brighL and joyul aLmosphere

___________________________________________________________________________________________________________

7. WhaL ilm sLock would be used Lo creaLe a realisLic or documenLary eel

___________________________________________________________________________________________________________

8. WhaL is Lhe Lechnical code or colour ilm

___________________________________________________________________________________________________________

2,-%# -*+ -; @` _
&"!

lnLroducLlon Lo Lhe key ConcepLs SoW age _o of o_ ZlgZag LducaLlon zo_
!"#$%&' @*>+ <:3 <3F:#4F"7 -%$35 - 2%S4#G R="G3 <3O'5 - A3D4#4'4%#5

"#$%&'&( )*+,-.#/
moving image analysis
2. Develop analyLical skills in examining images in a media LexL

8$/K @L Use Lhe ollowing Lechnical codes Lo help your analysis.

8#,X&',$6
8#%.
3C$.E6# ^X$+ '+ .'(X+ .#$&
1$.#%$
4-<#.#&+
1racking Camera moves aL Lhe side o Lhe acLion/characLer
Dolly Camera moves Lowards Lhe acLion/characLer
SLeadicam Camera moves amid Lhe acLion (aLLached Lo Lhe camera person)
Hand-held Shaky use o camera (realism or documenLary sLyle)
Zoom
Camera lens ocuses on acLion zooming Lowards or away rom Lhe
acLion rom a ixed poinL
Crane shoL
Camera moves high above Lhe acLion or rom a high poinL Lowards
Lhe characLers Lo give an idea where Lhe characLers are
Aerial shoL Camera shooLs rom a helicopLer Lo give a huge view o Lhe seLLing
2X-+ /'Y#
FxLreme close-up Fmphasis on emoLion o Lhe characLer
Close-up lnLimacy wiLh Lhe characLer or objecLs
Medium shoL Normal view o a subjecL/person
Long shoL FsLablishing Lhe seLLing
1$.#%$ 9&(6#
Low (looking up) Power, auLhoriLy, superioriLy
Fye level FqualiLy beLween characLers
High (looking down) Weak, powerless
CanLed angle
When Lhe camera is slanLed Lo Lhe leL or righL Lo creaLe a sense o
uneasiness or disLorLion o realiLy
"#&/ 8DE#
Wide angle Fmphasises Lhe expanse o Lhe seLLing
Normal NormaliLy, 'everydayness'
1elephoLo Spying on Lhe characLer or objecL
1-.E-/'+'-&
SymmeLrical An ordered seLLing, conLrolled and consLrucLed
AsymmeLrical A realisLic naLural view o Lhe world
R-,*/
Shallow ocus Draws aLLenLion Lo a characLer or objecL in Lhe oreground
Focus pulls
When Lhe oreground characLer or objecL is in ocus and Lhe lens is
'pulled' Lo ocus on someLhing in Lhe background, or vice versa
SoL ocus CreaLes a romanLic view o characLer or seLLing
Deep ocus All characLers or objecLs are imporLanL
"'(X+'&(
High key PosiLive, happy, joyul, loLs o lighL
Low key Dark, loLs o shadows, mysLerious and dangerous
R'6. 2+-,K
Crainy/bloLchy DocumenLary sLyle, realisLic
SmooLh A naLural view o Lhe world
R'6. 1-6-*%
1echnicolor Can emphasise cerLain colours
8lack and whiLe HisLorical, realisLic, Lhe LruLh
&"%

lnLroducLlon Lo Lhe key ConcepLs SoW age _ of o_ ZlgZag LducaLlon zo_
8%695:33' @*@+ <:3 <3F:#4F"7 -%$35 - 2%S4#G R="G3 - I#"7B545 0:33'

Name o LexL. ................................................................................................................................................................

Medium o LexL. ............................................................................................................................................................

8#,X&',$6 1-5#
8#C+*$6 3C$.E6#
F\#&-+$+'-&G
^X$+ '+ 2'(&';'#/ F1-&&-+$+'-&G
1$.#%$ 4-<#.#&+

2X-+ 2'Y#

1$.#%$ 9&(6#

"#&/ 8DE#

1-.E-/'+'-&

R-,*/

"'(X+'&(

R'6. 2+-,K

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lnLroducLlon Lo Lhe key ConcepLs SoW age _z of o_ ZlgZag LducaLlon zo_
!"#$%&' @*H+ !%T '% 864'3 " 23$4" 0'&$435
C"6"G6"M: "#$ 1O3=M7"6B IU C"6"G6"M:

Fvery paragraph you wriLe should have ive Lhings.

B-'&+ FRT0 (%$5#G

Make your poinL abouL Lhe key concepLual code or issue
(CRAMl)
3C$.E6# F3T\ (%$5#G

Choose a LexLual example rom Lhe LexL Lo supporL your poinL
3CE6$'& F1 (%$5#G

1his is where you give a deLailed explanaLion o your poinL and Lhe signiicaLion LhaL is creaLed
by Lhe LexLual example you have chosen
3CE6-%# F=T9 (%$5#G

1his where you discuss oLher possible signiicaLions rom Lhe example you are discussing
3<$6*$+# F9T9a (%$5#G

1his is where you discuss Lhe sLrengLhs, weaknesses and overall eecLiveness o Lhe LexL in
achieving iLs aim and creaLing meaning
&"'

lnLroducLlon Lo Lhe key ConcepLs SoW age __ of o_ ZlgZag LducaLlon zo_
!"#$%&' @*J+ 1O3=M7"6 IU C"6"G6"M: D6%= <T474G:' V!"6$T4F93Q ;WWXY

Use Lhe ollowing paragraph Lo give you an idea on how Lo wriLe a high grade paragraph.

3C#.E6$% 9a B$%$(%$EX

Th dirctor o! Twilight (2DD8), Cothrin Hordwick, hos usd o wid rong o!
cinmotogrophic tchniqus to crot o !ost-pocd ond intriguing opning squnc. Sh
bgins th !ilm with o cron shot thot riss up !rom th !orst !loor to o high ongl shot
on o dr. Th high-ongld shot signi!is thot th dr is vulnrobl. This crots on
uncom!ortobl mood !or th oudinc os w pct somthing to hoppn to th vulnrobl
dr. Thn Hordwick switchs to o hondhld point o! viw shot with shokg ond |rkg
movmnts o! th comro. This is in!rring thot th dr is bing wotchd !rom o distonc
bg somthing dongrous ond scrtiv. This ngogs th oudinc !urthr os thr is
somthing in th !orst w connot s, but w or sing through its gs. This clorlg
moks th oudinc !l uncom!ortobl os w look through th gs o! whot sms lik o
prdotor. Th oudinc is olso !urthr intrigud os to who or whot is wotching th dr,
croting on nigmo which thg hop will b rvold i! thg continu wotching. Th
tchniqus o! th high ongl cron shot ond th hondhld point o! viw clvrlg
occntuot Hordwick's obilitg to plog with th oudinc's !lings ond crot o nrv-
tingling opning squnc.
&"(

lnLroducLlon Lo Lhe key ConcepLs SoW age _6 of o_ ZlgZag LducaLlon zo_
!"#$%&' H*)+ I&$4% <3F:#4F"7 -%$35 A3D4#4'4%#5

"#$%&'&( )*+,-.#/
sound analysis
2. Develop analyLical skills in examining audio and sound in a media LexL

Sound can be used in moving image LexLs, or on pure audio LexLs (e.g. radio plays, eLc.).

8#%. \#;'&'+'-&
\'#(#+', /-*&5 Sound LhaL comes rom Lhe world o Lhe LexL (real sound, e.g. doors opening).
2-*&5 #;;#,+/ Sounds o objecLs added Lo Lhe ambienL sound.
S-&[5'#(#+', /-*&5 1his is sound ouLside Lhe world o Lhe LexL (e.g. Lheme Lunes, soundLrack).
b-',#[-<#%
1he LhoughLs and dialogue o a characLer, buL iL is noL diegeLic as iL is noL parL o
Lhe real world o Lhe LexL. 1his can be classed under asynchronous sound, as we
do noL see iLs producLion.
2-*&5 H%'5(#
Sound eecLs LhaL we hear in one scene and carry over Lo Lhe nexL. AlLernaLively,
iL can be a sound rom Lhe locaLion LhaL is being cuL Lo, buL we hear iL irsL
beore Lhe cuL.
2D&,X%-&-*/ /-*&5
Sound which is produced in Lhe world o Lhe LexL and can be viewed being
creaLed and produced (e.g. dialogue o someone speaking).
9/D&,X%-&-*/ /-*&5
1his is sound which is in Lhe world o Lhe LexL buL Lhe audience cannoL see iL
being produced and Lhereore is has more signiicance (e.g. Lhe sound o
ooLsLeps, buL we are noL shown Lhe eeL walking, we only hear iL).
1-&+%$E*&+$6 /-*&5
1his is non-diegeLic sound which can clash wiLh Lhe diegeLic sound we hear. 1he
music soundLrack clashes wiLh Lhe Lone and mood o Lhe scene (e.g. a happy
jolly pop song during a scene o violence).

'"!

lnLroducLlon Lo Lhe key ConcepLs SoW age _; of o_ ZlgZag LducaLlon zo_
8%695:33' H*;+ I&$4% <3F:#4F"7 -%$35 I#"7B545 0:33'

8$/KL Analyse Lhe LexL you are abouL Lo waLch and wriLe down examples o Lhe audio codes above.

\'#(#+', 2-*&5

9%#$ ;-% 9&$6D/'/ 3C$.E6#/
2-*&5 #;;#,+/
2D&,X%-&-*/ /-*&5

S-&[\'#(#+', 2-*&5

2-*&5 \#<',# 3C$.E6#/
9/D&,X%-&-*/ /-*&5

1-&+%$E*&+$6 /-*&5

'"$

8%695:33' J*)+ I&$4% <3F:#4F"7 -%$35 N <35'

S$.#L \$+#L

. WhaL audio code signiies real sounds in Lhe real world

ccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccc

2. WhaL do you call sound LhaL is added Lo a LexL LhaL is noL parL o Lhe real world


3. WhaL is Lhe Lerm used or when acLors speak


4. Name Lhe audio code or when a characLer Lells Lhe audience Lheir LhoughLs and eelings over Lhe
acLion on screen.


5. Name Lhe Lerm or Lhe sounds LhaL objecLs make.


6. WhaL Lerm is used or when a sound sLarLs in one scene and conLinues across Lo anoLher


7. WhaL Lerm is given Lo sound which complemenLs Lhe sound o Lhe real world


8. WhaL Lerm is given Lo sound which clashes wiLh Lhe sound o Lhe real world


2,-%# -*+ -; P _

("!

