television rox: 2009

Candidates structured their responses in a number of ways; some began by addressing the concept of representation in the extract and a discussion of the representational differences between Amy McDougall the stereotypical teenager and contrasted this with the Headteacher and the middle-aged character Paul Macdonald. Then the candidates would address the technical areas one by one. Stronger candidates could provide an integrated analysis of the extract through analysis of key examples identified. These candidates explored how the technical features could be applied using a combination of the technical features, for example, in discussion of the argument between Paul Macdonald and Amy. They could then place this sequence of conflict in it’s mise en scène (the stately home), through the use of shot reverse shot (editing), shot types used and through sound, both diegetic and non diegetic in discussion of how Paul’s anger and authority, used as parental control, would order Amy (stereotyped as the teenage tear away) back to school.

Either of these approaches to the structure of question 1 is advisable and centres need to help structure the candidates’ responses in the classroom. Candidates are advised against lengthy introductions about what they are going to say and against theoretical introductions and/ or historical contexts to television drama. Candidates are advised to get straight on with their analysis.

It is also important that candidates move from description of key technical areas to analysis of how representations are constructed. This will enable candidates to achieve higher marks for their responses. The mark scheme enables credit to be awarded to students at three different levels Explanation, Analysis and Argument (20 Marks), Use of Examples (20 Marks) and Use of Terminology (10 Marks). Centres are advised to make the mark scheme available to candidates for the summer session so that they are aware of how the work is assessed. This could also be used for the marking of timed assignments in the classroom and for the marking of mock exam papers.

Camera Shot, Angle and Composition

This technical feature was well addressed by the candidates.. Where candidates used the correct terminology and could describe shot composition, this on the whole was well done. Weaker candidates were able to describe key shots used in exemplification, but would often lack explicit links to how these shots assisted in the construction of the representation of age.

Mise en scène

There was plenty of evidence of candidates’ discussion of clothing and props, visual iconography and character Setting, although a little more problematic for some, was used well in discussion of the range of representations of age used in the extract. More able candidates would move beyond description and use the technical features of mise en scène in order to discuss the signification of the representation of age.

Sound

Candidates often discussed this technical feature with some limitations, with some focusing solely on the use of dialogue or accent. Candidates did also relate the use of non diegetic sound to the emotional state of Amy whilst she was in her room and the contrast of non diegetic music showing the adults to be happy in the work they performed. The use of non-diegetic sound to emphasise Amy’s isolation was often commented on, as was the diction of the middle-aged characters that spoke “properly”. Other weaker candidates showed confusion with technical terminology, getting diegetic and non-diegetic sound the wrong way round. It is advised that centre’s do cover the technical features of sound thoroughly in order to give candidates an opportunity to fully engage with the analysis of the extract.

Editing

This proved to be the most problematic for candidates and the one technical area of analysis that was often omitted in candidate’s answers. Most candidates who addressed editing were able to address the type of transitions used and could comment on the pace of the editing. Weaker candidates often omitted any discussion of editing or offered quite simplistic accounts of how editing was used, for example in the use of quick succession cuts and short takes when the community takes apart the fishing hut at the end of the sequence. More able candidates could analyse technical issues of editing by way of analysis of the ellipsis, accounting for how the extract collapsed a series of events, for example, in explaining the narrative to represent Amy as a ‘troubled’ teenager who had no option left but to run away from school and then the home of Paul McDonald; then candidates were then able to comment on pacing, the use of continuity, most often through the shot reverse shot compositions in the extract and some through the use of sound as well. These candidates cleverly discussed how soundbridges were constructed through the use of non-diegetic music in the representation of age, for example, the stringed mood music representing the gloomy prospect that Amy faces, or the use of upbeat music to represent the happiness of the small rural community.

The advice offered to centres is to encourage as much practice on the concept of editing as possible and how this assists in the construction of representation. Again begin with identifying the techniques and encourage students to apply these to a range of examples in class and importantly, test them on this

Representation

This key media concept was either addressed at the beginning of the candidates or at the end, but sometimes when at the end, the analysis was all too cursory. Candidates were able to relate the representation of a variety of age groups closely to the textual elements of the extract. There was some solid analysis of age and how it can be stereotyped in a variety of ways: teenage emotionality; adult authority; caring nature of the older female adult and other sensibly reasoned representations. Weaker candidates failed to focus on the representation of age, relating their analysis to the region or the gender of the characters.

