GCE EXAMINERS' REPORTS

MEDIA STUDIES

AS/Advanced

SUMMER 2015

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Unit

Page

MS1

MS2

MS3

10

MS4

13

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MEDIA STUDIES
General Certificate of Education
Summer 2015
Advanced Subsidiary/Advanced
MS1 - Media Representations and Responses

Principal Examiner:

Christine Bell

The texts for this examination were the DVD covers for Red 2 and The Mortal Instruments:
City of Bones. These texts proved to be very accessible for candidates, especially in terms
of Question 1, giving a range of opportunities to demonstrate media knowledge and
understanding. However, the overall paper continues to prove challenging for the candidates
who are under-prepared for the type of questions set across the breadth of the paper.
Question 1
Candidates engaged really well with the rich print based resources (equally well across both
texts). The best answers were thorough, detailed and engaged with all the bullet points using
sophisticated vocabulary.
The range of points made included:
Red 2
Visual Codes

Colour - red and connotations of danger

Clothing - distinctive to characters
Gesture - strong, assertive, walking towards audience
Expression - formal, serious suggesting they are in control
Setting and iconography - urban setting with iconic landmarks, cities with
global importance reflecting genre and narrative, guns

Layout and Design

Positioning of central image and gaze to readers

Font styles e.g. Red 2 - paint like font suggesting action
Use of graphics
Text positioning/ design
Hierarchy of characters
Colour design/ use of red and gold of fire to attract audience and suggest
narrative and genre

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Narrative

Front cover establishes genre, characters and their possible role in the
narrative
Tag line
Thumbnails establish narrative enigmas and reinforce genre
Blurb - language suggests genre and gives an outline of narrative; focus on
age
Settings linked to narrative and to audience expectations

The Mortal Instruments: City of Bones

Visual Codes

Colour - dark shades, cold blue suggesting dark theme, connotations of black
Clothing - suggesting youth e.g. leather jackets, hoody
Gesture - giving clues to 'special powers', suggestions of fear
Expression - suggesting 'other worldliness', fear. Use of direct mode of
address
Setting and iconography - fantastical. Iconography of fantasy genre - tattoos,
logo, castle

Layout and Design

Central image - gives clues to narrative, characters split by setting, direct

mode of address
Placing of stars, expert criticism
Font styles and graphics reinforcing genre
Large image on back to establish relationship, thumbnails suggesting
narrative
'Special Features' to attract audience

Narrative

Front cover establishes genre, characters and their possible role in narrative
Tag line
Thumbnails establish narrative enigmas and reinforce genre
Blurb - language suggests genre and gives an outline of narrative and
characters; focus on age
Settings linked to narrative
'Warning' in certification gives clues to narrative

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Main observations from candidates' responses:

Candidates were generally well prepared for this question and responded well to the
rich texts.
A range of media language was used effectively.
The strongest candidates were able to discuss purpose and effect, particularly with
regard to visual codes, layout and design. This enabled them to avoid a more
descriptive response.
Stronger candidates were able to link visual codes, layout and design to narrative.
The strongest candidates demonstrated an ability to structure a coherent response
and to write fluently.
It was of some concern that many candidates did not show any evidence of planning
their response; this is essential.
Narrative, one of the bullet points, was for the most part addressed explicitly in a
variety of ways: some answers engaged with the bullet point separately, others wove
points relating to narrative into the body of their response when most relevant.
However, there were some candidates who didn't explicitly respond to narrative, with
understanding remaining implicit. Many candidates did not explore the aspects of the
text that would have allowed them to discuss narrative more fully, for example the
blurb, the language and the thumbnails on the back of the DVD cover. This resulted
in candidates giving a speculative response unsupported by evidence.
Weaker candidates generally produced a more descriptive, assertive response
lacking close textual analysis and made more simplistic points about layout and
design, focusing on elements that 'stand out' and use of colour. There was over
elaboration of the obvious.
Some candidates produced competent but very general responses which lacked
specific examples from the DVD covers to support points made.
It was of some concern that some candidates failed to study the texts in detail and so
produced brief, undeveloped answers. Candidates need to spend time studying and
making notes on the print texts just as they would with audio-visual material.