!"#$%&' J*>+ 1$4'4#G <36=4#%7%GB A3D4#4'4%# 0:33'5

"#$%&'&( )*+,-.#/
ediLing moving images
2. Develop analyLical skills in examining ediLing Lechniques in a media LexL

lJitin = the iecin tcether cj ccmerc shcts tc crecte mecnin jcr the cuJience.

35'+'&( 2+D6# F8%$&/'+'-&/G
<") 59"#5 /-$ +*6=$4 #"8$#9$-
2+%$'(X+ 1*+
An insLanLaneous cuL beLween Lwo shoLs can be used Lo move view wiLhin a scene or
beLween scenes
R$5# A& -% )*+ 1he shoL Lurns Lo or rom black, signals a beginning or an end o a scene
\'//-6<# A merging beLween Lwo shoLs signals a passing o Lime
^'E# A line wipes o one shoL Lo Lhe nexL, signals a move Lo a dierenL scene
A%'/ 1he shoL shrinks in a circle Lo Lhe nexL shoL, signals a move Lo a dierenL scene

35'+'&( ZXD+X.
>90#9? *5 +*6=$4 #" ,/7$ ": /7#*"6 /64 ?""4
26-I 4-+'-&
1his is where Lhe acLion is slowed down rom real Lime Lo help add a more
dramaLic/unrealisLic eel Lo Lhe scene
2E##5#5 7E
1his is where Lhe acLion is sped up Lo add a more comedic eel Lo Lhe scene or Lo
signal Lhe passing o Lime

1-&+'&*'+D 35'+'&(
@9$ ,-$:$--$4 )/0 ": $4*#*68 :*+?5 :"++")$4 ?"5#+0 .0 A$5#$-6 7*6$?/3 $5,$7*/++0 <"++0)""43
)9$-$ 6/--/#*B$ ?$/6*68 *5 #9$ ?"5# *?,"-#/6# /*? ": $4*#*68
9C'/ Axis = an imaginary line beLween characLers LhaL exisLs in Lhe scene
@P` \#(%## Z*6#
Axis o acLion - imaginary sLraighL line beLween proLagonisLs
lL ensures spaLial conLinuiLy
Never cross Lhe line beLween Lhe characLers which Lhen desLroys Lhe realism
>` \#(%## Z*6#
CuLs musL move by aL leasL 30 degrees Lo avoid a 'jump cuL' or 'LangenL cuL'
which could make Lhe specLaLor conused.
3/+$H6'/X'&( 2X-+ A LS Lo delineaLe space and seL Lhe scene where Lhe acLion Lakes place.
2X-+ Z#<#%/# 2X-+
OLherwise known as 'over Lhe shoulder shoL' wiLh CU on Lhe proLagonisL
1he shoL is on Lhe opposiLe end o Lhe axis o acLion.
4-&+$(#
Scenes LhaL condense a range o Lime and acLiviLies inLo a shorL sequence
normally using music Lo kniL Lhe piece LogeLher. A monLage in ilms LhaL use
conLinuiLy ediLing are mosLly used Lo show a process or progression o a
characLer or acLion.
2E$+'$6 9C#/ -; 9,+'-&
1his is where Lhere are Lwo dierenL axes o acLion in Lhe same seLLing (e.g. Lwo
dierenL conversaLions aL Lwo Lables in a coee shop aL Lhe same Lime).
1%-//[1*++'&( -%
B6$&#/ -; 9,+'-&

1his is where a seL o scenes LhaL Lake place in dierenL seLLings, buL aL Lhe
same Lime, are inLer-cuL LogeLher Lo creaLe Lension and exciLemenL (see also
inLercuLLing).
8#.E-%$6 9C#/ -;
9,+'-&
1his is where Lwo scenes in Lhe same locaLion buL aL dierenL Limes are ediLed
LogeLher (normally used as lashbacks).
8#.E-%$6 B6$&#/ -;
9,+'-&
1his is where you have Lwo dierenL seLLings aL Lwo dierenL Lime periods.

("%

S-&[1-&+'&*'+D 35'+'&(
@9$ 5#0+$ 8"$5 /8/*65# #9$ ,-$:$--$4 )/0 ": $4*#*68 :*+?5 :"++")$4 ?"5#+0 .0 A$5#$-6 7*6$?/C
D +"# ": E(-",$/6 7*6$?/ :"++")5 / 6"6F7"6#*6(*#0 5#0+$ ": $4*#*683 )9*79 )/5 B$-0 ,",(+/- )*#9
G-$679 !$) A/B$ H*6$?/ ": #9$ IJK25 #" IJL25C
<")$B$-3 / +"# ": ?"4$-6 A$5#$-6 7*6$?/ *5 .$8*66*68 #" (5$ 5"?$ 6"6F7"6#*6(*#0 $4*#*68
#$796*M($53 :(5$4 )*#9 / ?"-$ -$/+*5#*7 /64 4"7(?$6#/-0F5#0+$ /,,-"/79 #" 7-$/#$ / 6$)$- /64
:-$59$- 7*6$?/ 5#0+$C
9C'/
1he imaginary line beLween characLers is requenLly broken Lhrough awkward
and abrupL cuLs Lo unusual camera angles.
@P` \#(%## Z*6# SpaLial conLinuiLy is broken and unclear in loLs o non-conLinuiLy LexLs.
d*.E 1*+/
8$&(#&+ 1*+/
CuLs break Lhe 30 degree rules and many ediLs are on Lhe same angle and
don'L ollow real Lime, which creaLes an uneasy and abrupL eeling in Lhe
audience.
4-&+$(#
Scenes LhaL condense a range o Lime and acLiviLies inLo a shorL sequence
normally using music Lo kniL Lhe piece LogeLher. ln ilms LhaL use non-
conLinuiLy ediLing Lhe monLage doesn'L have Lo ollow Lhe narraLive o Lhe sLory
and use more absLracL shoLs LhaL mighL or mighL noL link Lo Lhe sLoryline.
A&/#%+ 2X-+/
1his Lechnique involved Lhe inserLion o shoLs LhaL are noL linked Lo Lhe
narraLive and seem Lo make no commenL on Lhe sLory. 1his adds Lo Lhe
surrealisL naLure o Lhe piece.
2#6;[Z#;6#C'<'+D
8y drawing aLLenLion Lo Lhe cuLs and ediLs which are abrupL and unusual, Lhe
LexLs Lhemselves are making Lhe audience undersLand Lhey are waLching a LexL
and Lhereore iL loses iLs escapisL naLure.

B-/+[B%-5*,+'-& 3;;#,+/
D:#$- #9$ 7"?,+$#*"6 ": :*+?*68 "- -$7"-4*683 #9$ ,"5#F,-"4(7#*"6 ,-"7$55 .$8*65C G*-5#+0 #9$ #$N# *5
$4*#$4 *6#" "-4$-3 #9$6 ?(5*7O5"(64 *5 ,-"4(7$4 /64 /44$4 )*#9 /60 5,$7*/+ $::$7#5 "- HPQ 6$$4$4C
R/5#+03 4*8*#/+ 8-/4*68 *5 /44$4 #" 8*B$ #9$ #$N# / 7$-#/*6 :$$+ /64 +""=C
"'&#$% 35'+'&(
1his is an old sLyle o ediLing in which Lhe ilm was acLually cuL and spliced
LogeLher in order, or in a linear ashion using ilm.
S-&["'&#$% 35'+'&(
MosL ilms are noL ediLed using compuLer and video-ediLing soLware which
means any parL o Lhe ilm can be ediLed aL any one Lime and noL necessarily in
order.
2-*&5 \#/'(& $&5
3;;#,+/
1his involves Lhe sound deparLmenL creaLing all Lhe necessary sounds or Lhe
LexL and Lhus Lhe Lype o realiLy Lhey wanL iL Lo have.
9\Z F9*+-.$+#5
\'$6-(*#
Z#E6$,#.#&+G
1his involves Lhe process o approximaLely 95% o Lhe original dialogue spoken
by Lhe acLors on Lhe seL being re-recorded in a sLudio and Lhen dubbed on
laLer Lo give Lhe voices a beLLer qualiLy and sound level.
10A F1-.E*+#%[
0#&#%$+#5 A.$(#%DG
1his is Lhe adding o exLra visuals Lo Lhe LexL using huge compuLers LhaL can
capLure acLors' moLions, creaLe backdrops and explosions, and virLually add
anyLhing Lo Lhe exisLing ilm.
\'('+$6 0%$5'&(
Once Lhe ilm is compleLe, Lhis process colours every individual rame o Lhe
ilm wiLh whaL Lhe ilm-makers wanL iL Lo look like - or example, a blue or
brown LinL according Lo Lhe eecL Lhey wanL Lo have on Lhe audience.

8%695:33' J*@+ 1$4'4#G I#"7B545 0:33'

8$/KL ldenLiy Lhe ediLing Lechniques rom Lhe previous sheeL LhaL are used in Lhe sequence.
How does Lhe ilm sequence use Lhese ediLing Lechniques Lo creaLe Lension and comedy

("&

!"#$%&' K*)+ -6%MM4#G "#$ I#F:%64#G A3D4#4'4%#5

"#$%&'&( )*+,-.#/
image analysis Lhrough cropping and anchoring
2. Develop analyLical skills in examining images and language in a media LexL

7+,::$01 - 1he meLhod o selecLing a parLicular parL o an image or emphasis.

;0.<,+$01 - 1he use o words Lo creaLe and add meaning Lo an image.

8%695:33' K*;+ -6%MM4#G "#$ I#F:%64#G I#"7B545 0:33'

Look aL Lhe ollowing images.
A.$(# ^X$+ ,$& D-* /##e ^X$+ 5- D-* +X'&K '/ X$EE#&'&(e

)"!
)"$

Now look aL Lhe whole image and wriLe in 200 words whaL meanings are being communicaLed in Lhe
image.