Saturday, 11 April 2009

The Gene Genie is back!

BBC press pack HERE

Gene Genie is back..20th April 2009 on BBC1 Monday 9pm

Date: 26.03.2009
Category: TV Drama; BBC One; Wales
The Quattro's fired up and fashion sense has been thrown out of the window as the second series of hit BBC One drama Ashes To Ashes returns!

Winner of the Best New Drama category at the 2008 TV Quick Awards, series one of Ashes To Ashes cemented its position as one of the TV highlights of 2008 after more than eight million viewers tuned in to see DI Alex Drake (Keeley Hawes) arrive with a bang in 1981.

Series two kicks off in 1982 where leg warmers are cool, fluorescent is the colour of choice, Thatcher is in her element and bullish DCI Gene Hunt (Philip Glenister) is back, policing the streets in his politically incorrect and loud-mouthed style. Sassy Alex Drake, with whom Hunt shares a fiery working relationship, is by his side, desperately trying to keep him in line.

Though no nearer to getting back to her daughter, Alex believes she is suspended in time and finally understands how the world around her works. But when she starts hearing news from the future, she realises nothing is as it seems.

Clinging on to fast-fading hope, she discovers she may not be alone in her predicament. A mysterious stranger who also seems to be stuck in 1982 is making Alex doubt that her current world is merely a figment of her imagination. Is he a friend who can help her get home or a foe who will destroy all she knows?

And while Gene Hunt saved her younger self from the car bomb that killed her parents, can she ever trust him enough to share in her extraordinary scenario? As she struggles to stay alive long enough to find a way home, it appears she needs him more than ever before.

Produced by Kudos Film and Television in association with Monastic Productions, this new series also sees the return of Gene and Alex's top team: DS Ray Carling (Dean Andrews), DC Chris Skelton (Marshall Lancaster) and WPC Sharon "Shaz" Granger (Montserrat Lombard).

Chris and Shaz couldn't be happier. He's still trying his best to be the perfect "feminist" boyfriend and wants to take his relationship to the next level, but predictably Ray continues to tease him about his romantic gestures.

Ray is also struggling to contain his emotions about the Falklands War, blaming the "Argies" and throwing his weight fully behind Maggie Thatcher. However, more testing times lie ahead for the trio...

Producer Beth Willis says: "The new series moves in a slightly different direction and we've really enjoyed developing the characters and Alex's journey further. Gene and Alex's relationship is so complex; it is very sparky and they obviously care for each other in a begrudging manner so it's interesting to see how this evolves.

"Ray and Chris are still by Gene's side, but when force legend Detective Superintendent "Supermac" Mackintosh (Roger Allam) starts working with the team it looks as if Gene's equilibrium could be broken."

The arrival of Supermac seems like a blessing to the team because he's been hailed as a star within the force and someone not to be messed with. However, it's not long before Gene's gut instinct tells him something isn't quite right. Could this cop legend be up to no good?

Piers Wenger, Head of Drama, BBC Wales, adds: "Last year, Ashes to Ashes was a highlight of the BBC One drama schedule and delighted over eight million drama fans and 1980s devotees alike.

"Series two combines the same mix of compelling crime stories, outrageous fashion and blistering one-liners with some bold and brilliant new plot twists.

"Matthew Graham and Ashley Pharoah's scripts continue to thrill while bravura performances from Philip Glenister and Keeley Hawes mean that Ashes is back with a bang!"

Ashes To Ashes is written and created by Matthew Graham and Ashley Pharoah, two of the creators of award-winning drama Life On Mars. It is produced by Kudos Film and Television, in association with Monastic Productions. Executive producers are Simon Crawford Collins and Jane Featherstone for Kudos Film and Television, Ashley Pharoah for Monastic Productions. It was commissioned by Piers Wenger for BBC Wales.

Friday, 10 April 2009

All the video extracts available!

All the extracts referred to in the revision and extension booklet - Dr Who, Shameless, Six Feet Under, Bleak House, Desperate Housewives, Mistresses, 24, johnny and the bomb etc are now all available on my web page - check the link on the right at the top of the page...