Question 2(a)
The majority of candidates were awarded 3 or 4 marks for this question.
Relevant suggestions of different representations of age included:

Older men - subverting stereotypical representation

Older women - subverting stereotypical representation
Younger man - more stereotypical representation expected in this genre
Younger woman - more stereotypical representation expected in this genre
Teenagers

To access the 4 marks available there needed to be some additional information beyond
'young people' or 'older people'.
Main observations from candidates' responses:

Weaker candidates could not develop their examples fully enough for the 4 marks
awarded and just named two basic examples for 2 marks.

The best responses were closely linked to evidence from the text.

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Some candidates seemed to expect an audience question and identified two

audiences for the covers.

It was of some concern that some candidates wrote far too much for this section and
had not taken note of the mark allocation. In some cases more was written here than
for 2 b). This would have an obvious impact on timing.

Question 2(b)
Relevant responses exploring how one of the representations of age had been
constructed included:

How language is used to suggest aspects of age

Iconography: clothing, props etc.
How technical codes are used to construct the representation
Challenging of expected roles
Editing/ layout and design to show the role of the character/s

Main observations from candidates' responses:

The best responses drew on specific examples from the text to support the points
made.
A few candidates did not read the question correctly and discussed both
representations.
Weaker candidates gave very descriptive responses with limited understanding of
how the representation was constructed through, for example, visual codes and
language.
Some candidates offered a very general response not supported by textual evidence.
This question, as with 2a, required a focus on representations; however some
candidates did not read the question and instead proceeded to answer an audience
question. This resulted in a loss of marks as answers failed to engage with the
concept of representation - they were rewarded if relevant points regarding
representations were made, but there were a number of candidates who failed to
gain marks here.

Question 2(c)
For this question the expectations were:

Candidates must use 2/3 specific and detailed examples of how media texts
represent older people and analyse them in detail focusing on the concept of
representation.
The examples should be taken from different media forms to allow candidates to
show a broad understanding of representations in the media today.
Candidates attaining the higher levels would demonstrate an understanding of the
concept of representation and be able to anchor their chosen examples in terms of
context and purpose.
The chosen examples should be analysed in some detail and the more able
candidates must engage with them on a more sophisticated level, moving beyond
simple descriptions or assertions of positive and negative representations.
The examples used must be contemporary in order to reflect the representation of
older people 'in the media today'.

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Main observations from candidates' responses:

The strongest candidates were able to demonstrate their understanding of the focus
of the question: older people. These candidates had clearly been well prepared and
had studied age in all its breadth.
Stronger candidates were able to develop their answer to discuss the context of the
representation within their chosen texts.
Weaker candidates demonstrated very limited understanding of the concept of
representation and how the specific representation had been constructed within the
chosen texts. Examples from very different contexts and purposes were discussed in
the same way, for example some candidates discussed representations in Off Their
Rockers with EastEnders where clearly the context and purpose is entirely different.
There were some worrying stereotypical assertions regarding age made by some
candidates. Some candidates had interesting ideas of what constituted 'older people'.
Several centres were using significantly outdated texts. It is acceptable to use an
older text in order to highlight sociological changes, but some centres had taught
three outdated texts. Examples included Only Fools and Horses, Gavin and Stacey
and Mission Impossible 2. This made it difficult for candidates to discuss
contemporary constructions.
Stronger candidates explored more complex and varied texts and demonstrated a
complex understanding of the issues surrounding the (mis) representation of age in
the media today.
Popular texts included:
o Television advertisements - Wonga/ Spec Savers/ McDonald's Parallel Lives/
anti-ageing creams
o TV - Soaps/ Off Their Rockers/ Vicious/ Gogglebox/ Crime Dramas with older
protagonists
o Film - Gran Torino/ The Dark Knight/ Red (first film)/ Last Vegas/ Harry
Brown
o Magazines - Saga/ Woman and Home etc.

