Friday, 23 April 2010

Marking Criteria for Evaluation

Each candidate will evaluate and reflect on the creative process and their experience of it.

Candidates will evaluate their work electronically. The format of the evaluation has some flexibility

and its form can be negotiated between teacher and student: it may take place with individual

candidates or with the production group as a whole, or each individual candidate or production

group may make a formal or informal presentation to the whole class.

The questions that must be addressed in the evaluation are:

In what ways does your media product use, develop or challenge forms and conventions of real

media products?

How effective is the combination of your main product and ancillary texts?

What have you learned from your audience feedback?

How did you use new media technologies in the construction and research, planning and

evaluation stages?


Wednesday, 31 March 2010

Specimen Questions

http://www.scribd.com/doc/28550211/A2-Level-GCE-Media-Studies-Specimen-Assessment-Materials-G325

Folks, spend 2 hours on this. Half hour each on questions 1 a and b and then 1 hour on either question 8 or 9 (Media in the online Age).

For question 1(a) it might be worth having a look at this article on narrative
You can write about any of your projects to date.

For question 8/9 refer to both TV and music industries.

Monday, 29 March 2010

Some exam focus

Section A: Theoretical Evaluation of Production
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.

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:
Digital Technology
Creativity
Research and planning
Post-production
Using conventions from real media texts

In the examination, questions will be posed using one or two of these categories.
Where candidates have produced relevant work outside the context of their A Level media course,
they are free to additionally refer to this experience.

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:
Genre
Narrative
Representation
Audience
Media language

In the examination, questions will be set using one of these concepts only. (but you would need to prepare for all)

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.




Section B: Contemporary Media Issues
One question to be answered from a choice of six topic areas offered by OCR. There will be two
questions from each topic area.
The topic areas require understanding of contemporary media texts, industries, audiences and
debates.

Candidates must choose one of the following topic areas (we are studying Media in the Online Age), in advance of the examination and,
through specific case studies, texts, debates and research of the candidates’ choice, prepare to
demonstrate understanding of the contemporary issue. This understanding must combine
knowledge of at least two media and a range of texts, industries, audiences and debates, but these
are to be selected by the centre / candidate. The assessment of the response will be generic,
allowing for the broadest possible range of responses within the topic area chosen. Each topic is
accompanied by four prompt questions, and candidates must be prepared to answer an exam
question that relates to one or more of these four prompts. There should be emphasis on the
historical, the contemporary and the future in relation to the chosen topic, with most attention on
the present. Centres are thus advised to ensure that study materials for this unit are up to date and
relevant.


Topic Content Prompts
Candidates are free to study any media texts, theories, case studies, debates and issues,
providing they relate to the four prompts for the topic area selected. The exam question:
Media in the Online Age
How have online media developed?
What has been the impact of the internet on media production?
How is consumer behaviour and audience response transformed by online media, in relation to
the past?
To what extent has convergence transformed the media?
Candidates might explore combinations of any two media, considering how each (or the two in
converged forms) can be analysed from the above prompts. Examples might be music
downloading and distribution, the film industry and the internet, online television, online gaming,
online news provision, various forms of online media production by the public or a range of other
online media forms.

Thursday, 17 December 2009

The Kettle's Bin GAT!

So it has so it has.

Just need cups, and em milk, and like treats n stuff

Wednesday, 9 December 2009

Apple buys lala.com


Remember LaLa that we looked at last year? Well it has just been bought by Apple, possibly for their online music storage and streaming capabilities.

Again, this raises interesting questions around ownership and distribution.... so much happening right now!!

Record Labels Face $6 Billion Damages for Pirating Artists

http://torrentfreak.com/record-labels-face-60-billion-damages-for-pirating-artists-091207/

Monday, 7 December 2009

more EMI

http://business.timesonline.co.uk/tol/business/industry_sectors/media/article5864044.ece

More Spotify and Myspace

Spotify could be dead within a year?