!"#$%&' X*)+ 2453Z3#Z0F[#3 A3D4#4'4%#5 N C64#' \ 83]54'3 <3O'5

"#$%&'&( )*+,-.#/
image analysis o mise-en-scne
2. Develop analyLical skills in examining mise-en-scne in a media LexL

Mise-en-scene - the crrcnement cj rcerties, scenery in cn imce, c lrench term jcr whct is in the jrcme

1-5# $&5 5#;'&'+'-& 3C$.E6# ^X$+ '+ .'(X+ /*((#/+
2#++'&(
1he place where Lhe media LexL Lakes
place will be loaded wiLh meaning
eiLher or Lhe sLory or Lhe producL
being adverLised.
lnside Feeling Lrapped, closed in
OuLside Open air, reedom
1ime/period When and where (hisLory)
B%-E/
A prop is noL Lhere jusL because iL
has Lo be. Props are careully chosen.
1hey should Lell us someLhing abouL
Lhe person/people in Lhe image.
A racer FasL, sporLy, in a hurry
Unicycle Perormer, show-o, unny, exLroverL
MounLain bike 1ough, durable, advenLurous
S-&[<#%H$6 ,-..*&',$+'-& FSb1G
All people in an image are AC1ORS.
Fvery expression Lhey puL on and
every posiLion Lhey Lake is puL Lhere
Lo mean someLhing. ou need Lo
examine Lheir FlCURF and
FXPRFSSlONS.
Facial expressions Sad/happy, conidenL, scared
Slouching Lazy, relaxing, good or noLhing
SLi Prim, proper, or on edge
\%#//T,-/+*.#T.$K#[*E
A dress or cosLume is whaL acLors are
cloLhed in and iL will signiy
someLhing abouL Lhem, Lhe characLer
or producL Lhey are adverLising.

Make-up is whaLever is applied Lo
Lhe ace or hands Lo add meaning Lo
Lhe characLer or producL being
adverLised.
CloLhes (Nike) Fashionable, up Lo daLe, sporLy
Chunky cardigan
1radiLional, old-ashioned, or maybe
now ashionable and up Lo daLe
Ripped jeans AlLernaLive, rebellious
Classes (small) Wise, sLudious
Classes (Lhick rames) SLurdy, long lasLing, old-ashioned
Jewellery (Lhis is cosLume as iL
is on Lhe acLor's person)
SuggesL aluence, or maybe
cheapness
Make-up (heavy) Posing, LarLy
Make-up (lighL) 1ake care Lo show naLural beauLy
(None) NaLural
1-6-*%/
Colours carry Lheir own meaning. ou
musL invesLigaLe Lhe meaning o Lhe
colours when analysing Lhe image.
Red Poison, danger, blood, lusL
Creen Fnvy, jealousy, coolness, naLuralness
8lue 8oyish, skies, happiness, cold
8rown Warm, naLural, earLhy, dull
Cold
Aluence, richness, sunny days,
warmLh
Orange 8righL, sunny, ciLrus
Purple RoyalLy, rich LexLure, velveL soL
*"!

!"#$%&' X*)+ 2453Z3#Z0F[#3 A3D4#4'4%#5

1-5#/ $&5 \#;'&'+'-&/ ;-% B%'&+ 95<#%+/ f 9%+',6#/

1-5# $&5 \#;'&'+'-& 8#,X&'g*# \#;'&'+'-& $&5 3;;#,+
A.$(#
Crchics
1he use o logo design and moLis Lo creaLe
meaning or Lhe audience.
Deth cj jielJ
1his occurs when Lhe camera ocuses on a
cerLain parL o Lhe image (see shallow ocus,
eLc.).
Diitcl mcniulcticn
1he use o digiLal eecLs Lo enhance and
change Lhe image.
"$&(*$(#
lcrmcl cnJ injcrmcl
reister
1he use o language in Lhe LexL Lo creaLe
eiLher, a ormal and oicial meaning or Lhe
audience, or one LhaL is more inormal and
relaxed.
Slccn (see strcline)
1his is a Lerm used Lo reer Lo a line o copy
on an adverL.
Ccy
1his is Lhe Lerm used Lo reer Lo Lhe acLual
LexL in an adverL or arLicle.
Direct mcJe cj cJJress
1he LexL can reer Lo Lhe audience as 'you' Lo
engage Lhem in Lhe LexL.
linuistic techniques =
uns, ccllcquiclisms, slcn
1he use o linguisLic Lechniques Lo caLch Lhe
audiences' eye (e.g. '1he 8oys Spesh', eLc.)
8DE-(%$EXD
Serij cnJ scns-serij
tyejcces
Seri Lypeaces are normally used or
headlines and large LexL, as seris conLain
exLra eaLures added Lo leLLers Lo make
Lhem sLand ouL.
Sans-seri Lypeaces are used or Lhe main
body o LexL, as Lhey do noL have Lhe
addiLional eaLures and are Lhereore easier
Lo read in smaller onL sizes.
Seciclist tyejcces
1his involves using more elaboraLe and eye-
caLching Lypeaces Lhan Lhe LradiLional seri
ones.
lcnt size / itclics / bclJ /
unJerline
1he size and sLyle o onL will creaLe
meaning and emphasis or Lhe audience.
1he larger iL is, Lhe more imporLanL iL seems
Lo be.

*"!

lnLroducLlon Lo Lhe key ConcepLs SoW age o of o_ ZlgZag LducaLlon zo_
!"#$%&' X*)+ 2453Z3#Z0F[#3 A3D4#4'4%#5

1-5#/ $&5 \#;'&'+'-&/ ;-% B%'&+ 95<#%+/ f 9%+',6#/

1-5# $&5 \#;'&'+'-& 8#,X&'g*# \#;'&'+'-& $&5 3;;#,+
"$D-*+
Hcuse style
1his involves Lhe seLLing o cerLain sLandards or use
o Lypography, layouL, colours, eLc. or a cerLain
brand/magazine/newspaper LhaL remains consisLenL
or ease o recogniLion by audiences.
Symmetriccl cr
csymmetriccl
1he Lerm symmeLrical describes an image LhaL is
cenLralised and balanced, which creaLes an ordered
and conLrolled meaning.
1he Lerm asymmeLrical describes an image LhaL is
imbalanced and noL cenLralised, which creaLes a
more realisLic meaning.
Cclumns cnJ bcxes
1he use o columns or Lhe copy and boxes helps
creaLe a sense o order or Lhe LexL and helps Lhe
audience navigaLe Lheir way Lhrough Lhe LexL.
Rctic cj ccy, imces
cnJ scce
1he raLio o copy Lo images and space on a page
helps creaLe meaning. More copy suggesLs iL is or a
more liLerary audience, more images are used or a
more visual audience, and Lhe exLra use o space
Lends Lo be used or a more arLisLic audience.
HecJline
1his is Lhe irsL and biggesL sLaLemenL in a
magazine/newspaper/websiLe/arLicle.
Ccticn
1hese are shorL sLaLemenLs LhaL help anchor
meaning under images.
Strcline
1his is normally a subheading or an arLicle. 1he Lerm
is also someLimes used Lo reer Lo an adverLising
slogan.
StcnJjirst
1his is Lhe irsL paragraph o an arLicle LhaL is usually
in a slighLly larger Lypeace and may be emboldened
Lo draw Lhe audience's aLLenLion Lo iL. lL will normally
conLain an eye-caLching sLaLemenL.
1-6-*%
Hcuse style
1he use o dominanL colours Lo creaLe Lhe house
sLyle o a brand (e.g. red, black and whiLe or lMPlRl
ilm magazine).
Cclcur scturcticn
1he process o changing Lhe colour levels o images
Lo creaLe cerLain meanings and eecLs.
Chcice cj cclcur
1he use o colour Lo creaLe meanings and
associaLions in a LexL.

*"!

!"#$%&' X*;+ 2453Z3#Z0F[#3 I#"7B545 0:33'

Name o LexL. ................................................................................................................................................................

Medium o LexL. ............................................................................................................................................................

4'/#[#&[/,h&# ,-5# 3C$.E6# ^X$+ '+ .#$&/
2#++'&(
B%-E/
S-&[<#%H$6
,-..*&',$+'-&

\%#//T,-/+*.#T
.$K#[*E

1-6-*%
A.$(#
"$D-*+
"$&(*$(#
8DE-(%$EXD
*"$

8%695:33' ^*)+ 2453Z3#Z0F[#3 <36=4#%7%GB <35'

S$.#L \$+#L

. WhaL does Lhe Lerm 'mise-en-scne' mean in Fnglish

___________________________________________________________________________________________________________

2. WhaL mise-en-scne code begins wiLh Lhe leLLer S

___________________________________________________________________________________________________________

3. WhaL mise-en-scne code begins wiLh Lhe leLLer P

___________________________________________________________________________________________________________

4. WhaL mise-en-scne code begins wiLh Lhe leLLers N, v and C

___________________________________________________________________________________________________________

5. Can you name Lhe Lwo mise-en-scne codes LhaL boLh begin wiLh Lhe leLLer C

___________________________________________________________________________________________________________

6. WhaL mise-en-scne code is iL when you are inside or ouLside

___________________________________________________________________________________________________________

7. WhaL mise-en-scne code is being menLioned when we look aL objecLs used by acLors

___________________________________________________________________________________________________________

8. WhaL mise-en-scne code links Lo whaL acLors wear

___________________________________________________________________________________________________________

9. WhaL mise-en-scne codes links Lo Lhe body language o acLors

___________________________________________________________________________________________________________

0. WhaL language does Lhe word mise-en-scne come rom

___________________________________________________________________________________________________________

2,-%# -*+ -; @` _
+"!

!"#$%&' ^*;" + 2453Z3#Z0F[#3 A3D4#4'4%#5 N 2%S4#G R="G3

"#$%&'&( )*+,-.#/
moving image analysis o mise-en-scne
2. Develop analyLical skills in examining mise-en-scne in a moving image media
LexL

Mise-en-scene - the crrcnement cj rcerties, scenery in cn imce, c lrench term jcr whct is in the jrcme

1-5# $&5 5#;'&'+'-& 3C$.E6# ^X$+ '+ .'(X+ /*((#/+
=6-,K'&(
1he use o blocking involves Lhe
placemenL o objecLs and characLers
wiLhin Lhe shoL and how Lhey creaLe
meaning or Lhe audience.
lcrercunJin
1his involves placing an imporLanL
characLer or objecL in Lhe ronL o
Lhe screen wiLh less emphasis on
Lhe background. 1his emphasises
Lhe imporLance o Lhe
oregrounded elemenL.
2#++'&(
1he place where Lhe media LexL Lakes
place will be loaded wiLh meaning eiLher
or Lhe sLory or Lhe producL being
adverLised.
lnsiJe
Feeling Lrapped, closed in
OutsiJe
Open air, reedom
1ime/ericJ
When and where (hisLory)
B%-E/
A prop is noL Lhere jusL because iL has Lo
be. Props are careully chosen. 1hey
should Lell us someLhing abouL Lhe
person/people in Lhe image.
A rccer
FasL, sporLy, in a hurry
Unicycle
Perormer, show-o, unny,
exLroverL
Mcuntcin bile
1ough, durable, advenLurous
S-&[<#%H$6 ,-..*&',$+'-& FSb1G
All people in an image are AC1ORS.
Fvery expression Lhey puL on and every
posiLion Lhey Lake is puL Lhere Lo mean
someLhing. ou need Lo examine Lheir
FlCURF and FXPRFSSlONS.
lccicl exressicns
Sad/happy, conidenL, scared
Slcuchin
Lazy, relaxing, good or noLhing
Stijj
Prim, proper, or on edge
\%#//T,-/+*.#T.$K#[*E
A dress or cosLume is whaL acLors are
cloLhed in and iL will signiy someLhing
abouL Lhem, Lhe characLer or producL
Lhey are adverLising.