Question 3
Relevant responses to an exploration of how media texts are constructed to position
audiences and/or users included:

Responses to positioning preferred, negotiated, oppositional readings

Construction of the text and the audience within the text
Use of technical codes/ layout and design e.g. camera shots to position audiences
Relevant contexts
Language and mode of address

These points must be discussed with reference to 2/3 detailed examples.

Main observations from candidates' responses:

This question proved problematic for candidates who had not been adequately
prepared in all areas of the specification.
The best candidates were able to demonstrate their understanding of the focus of the
question: how media texts are constructed to position audiences, and could discuss
this with the support of well-chosen examples.
Weaker candidates did not address the 'construct' part of the question.

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Stronger candidates were able to develop their answer to discuss a range of points.
Quite a large number of candidates' responses were theory-led. Some of these were
done reasonably well when the theory selected was appropriate and applied to the
examples. It was clear that some candidates did not necessarily understand the
theory they were discussing and therefore found it difficult to apply.
Some candidates saw their opportunity to write down everything they knew about
audience theory regardless of whether it was appropriate to the question.
Some candidates included very few or no specific examples in their response.
There were many candidates who focused on audience responses to texts or how
texts appealed to audiences rather than the focus of the question. Candidates must
be encouraged to read the question carefully, identifying the key audience focus to
guide their response.
Successful examples of texts for this question included magazine covers (lifestyle/
women's/ men's fitness), advertisements and their use of language and mode of
address, film extracts and trailers looking at how technical and audio codes position
audiences, documentaries and Reality TV shows for example, Britain's Got Talent,
and the way in which audiences are positioned emotionally by the narrative and
editing. Newspapers covering the election were popular and were useful texts for
exploring how the ideology of the newspaper affects the use of language and images
to position an audience.

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MEDIA STUDIES
General Certificate of Education
Summer 2015
Advanced Subsidiary/Advanced
MS2 - Media Production Processes

Principal Examiner:

Barbara Connell

The range of work submitted this year was extensive and moderators saw some excellent
work across both print and audio-visual media forms. The standard was often very high but it
is always good to see the engagement of candidates across the mark range. This continues
to be a unit which can stretch and challenge able candidates but can offer opportunities for
lower ability candidates to develop a wide range of both practical and academic skills.
The majority of work submitted was clearly in line with the requirements of the specification,
arrived with moderators on time and was clearly labelled. However, centres are reminded
that the deadline for the submission (not posting) of work is May 15th. The window for
moderation is quite tight and the submission of late work causes hold-ups in the process.
Please inform WJEC if you have difficulties meeting the deadline and request an authorised
extension. Some centres are still setting complicated briefs that dont fully meet the
requirements and so all centres are asked to read their moderator reports and act upon the
guidance and recommendations. Thank you to those centres who not only acted on last
years recommendations but who also enclosed a letter outlining the changes they had
made. These kinds of gestures greatly help the moderation process and are much
appreciated.
There continues to be a minority of centres who over reward their candidates. Centres
whose marks have been adjusted are asked to review their assessment procedures for next
year so that they fall in line with the nationally agreed standards. Please check the exemplar
materials on the WJEC secure website if you are unsure of these. Centres who have been
told they are generous (but who have not had marks adjusted) also need to review their
marking for next year or they risk having their marks adjusted via the moderation process.
Thanks are due to the majority of centres who complete the MS2/1 forms in detail. These
comments help the moderator contextualise the work and understand how and why the
marker has credited the work. However a small minority of centres still do not complete
these forms, which is disappointing. This is a requirement, as is the annotation of
candidates' work including reports, scripts and storyboards.
Pre-Production
Most candidates engaged well with the pre-production task and the quality of scripts and
storyboards (for example) is rising every year. Centres are reminded that marks are
awarded here for the accuracy of technical detail for example: visuals; shot duration; frame
numbers; details of camera movement and transitions for storyboards. Scripts should include
appropriate details such as: font; font size; indentation; the accurate use of capitals, brackets
and colons to ensure accuracy of layout.