Myspace


An interesting, "older" article on how Spotify challenges the question of ownership

compare the music market....


You have price comparison sites for hotels, insurance and mortgages. Martin Lewis, who has been advising people on their consumer rights online for years, has now developed his price comparison site for MP3s. It's not bad, and the interface is a bit gnarly, and I have seen similar ones for more dance-oriented music too.

Friday, 4 December 2009

The Prodigy

Amazing video of how the samples were used to create The Prodigy's most infamous song, really, really cool video.... so simple, but so well put together





Thursday, 3 December 2009

Big internet Hitters pledge Mandelson to remove clause

.... From Digital Rights Bill, even Google are involved


Google, Facebook, Yahoo and eBay call on business secretary not to grant wide powers to ministers to alter copyright law

Leading internet companies including Google have written to business secretary Peter Mandelson urging him to change the new digital economy bill to throw out a controversial clause that could give future ministers sweeping powers to change copyright law.

Their letter, sent to coincide with today's second reading of the recently announced bill in the Lords, voices support for parts of the bill and a "shared respect" for copyright. But Google, Facebook, Yahoo and eBayalso express "grave concerns" over proposed measures "which risk stifling innovation and damaging the government's vision for a digital Britain."

They highlight elements of Mandelson's bill introduced at the 11th hour: "In particular, we believe the bill's clause 17 – which gives any future secretary of state unprecedented and sweeping powers to amend theCopyright, Designs and Patents Act 1988 – opens the way for arbitrary measures. This power could be used, for example, to introduce additional technical measures or increase monitoring of user data even where no illegal practice has taken place," the letter said.

The internet companies warn that such an unclear copyright backdrop could run counter to former communications minister Stephen Carter'sDigital Britain report, which examined ways to ensure the UK remained at the leading edge of the global digital economy.

"This would discourage innovation, impose unnecessary costs, potentially unsettling the careful balance of responsibilities for enabling market change which Lord Carter outlined in the Digital Britain report," the letter said. "This clause is so wide that it could put at risk legitimate consumer use of current technology as well as future developments ... The industry as a whole had hoped that the outcome of Digital Britain would be a clear, workable set of principles by which the industry could operate. On the contrary, clause 17 creates uncertainty for consumers and businesses and puts at risk the UK's leading position in a digital Europe. We urge you to remove clause 17 from the bill."

A spokesman for Mandelson's department sought to reassure the internet companies the government would not abuse any future powers.

"The law must keep pace with technology, so that the government can act if new ways of seriously infringing copyright develop in the future. However, business will not wake up one morning to a world in which government has taken extensive digital powers," he said.

While the digital economy bill was welcomed by many media companies,which feel their copyright on music, film and other content need better protection online, it has also faced a large amount of opposition from internet service providers and consumer groups.

Carphone Warehouse boss Charles Dunstone recently condemned as "crazy" plans to combat online piracy by severing people's broadband connections. The group's broadband arm, TalkTalk, has threatened to take legal action if proposals to cut off persistent unlawful online file sharers make it into law.

An e-petition on the No 10 website against the law has already garnered more than 28,000 signatories and the support of such technophiles as Stephen Fry.

Music labels should make filesharing work

...as opposed to criminalising downloaders, according to this article:

Myspace Music steps it up a gear

In the face of massive rivalry from the likes of facebook, soundcloud and spotify, Myspace music launches a challenge. Apparently it isn't "just a utility for streaming music, this isn't just passive. It's is a combination of a streaming service with a ton of information.":


Tuesday, 1 December 2009

Wi-Fi Hotspots to become a thing of the past under DRB

Interesting stuff:

I was thinking too about how bandwidth-heavy users may be part of collateral damage on this too. For example, when I use the BBC iPlayer, it hogs the life out of my connection, and this is due to the fact that the iPlayer uses P2P technology to create so many streams. Also, I download a few gigabytes of LEGAL music a month too. AAAAND... what if you are a heavy online gamer, what with MW2 etc etc???