Make-up is whaLever is applied Lo Lhe
ace or hands Lo add meaning Lo Lhe
characLer or producL being adverLised.
Clcthes (Nile)
Fashionable, up Lo daLe, sporLy
Chunly ccrJicn
1radiLional, old-ashioned, or
maybe now ashionable and up Lo
daLe
RieJ jecns
AlLernaLive, rebellious
Iewellery (this is
ccstume cs it is cn the
cctcrs erscn)
SuggesL aluence, or maybe
cheapness
Mcle-u (hecvy)
Posing, LarLy
Mcle-u (liht)
1ake care Lo show naLural beauLy
(Ncne)
NaLural

+"$

1-5# $&5 5#;'&'+'-& 3C$.E6# ^X$+ '+ .'(X+ /*((#/+
1$/+'&( $&5 E#%;-%.$&,#
1he choice o a cerLain acLor will
give o many dierenL connoLaLions
Lo Lhe audience. Also Lhe shape,
expressions and movemenL o Lhe
acLor will also creaLe meanings Loo.
Actcr / stcr erscnc
1he acLor will have a cerLain
personaliLy LhaL will lend iLsel Lo
Lhe LexL.
liure
1he shape o Lhe acLor's body will
also give o some connoLaLions.
lxressicn
1he acial expressions o Lhe acLor
will give o meaning Lo Lhe
audience.
Mcvement
1he way Lhe acLor moves will also
creaLe meaning or Lhe audience.
1-6-*%/
Colours carry Lheir own meaning.
ou musL invesLigaLe Lhe meaning o
Lhe colours when analysing Lhe
image.
3lue
8oyish, skies, happiness, cold
3rcwn
Warm, naLural, earLhy, dull
CclJ
Aluence, richness, sunny days,
warmLh
ReJ
Poison, danger, blood, lusL
Creen
Fnvy, jealousy, coolness,
naLuralness

lnLroducLlon Lo Lhe key ConcepLs SoW age ; of o_ ZlgZag LducaLlon zo_
8%695:33' ^*>+ 2453Z3#Z0F[#3 V2%S4#G R="G3Y I#"7B545 0:33'

"#$%&'&( )*+,-.#/
image analysis o mise-en-scne
2. Develop analyLical skills in examining mise-en-scne in a media LexL

Name o LexL. ................................................................................................................................................................

Medium o LexL. ............................................................................................................................................................

4'/#[#&[/,h&# ,-5# 3C$.E6# ^X$+ '+ .#$&/
2#++'&(
B%-E/
S-&[<#%H$6 ,-..*&',$+'-&
\%#//T,-/+*.#T
.$K#[*E

1-6-*%/
+"%

8%695:33' ^*@+ 03#'3#F3 0'"6'365 D%6 _"# !3754#G 03`&3#F3

Now you need Lo wriLe a deLailed analysis o how mise-en-scne is used in Lhe vcn Helsin
sequence you have waLched. Use Lhe senLence sLarLers below Lo help rame your analysis o Lhe
vcn Helsin sequence.

S/6 <$+5*68 2#g*#&,#

1he seLLing o Lhe sequence rom vcn Helsin, is a large casLle in 1ransylvania in Lhe laLe 800s. 1he
direcLor has chosen Lhis seLLing Lo suggesL.

1here are a range o props in Lhe sequence. One example is a crowd all wiLh Lorches. 1his mighL iner.

All Lhe characLers in Lhe sequence are acLing in a very aggressive way. 1his suggesLs LhaL all Lhe people
are...

1he cosLumes and dresses in Lhe sequence are very exLravaganL. One example is Lhe dark cosLume worn
by Dracula. 1his implies LhaL.

1he sequence is shoL in black and whiLe and Lhis creaLes a very inLeresLing aLmosphere. 1he main impacL
o Lhe black and whiLe is.

+"&

lnLroducLlon Lo Lhe key ConcepLs SoW age 6o of o_ ZlgZag LducaLlon zo_
!"#$%&' )W*)+ a"66"'4S3 <:3%6435 a%'35

"#$%&'&( )*+,-.#/
. UndersLand Lhe key concepL o narraLive and Lhe narraLive Lheories o 1odorov,
Propp, Lvi-SLrauss and 8arLhes
2. Develop analyLical skills in examining narraLive sLrucLure in a LexL

S$%%$+'<# 8X#-%'#/
Ncrrctive - the rccess cj tellin c stcry

ln Media SLudies, Lhere are many dierenL Lheories o how sLories can be Lold. Here are Lhe main our.

@U 8-5-%-<i/ +X#-%D -; &$%%$+'<#
1zveLan 1odorov sLudied airy Lales and came up wiLh Lhe ollowing narraLive Lheory.
. Fquilibrium a sLaLe o normaliLy
2. DisrupLion an evenL disrupLs Lhe normaliLy
3. RecogniLion Lhe hero recognises Lhe disrupLion
4. ComplicaLions Lhe hero meeLs problems in Lrying Lo resLore Lhe equilibrium
5. New Fquilibrium Lhe hero resLores a new sLaLe o normaliLy

?U B%-EEi/ ,X$%$,+#% %-6#/
vladimir Propp sLudied airy Lales and recognised a seL o /+-,K ,X$%$,+#%/ in every sLory.
. 1he hero Lhe characLer who seeks someLhing
2. 1he villain who opposes Lhe hero's quesL
3. 1he donor gives hero a magical properLy
4. 1he dispaLcher sends Lhe hero on his quesL
5. 1he alse hero disrupLs Lhe hero's quesL
6. 1he helper helps Lhe hero
7. 1he princess Lhe hero's reward
8. Her aLher who rewards Lhe hero

Propp also added Lhe /EX#%#/ -; $,+'-& as ollows.
. PreparaLion an ordered sLaLe o being
2. ComplicaLion a sLaLe o disorder
3. 1ranserence Lhe hero leaves home, receives a magical agenL
4. SLruggle hero deeaLs Lhe villain
5. ReLurn Lhe hero reLurns, buL is noL recognised, a alse hero has sLolen his place, Lhe
hero has Lo compleLe a Lask
6. RecogniLion Lhe hero is recognised, Lhe alse hero exposed, Lhe hero geLs Lhe princess

!,"!

>U "j<'[2+%$*//i H'&$%D -EE-/'+#/
Lvi-SLrauss claimed LhaL sLories can only exisL wiLh H'&$%D -EE-/'+#/, which are elemenLs LhaL are
againsL each oLher, or example.

4$,%- H'&$%D -EE-/'+#/
Hero villain
ProLagonisL AnLagonisL
MoLivaLor Observer
Fmpowered vicLim

4',%- H'&$%D -EE-/'+#/
Woman Man
8eauLy Ugly
SLrong Weak
Decisive lndecisive
ArLiculaLe lnarLiculaLe
Old oung
Rich Poor

JU =$%+X#/i ,-5#/
Roland 8arLhes explored how an audience decodes a LexL and ouLlined a lisL o codes LhaL we all use
Lo consLrucL meaning rom a LexL.

. Fnigma code anyLhing LhaL seLs up a quesLion o a mysLery
2. AcLion code acLions and behaviour in Lhe LexL LhaL are universally undersLood (e.g. a isL
ighL)
3. Semic code Lhe way characLers, evenLs, seLLings are ascribed meaning by Lhe culLure
making Lhe LexL
4. Symbolic code use o binary opposiLions or psychological symbols
5. CulLural code codes LhaL are undersLood LhroughouL Lhe world

)+X#% &$%%$+'<# 5#<',#/L
Hooks A scene where a quesLion is raised and we wanL Lo know Lhe answer
1easers A scene which gives a clue Lo Lhe answer
Clihangers A high Lension end o an episode or sequence
DramaLic irony When Lhe audience know more Lhan Lhe characLers

lnLroducLlon Lo Lhe key ConcepLs SoW age 6z of o_ ZlgZag LducaLlon zo_
8%695:33' )W*;+ a"66"'4S3 <:3%6B I#"7B545 0:33'5

8$/KL Analyse Lhe ollowing LexL and apply Lhe narraLive Lheories you have been inLroduced Lo.

S$.# -; +#C+L

8-5-%-<i/ R'<#[B$%+ S$%%$+'<# 2+%*,+*%#

2+$(# S-+#/ -& +X# +#C+
3g*'6'H%'*.
\'/%*E+'-&
Z#,-(&'+'-&
1-.E6',$+'-&/
S#I 3g*'6'H%'*.

B%-EEi/ 1X$%$,+#% Z-6#/

1X$%$,+#% %-6#/ 3C$.E6#/ ;%-. +X# +#C+
V#%-
b'66$'&
\-&-%
\'/E$+,X#%
R$6/# X#%-
V#6E#%
B%'&,#//
R$+X#%
!,"$

lnLroducLlon Lo Lhe key ConcepLs SoW age 6_ of o_ ZlgZag LducaLlon zo_
"j<'[2+%$*//i ='&$%D )EE-/'+#/
Can you wriLe down any binary opposiLes rom Lhe LexL

=$%+X#/i 1-5#/
Are any o 8arLhes' codes in Lhe LexL

1-5# 3C$.E6#/
3&'(.$ ,-5#
9,+'-& ,-5#
2#.', ,-5#
2#.$&+', ,-5#
1*6+*%$6 ,-5#

Any oLher narraLive devices used

V--K/

8#$/#%/

16';;X$&(#%/

\%$.$+', '%-&D

!"#$%&' ))*)+ /3#63 A3D4#4'4%#5

"#$%&'&( )*+,-.#/
. UndersLand Lhe key concepL o genre and genre Lheories
2. Develop analyLical skills in examining genre in a LexL

0#&%#
Cenre - c tye cj text

Cenre is also Lhe classiicaLion o Lypes o LexLs.