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Creatively, work tends to be good and genre appropriate but there is a tendency to overreward technical skills.
Print work was often of a high standard but too many magazine front pages, DVD covers
and adverts (for example) were blurred and/or pixelated. These need to be appropriately
placed within the lower mark bands at this level.
Whilst the specification states that pre-production print work may be 1-2 pages, there is a
strong recommendation that all but the weakest of candidates submit 2 pages in order to
demonstrate a range of technical and creative skills.
Points to note:
All pre-production work must be individually produced.
Storyboards may be hand drawn or digitally produced. Either way the visuals must
reflect the camera detail. Storyboards must not be completed from post-production
screen grabs.
Scripts and storyboards must be technically accurate.
It is recommended that the majority of candidates submit 2 print pages.
Flat plans, sketches, hand drawn magazine front covers (or other print pages) are not
acceptable.
Pre-productions should reflect the individual research undertaken but they are not
the research themselves.
Please, therefore, do not submit research. Research cannot be assessed (other than
in the report).
Production
Moderators reported seeing a wide variety of interesting and well-produced work again this
year. Some exceptionally good film trailers, television opening sequences, adverts and
music videos were submitted that were, genuinely, a joy to watch and reflective of a very
high, near professional, standard. Similarly some excellent magazine pages, print adverts,
DVD covers and web sites were produced. Radio remains the least popular medium but,
again, some excellent productions were submitted.
Unfortunately there remains a minority of centres who continue to over-reward weak
production work and need to offer more technical guidance to candidates prior to them
completing their internally assessed work. Print work that is blurred or pixelated is not
acceptable for MS2. Candidates need to be taught about camera resolution and to
understand how to take high resolution photographs. Marks must reflect the technical skills
and understanding of individual candidates and poor work cannot be blamed on, for
example, a low budget printer.
Points to note
Print productions (and websites) must be individually produced and should be
between 2-3 pages in length.
Websites must be working and centres need to comment on this on the MS2/1
forms. Please submit a hard copy.
Group A/V productions need to be close to 3 minutes in length. If they are shorter,
candidates can supplement the A/V piece with an individually produced page of print
work. Thank you to those centres who continue to do this.

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Candidates working in groups must have a clearly defined technical role. Camera
and editing are the usual roles. Sound is sometimes relevant (please justify).
Acting, directing, location spotting and costume (for example) are not relevant roles
and centres risk having candidates marks adjusted if candidates are given these
roles.
Where candidates are working in groups it is their individual contribution (e.g. their
editing/ camera skill) that is assessed not the overall piece. Please identify clearly,
on the MS2/1 form, how and why marks have been awarded.

The Report
The majority of reports were well constructed and it is clear that centres generally have a
good understanding of the requirements. Reports have two clear functions: firstly, to outline
the research undertaken for the pre-production and to explain how the research has been
used to inform it (AO4), and secondly, to evaluate the production by assessing its strengths
and weaknesses through, for example, a comparison with existing media products (AO2).
A small minority of candidates continue to describe the process discussing, for example,
their time management or other members of their group. There are no marks awarded for
discussion of process so this wastes valuable words as reports must adhere to the word limit
of 1200-1600 words. Where candidates exceed the limit, centres should reflect this in the
marks awarded.
Points to note:
The report is the only piece of writing which may be submitted.
Reports must reflect individual (not class) research. Candidates should not all,
therefore, refer to the same studied texts.
Too many candidates discussed the research they undertook for their productions
(for which there are no marks available) and evaluated their pre-production (for which
there are no marks available).
The most successful reports come from centres where candidates are encouraged to
complete them in two parts one prior to completing their pre-productions and the
second after completing their productions.
END NOTES

We strongly recommend that candidates print out their work during the drafting process
to check that it is not blurred or pixelated.
Please make sure each piece of work is clearly labelled with the candidates name and
centre number.
Please submit all work as hard copies. Please do not submit work on pen drives or as a
link to a blog or YouTube address.
Print pieces must be submitted in the correct dimensions, for example DVD covers. It is
acceptable to submit magazine covers in A4 format; double page spreads should be
submitted on A3.
It would be helpful if candidates added a word count to their reports.
Please include a copy of the brief you have set your candidates.
Please complete the MS2/1 in as much detail as possible and encourage your
candidates to do likewise.
Work must be annotated.