Monday, 30 March 2009

Cutting it Extract

Friday, 27 March 2009

Girls and women in the media

Girls and Women
Beauty and Body Image in the Media | Sex and Relationships in the Media | Media Coverage of Women and Women's Issues | Media and Girls | The Economics of Gender Stereotyping | Women Working in the Media | Resisting Stereotypes and Working for Change

These links are great and some are based on Canada/the US but they also have great links on the right hand side bar.

There's another here on single mothers in US media - these all give you an idea of the area of study although we're covering TV DRAMA only, not film magazines, adverts etc

Representations of men and masculinity

Links to articles about representations (and on tv)

people with disabilities - mediaedorg

lesbian and gay - article - mediaawareness

lesbian and gay - tv (organisation article) - glaad

The Geena Davis Institute does loads of research on women and girls, in and on the media.. worth visiting the whole site

Interesting web chat on the representation of race and class, referring to big brother (so not TV drama - but still interesting)

Thursday, 26 March 2009

Johnny & the Bomb

Some links

BBC Presspack

Tuesday, 17 March 2009

New Site from Mrs T

I've started a new site where I'm hosting the episodes you've missed. The link is HERE and on the right.

Please click it and let me know how it runs for you...just a word of warning, because the files are sometimes large - allow time for it to load. Plus the pages themselves are quite fancy in terms of code so allow a few moments before trying to click everything. to give you an idea, the borders around the images on the page should be white.

Let me know your comments and suggestions, especially if you have problems running the pages on a windows machine.

Cheers all !

Misty

Friday, 13 March 2009

Essay Title - set 12/3 due 27/3 (except geographers - 2/4)

You will have edited two sequences of the extract from Middlemarch. The two versions should 'favour' a different character. You will be given a copy of your edit and you should upload it onto your blog. Your essay MUST be submitted as a word document and emailed to mrstmedia@gmail.com.

The title is:
"Explain how your editing decisions influence the dominant reading of the extract in favour of one character or another, using detail from your two versions as evidence to back up your points"

Monday, 9 March 2009

Points of View and Representation

Thursday, 5 March 2009

Homework on TV Narrative

Narrative Construction in TV

This is also avaliable to view on SCRIBD itself - follow the links to mediamonkey Scribd on the right

Publish at Scribd or explore others: Education Presentations & Slid narrative textual analysis

Tuesday, 3 March 2009

Spooks Series 3, Episode 10

This is the opening of the next epsiode we're going to analyse. We're especially focussed on how we are positioned to sympathise with characters and not with others through camerawork and editing. We are also going to analyse camerawork and editing across the episode.

There are guides on the series and episode on Scribd - check the links

The episode is on m-drive and on Youtube (although it is broken down into 7 rough cuts - see videobar below right)

Skins - season 3 episode 1

This is our episode to look at in detail - you should be constructing detailed character studies using MES, Lighting, Colour, Editing, Camerawork and Sound to construct them. The episode is on the M-drive as are all the breakdown files.

Wednesday, 4 February 2009

Life on Mars

The BBC Life on Mars website is linked here

The Radio Times Life on Mars website is linked here

The wikipedia Life on Mars entry is linked here

Link to all the episodes
Link to Series Two, Episode 8

Hovis Ad Questions

Hovis Advert – Readings

The sections

1. In the bread shop
2. Cart
3. Women’s March
4. Soldiers
5. Street with car
6. War – bombs, people passing and plane
7. Street Party
8. Girls/Football players
9. Street with Asians and TV Shop
10. Cole not Dole strike/protest
11. Fireworks
12. Home
13. Sound throughout the sequence
14. Narrative/Story development through whole advert

Use these sections. Write up on your blog detailed notes on how the concepts listed below contribute to create meaning:

COSTUME
LOCATIONS
PROPS (DETAILS IN SHOTS)
MUSIC
DIALOGUE
SOUND
CAMERA WORK
EDITING

DEADLINE: Monday 9th FEB 09

Tuesday, 3 February 2009

Hovis Ad

Secrets and Lies Sequence - ALL

Go to my youtube account for the small snippets

Monday, 2 February 2009

Welcome to the new administration..

Hi Guys!

Here's the TV Drama blog at last, readying itself to prepare you for your exciting TV DRAMA unit which will be examined in June.

D O N ' T P A N I C !

You'll know everything you'll need to by then, so in the meantime, work hard but enjoy the ride into TVLand!

Misty x

Monday, 14 December 2009

Tuesday, 12 May 2009

Saturday, 9 May 2009

Sunday, 19 April 2009