0#&%# 8X#-%D \#;'&'+'-& $&5 3C$.E6#/
2'&(6# (#&%# A seL genre wiLh conLinuing use o Lhe same convenLions (e.g. wesLern).
2*H(#&%#
A LexL LhaL ocuses on a parLicular seL o convenLions wiLhin a speciic genre
(e.g. gangsLer is a subgenre o crime ilms).
VDH%'5'+D
MixLure o Lwo or more genre convenLions (Mincrity Recrt (Spielberg, 2002)
mixes sci-i wiLh murder mysLery).
B-/+.-5#%&'/.
An invenLive way o mixing genres. UnrelaLed genres are mixed LogeLher.
(Mculin Rcue mixes Lragedy wiLh 8ollywood and Hollywood musicals and is
seL in 900, buL uses pop songs rom 970-990s.)
A&+#%+#C+*$6'+D
A LexL deliberaLely borrows a sequence rom an exisLing media LexL (e.g. 1he
Simscns consisLenLly borrows sequences rom oLher media LexLs)
B$/+',X#
A LexL borrows heavily rom a cerLain genre. (kill 3ill uses marLial arLs genre
wiLhin a gangsLer revenge sLoryline.)
B$%-5DT/E--;
A LexL makes un o cerLain genre convenLions (e.g. Sccry Mcvie makes un o
horror ilms).
0#&%# ,D,6# -;
E%-5*,+'-&
Cenres come and go in cycles depending on Lheir success or ailure.
FvenLually genres lose Lheir appeal and are Lhen replaced by new genres unLil
Lhey lose Lheir appeal and so Lhe cycle goes on.
Z#;6#C'<'+D
1he knowing exposure o generic codes and convenLions. 1his is where a ilm
will make reerence Lo Lhe codes and convenLions o iLs own genre wiLhin Lhe
narraLive (e.g. Screcm makes reerence Lo Lhe horror convenLions in Lhe
opening sequence).

!!"!

!"#$%&' ))*;+ /3#63 -BF735 %D C6%$&F'4%#

Cenre
LexL
Success aL
Lhe box oice
(golden egg)
A lop aL Lhe
box oice
(Lurkey)
A moderaLe
success aL Lhe
box oice
(breaks even)
Move onLo
anoLher
genre
CreaLe copies
or a ranchise
o Lhe genre
Use oLher genre
convenLions and
creaLe a hybrid Lo
combine Lwo
audiences
OLher
insLiLuLions
copy Lhe LexL
Make conLinuous
sequels/copies
unLil Lhe genre is
exhausLed
Make parodies
and spoos o
Lhe genre
LeL Lhe genre
ade ouL
peaceully
ResurrecL Lhe genre

using pasLiche or
posLmodernism and
sLarL Lhe process
again
Hybrid is a
success.
make sequels
and ranchise
Hybrid is a lop,
move on Lo
anoLher genre

Make conLinuous
copies or sequels
unLil Lhe genre is
exhausLed
!!"$

lnLroducLlon Lo Lhe key ConcepLs SoW age 6; of o_ ZlgZag LducaLlon zo_
8%695:33' ))*>+ /3#63 R$3#'4D4F"'4%# 0:33'

Cenre is Lhe codes and convenLions and signiiers o a parLicular Lype o LexL.

8$/K @L Can you Lhink o LexLs LhaL all inLo Lhe genres below

8$/K ?L Can you wriLe in Lhe codes, convenLions and signiiers o Lhe genres below and add any oLhers
LhaL you know o

0#&%# 8#C+*$6 #C$.E6# 1-5#/k ,-&<#&+'-&/k /'(&';'#%/
2,'#&,#[;',+'-&
^#/+#%&
9,+'-&
95<#&+*%#
R$&+$/D
V-%%-%
B#%'-5
5%$.$

0$&(/+#%
!!"%

8%695:33' ))*@+ /3#63 I#"7B545 0:33'

8$/KL Use Lhe ollowing our Lypicals when analysing a LexL Lo idenLiy Lhe generic convenLions.

NarraLive Lypical sLorylines
lconography Lypical props, objecLs, cosLume, eLc.
CharacLers Lypical characLer Lypes
SeLLings Lypical places where Lhe sLory Lakes place

Analyse Lhe LexL idenLiying Lhe ;-*% +DE',$6/.

8X# ;-*%
+DE',$6/
3C$.E6#/ ;%-. +X# +#C+
^X$+ (#&%# ,-5#/ $&5 ,-&<#&+'-&/
$%# +X#%#e
S$%%$+'<#/

A,-&-(%$EXD

1X$%$,+#%/

2#++'&(/

!!"&

lnLroducLlon Lo Lhe key ConcepLs SoW age ;o of o_ ZlgZag LducaLlon zo_
!"#$%&' );*)+ .3M6353#'"'4%# A3D4#4'4%#5

RepresenLaLion is Lhe process o how realiLy is consLrucLed or an audience.

1he ollowing process is called .#5'$+'-&.

RepresenLaLion is Lhe represenLaLion o realiLy Lhrough a medium. RepresenLaLion aecLs Lhree Lhings.

]#DI-%5/ '& Z#E%#/#&+$+'-&
9%,X#+DE$6 1his is an original represenLaLion.
2+#%#-+DE',$6
1his is a represenLaLion o someLhing which ulils your expecLaLions o LhaL person,
place or evenL.
1-*&+#%[+DE',$6 A mixLure o archeLype and sLereoLype.
b#%'/'.'6'+*5#
A version o realiLy LhaL is presenLed by Lhe media LexL, buL is noL always exacL
realiLy. lL is how Lhe world is presenLed in Lhe LexL.
4#//$(#/ $&5
<$6*#/
1he belies and values LhaL are imporLanL in Lhe world o Lhe LexL (e.g. money is
power).

8$/KL Come up wiLh a range o dierenL Lypes in Lhe Lable below.

8DE#
B#%/-& B6$,# 3<#&+
8##&$(#% "-&5-& R'6. B%#.'#%#
2+#%#-+DE',$6
9%,X#+DE$6
1-*&+#%[+DE',$6
b#%'/'.'6'+*5#
4#//$(#/ $&5 <$6*#/
B6$,#/ 3<#&+/ B#-E6#
Z#E%#/#&+$+'-&
(Lhis is how Lhe evenL is
presenLed by Lhe media)
4#5'$+'-&
(Lhe slanL puL on
Lhe evenL by Lhe
media)
3<#&+
(someLhing
happens)
!$"!

8%695:33' );*;+ .3M6353#'"'4%# I#"7B545 0:33'

8$/KL Analyse how Lhe ollowing groups are represenLed in Lhe LexL.

S$.# -; 8#C+L

9%#$/ 3C$.E6#/
^X$+ 5-#/ %#E%#/#&+$+'-& /*((#/+
$H-*+ +X# (%-*Ee
9EE6D $%,X#+DE$6k /+#%#-+DE',$6k
,-*&+#%[+DE',$6k <#%'/'.'6'+*5# $&5
.#//$(#/ $&5 <$6*#/U
9(#
F+##&/k
$5*6+/G

0#&5#%
F.$6#k
;#.$6#G

2-,'$6 ,6$//

S$+'-&$6'+D
F9.#%',$&k
=%'+'/XG

3+X&','+D
F,*6+*%$6 $&5
#+X&',
H$,K(%-*&5G

!$"$

lnLroducLlon Lo Lhe key ConcepLs SoW age ;_ of o_ ZlgZag LducaLlon zo_
8%695:33' )>*)+ !%T '% 0'6&F'&63 B%&6 .35M%#53 0:33'
Use Lhe ollowing model Lo help plan your response.
"#$%&'&( )*+,-.#/
. UndersLand Lhe key concepL o represenLaLion
2. Develop analyLical skills in examining how represenLaLions communicaLe
meaning Lo an audience

]1 9%#$ 3C$.E6#
3CE6-%$+'-&T3<$6*$+'-&T9&$6D/'/
V-I 5-#/ '+ E%#/#&+ +X# I-%65 '& +X# +#C+e
432 SeLLing/locaLion

432 Props

432
Non-verbal
communicaLion

432 Colour

432 LighLing

432 CosLume and make-up

1 ShoL size

1 Camera angle

1 Framing

"
Language and
anchoring

S NarraLive

0 Cenre

Z RepresenLaLion

When wriLing your paragraphs you should use a range o connecLives Lo help broaden your response.
-.//0-1-
234520-
6271-
27829:10-
0;<=0-
27123:10-
-2/72>20-
30:7-
9<77<10-
255.-1?:10-
255.327:10-
27>0?-
0@4529:10-
0@03452>20-
05.928:10-
!%"!

!"#$%&' )>*;+ I#"7B'4F"7 2"69 0F:3=3

9//'(&.#&+

"#<#6
4$%KT
0%$5#
^X$+ A &##5 +- 5- '& .D $&/I#%/
8',K '; D-*
X$<# $,X'#<#5
+X'/
J
A* - 20
A* - 9
A - 8
A - 7
A - 6

1horough undersLanding o Lhe relevanL key concepLs (CRAMl)
PoinLs are clearly supporLed by deLailed LexLual evidence
very accuraLe use o media Lerminology
Clearly expressed and well sLrucLured, only an occasional error o
spelling, puncLuaLion and grammar

1horough undersLanding o how connoLaLion is creaLed and iLs
eecL

Discussion o a range o issues raised by Lhe LexL

>
8 - 5
8 - 4
C - 3
C - 2
D -
D - 0

Sound undersLanding o Lhe relevanL key concepLs (CRAMl)
Sound LexLual evidence Lo supporL poinLs
MosLly accuraLe use o media Lerminology
Reasonably expressed wiLh some errors o spelling, puncLuaLion
and grammar

Sound undersLanding o how connoLaLion is creaLed and iLs eecL
Discussion o one or Lwo issues raised by Lhe LexL

?
F - 9
F - 8
F - 7
F - 6

Some undersLanding o Lhe relevanL key concepLs (CRAMl)
Some LexLual evidence Lo supporL poinLs
Use o media Lerminology is limiLed
8asic expression wiLh persisLenL errors in spelling, puncLuaLion and
grammar

Some undersLanding o how connoLaLion is creaLed and iLs eecL
MenLion o some issues raised by Lhe LexL, buL very skeLchy or no
menLion o issues aL all

@
C - 5
C - 4
U - 3
U - 2
U -
0- U
Minimal undersLanding o Lhe relevanL key concepLs (CRAMl)
very minimal use o media Lerminology
Some simple ideas expressed wiLh errors o spelling, puncLuaLion
and grammar LhaL obscure meaning. WriLing may also lack
legibiliLy.