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MEDIA STUDIES
General Certificate of Education
Summer 2015
Advanced Subsidiary/Advanced
MS3 - Media Investigation and Production

Principal Examiner:

Colin Dear

There were familiar trends in the task setting and assessment of all aspects of the unit.
Many centres have well established approaches to this unit that enable all candidates to
meet the assessment criteria to the best of their ability. However, it was disappointing to
note that many centres had not addressed issues raised in previous reports, both in terms of
the task setting and assessment. Issues with task setting often compromise the candidates
abilities to demonstrate their skills and meet the assessment criteria. Generous assessment
raises issues of parity between centres and such cases were dealt with through significant
adjustment of marks.
Reports are written to offer constructive advice to centres in order to help their candidates
meet the criteria and ensure national standards are maintained. It is expected that centres
will read and act upon the advice given and also make use of the extensive range of
exemplar material available on the WJEC secure site. It is heartening that many centres
clearly do so and moderators are particularly pleased to see instances of issues being
addressed with positive changes being made.
MS3 is a challenging unit as it demands both high levels, and a broad range, of knowledge,
understanding and skills. Those candidates at the higher end of the mark range continue to
demonstrate impressively sophisticated research, essay writing and production skills.
Research Investigation
The most effective research investigations demonstrate the following features:

Clear and focused titles that identify a key concept: narrative; genre or representation
and specify between 1 and 3 texts for analysis.
Secondary research into the key concept identified in the title which makes use of
academically credible and clearly referenced sources.
Textual analysis that makes use of the skills candidates have learnt for MS1 and
attempts to apply the findings of the secondary research.

Common issues which limit the effectiveness of the Research Investigation and/ or
cause problems for the Production and Evaluation:

Titles that are too broad and/ or encourage an overview of a topic.

Titles that encourage a focus on audiences or a more sociological approach to
topics, such as the representation of issues.
A reliance on sources that lack academic credibility such as Wikipedia, Slideshare or
blogs.

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A reliance on sources that, whilst academically credible, do not have a clear

conceptual focus.
A lack of referencing skills which in the worst cases can result in issues of plagiarism.
Analysis that is descriptive or overly focused on the mise-en-scene and / or re-telling
the plot at the expense of an exploration of the technical features of the texts.
Audience research that is not based on sound methodology, does not develop
conceptual understanding and is included at the expense of far more useful textual
analysis.

Production
The most effective productions demonstrate the following features:

Clear links to the research investigation.

A secure understanding of relevant codes and conventions of the media forms and
genres being used this is usually based on detailed analysis included in the
investigation.
A high level of engagement, partly due to the candidate having chosen their own
brief.
Appropriate levels of technical competence which demonstrate effective guidance.

Common issues which limit the effectiveness of the Production:

A lack of clear links to the investigation, often where candidates have produced a
different media form or genre.
A lack of attention to detail in terms of codes and conventions, due to the candidate
not having analysed appropriate texts or not having paid sufficient attention to
technical details in completing their investigation.
Lower levels of technical competence than the specification requires.

Evaluation
The most effective evaluations demonstrate the following features:

A clear understanding of how research informed production.

An ability to analyse the technical features of the candidates own work (in relation to
the research findings).
A sole focus on the relationship between the research and the production.

Evaluations that lacked an appropriate focus were characterised by:

A discussion of the process of production.

An evaluation of the strengths and weaknesses of the work.
The introduction of new research / texts which did not appear in the investigation.

Assessment
There was a tendency towards generous assessment, though the majority of centres were
close to national standards.
Generous marking of Research Investigations tended to result from candidates either lacking
the secondary sources required or failing to apply them in detailed analysis. It is very difficult
for candidates to achieve the high levels of conceptual understanding required for this unit if
they have not made use of appropriate secondary sources.
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Over-marked productions often lacked the close attention to detail needed for the levels
awarded. In some cases centres simply need to consult exemplar material and pay
particular attention to the levels of technical competence displayed. Often, however, the
codes and conventions were not securely used because of the lack of detailed analysis in
the investigation. Centres need to be aware that candidates who change media form
between research and production are often making their task more challenging. All
candidates should be familiar with the technical details of their media form before beginning
the production; this may require additional analytical work.
Candidates who work in groups must be individually assessed. Candidates need to have
definable technical roles and groups should be managed so that all the members can reflect
their findings in their productions. As a result it is unlikely that group members will be
awarded the same marks.
Administration
There was much evidence of good practice, for example effective internal moderation,
annotation that clearly explained the rationale for awarding marks and work which was well
presented. Increasing numbers of centres require candidates to include a word count which
helps ensure parity.
The MS3/1 form needs to be completed in detail and not all centres did so. The form should
be used to explain the work presented for moderation with all information pertinent to its
completion and assessment clearly stated; for instance group roles should be specified by
both candidate and assessor. Found imagery or music should also be identified.
Centres which submitted work late without an agreed extension, or presented the work
without sufficient care, made the moderation process more difficult and are requested to
address these issues next year.

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MEDIA STUDIES
General Certificate of Education
Summer 2015
Advanced Subsidiary/Advanced
MS4 - Media: Text, Industry, Audience

Principal Examiner:

Barbara Connell

Centres continue to teach a range of interesting and valid texts across the industries. Film,
TV, advertising and music remain the most popular industries but, increasingly, the gaming
industry is gaining popularity. A rich diversity of texts is taught, reflecting teachers' and
candidates' interests alike and making for a range of interesting and engaging responses.
Most centres adhere to the five year contemporary rule for two texts per industry but there is
a significant minority of centres who do not and who need to revise their texts for next year.
Similarly centres are reminded that (at least) one text per industry must be British.
Candidates tend to respond better to Section A questions and there is a greater need for
candidates to be taught more industry information and a wider approach to audience issues,
encompassing more than, for example, Stuart Halls encoding/ decoding model.
More attention still needs to be paid to essay writing skills. The most disappointing factor
again this year was many candidates inability to respond to the specific question asked. It is
essential that candidates answer the given question rather than responding generally to the
topic. Many candidates discussed their texts in very general terms with many failing to refer
to specific examples to back up their points. This was most noticeable in Section B, with
many candidates making no reference at all to specific TV episodes or editions of magazines
or newspapers that they had studied.
General observations:
There were fewer reported rubric infringements this year and fewer candidates who
responded to questions referring only to two texts. It is worth reminding candidates
that they are penalised if they do not refer to their three studied texts per question.
A minority of centres continue to coach candidates to use a specific industry to
respond to a particular type of question (which may or may not come up). This was
especially noticeable in Section A where whole centres of candidates used (most
typically) the Film industry to respond to a question. This is not only against the spirit
of the specification but it limits candidates' choice and can leave candidates
struggling in Section B.
Some centres still appear to be teaching single adverts rather than campaigns for the
advertising industry. This is self-penalising for the candidates as their responses are
rarely fully developed. Centres are therefore reminded of the requirement to teach
advertising campaigns.
Similarly, too, many candidates only refer to the front covers of magazines and
newspapers, although there was some excellent practice and knowledge from some
centres where candidates had selected specific inside pages and articles to analyse.

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Essay structure remains the biggest problem at MS4. Candidates often have the
knowledge to respond to questions but are unable to plan and structure a coherent
response. Too many answers lack an introduction and a conclusion; too many
candidates do not write in paragraphs and it continues to surprise markers how few
candidates write a plan before they begin their answers.
Please see below for question specific comments:

SECTION A: TEXT
A1.