LoLs o errors in spelling, puncLuaLion and grammar LhaL aecL Lhe
meaning

Minimal undersLanding o how connoLaLion is creaLed and iLs
eecL

Minimal undersLanding o Lhe relevanL key concepLs (CRAMl)

8$/KL Read your peers' paragraphs and give Lhem a mark using Lhe mark scheme above. ldenLiy
Lwo sLrengLhs and Lwo LargeLs Lo improve.
!%"$

lnLroducLlon Lo Lhe key ConcepLs SoW age ;6 of o_ ZlgZag LducaLlon zo_
!"#$%&' )@*)+ R$3%7%G435 - A3D4#4'4%#5 0:33'

"#$%&'&( )*+,-.#/
. UndersLand Lhe key concepL o ideology and Lhe dierenL ideologies in media
LexLs
2. Develop analyLical skills in examining ideology in a LexL

A5#-6-('#/
ldeology is a seL o belies, aLLiLudes and values. We will sLudy ive ideologies.

1$E'+$6'/+ Lhe imporLance o money and sLaLus
V#+#%-/#C*$6 promoLion o mixed-sex relaLionships (male and emale)
B$+%'$%,X$6 Lhe promoLion o males as Lhe dominanL gender in socieLy
=-*%(#-'/ Lhe consLanL search Lo improve onesel in sLaLus in socieLy
R$.'6'$6 Lhe promoLion o Lhe amily uniL and Lhe basis o a sLable socieLy
!&"!

lnLroducLlon Lo Lhe key ConcepLs SoW age ;; of o_ ZlgZag LducaLlon zo_
8%695:33' )@*;+ R$3%7%G435 I#"7B545 0:33' VC64#'Y

8$/KL Analyse Lhe LexL you have been given and Lry Lo idenLiy Lhe ideologies Lhe LexL is suggesLing.
ls iL supporLing Lhe ideology or going againsL iL

A5#-6-(D 9&$6D/'/
2*EE-%+'&( -%
$($'&/+e
1$E'+$6'/+

V#+#%-/#C*$6

B$+%'$%,X$6

=-*%(#-'/

R$.'6'$6

!&"$

lnLroducLlon Lo Lhe key ConcepLs SoW age ;8 of o_ ZlgZag LducaLlon zo_
8%695:33' )@*>+ R$3%7%G435 I#"7B545 0:33' V2%S4#G R="G3Y

8$/KL Analyse Lhe LexL you have been given and Lry Lo idenLiy Lhe ideologies Lhe LexL is suggesLing.
ls iL supporLing Lhe ideology or going againsL iL

A5#-6-(D 9&$6D/'/
2*EE-%+'&( -%
$($'&/+e
1$E'+$6'/+

V#+#%-/#C*$6

B$+%'$%,X$6

=-*%(#-'/

R$.'6'$6

!&"%

lnLroducLlon Lo Lhe key ConcepLs SoW age 8o of o_ ZlgZag LducaLlon zo_
!"#$%&' )H*)+ -%#'3O'5 %D <6"#5=4554%#

1he ollowing are a range o conLexLs o Lransmission used by Lelevision insLiLuLions Lo help Lhem
maximise Lheir revenue.

1-&+#C+ \#;'&'+'-&
8$%(#+'&( $*5'#&,#/
Fach insLiLuLion will make LexLs LhaL appeal Lo a cerLain range o
audiences. 1hey Lhink abouL Lhe ollowing when LargeLing audiences.
Age
Cender
Social class
FLhniciLy
RegionaliLy
B6$,#.#&+ H#+I##& +#C+/
1his is also known as 'hammocking', where a LexL is placed beLween Lwo
oLher LexLs, wiLh Lhe insLiLuLion hoping LhaL Lhe audience o Lhe preceding
LexL will waLch Lhe 'middle' LexL as a iller while waiLing or Lhe Lhird LexL.
1hereore, Lhe 'middle' LexL inheriLs Lhe audience rom Lhe oLher Lwo LexLs.
1his is parLicularly used or new programmes.
2,X#5*6'&( F/+%'E $&5
/+%$&5 /,X#5*6'&(G
SLripping and sLranding is a process LhaL involves placing a programme
on aL Lhe same Lime LhroughouL Lhe week (normally Monday Lo Friday).
Soap operas like FasLFnders and CoronaLion SLreeL are sLripped. 1his
helps audiences rely on Lhe regulariLy o Lhe programme, and guaranLees
Lhe insLiLuLions an audience.
1-.E#+'+'-& H#+I##&
'&/+'+*+'-&/
ln Lheir search Lo increase Lheir audiences, insLiLuLions puL programmes
up againsL each oLher in similar caLegories Lo Lry Lo spliL Lheir audience or
sLeal audience members - or example, l1v's 8riLain's CoL 1alenL againsL
88C's 1he voice.
Z#E#$+'&( +#C+/ -& %#6$+#5
,X$&&#6/ $&5 /+$+'-&/
W@ 1X$&&#6/ - MosL channels now have - channels LhaL show
programmes an hour laLer, so audiences LhaL miss Lhe sLarL o a
programme can caLch Lhe beginning on Lhe - channel.
2'/+#% 1X$&&#6/ - Some programmes are repeaLed on sisLer sLaLions (e.g.
88C can use 882, 88C3 or 88C4 Lo repeaL programmes).
1his will hopeully increase Lheir audience reach, as viewers can waLch Lhe
programme aL anoLher Lime on a channel LhaL is more geared Lowards
Lhem.
!'"!

8%695:33' )H*;+ -%#'3O'5 %D <6"#5=4554%# I#"7B545

8$/KL Choose a well-known programme and idenLiy Lhe conLexLs o iLs Lransmission and how each
conLexL helps Lhe insLiLuLion increase iLs audience.

Name o Programme. ................................................................................................................................................

1-&+#C+ 3C$.E6#/ 9*5'#&,# 9EE#$6 S#($+'<# A.E$,+
8$%(#+'&(
$*5'#&,#/

B6$,#.#&+
H#+I##& +#C+/

2,X#5*6'&(
F/+%'E $&5
/+%$&5
/,X#5*6'&(G

1-.E#+'+'-&
H#+I##&
'&/+'+*+'-&/

Z#E#$+'&( +#C+/
-& %#6$+#5
,X$&&#6/ $&5
/+$+'-&/

!'"$

lnLroducLlon Lo Lhe key ConcepLs SoW age 8_ of o_ ZlgZag LducaLlon zo_
!"#$%&' )J*)+ R#5'4'&'4%#"7 -%#5'6"4#'5 "#$ -%#'3O'5

"#$%&'&( )*+,-.#/
. UndersLand Lhe key concepL o insLiLuLion, iLs key Lerms and Lhe economic
consLrainLs or media insLiLuLions
2. Develop undersLanding o media insLiLuLions Lhrough research inLo a media
insLiLuLion

A&5*/+%'$6 ,-&/+%$'&+/ +X#-%D - all insLiLuLions are consLrained by Lheir need Lo aLLracL an audience. 1hey
are involved in a cycle o producLion LhaL eeds iLsel (see below).

lnsLiLuLions musL use a LexL Lo persuade an audience Lo buy Lheir LexL, so LhaL adverLisers will pay money
Lo adverLise in Lhe nexL LexL, and so on.
A&/+'+*+'-&
9*5'#&,#
95<#%+'/#%/
8#C+
A&5*/+%'$6
1-&/+%$'&+/
8X#-%D
!("!

!"#$%&' )J*;+ R#5'4'&'4%#"7 -%#'3O'

lnsLiLuLions use many dierenL ways Lo appeal Lo Lheir audiences, and Lhey are regulaLed and governed
in dierenL ways.

=%$&5 A5#&+'+D - lnsLiLuLions use Lhe concepL o brand idenLiLy as a sLamp o approval and qualiLy on
Lheir producLs Lo aLLracL an audience and promoLe loyalLy Lo and LrusL in Lheir producL. 88C3's brand
idenLiLy is LhaL o a youLh-orienLaLed channel, Lhis is achieved Lhrough bold and brighL colours in Lheir
logo and Lhe conLenL o Lheir programmes.

A&/+'+*+'-&$6 3+X-/ $&5 V'/+-%D - Some insLiLuLions rely on Lheir eLhos, or seL o values, and Lheir
hisLory. A loL o broadsheeL newspapers, such as 1he 1imes, used Lheir LradiLional and long-sLanding
eLhos o being a serious and qualiLy newspaper LhaL can be LrusLed. 1his has sLood Lhe LesL o Lime as a
key selling poinL o Lheir producLs, especially when iL launched iLs online newspaper.

B*H6', 2#%<',# =%-$5,$/+#%/ FB2=G - 1hese are channels LhaL have a remiL (required by law) Lo make
programmes or Lhe public. 1hey are unded by Lhe licence ee which everyone in Lhe UK has Lo pay in
order Lo view 1v in Lheir house. 1he 88C is Lhe biggesL PS8 and Channel 4 is parL PS8. 1he 88C is
accounLable Lo a seL o governors (Lhe 88C 1rusL), who ensure LhaL Lhe 88C provides a decenL range o
programmes or Lhe widesL possible audience. As Lhe 88C is LoLally unded by Lhe licence ee, iL does noL
have Lo use adverLising Lo pay or iLs programmes. As Channel 4 is parLially unded, iL needs adverLising
Lo und mosL o iLs programmes.

1-..#%,'$6 =%-$5,$/+#%/ - 1hese cover all oLher channels LhaL are noL unded by Lhe licence ee and
have Lo gain Lheir revenue Lhrough adverLising. 1he major commercial broadcasLers are l1v, Channel 5,
Sky and all oLher minoriLy channels. 1he reliance on adverLisers means Lhey have Lo ensure Lhey can geL
hold o large audiences, or successully gain a speciic audience (young males or example) Lo ensure LhaL
adverLisers will pay Lo adverLise Lheir producLs during Lhe programme.