All media representations are constructed. Discuss with reference to your

three main texts.
Many candidates were quite confident in discussing the representations within their
selected texts but there was often a lack of focus on the question and fewer
candidates were able to engage more explicitly with the notion of constructedness.
Film was a popular industry to use for this question and, generally, candidates were
able to effectively explore the representations of (for example) hero and villain in films
such as Skyfall, but it was a little disappointing to see how few candidates went
further. However there were some answers that linked representations to both genre
and audience, thereby offering a more sophisticated understanding.

A2.

Media texts contain complex narratives. How true is this of your three main
texts?
There were many fluent responses to this question which confidently applied
narrative and character theories to a range of selected texts. Propp (often too simply
applied), Todorov (sometimes shoehorned to try to fit every text) and Levi-Strauss
(often quite well discussed) featured most prominently. Many candidates also
referred to Vogler, Labov and Field, for example. Some candidates discussed (often
quite well) the importance of narrative codes, most prominently enigmas. Many
candidates coherently explored different narrative devices, for example multistranded, the use of story arcs, flashbacks, open/closed, linear, circular etc. but
overall too many candidates simply described the structure and failed to engage with
the complexity part of the question.
The majority of candidates responded to this question using Film or TV but a minority
of very good responses discussed the complexity of games' narratives or looked at
the way narratives are constructed within newspapers (and magazines), and a few
sophisticated responses discussed the narrative complexity of music texts.

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SECTION B: INDUSTRY AND AUDIENCE

B1.

Explore the different audience appeals of your three main texts.

This was a very popular question and produced some quite sophisticated responses,
for example exploring computer games and the different types of appeals of different
games for different gamers. However, few candidates actually engaged with the
appeal of the texts; too many read this question as appeal to and a significant
minority saw this as a target, attract or response question. For example, some
candidates offered a rather formulaic and rehearsed application of Halls audience
readings whilst others described marketing strategies constructed to make the text
appeal to audiences. This question, in particular, highlights the need for candidates
to read and respond to the question being asked.

B2.

Discuss the importance of social media in the marketing and promotion of your
three main texts.
It was surprising how many candidates appeared to have little understanding of
social media. Responses to this question were frequently descriptive, making some
very generic points about Twitter and Facebook. Some candidates ignored the social
media part of the question completely and discussed the marketing and promotion of
their texts in a more general way and several discussed websites but made no
reference to how these linked to social media. Better responses tended to be
evaluative and explored the relative importance of social media for their main texts
these candidates were also able to offer specific references to, for example, actual
Twitter campaigns. It is important that candidates engage with specific examples
and that they have a wide understanding of the industry (and audience) context of
their studied texts. Candidates should be discouraged from making obvious, generic
statements such as Lady Gaga having a lot of Twitter followers. Exploring and
explaining the nature of tweets (for example) from both the industry and audience
perspective would enhance responses.

B3.

To what extent do your three main texts target a global audience?

There tended to be a rather narrow interpretation of what constitutes global in this
question with a large number of candidates citing a website as something that made
a text global. Whilst this may be a factor for many texts, it didnt work for low budget
British films or British advertising campaigns such as those for Barnardos. Other
candidates claimed their texts were global because they were US films distributed in
the UK or vice versa (again, a narrow view). There were, however, some very
sophisticated responses from candidates who had clearly been well taught, who
understood the complexities of distribution and could link this to the nature of their
texts, the budgets and the demands of different (global) audiences.

B4.

How important are digital technologies to the success of your three main
texts?
There were some very good responses to this question with many candidates
discussing the use of technologies within their texts (and their construction) and in
relation to marketing and distribution. Stronger responses were evaluative and
focused clearly on both the importance and the success parts of the question. Other
responses tended to be descriptive and relied a little too heavily on straightforward
discussion.

GCE Media Studies Report Summer 2015/ED

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