Z#(*6$+'-& l );,-. - Programmes are checked and regulaLed by Ocom. l programmes oend or
upseL audiences, viewers can complain Lo Ocom, who will invesLigaLe and Lhen eiLher uphold Lhe
complainL or noL.

Z#(*6$+'-& l 95<#%+'/'&( 2+$&5$%5/ 9*+X-%'+D - AdverLisers are regulaLed by Lhe ASA and Lheir
conLenL is checked Lo ensure iL does noL cause oence or upseL. Audiences can complain Lo Lhe ASA
abouL oensive or upseLLing adverLs. 1he ASA will invesLigaLe and eiLher suspend Lhe adverL, or keep iL
on air, i Lhey ind noLhing wrong wiLh iL.

8X# 1X$&&#6i/ 8$%(#+ 9*5'#&,# l 4*6+'[1X$&&#6 A&/+'+*+'-&/ - Fach channel usually has a speciic
LargeL audience in mind, and many insLiLuLions have a range o channels. 1his help spread Lheir poLenLial
audience and eiLher increase Lheir adverLisers, or, in Lhe case o Lhe 88C, saLisy Lheir remiL Lo provide a
wide range o programmes or audiences.

2D&#%(D - 1his is Lhe cross-media promoLion o a producL Lhrough a range o dierenL mediums. A loL o
ilm LexLs have game Lie-ins, merchandise and links Lo oLher producLs (e.g. Aveners Assemble has links Lo
Lhe ilms 1hcr, Cctcin Americc and lrcn Mcn, as well as comics, merchandise, Lhe carLoon versions and
loLs, loLs more).
!("$

Medla
lnsLlLuLlons
88C
l1v
Channel
Channel
Sky 1v
!"#$%&' )J*>+ R#5'4'&'4%#"7 .353"6F:

8$/KL ou will be assigned one o Lhe media insLiLuLions below and you are Lo research iL using Lhe
insLiLuLional conLexLs on HandouL 6.2.

!("%

8%695:33' )J*@+ 23$4" R#5'4'&'4%# .353"6F:

8$/K. Research Lhe insLiLuLion you have been assigned and use Lhe quesLions Lo sLrucLure your
research and answers. ou will need Lo ind media LexLs produced by Lhe insLiLuLions Lo help you
compleLe Lhe Lhird column on how Lhe conLexL has aecLed Lhe LexLs LhaL are produced.

S$.# -; A&/+'+*+'-&L

A&/+'+*+'-&$6 ,-&+#C+ 9&$6D/'/
R'&5 $&5 #CE6$'& -&#
+#C+*$6 #C$.E6# +X$+ X$/
H##& $;;#,+#5 HD +X'/
,-&+#C+
^X$+ '/ +X# H%$&5 '5#&+'+D -;
+X# '&/+'+*+'-&e

^X$+ '/ +X# '&/+'+*+'-&$6
#+X-/ $&5T-% X'/+-%De

A/ +X# '&/+'+*+'-& $ E*H6',
/#%<',# H%-$5,$/+#% -% $
,-..#%,'$6 H%-$5,$/+#%e

V-I '/ '+ %#(*6$+#5e
Z#/#$%,X '+/ 5#$6'&(/ I'+X
);,-. $&5T-% +X#
95<#%+'/'&( 2+$&5$%5/
9*+X-%'+DU

V-I I-*65 D-* 5#;'&# +X#
'&/+'+*+'-&i/ .$'& +$%(#+
$*5'#&,#e
8X'&K $H-*+ $(#k (#&5#%k
/-,'$6 ,6$//k #+X&','+D $&5
%#('-&$6'+DU

)*+6'&# +X# '&/+'+*+'-&i/
.*6+'[,X$&&#6/ $&5 IX$+
$*5'#&,#/ +X#D $EE#$6 +-U

A/ +X#%# $&D #<'5#&,# -;
/D&#%(D 6'&K/ I'+X -+X#%
.#5'*./ -% ,X$&&#6/e

!("&

!"#$%&' )K*)+ I&$43#F3 03G=3#'"'4%# 2%$375 "#$ <:3%6435

"#$%&'&( )*+,-.#/
. UndersLand Lhe key concepL o audience and Lhe range o dierenL audience
Lheories
2 Develop analyLical skills in examining how LexLs LargeL and appeal Lo audiences
and whaL audiences geL ouL o media LexLs

9*5'#&,# 2#(.#&+$+'-& 4-5#6/ $&5 8X#-%'#/
All media LexLs musL aLLracL an audience. Here is a lisL o audience Lheories LhaL are used Lo LargeL media
producLs.

1-&/+%*,+'-& - An insLiLuLion devises a producL LhaL should appeal Lo a seL audience.

1-&/*.E+'-& - 1his is Lhe acLual waLching, lisLening or buying o Lhe producL.

4$// 9*5'#&,# - A large audience group LhaL is oLherwise known as a '.$'&/+%#$.i audience, Lhe LexL
will probably appeal Lo a wide range o dierenL groups.

S',X# 9*5'#&,# l A small audience group LhaL is oLherwise known as a '.'&-%'+Di audience, Lhe LexL will
appeal Lo a small group o people.

B6#$/*%#/ -; +X# 8#C+ - 1here are a wide range o dierenL pleasures LhaL audiences can gain rom
waLching media LexLs. 8elow is a lisL o possible pleasures (noLe LhaL Lhe lisL is noL exhausLive).

. lnvolvemenL in conLinuing sLory in sequels
or prequels
2. FnjoymenL o scandal in Lrue-lie sLories
3. FnjoymenL o romance
4. FnjoymenL o Lragedy
5. Schadenreude (enjoymenL in someone
else's pain or downall)
6. AddicLion
7. virLual riends
8. vicarious pleasures (living your lie Lhrough
oLhers - anLasising)
9. Humour
0. Realism
. 1hey relecL views we agree wiLh
2. 1ension and exciLemenL
3. We enjoy sLereoLypes
4. 1hey relecL our culLure
5. We can laugh aL people we despise
6. ConlicL
7. SpecLacular evenLs
8. We like Lhe characLers/acLors
9. Makes us eel beLLer, we are noL as bad o
as we Lhink
20. UndersLanding oLher parLs o Lhe counLry or
our world

B$//'<# 9*5'#&,#/ - 1his Lheory suggesLs LhaL audiences willingly accepL whaL Lhe media Lell Lhem and
waLch Lhe conLenL wiLhouL any parLicular personal viewpoinL and do noL ully engage wiLh Lhe maLerial.
1he LexL does noL Lend Lo oer Lhe audience an opporLuniLy Lo commenL on Lhe LexL.

9,+'<# 9*5'#&,#/ - 1his Lheory suggesLs LhaL audiences will challenge LexLs LhaL Lhey do noL like or
agree wiLh. 1hese audiences are eager Lo choose Lheir own conLenL. 1he acLive audience LexLs Lend Lo
oer Lhe audience an opporLuniLy Lo voice Lheir opinion on Lhe LexL Lhrough social media (e.g. Facebook,
1wiLLer, eLc.).
!)"!

!"#$%&' )K*)+ I&$43#F3 03G=3#'"'4%# 2%$375 "#$ <:3%6435

2#(.#&+$+'-&

95<#%+'/#%/i 2-,'$6 0%$5#/ FR%-. 95<#%+'/'&( 9//-,'$+'-&k 9,-%&G
16$// \#/,%'E+'-& : -; E-E
A - 1hriving

2
3
WealLhy achievers, suburban areas
AluenL greys, rural communiLies
Prosperous pensioners, reLiremenL areas
5.0
2.
2.6
8 - Fxpanding
4
5
AluenL execuLives, amily areas
Well-o workers, amily areas
4.
8.0
C - Rising
6
7
8
AluenL urbaniLes, Lown and ciLy areas
Prosperous proessionals, meLropoliLan areas
8eLLer-o execuLives, inner ciLy areas
2.5
2.3
3.8
D - SeLLling
9
0
ComorLable middle-agers, maLure, home-owning areas
Skilled workers, home-owning areas
3.6
0.7
F - Aspiring

2
New homeowners, maLure communiLies
WhiLe-collar workers, beLLer-o mulLi-eLhnic areas
9.6
4.0
F - SLriving
3
4
5
6
7
Older people, less prosperous areas
Council esLaLe residenLs, beLLer-o homes
Council esLaLe residenLs, high unemploymenL
Council esLaLe residenLs, greaLesL hardship
People in mulLi-eLhnic, low-income areas
3.6
0.8
2.8
2.3
2.0
!)"!

lnLroducLlon Lo Lhe key ConcepLs SoW age o of o_ ZlgZag LducaLlon zo_
!"#$%&' )K*)+ I&$43#F3 03G=3#'"'4%# 2%$375 "#$ <:3%6435

B/D,X-(%$EX',/ F+X# E/D,X-6-(',$6 /+$+# -; +X# ,-&/*.#%G
0%-*E \#/,%'E+'-& : -; E-E
=#6-&(#%/
1radiLionalisLs, cauLious, conorming conservaLives, nesL builders,
sLay aL homers, inLeresL in pension plans, insurance
>>:
3.*6$+-%/
Smaller, more impressionable, young. ldenLiLy seekers, lack sel-
conidence, conused and vulnerable. AdverLisers prey on Lheir
insecuriLies by oering Lhem role models and heroes and
reassurance o group accepLance and riendship.
@M:
3.*6$+-% l
9,X'#<#%/
MaLerialisLs, acquisiLive consumers, avour designer labels,
consumer goods as evidence o accomplishmenL, success and
good LasLe
?`:
2-,'$66D
1-&/,'-*/
9,X'#<#%/
Creying hippies, children o Lhe 60s, concerned more wiLh
personal ulilmenL, againsL conspicuous consumpLion, conscious
o environmenL, scepLical o adverLising
?`:
S##5[\'%#,+#5
Minimum wage earners or receiving beneiLs. Mainly concerned
wiLh survival Lhan consumpLion. AdverLisers noL inLeresLed in Lhis
group. No expendable income.
@M:

"';#/+D6# 8DE#/ - a lisL o dierenL liesLyle Lypes aL which Lo aim your producL
8DE# \#/,%'E+'-&
95.'%$+'-& 2##K#%/ People who wish Lo have producLs LhaL make oLhers admire Lhem
B6#$/*%# 2##K#%/ People who look or producLs Lo give Lhem a sense o exciLemenL and a buzz
2#,*%'+D $&5 2+$H'6'+D
2##K#%/
People who search or producLs LhaL will give Lhem a sense o sLabiliLy and
securiLy (e.g. insurance and morLgage proLecLion)
9&+'[9*+X-%'+D Z#H#6/
People who seek producLs LhaL will give Lhem a sense o being dierenL and
going againsL socieLy's norms
d-'&#%/ People who buy producLs LhaL make Lhem eel accepLed in socieLy
0#&#%$+'-& m
People who don'L know whaL Lhey wanL and don'L care so will aim Lo buy any
producL
4$+#%'$6'/+/ People who buy producLs LhaL only have maLerial value (e.g. elecLrical goods)
1-.E6$'&#%/
People who are cynical abouL any producL and believe LhaL all producLs don'L
work as well as Lhey should do
\-[0--5#%/
People who always Lry Lo do good deeds Lo make Lhemselves eel good
abouL Lhemselves (e.g. appealed Lo by chariLy adverLs)
9,X'#<#%/
People who are well o and have achieved a loL in Lheir jobs and can aord
Lhe expensive producLs (e.g. Armani and Cucci)
3CE#%'.#&+$6'/+/
People who don'L mind Laking a risk on a new producL LhaL socieLy hasn'L
really sLarLed using yeL
^-%K'&( 16$// B*%'+$&/
People who are keen on saving and will only buy producLs LhaL are essenLial,
noL luxurious (e.g. cheap cleaning producLs)
2+%*((6'&( B--%
People who have very liLLle income so can only aord Lhe cheap versions o
all producLs
Z#/'(&#5 B--% People who accepL Lhey can'L even aord Lhe cheap versions o producLs
!)"!

!"#$%&' )K*)+ I&$43#F3 03G=3#'"'4%# 2%$375 "#$ <:3%6435

Self-acLuallsaLlon
"#$ %$$& '( )*++$$& ,%& -$+(.$ /#,'
0(* /1)# '( -$

LsLeem
2$345$)'$$.6 )','*)6 7$)8$+' ,%&
,&.17,'1(%
Love/belonglng
"#$ %$$& '( -$3(%9 '( , 97(*8
SafeLy
:$7)(%,3 )$+*71'0 ;<(-)6
471$%&)=
hyslologlcal
>((&6 )#$3'$76 $'+?
1his Lheory has been very much linked Lo how adverLisers
LargeL Lhe wanLs and needs o Lheir LargeL audience by
appealing Lo Lhem on as many levels as Lhe pyramid has.

For example, Coca-Cola can ulil Lhe physiological needs
o level , buL Lhe social accepLance LhaL comes rom
drinking Coke Zero could appeal Lo Lhose on level 3. ln
addiLion, DieL Coke consumers could be drinking Lhe
sugar-ree drink Lo help boosL Lheir sel-esLeem aL level 4
Lo Lry Lo achieve Lhe sel-acLualisaLion o being iL and
healLhy!
4$/6-Ii/ V'#%$%,XD -; S##5/
Abraham Maslow believed LhaL humans
had a pyramid o needs as below.
!)"!

!"#$%&' )K*)+ I&$43#F3 03G=3#'"'4%# 2%$375 "#$ <:3%6435

7/#/ $&5 0%$+';',$+'-& 8X#-%D
1his Lheory suggesLs LhaL media LexLs give us our Lhings.

36#.#&+ -; +X# +X#-%D ^X$+ '+ .#$&/ +- $& $*5'#&,#
T$-5"6/+ Q4$6#*#0
Our lives may be relecLed in Lhe LexL (we may see a
sLoryline or an incidenL LhaL has happened Lo us aL
some poinL in our lives or aL Lhe same Lime)
U*B$-5*"63 E57/,*5?3 E6#$-#/*6?$6#
1he LexL may help us escape rom realiLy or a while
(almosL like a saeLy valve rom Lhe rusLraLions o
daily lie)
T$-5"6/+ >$+/#*"659*,53 V"7*/+ Q6#$-/7#*"6
We may LreaL Lhe LexL as a riend, or a discourse in
our lie (Lhe regulariLy o lcstlnJers helps
audiences build a relaLionship wiLh Lhe
programme)
V(-B$*++/67$3 Q6:"-?/#*"6
A LexL may give us inormaLion abouL a parLicular
issue/subjecL (e.g. Leenage pregnancy)

!)"!

8%695:33' )K*;+ I&$43#F3 I#"7B545 0:33'

8$/KL WaLch Lhe ollowing LexL and wriLe down Lhe elemenLs o Lhe LexL LhaL appeal Lo you.
1hen wriLe down whaL Lype o audience you Lhink Lhe LexL would appeal Lo using Lhe audience
Lheories and demographics above.

S$.# -; 8#C+L

8X#-%D -% 5#.-(%$EX',
)*+6'&# IX- +X# $*5'#&,#
I-*65 H# -% +X# $EE#$6 +-
+X# $*5'#&,#
^X$+ '/ '& +X# +#C+ +X$+
$EE#$6/ +- +X'/ $*5'#&,#e
4$// -% &',X# $*5'#&,#

B6#$/*%#/ -; +X# +#C+

B$//'<# -% $,+'<# $*5'#&,#/

9lR /-,'$6 (%$5#

B/D,X-(%$EX',/

"';#/+D6# +DE#/

4$/6-Ii/ X'#%$%,XD -; &##5/

7/#/ $&5 (%$+';',$+'-&/

!)"$

8%695:33' )X*)+ I&$43#F3 I#"7B545 0:33' - C64#' I$S36'5

Now look aL Lhe range o prinL adverLs and idenLiy whaL Lype o audience is being appealed Lo.

95<#%+
4$//T
S',X#
B6#$/*%# B$//'<#T9,+'<#
9lR
0%$5#
B/D,X-[
(%$EX',/
"';#/+D6#
4$/6-Ii/
V'#%$%,XD
7/#/
$&5
0%$+U
8X#-%D

!*"!

8%695:33' )X*;+ I&$43#F3 I#"7B545 0:33' - <_ I$S36'5

Now look aL Lhe ollowing 1v adverLs and Lry Lo idenLiy whaL segmenL o Lhe audience would
consume Lhe programme.

95<#%+
4$//T
S',X#
B6#$/*%# B$//'<#T9,+'<#
9lR
0%$5#
B/D,X-[
(%$EX',/
"';#/+D6#
4$/6-Ii/
V'#%$%,XD
7/#/
$&5
0%$+U
8X#-%D

!*"$

lnLroducLlon Lo Lhe key ConcepLs SoW age oz of o_ ZlgZag LducaLlon zo_
!"#$%&' )X*@+ !%=3T%69 <"595 D%6 ':3 b#4'

0123 4#5'$ 2+*5'#/L A&+%-5*,+'-& +- +X# ]#D 1-&,#E+/
S-U 2#+ 8$/K \*# 4$%K
@
CompleLe a media diary o your media consumpLion over a ew
days. CounL how many hours you spend consuming media.

? Design a logo or your own media company name.
> Revise or a LesL on Lhe Lerminology o Lechnical codes.
J
Analyse an opening sequence o a ilm o your choice, examining
Lhe use o media language Lechnical codes sLudied in class.

M Revise or a LesL on Lhe media language audio Lechnical codes.
N
Analyse a sequence o your choice and examine how ediLing
Lechniques are used Lo engage an audience.

O
Choose an image rom a newspaper, magazine or one o your own
and crop iL.
Fxplain why you have chosen Lo crop Lhe picLure.
1hen puL a capLion and anchor Lhe meaning o Lhe image.
Fxplain whaL meaning you are Lrying Lo creaLe.

P Revise or LesL on Lhe mise-en-scne codes or nexL lesson.
Q
Analyse a ilm sequence o your choice and apply Lhe mise-en-
scne codes Lo Lhe sequence and how Lhey are used Lo creaLe
meaning.

@`
Analyse a ilm sequence o your choice and examine how Lhe
narraLive Lheories you have sLudied are used.
Do Lhey ollow or break Lhe rules

@@
Analyse a ilm o your choice and idenLiy whaL dierenL genres iL
uses.

@?
CompleLe a conLenL analysis o Lhe dierenL eLhnic groups in a
range o Lhree dierenL 1v programmes.

@>
Analyse a LexL o your choice and apply Lhe ive ideologies, looking
aL wheLher Lhe LexL supporLs or challenges Lhem.

@J
SLudenLs research a channel o Lheir choice and use Lhe conLexLs o
Lransmission and Lhe posiLive and negaLive aspecLs o each conLexL.

@M
Look aL anoLher insLiLuLion and carry ouL research like you
compleLed in Lhe lesson.

@N Revise or a LesL on audience Lheories and demographics.
@O
Revise or a media language Lerminology LesL and LexLual analysis
exam (end-o-Lerm LesL).

!+"&

lnLroducLlon Lo Lhe key ConcepLs SoW age o_ of o_ ZlgZag LducaLlon zo_
!"#$%&' )^*H+ /7%55"6B

8#%. \#;'&'+'-&
9*5'#&,# 1he people who consume Lhe media LexLs
1$.#%$ ShoL sizes and angles used Lo creaLe meaning
35'+'&( 1he process o piecing LogeLher camera shoLs Lo make meaning
0#&%# 1he caLegorisaLion o media LexLs (e.g. dramas, science-icLion, comedy)
A5#-6-(D A seL o belies and values helped by people and media companies
A&/+'+*+'-&
1he media companies LhaL make media LexLs (e.g. 88C, l1v, 20
Lh
CenLury
Fox, eLc.)
4#5'$ "$&(*$(#
1he Lechnical aspecLs o media LexLs including mise-en-scne, camera,
ediLing, sound, cropping and anchoring
4'/#[#&[2,h&#
A French Lerm or 'everyLhing in Lhe rame' which ocuses on seLLing, props,
cosLumes, acial expression, colour
S$%%$+'<#
How sLories are sLrucLured in media LexLs (using Lheories by 1odorov,
Propp, Lvi-SLrauss and 8arLhes)
Z#E%#/#&+$+'-& 1he way Lhe media presenLs views on people, places and evenLs
2-*&5
8oLh real (diegeLic) and added sounds (non-diegeLic) Lo media LexLs Lo
creaLe meaning

!+"'

Introduction to Key Concepts (Student Worksheets)

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CC8 CCSL lnLroducLlon Lo Lhe key ConcepLs SoW age of o_ ZlgZag LducaLlon zo_

!"#$%&' )*)+ ,-. /-01 23$4" 0'&$435 -%&653 ,&'74#3

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